Folktellers : Stories to be Shared

Lights, Camera, Story!

21 اوت 2023 · رونوشت

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Telling Tales in Film and Television

What makes film a compelling storytelling medium?

How does film differ from a television series?

How has moviemaking changed over the years?

Our guest is Bill Sarine – Beachglass Films is a collaborative, creative-first company founded by brothers BIll and Douglas Sarine. We have a strong history of using our skillset to create high-quality entertainment. Our brand of creativity combines new strategies and technology with time-tested filmmaking expertise.

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#Hollywood

All right.
Hey,
welcome everyone back to the Folk Tellers podcast.
Hey,
uh,
this is week Nine Lights,
camera story,
uh telling tales in film and television.
Uh Our usual introduction,
uh,
some people call me the space cowboy.
Uh This is uh Joseph Bastian and we're here with the abominable.
How do you spell that?
You know how to spell that?
Yeah.
Ok.
Kurt David is here and the,
uh hm,
I'm not the extra.
I heard you say the word A,
is this like the Canadian edition of the,
uh for you,
the podcast for the P A?
So,
so we're gonna talk about storytelling uh in film and in television and we have a very cool guest.
We'll bring on a little bit.
Um,
so I'll,
I'll start with this,
this quote.
Um If it's a good movie,
the Sound could go off and the audience would still have a pretty clear idea of what's going on.
And that's a quote from Alfred Hitchcock.
So,
what is it about film that makes it unique,
a unique storytelling medium?
I'll tee it up with that.
What do you think?
Yeah,
it's interesting because there are some parallels between television,
which is what I'm involved with in film.
And,
and I've heard that before and in fact,
I,
I practiced that before.
You watch a,
a show without the sound on to see what that body language looks like,
what the interaction the nonverbals look like.
And I don't know how you do that with a film though because there's a lot to a film with music with uh you know,
the visuals as well.
Um But I think what,
what he was trying to get at was that the story can be very evident whether the sounds on or not.
I think that's probably what Hitchcock was referring to was that whether the sounds on or not these stories should be very evident.
That's what my take away from that.
That's,
that's really good.
I've got mine,
I'll,
I'll sit on mine until I ask Steve.
So,
what,
what is your take on film is a storytelling medium like,
right?
Just your gut check or it's the closest thing to reality,
right.
Really?
Yeah.
Well,
maybe tell me maybe video gaming is,
um,
moves even closer towards that.
But obviously,
when I make a film,
you know,
you're relating to it because it's related to other stories that,
you know,
are,
obviously,
are fictional or stories that,
um,
you know,
uh,
that have,
uh been made up from the past.
So it's,
it's,
uh,
it's,
it's definitely reality.
I mean,
um,
that's definite.
The other thing is,
it's uh,
it's very communal in my,
in my opinion,
like,
you get to watch a movie collectively together.
That's why it makes a very good medium.
Right.
Yeah.
And it's typically like minded people that might like that genre.
Right.
In other words,
it's a certain genre or a certain story that people attract to,
like,
like,
you know,
different movies that are out right now.
There might be a certain genre that wants to watch a certain movie.
It's like when we talked about music,
it's very,
very similar to that,
you know,
you get people that,
you know,
get,
gather around to listen to a record,
you know.
Well,
people obviously gather around to,
to watch a movie collectively and,
and experience that.
So it makes a very good medium for storytelling because of that,
of that fact.
Right.
That,
that's really interesting.
So I just thought it's something funny.
So back in college,
a woman I worked with,
she said she goes,
I had a terrible,
terrible night last night.
I was like,
what happened?
She goes,
uh we went and this is when there's still Blockbuster video,
right?
So she,
she goes,
I went to rent National Velvet to watch with my mom and dad.
And uh I rented Blue Velvet instead.
Yeah,
about 20 minutes in after the severed ear in the field.
Uh The parents are like,
where's the horses?
It took 20 minutes to get to that part of the story.
Talk about the,
the communal experience.
But um so,
so here's my sort of my gut check on,
on film and storytelling.
I remember the first time.
So I'm as a writer.
Um you know,
I write um novels and fiction and whatever so that what you do long hand,
right?
You're writing.
So you're,
you are telling,
you are telling when you're writing.
So you're telling the story in film.
I,
I tried to write a script and uh the editor just right across the front just wrote in big letters.
Exposition.
I'm like,
what does that?
What does that mean?
Well,
exposition is when you're telling and in film and a script,
it's showing it's all direction.
So when you write a script,
you're not writing a narrative,
you're writing,
like here's the direction of how you want the scenes shot and yeah,
you have dialogue and things like that,
but it's,
it's seen and setting and things like that where they're standing,
this is what they're doing.
This is like there's characters involved.
It's like you're,
it's like you're building something.
It's really like the engineering of the,
of a story.
That's exactly it.
So,
so film as a visual medium,
you are mostly showing,
which is why like what Hitchcock said is you could turn the audio off so you could get rid of the dialogue and you should probably still be able to follow follow the story and this is why I'm not a screenwriter.
So that's not a natural thing for me.
So I have to ask you to right now.
What's your favorite movie?
What is your favorite film that you've seen?
I can't answer this for what reason.
Because if I answer it,
my wife listens to this podcast.
Just one.
Ok.
One of your favorite favorite?
Yeah,
we don't want a divorce court over this but one,
there's a funny story behind it.
Ok.
That's why total recall was one of my favorite movies.
And the reason being that it's,
you know,
that,
um,
it's a kind of a thorn in my side and her side is that,
uh on our wedding night apparently.
And I don't remember this.
She said she said I rented it,
you know,
on our wedding night,
I'm like,
I don't remember that.
She's like,
yes you did.
I,
I recall it clearly.
You rented this movie and apparently that's not what you do on your wedding night.
So,
anyhow,
what,
what do you do?
I don't know.
I'm not getting into that.
I don't watch movies to,
not to,
not to self.
Yeah.
So what was the,
what,
what about the story in Toto Rico that attracted you?
What is it you like?
I,
I love,
first of all,
I love science fiction.
Um,
and I like twisted plots where you don't know,
really know what's going on.
That,
that to me is good storytelling.
I love,
you know,
I love Hitchcock.
I mean,
love Twilight Zone I mean,
all of that,
that those old science,
science fiction and adventure stories.
I love those Indiana Jones.
I love,
I mean,
everyone does.
I mean,
really?
So,
and that's a Stephen King short story.
Total recall.
Hm.
Did you know that?
Now you,
do you ask me my,
my favorite film?
So now,
now this will be esoteric.
So it's actually a German film called uh Wings of Desire.
And I believe it was uh Americanized with Nick Nicholas Cage was like angels in L A.
They,
they butchered but it was,
it's,
it was more of an art film.
And basically the concept was,
it was shot in Berlin before the wall came down and it was the story of an angel that gave up its immortality to become human and the backdrop of the Cold War of,
of Berlin,
the both sides of Berlin.
It's just a beautifully shot movie.
But um thematically,
it's just what's it called?
It's called Wings of Desire and the director,
I think it won a bunch of awards again.
You know,
we're back into the eighties again.
But it,
it,
it affected me.
I was in college at the time and seeing that,
that film.
Um Yeah,
that story really,
it really affected me.
And again,
that's one of those things.
It's a German film with subtitles so you could watch it.
Uh without,
you know,
unless you,
yeah,
without the audio and you would,
it would be a beautiful it would still be a beautiful film.
Did you watch that on your wedding night?
No,
I didn't.
No,
no,
no,
because you guys would be sleeping.
Oh,
nice,
nice.
Well played.
All right.
So,
uh,
we,
we've got,
uh,
Bill is here with us and Bill has a wide and varied background as a Hollywood film director.
So definitely an expert in the field.
But,
um,
Steve,
you met Bill a long time ago.
Why don't you,
uh why don't you uh give Bill his big intro,
Bill.
Where did we meet?
I think it was in a,
a Met's office many,
many years ago,
probably.
Yeah,
probably.
Yeah.
Yeah,
I remember um there was always a community of filmmakers and,
and we're talking about our Met Zap here in uh in his office.
And I remember sitting around the uh used to have these picnic tables and,
you know,
you never knew who was gonna be sitting there and,
and one day,
Bill was sitting beside me,
we,
we became very good friends.
So,
um so it was really,
really good to hear your voice bud.
It's uh great to be here and I'm really excited to talk to you guys about storytelling and,
or whatever you'd like to ask me about.
Well,
I have a,
I have a question.
I know that you're a,
you're a midwest guy uh from Chicago.
And so I'd love to,
the listeners,
would love to know your story.
Like,
how did you get into Hollywood.
How did you get from Chicago and get to Hollywood?
Oh,
man.
Um I,
I often say that my life is a cautionary tale.
Um So it's uh I,
I've had kids on set,
you know,
say to me like,
oh,
I don't,
you know,
just tell me what to do.
And I said,
I'm,
I'm gonna tell you everything I've done and if you do the opposite,
you should be fine.
Um It's uh I literally,
I was a,
I was like an artist without a medium forever.
And so,
um you know,
growing up,
I just wanted to,
I,
I felt creative,
I thought I wanted to do art,
but I didn't really know,
understand what that meant.
So I tried everything.
Like I was into photography,
oil painting,
jewelry,
making,
flower design,
you name it.
Like there was a thing that was creative,
like I just want to try it.
Um Some of those were massive failures.
Um But uh you know,
it was,
it was just sort of like,
kind of figuring out my,
uh my,
my place in the art world.
And then at the same time,
like,
I just had a lot of business experience from a very young age.
Uh I was managing companies when I was 15,
16 years old.
And so I was sort of developing these two sides of it and managing a company in a way is a lot like directing because it's,
it's,
you it's leadership skills,
right?
You're really just learning how to communicate with people more effectively.
You're learning that being a boss doesn't really mean anything in terms of like telling people what to do.
It's really about inspiring people and,
and making people wanna work with you and,
and make,
and helping people understand that.
You've got a,
a vision for where things are going.
Hey,
Bill,
this is Kurt.
I'm sorry to stop your story.
But what,
what kind of company are you managing at 15 and 16 years old?
If you could elaborate on that before you go in?
Sure.
Sure.
Um,
you know,
I,
I worked for this,
uh,
family in Chicago and they owned a whole bunch of stuff.
So,
um,
we had,
we had some flower shops and um landscape supply companies and uh over the road trucking companies and like a strip mall and a tanning salon and like all kinds of stuff.
I thought you were gonna say Amway or something.
Yeah.
So I,
I kind of got involved at that level,
like,
like early on,
you know,
I,
I showed up one day like they need somebody to sweep the floor and I just kind of never left.
Um,
like they had me on salary by the time I was 16.
And,
um,
and it,
you know,
it was awkward too.
I had people working for me who were 60 70 years old and,
uh,
you know,
you,
it's weird,
you're,
you're like a 15,
16,
17 year old and,
and,
you know,
it's,
you're,
you're talking to somebody who's dramatically your senior.
Uh and where I come from,
that's a little bit awkward.
Um But you get over that all that really quick.
So,
um anyway,
so I had,
I had like a good business background and good managerial experience for a long time.
And,
you know,
I just kept pursuing this idea of what,
where's,
where's my artistic outlet.
And my brother is an actor and a writer and a musician and a dancer.
And like,
he's a,
whatever,
a quintuple threat and he's been doing that since he could walk.
And you guys,
you guys are partners now.
Yeah.
And we're business partners now.
Um But,
but I think that exposed me from an early age to kind of like a little bit of the idea of drama and acting and stage plays and all that kind of stuff,
but I still wasn't really involved in it.
And,
uh you know,
for a minute,
I thought I was going to be an actor and I quickly got rid of that idea.
Um because I just don't feel like that's my part of the process.
Um But I,
uh you know,
when I came,
I came to Los Angeles more for weather,
I think than anything else.
My brother had been here for about six months.
And so I said,
can I come sleep on your couch for a month?
And see if I like L A.
He was like,
yeah.
Sure.
Cool.
And I got here and I got a job with Disney but like,
not in the cool part.
So I was,
I was buried over,
I wasn't on the studio a lot.
I was over in consumer products doing like,
you know,
uh like business planning and operations and stuff like that over there.
It wasn't,
it wasn't even super cool.
I mean,
it was cool to me because I was like,
I'm in L A and I get to rollerblade at the beach every weekend.
Um Like that's as far as I thought it.
And like I said,
I,
I don't,
you still do that,
don't you?
Well,
I live at the beach.
I,
I don't roll it as much as I should.
Um I walk.
Um Yeah,
so,
so,
um you know,
just being here was terrific because of,
you know,
one I had a steady job.
That was great and I was kind of getting exposed to more and more things in the acting realm and,
you know,
eventually my brother and I,
with a group of friends just started kind of,
hey,
on the weekends,
let's shoot some short films and let's make some music videos and let's do stuff like that.
And,
you know,
he was in a band at the time and,
you know,
there's all that going on.
And so,
you know,
these little projects that were costing me way too much money,
um,
of my own dollars just,
you know,
plunking down and this is,
I don't even want to say how many years ago,
but,
you know,
I'm spending 789 $10,000 on a short show.
That's a,
no,
all the time,
you know,
you know,
Bill,
what that sounds like,
uh,
in Detroit terms is working for one of the auto companies while you're building your own car in your garage.
Exactly.
Exactly.
And I always tell people like,
they're like,
why do you make movies?
And I'm like,
I use Detroit as an example.
I always say,
you know,
if you're in Detroit,
you're probably gonna make cars.
If you're in L A,
you should make movies.
Like that's kind of what the town does.
It makes sense,
makes sense.
Yeah.
So,
so we,
we did that eventually I wound up getting a job over at the studio.
Um,
and that was,
that was amazing.
It was,
I was in production management over there,
like,
and it kind of started low and worked my way up and it was crazy because I,
you know,
during the week I'd be working on a $200 million movie and on the weekends I'm making like a $2 movie with my brother and,
you know,
you're kind of,
you're learning both sides of it.
Um,
like the first short that I was directing,
I,
I was,
I was so,
I was so terrible.
I can't even tell you,
I go back and I cringe at that now.
Um,
because I just did,
like,
I,
I thought I was Michael Bay or something,
you know,
like I was,
I'm working on,
I was working on Pearl Harbor and,
you know,
I'm,
I'm scouting a location with,
with my friends to go shoot this short as if I had a choice.
Like it's the location we were gonna use like that.
It was free.
That's why we're using it and,
and I'm like,
I think I can make this work,
you know,
we're gonna have to repaint this wall and we have to move this furniture or whatever and they're like,
yeah,
so grab the other side of the couch.
I mean,
like,
like I'm talking as if I'm,
I'm speaking like there's a set decorating department and they were like,
no,
no,
you're,
you're the department like you're all,
you're all the way to tomorrow.
Yeah,
like you doing the whole thing.
Um Yeah.
So,
I mean,
look,
it,
I had an incredibly uh fortunate experience at Disney.
Uh It was a really good run for me.
You know,
I worked maj the majority of the time in live action film and television production.
I moved over to development on the film side.
Um I had partial responsibility for running them up as franchise for a while.
Um You know,
I've worked on over 30 films,
six of them with budgets,
over $200 million.
I've worked on tons of network television shows.
Uh,
five of those went over 100 episodes.
Um,
Power Rangers,
Power Rangers,
right.
Uh,
no.
Well,
Power Rangers is post Disney actually.
Um,
and I actually,
uh Saban had still owned Power Rangers at the time and,
um,
after I left Disney,
I,
I had done some stuff with the Muppets to kind of revitalize that franchise.
And I got a call from Saban saying,
hey,
we know what you do with Muppets.
Can you help us with Power Rangers?
So I went over there and shot some Power Ranger stuff.
That's,
that's awesome.
So,
Bill,
um,
you've kind of run the gamut like you,
it's like starting uh starting at the pizza shop,
making the pizza and then owning a franchise really?
I mean,
the way way you've done that.
And so what we were talking about today and you being the,
our resident subject matter expert now in,
in film and as a director,
we're talking about film as a storytelling medium and clearly,
like you said,
you know,
you started out,
you had,
you had the creative drivers and you tried a lot of different things uh to as,
as a creative outlet uh to,
to tell stories.
So how do you think you fell into film?
Like what resonated about telling stories through film,
what resonated with you that,
that was gonna be your medium,
I think,
um,
of it,
it's three things for me really,
uh,
3d space and color have always made a lot of sense to me.
Like,
and I know it sounds kind of broad and weird.
But,
um,
we like weird broads,
by the way.
Yeah,
exactly.
And,
and I like a lot of,
I tell a lot of you,
like,
I'm the,
I'm like the gayest straight guy you're ever gonna meet.
Like,
I,
I like,
I like that's why you give good hugs.
Oh,
I'm glad you said hugs.
I said hug ug um No,
no judgment.
Um No,
I,
I like,
I,
I love set design.
I love production design.
You know,
my mom asked me to decorate her house.
Like that's,
that's,
you know,
that's just who I am from,
from the get go.
Um I'm actually a certified master floral designer.
Um like I went through all the classes for that.
Um I've done weddings and funerals and all that kind of stuff.
Um So I just like color is really easy for me.
Like I don't easy.
Just meaning it all makes sense to me and 3d space does.
So,
so,
you know,
I walk into a blank room or a blank stage or whatever and I can tell you exactly what it's going to look like.
Like it's all just lays out for me and I think those two things buttered up against.
Uh and again,
I wanna say it's like this managerial skill set that I have where again,
it's that idea of like,
you have to provide vision,
you have to provide inspiration for people.
But the way you do that is by connecting with them very one on one and very directly.
And to do that,
you really need to be like almost like a psychologist,
right?
You need to,
you need to really instantly be able to get into a person's head and find out what makes them tick and how to move this forward.
And it's the same with like directing actors in a part in that you really need to help them break down a character and understand this character.
And you're gonna have these great discussions about motivation and,
and what's going on in the scene and how is the scene affected by the story and,
and all those things together.
But you combine,
you know,
sort of like that understanding of the human psyche with a love of color in 3d space and all of a sudden it was like,
oh,
and I know how to manage people.
So I was like,
maybe,
yeah,
I was just like,
I'll give this a try.
And once I tried directing,
I was like,
yeah,
this is,
this is definitely something I enjoy.
But if you don't thoroughly love it,
you,
we should do it because it's a lot of work.
Like it's crazy.
It's combination of people of,
of the presentation of the film and the story,
right?
It's a combination you're not just creating and,
and showing a film with color,
with,
with audio.
It's,
it's the people you have to manage as well to do that.
Correct.
I mean,
that's where the difference.
Yeah,
I mean,
you need,
you need credibility and respect from,
you know,
from the crew,
from all the crew members.
But by the way,
it's just imagine any other job you go into where every single person in the building and I'm talking from the craft service person to the producer,
to the hair,
makeup person.
They all feel like they can do the job better than you,
every one of them.
Um And you've got,
you know,
sometimes two and sometimes 20 people looking over your shoulder like watching every single movie make like and oh,
and here's the most famous person on the planet standing in front of you.
Yeah.
And so,
so how do you balance that?
So OK,
so there's the creative aspect as a director where you're like,
OK,
we've taken this script and I have a,
a vision of how I want this film to,
to look and,
and feel and then you've got the financial pressures of the studio saying,
hey,
this thing better make money and then you've got uh the whole production staff and everyone thinking that yeah,
they know better,
they can do it better than you.
How do you um keep all those balls in the air without taking Xanax?
Yeah,
I'm not saying I don't take Xanax,
you know,
it's a,
it's um the first and foremost I'd say is,
you know,
you gotta have an awesome team around you of folks that you communicate well with and probably have worked with in the past and everybody kind of,
you know,
that's why,
like I've worked with my brother so many times.
Like I don't,
when I'm working with him,
I don't have to wonder is this covered as that covered kind of thing?
Like,
yeah,
you trust,
you build that team of trust.
So back to,
back to your story really quick.
When,
when was your,
uh,
moment of,
when you knew you made it,
in your opinion?
Oh,
I don't think I've made it now really?
I mean,
yeah,
I,
I look,
it's very,
I'm,
I'm not a braggadocious person by nature.
So it's,
I mean,
I've done some really cool stuff but I,
I really don't look back,
I only look forward.
So I just kind of look at what I haven't done and like,
I don't think I'm a great director.
I think I'm a better director every single time I direct,
you know,
and like I want to die on set.
Like that's,
that's how much I like.
You're a practitioner.
You're definitely a humble human being,
that's for sure.
Yeah,
I just,
I mean,
I love,
I love,
I think it's a privilege and an honor to get to do the job,
whether you're doing it for,
you know,
a million dollars or $1.
I think it's the idea that you get to wake up and do something you enjoy that much,
um for a living and get to work with so much,
so many talented people.
It's just like,
how lucky are we that success all,
all within?
And that's a great,
that's a great attitude to have.
Um So Bill,
one of our,
uh our last questions is,
what kind of stories are you attracted to?
So,
as a,
as a director and as a filmmaker,
um you know,
I'm sure sometimes you've,
uh you've had to take scripts that you didn't want to take.
But like,
if you had your druthers,
what kind of stories,
um do you like to tell through film?
Well,
hang on,
I don't know what his favorite movie is.
What's your favorite movie?
Uh I,
I don't know if I can say a favorite movie,
I'm gonna tell you a couple of favorite movies.
Um But,
but,
uh you know,
I think if like go back in time and make any movie,
my movie,
I think,
you know,
Raiders Of The Lost Ark is,
is way out there for me.
Um It's,
it's,
you know,
it's,
I don't know,
we as a kid,
you know,
I saw it in the theater and,
you know,
we,
we would go back and re enact those scenes in the yard and stuff,
you know,
like swinging from a rope and all that stuff off a tree.
Um it's,
yeah,
there's just,
there's comedy and there's action and there's,
you know,
adventure and it's just,
there's so many great things wrapped up in that.
Um There's,
I'd like some classics too.
I mean,
I think,
you know,
um as corny as it is like Casablanca to me is,
is so incredibly well written and I don't think anybody could pull some of those lines off except for Bogie.
Um just,
just super fun.
Um But I also have a lot of love for a lot of new films,
you know.
Uh So yeah,
that goes into so what,
what type of films,
what type of stories do you like to tell?
Like if you had your pick?
So it,
it's funny,
like from a genre standpoint,
I think I'd love to do more action drama than I have in the past.
But that's just because I haven't done as much of that.
Um And,
and I think just like an actor,
like if you said,
like,
what kind of parts do you want?
They'd be like good ones,
you know,
like they don't care whether it's a horror or comedy or drama or what it is.
They want to flex it out like they wanna go do all of them.
Yeah.
Yeah,
I wanna do all of those for me though.
What really,
what the,
the Met thing for me and,
and I think a lot of folks forget about this on the writing process is it's all character,
you know,
um people sometimes think stakes are high because,
you know,
you're battling for the soul of all humanity and that really doesn't matter if,
but if you're battling for the life of one person that matters,
you know,
like whose eyes am I seeing this through?
And as long as you have a great character that you can really sink your teeth into that,
um you know,
is,
is creatively well drawn and has depth to it.
I mean,
when I write scripts,
you know,
I don't,
I write pages of bio about a character knowing that none of that's ever going to use that.
You know,
just everything.
Tell me their favorite food.
Why is it their favorite food?
When did it become their favorite food?
You know,
like,
what are they allergic to?
What's their least favorite color?
It gives you the foundation for that character,
right?
I mean,
it just builds out the character to give the,
the core of that back story.
So,
choices and the,
the worst stories are stories that don't have good character development in my opinion.
Yeah.
So as long as you've got like a really well drawn character,
that's got a lot of depth to it.
That's,
that,
you know,
has some,
I mean,
I have a lot of fun with actor friends of mine when they're doing auditions and,
and they'll call me,
like to come direct them on a,
just a home tape thing.
Uh,
but one of the fun parts about that is,
you know,
they just get sides which are like three pages of script or two pages of script or something and maybe like a one or two sentence character description.
So you have to make all these choices.
Like you gotta hyper analyze every word on the page.
You really gotta dig in and make all these choices and you know,
we'll sit down for a couple of hours and just break down a character just who is this and what's going on here?
And why did they say this then?
Why did they say that there,
you know,
like,
just kind of breaking down this thing,
but that's so much fun,
you know.
So,
so Bill,
I got,
you know,
we're talking about stories,
we're talking about movie making.
I'm,
I'm in a TV world,
but as far as movie making has changed throughout the years,
what,
what's changed and where do you see this going as far as that type of storytelling?
Uh I think the biggest thing that changed for me was,
you know,
there used to be like good cameras and bad cameras and there used to be like,
uh we can't do some of that because it's out of budget,
right?
Uh I wish I had this or I wish I had that now.
The wonderful thing is like,
everything's possible,
right?
Like you,
whatever you really want to be in this thing can 100% be in there,
there's different ways it can be.
What do you mean?
Um You know,
whether it's visual effects or,
you know,
like a,
a helicopter shot,
a helicopter shot was you had to get a helicopter,
you know,
now you can have a drone,
you know,
um,
you know,
if,
if I wanted a,
a motion move,
you know,
with that,
that looks like a jib crane flying,
you gotta go get yourself a crane.
Now,
you know,
I could just position a couple of cameras and we,
we can make the move and post.
And I'm not saying that's easy.
That takes really time for folks as well.
But the idea that all this is possible.
And so what I've,
what I've moved to is because I used to try and figure it out,
you know,
and now I stopped figuring it out because I'm like,
I'm probably gonna get it wrong.
So,
uh you know,
I get my VP and my editor and post supervisor and V FX person and we all meet together and I say this is what I want this to look like.
At the end of the day,
you folks tell me the,
the smartest way to shoot this,
you know,
because again,
if I'm gonna guess I might guess wrong and I might guess expensive.
So just let's work it out.
But I,
but you're still providing that vision,
you're still providing that context and,
and I'll bring photo references or samples or whatever.
And they're like,
I want it to look exactly like this.
I want to look as close to that as possible or whatever.
And I'm,
I'm blown away sometimes by what they come up with,
you know,
because it's like,
oh,
that,
that is definitely not what I would expect.
So,
to me,
like,
that's so awesome that,
that we have this toolbox of ridiculous,
ridiculously awesome tools,
you know,
to,
to create stories with.
Well,
this has been great Bill.
I mean,
you literally are,
are a wealth of knowledge.
I mean,
you know,
so much about filmmaking,
probably more than anyone that I've,
I've met in,
in Hollywood in the many years that I've worked there.
And um and I'm very honored to be able to be working with you with and Joseph on a,
on an upcoming project that we're doing collectively together.
So that,
that's,
that's an amazing thing to me.
No.
Thank you guys so much.
I'm,
I'm a big fan.
Uh I think is a really fun series and uh I think there's a lot of uh deep storytelling to be done with that as well.
So let's go conquer the world with it.
All right,
we'll talk to you soon.
All right.
Peace and love,
gentlemen.
Thank you.
Thank you.
You know how much wealth of knowledge there was and what he was saying,
oh,
my goodness.
There's for a young filmmaker just to sit and listen to that.
I mean,
but just the fact of the volume,
like when you're working on a 202 $100 million movie as a director or in any capacity.
Right.
That's a big deal.
No,
definitely,
definitely build huge,
huge wealth of knowledge.
Uh,
not only,
not only in,
uh,
you know what,
it's like being a director in Hollywood but kind of how you get there and it's kind of a hodgepodge how you can get,
you know,
when I asked him the question,
what was his aha moment of when he made it and his answer to that?
Right.
It's like,
well,
I still haven't made it yet.
He just felt that way despite the projects he's been involved with,
despite the,
the amount of time he's spent doing this,
I mean,
that's a midwestern value perhaps that he still feels that way.
But it's funny you say that because like when,
when we're out there,
we hear that from people who work in Hollywood,
they say we love people from the midwest because they get shit done.
Like there's,
it's like not,
it's a lot of,
a lot of it's that work ethic,
right?
They're fairly humble about it,
right?
It's all about me.
Yeah.
No,
it's blocking in and like we need to get so we've gotta get this done today.
So let's break it down and let's let's execute when you start working at 14,
15 years of age.
You know,
I know you guys,
I mean,
I worked in the corn fields,
you know,
dessel corn,
those were,
those were hard,
hard jobs.
People,
I mean,
people,
people that you said they were 70 years old,
they had people that were working for him.
That's incredible.
I mean,
but when you come from that working class and then you go out there,
it is definitely different.
I mean,
those are the people that I see running a lot of the,
uh these corporations.
So because it is a business,
here's,
well,
here's what struck me,
here's what struck me about what Bill said it,
it um echoes what you said earlier about filmmaking.
It's they call it a production because you are building,
you're assembling.
And like from what I heard,
what he was saying is the process of filmmaking.
It is,
it is a process,
there is a way you do it,
it is a building an assembly and a design and all those,
you know,
all those things uh which I find,
which I find fascinating what I find really respectful of,
of somebody like this is as I mentioned,
the,
the managing of people,
right?
You have the managing of people of all different types,
you have your actors,
you have your grips,
you have everybody in between,
but also you're managing the actual visual,
audio,
technical aspect of that production as well.
So it's people and technology,
it's,
it's all this put together and pulling that together.
That that's why you see a lot of names,
you know,
in the credits,
uh,
for different people,
like,
you know,
they've worked together many,
many times over and over again,
like Jon Favreau for,
for example,
and the Mandalorian and he,
um,
a lot of the people,
you know,
you actually worked on Iron Man and that as well so that you see that commonality and why,
because they want to work with the people that they can trust.
They'll said it clearly.
Um,
and if you're doing anything,
it doesn't really matter whether you're starting a small business,
a pizza shop or whatever,
you have to surround yourself with people that you can trust and that can do the work and get things done.
And if they can't,
that's the,
those are the wrong people to hang out with,
you know,
and leadership.
He,
he also hit on this too.
Leadership.
It's not about bossing people around leadership is about service.
It's where you actually are helping the people around.
You rise up.
It's the best they can be.
We didn't ask this.
I'm sorry,
we didn't ask this when we had him on.
But what's the best way to,
to look up Bill and find out what he's doing and projects and everything?
Yeah.
Um,
well,
I know his uh,
beach glass films dot com.
That's Bill's his production company,
his brother.
Yeah,
him and his brother,
him and his brother.
Yeah.
So you guys got kind of sparked an idea in my head that I,
I gotta get out.
Um uh oh no,
this,
this whole,
this whole idea like you said about trust,
right?
To me,
I always think I'm thinking in terms of story.
So the story craft,
the story craft of what it takes to make a film,
which means you have to put a team together and there's a process and it's a,
it's truly is a,
a production.
And Steve,
you said the propensity for people to work with people that they trust.
Um part of it,
part of that trust,
I,
I believe in the story craft is now the creative part.
It's like you need to understand that person's creativity and what their,
you know what their end game is,
right?
Like,
and you wouldn't know that right out of the gate.
But Bill said he likes working with his brother because his brother knows what he's looking for.
So he could probably,
they could probably finish each other's sentences and like in the,
in the storytelling,
in the story craft and the story making that is such an advantage on so many fronts,
not only on the business side,
being able to produce that film or produce that book or show or whatever,
but also the creativity to find someone that their creativity resonates with your creativity.
How do you,
how do you guys do that with your own stories when you're writing stories?
When you're creating stories?
How,
how do you do that.
I was gonna say,
I mean,
literally you use a sports analogy.
Uh It's like a relay,
you know,
like I,
I do a lot of stuff,
you know,
and a lot of writing with Joseph and it's effortless.
I'll write apart.
He'll write a part and then somehow I don't know how it happens.
It's just,
they sink together and,
and,
and then when I go back and read a lot of the stuff,
it's like they were written by one person.
That's when you truly know that you've put together a team of individuals that you know,
that are,
are connected on that level.
And that's not easy to do.
You have to,
to,
to do that.
You have to,
I spend a lot of time with Joseph.
According to Laurie,
I was gonna ask,
you know,
we are dating now as Bill said,
OK,
so the uh the gay straight guys that I know my wife,
Julia says she's like,
uh,
oh your girlfriends on the phone really?
Stop it.
Anyhoo,
curse my girlfriend abominable.
No,
wait,
no,
no,
no,
no,
no.
This is really,
this is really important because it's,
it's finding people that you have an affinity for a deep level of trust and understanding that you find a way to work with uh both personally and professionally.
And so Steve said he doesn't know how it comes together.
I this is how I know it comes together because someone again at the end of the day,
someone has to own the story,
right?
So,
um you know,
we worked on uh Jack's Medal.
So this was Steve's story about his great uncle and I know he's,
he's talked about it before.
But um it was really his personal story along with the story of his great uncle coming over from England and winning the fa cup.
And you know,
all these,
all these great things,
but it was a deeply personal story.
So you,
you know,
I had to give Steve the room,
it was his story.
But he was,
you know,
I finally said,
like he said,
I got to get this story out,
but he was so close to it.
I said,
listen,
just get something out and I'll,
I'll provide the framework and the stuff,
objective lens that you could,
yeah,
I,
I'll,
I'll like help in the,
in the crafting of it.
But the,
the,
the heart of it,
the,
the spirit of the story,
he had to take ownership and he did take ownership of it and that's the way we're able to work together because,
you know,
I,
I stepped back and allowed him like that,
that creative space and that personal space.
Um and,
and took the role of like,
I'm gonna be more like the sort of the,
yeah,
the former and the shaper,
right?
And,
and conversely like,
you know,
you know,
we've done that,
you know,
we've done that with,
with other things.
Yeah.
So,
but at the end of the day,
like,
you know,
Bill is a director.
Someone's got to own it,
like,
own it.
Well,
what's interesting about Jack's Medal?
And I,
I think I,
I'd love to close with this part of it.
Is that,
that forward that you wrote,
that was from the perception of Jack even though he wasn't alive anymore.
Right.
Right.
So,
so I would remember I asked you to,
to write,
I do.
In fact,
I wrote it,
I did.
But this turned out even better in my opinion because,
well,
it was just a thought that I had him and like the only person that can write the forward to this book is Jack.
But then I thought,
well,
but he's dead.
It's a problem.
How can that happen?
So I wrote just a,
I jotted down a bunch of notes and I called Joseph and I said,
Joseph,
somehow through the Ether,
Jack has to write this.
And so he took the notes that I had and he wrote it back and I made a few modifications to it after that.
And it's,
it literally was written through the ether.
I mean,
it was that,
that's one of the most amazing things that I've ever worked with him on is just that forward,
you know,
forget the rest of the book.
But the rest of the book is I like,
it's a good book.
I think it's a great story.
But but the,
but that,
that forward is so unique because I don't know,
a lot of books that have the forward written by someone that's dead and the way it was done,
it was phenomenal,
in my opinion,
right?
It was much better than what I could have wrote.
But that said,
imagine the filmmaking side of that,
right?
If you were to take that book and that story and make that film and make that forward that part of that film,
you have to be able to that.
Here's the omniscient narrator,
right?
Like the unseen one,
when you,
you can see the visual of,
you know,
a desk with someone with a,
an old ink pen and,
you know,
writing out in cursive,
you know,
this,
the thoughts of like I'm dead now or whatever.
I,
you know,
they did that uh series of unfortunate events.
Um that whole series was like that where you had the the narrator was this sort of mysterious person that was guiding you through the story,
through the story.
And,
and you and Jack was that was that character?
I mean,
because when I,
when Steve gave me the notes and I wrote that um that intro uh that forward,
I wrote it like,
like a character,
like this is a character,
this is the character,
like there has to be some sort of mystery and humor and it had to be representative of,
of what Jack's personality was probably like.
And Steve and I had multiple discussions about that and then,
yeah,
um,
it came out,
it came out great.
So,
before we wrap up,
we've got to circle back about Kurt.
Your favorite movie?
My favorite movie.
So,
we've heard yours,
right?
We've heard both of yours.
Um,
this is uncharacteristic for somebody like me who has a strong sports background.
You know,
I'm,
I'm big and burly.
I'm,
I'm abominable,
I believe is what you addressed me as earlier.
Uh my favorite movie of all time Bar and,
and sometimes my kids laugh at me because we'll play it in the house.
Is the sound of music.
And here's why I,
I've been to where they tape it at in Austria.
I love that area.
I love music.
I love the story.
It's got the drama,
it's got the love line,
it's got the war,
right?
It's got all this going on and somehow they put it all together with beautiful music,
with beautiful scenery,
beautiful vis,
you know,
visionary.
Um That's why it's one of my favorite movies.
I have a theory that,
that our favorite movies are usually tied to some seminal uh moment of where we were in our,
in our lives.
Like that's the,
that's the emotional.
So,
let's see.
In 1965.
Yeah,
I don't think I would have been thinking a whole lot about it,
but no,
honestly,
I just love the,
the creativity.
I love the uh the music,
the music is a big part of it,
obviously.
And so and great acting.
Yeah.
Great acting.
Absolutely.
All right guys,
uh film,
television and storytelling,
we could go on forever.
But,
uh I think this is a good one.
Bill was awesome.
Great.
And on that note,
uh thanks everyone and,
uh,
we'll see you on the flip side.

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# michael bay

nick nicholas cage

# stephen king

# alfred hitchcock

kurt david

joseph bastian

# douglas sarine

bill sarine

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رونوشت 🔗

1
00:00:05,610 --> 00:00:06,159
All right.
2
00:00:06,170 --> 00:00:06,639
Hey,
3
00:00:06,650 --> 00:00:10,399
welcome everyone back to the Folk Tellers podcast.
4
00:00:10,409 --> 00:00:11,020
Hey,
5
00:00:11,680 --> 00:00:11,689
uh,
6
00:00:11,699 --> 00:00:14,119
this is week Nine Lights,
7
00:00:14,130 --> 00:00:15,439
camera story,
8
00:00:15,819 --> 00:00:18,899
uh telling tales in film and television.
9
00:00:19,370 --> 00:00:21,430
Uh Our usual introduction,
10
00:00:21,440 --> 00:00:21,579
uh,
11
00:00:21,930 --> 00:00:24,909
some people call me the space cowboy.
12
00:00:24,920 --> 00:00:32,349
Uh This is uh Joseph Bastian and we're here with the abominable.
13
00:00:34,430 --> 00:00:35,450
How do you spell that?
14
00:00:35,459 --> 00:00:36,330
You know how to spell that?
15
00:00:39,009 --> 00:00:39,200
Yeah.
16
00:00:39,209 --> 00:00:39,569
Ok.
17
00:00:39,580 --> 00:00:43,849
Kurt David is here and the,
18
00:00:43,860 --> 00:00:45,400
uh hm,
19
00:00:45,430 --> 00:00:48,099
I'm not the extra.
20
00:00:51,130 --> 00:00:52,840
I heard you say the word A,
21
00:00:53,080 --> 00:00:55,290
is this like the Canadian edition of the,
22
00:00:55,299 --> 00:00:56,319
uh for you,
23
00:00:56,330 --> 00:00:58,729
the podcast for the P A?
24
00:00:59,540 --> 00:00:59,930
So,
25
00:00:59,939 --> 00:01:05,750
so we're gonna talk about storytelling uh in film and in television and we have a very cool guest.
26
00:01:05,760 --> 00:01:06,690
We'll bring on a little bit.
27
00:01:06,910 --> 00:01:07,360
Um,
28
00:01:07,779 --> 00:01:08,150
so I'll,
29
00:01:08,180 --> 00:01:08,989
I'll start with this,
30
00:01:09,000 --> 00:01:09,790
this quote.
31
00:01:09,910 --> 00:01:11,860
Um If it's a good movie,
32
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the Sound could go off and the audience would still have a pretty clear idea of what's going on.
33
00:01:17,360 --> 00:01:20,269
And that's a quote from Alfred Hitchcock.
34
00:01:20,279 --> 00:01:20,910
So,
35
00:01:21,959 --> 00:01:26,959
what is it about film that makes it unique,
36
00:01:26,970 --> 00:01:30,379
a unique storytelling medium?
37
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I'll tee it up with that.
38
00:01:32,080 --> 00:01:32,610
What do you think?
39
00:01:32,620 --> 00:01:32,860
Yeah,
40
00:01:32,870 --> 00:01:35,839
it's interesting because there are some parallels between television,
41
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which is what I'm involved with in film.
42
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And,
43
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and I've heard that before and in fact,
44
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I,
45
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I practiced that before.
46
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You watch a,
47
00:01:41,559 --> 00:01:46,010
a show without the sound on to see what that body language looks like,
48
00:01:46,019 --> 00:01:48,190
what the interaction the nonverbals look like.
49
00:01:48,790 --> 00:01:54,610
And I don't know how you do that with a film though because there's a lot to a film with music with uh you know,
50
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the visuals as well.
51
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Um But I think what,
52
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what he was trying to get at was that the story can be very evident whether the sounds on or not.
53
00:02:04,139 --> 00:02:10,380
I think that's probably what Hitchcock was referring to was that whether the sounds on or not these stories should be very evident.
54
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That's what my take away from that.
55
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That's,
56
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that's really good.
57
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I've got mine,
58
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I'll,
59
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I'll sit on mine until I ask Steve.
60
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So,
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what,
62
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what is your take on film is a storytelling medium like,
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right?
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Just your gut check or it's the closest thing to reality,
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right.
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Really?
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Yeah.
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Well,
69
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maybe tell me maybe video gaming is,
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um,
71
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moves even closer towards that.
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But obviously,
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when I make a film,
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you know,
75
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you're relating to it because it's related to other stories that,
76
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you know,
77
00:02:41,169 --> 00:02:41,449
are,
78
00:02:41,460 --> 00:02:41,839
obviously,
79
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are fictional or stories that,
80
00:02:44,139 --> 00:02:44,300
um,
81
00:02:44,630 --> 00:02:45,139
you know,
82
00:02:45,149 --> 00:02:45,160
uh,
83
00:02:45,169 --> 00:02:45,919
that have,
84
00:02:45,929 --> 00:02:47,559
uh been made up from the past.
85
00:02:47,660 --> 00:02:48,110
So it's,
86
00:02:48,119 --> 00:02:48,600
it's,
87
00:02:48,610 --> 00:02:48,619
uh,
88
00:02:48,630 --> 00:02:49,240
it's,
89
00:02:49,250 --> 00:02:51,020
it's definitely reality.
90
00:02:51,029 --> 00:02:51,750
I mean,
91
00:02:51,759 --> 00:02:52,020
um,
92
00:02:52,160 --> 00:02:53,119
that's definite.
93
00:02:53,130 --> 00:02:54,059
The other thing is,
94
00:02:54,070 --> 00:02:54,460
it's uh,
95
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it's very communal in my,
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in my opinion,
97
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like,
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you get to watch a movie collectively together.
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That's why it makes a very good medium.
100
00:03:02,750 --> 00:03:03,240
Right.
101
00:03:03,309 --> 00:03:03,720
Yeah.
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00:03:04,029 --> 00:03:07,190
And it's typically like minded people that might like that genre.
103
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Right.
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In other words,
105
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it's a certain genre or a certain story that people attract to,
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like,
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like,
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you know,
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different movies that are out right now.
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There might be a certain genre that wants to watch a certain movie.
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It's like when we talked about music,
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it's very,
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very similar to that,
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you know,
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you get people that,
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you know,
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get,
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gather around to listen to a record,
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you know.
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Well,
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people obviously gather around to,
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to watch a movie collectively and,
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and experience that.
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So it makes a very good medium for storytelling because of that,
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of that fact.
126
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Right.
127
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That,
128
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that's really interesting.
129
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So I just thought it's something funny.
130
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So back in college,
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a woman I worked with,
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she said she goes,
133
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I had a terrible,
134
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terrible night last night.
135
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I was like,
136
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what happened?
137
00:03:44,429 --> 00:03:45,039
She goes,
138
00:03:45,050 --> 00:03:47,750
uh we went and this is when there's still Blockbuster video,
139
00:03:47,759 --> 00:03:47,979
right?
140
00:03:47,990 --> 00:03:49,270
So she,
141
00:03:49,279 --> 00:03:49,770
she goes,
142
00:03:49,779 --> 00:03:54,100
I went to rent National Velvet to watch with my mom and dad.
143
00:03:54,360 --> 00:03:57,080
And uh I rented Blue Velvet instead.
144
00:03:58,619 --> 00:03:58,860
Yeah,
145
00:03:58,869 --> 00:04:02,289
about 20 minutes in after the severed ear in the field.
146
00:04:02,300 --> 00:04:03,050
Uh The parents are like,
147
00:04:03,059 --> 00:04:04,690
where's the horses?
148
00:04:05,309 --> 00:04:07,720
It took 20 minutes to get to that part of the story.
149
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Talk about the,
150
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the communal experience.
151
00:04:10,149 --> 00:04:11,270
But um so,
152
00:04:11,279 --> 00:04:13,639
so here's my sort of my gut check on,
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on film and storytelling.
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I remember the first time.
155
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So I'm as a writer.
156
00:04:18,040 --> 00:04:18,640
Um you know,
157
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I write um novels and fiction and whatever so that what you do long hand,
158
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right?
159
00:04:24,489 --> 00:04:25,200
You're writing.
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So you're,
161
00:04:26,049 --> 00:04:27,690
you are telling,
162
00:04:28,869 --> 00:04:30,540
you are telling when you're writing.
163
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So you're telling the story in film.
164
00:04:33,010 --> 00:04:33,040
I,
165
00:04:33,049 --> 00:04:40,209
I tried to write a script and uh the editor just right across the front just wrote in big letters.
166
00:04:40,220 --> 00:04:41,170
Exposition.
167
00:04:41,609 --> 00:04:41,970
I'm like,
168
00:04:41,980 --> 00:04:42,260
what does that?
169
00:04:42,269 --> 00:04:43,049
What does that mean?
170
00:04:43,440 --> 00:04:43,690
Well,
171
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exposition is when you're telling and in film and a script,
172
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it's showing it's all direction.
173
00:04:50,809 --> 00:04:52,130
So when you write a script,
174
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you're not writing a narrative,
175
00:04:54,299 --> 00:04:55,040
you're writing,
176
00:04:55,049 --> 00:04:58,980
like here's the direction of how you want the scenes shot and yeah,
177
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you have dialogue and things like that,
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but it's,
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it's seen and setting and things like that where they're standing,
180
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this is what they're doing.
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This is like there's characters involved.
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It's like you're,
183
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it's like you're building something.
184
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It's really like the engineering of the,
185
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of a story.
186
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That's exactly it.
187
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So,
188
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so film as a visual medium,
189
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you are mostly showing,
190
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which is why like what Hitchcock said is you could turn the audio off so you could get rid of the dialogue and you should probably still be able to follow follow the story and this is why I'm not a screenwriter.
191
00:05:33,799 --> 00:05:36,769
So that's not a natural thing for me.
192
00:05:36,779 --> 00:05:38,769
So I have to ask you to right now.
193
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What's your favorite movie?
194
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What is your favorite film that you've seen?
195
00:05:43,420 --> 00:05:45,230
I can't answer this for what reason.
196
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Because if I answer it,
197
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my wife listens to this podcast.
198
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Just one.
199
00:05:49,380 --> 00:05:49,690
Ok.
200
00:05:49,700 --> 00:05:51,790
One of your favorite favorite?
201
00:05:53,029 --> 00:05:53,130
Yeah,
202
00:05:53,140 --> 00:05:56,760
we don't want a divorce court over this but one,
203
00:05:57,269 --> 00:05:58,709
there's a funny story behind it.
204
00:05:58,720 --> 00:05:58,890
Ok.
205
00:05:58,899 --> 00:06:01,890
That's why total recall was one of my favorite movies.
206
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And the reason being that it's,
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you know,
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that,
209
00:06:05,890 --> 00:06:06,149
um,
210
00:06:06,730 --> 00:06:09,399
it's a kind of a thorn in my side and her side is that,
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uh on our wedding night apparently.
212
00:06:12,390 --> 00:06:13,260
And I don't remember this.
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She said she said I rented it,
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00:06:14,970 --> 00:06:15,579
you know,
215
00:06:15,589 --> 00:06:16,410
on our wedding night,
216
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I'm like,
217
00:06:17,420 --> 00:06:18,290
I don't remember that.
218
00:06:18,299 --> 00:06:18,510
She's like,
219
00:06:18,579 --> 00:06:19,980
yes you did.
220
00:06:19,989 --> 00:06:20,179
I,
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I recall it clearly.
222
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You rented this movie and apparently that's not what you do on your wedding night.
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So,
224
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anyhow,
225
00:06:26,869 --> 00:06:27,500
what,
226
00:06:27,510 --> 00:06:28,549
what do you do?
227
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I don't know.
228
00:06:29,309 --> 00:06:30,059
I'm not getting into that.
229
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I don't watch movies to,
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not to,
231
00:06:36,820 --> 00:06:37,450
not to self.
232
00:06:37,470 --> 00:06:37,489
Yeah.
233
00:06:37,880 --> 00:06:38,709
So what was the,
234
00:06:38,720 --> 00:06:38,890
what,
235
00:06:38,899 --> 00:06:41,390
what about the story in Toto Rico that attracted you?
236
00:06:41,399 --> 00:06:42,049
What is it you like?
237
00:06:42,059 --> 00:06:42,070
I,
238
00:06:42,079 --> 00:06:43,029
I love,
239
00:06:43,040 --> 00:06:43,679
first of all,
240
00:06:43,690 --> 00:06:44,869
I love science fiction.
241
00:06:45,190 --> 00:06:45,480
Um,
242
00:06:45,489 --> 00:06:48,320
and I like twisted plots where you don't know,
243
00:06:48,329 --> 00:06:49,529
really know what's going on.
244
00:06:49,679 --> 00:06:49,950
That,
245
00:06:49,959 --> 00:06:51,410
that to me is good storytelling.
246
00:06:51,420 --> 00:06:51,859
I love,
247
00:06:51,869 --> 00:06:52,239
you know,
248
00:06:52,519 --> 00:06:53,350
I love Hitchcock.
249
00:06:53,700 --> 00:06:54,010
I mean,
250
00:06:54,019 --> 00:06:55,600
love Twilight Zone I mean,
251
00:06:55,609 --> 00:06:56,109
all of that,
252
00:06:56,119 --> 00:06:57,829
that those old science,
253
00:06:57,839 --> 00:07:00,549
science fiction and adventure stories.
254
00:07:00,559 --> 00:07:02,160
I love those Indiana Jones.
255
00:07:02,170 --> 00:07:02,529
I love,
256
00:07:02,540 --> 00:07:02,929
I mean,
257
00:07:02,950 --> 00:07:03,929
everyone does.
258
00:07:03,940 --> 00:07:04,170
I mean,
259
00:07:04,179 --> 00:07:04,630
really?
260
00:07:05,140 --> 00:07:05,589
So,
261
00:07:05,600 --> 00:07:07,250
and that's a Stephen King short story.
262
00:07:07,260 --> 00:07:08,029
Total recall.
263
00:07:08,720 --> 00:07:08,899
Hm.
264
00:07:08,910 --> 00:07:09,760
Did you know that?
265
00:07:10,579 --> 00:07:10,910
Now you,
266
00:07:10,920 --> 00:07:12,660
do you ask me my,
267
00:07:12,670 --> 00:07:13,320
my favorite film?
268
00:07:13,329 --> 00:07:13,570
So now,
269
00:07:13,579 --> 00:07:15,269
now this will be esoteric.
270
00:07:15,279 --> 00:07:19,359
So it's actually a German film called uh Wings of Desire.
271
00:07:19,489 --> 00:07:25,339
And I believe it was uh Americanized with Nick Nicholas Cage was like angels in L A.
272
00:07:25,350 --> 00:07:25,649
They,
273
00:07:25,660 --> 00:07:27,140
they butchered but it was,
274
00:07:27,149 --> 00:07:27,489
it's,
275
00:07:27,500 --> 00:07:28,470
it was more of an art film.
276
00:07:28,480 --> 00:07:29,980
And basically the concept was,
277
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it was shot in Berlin before the wall came down and it was the story of an angel that gave up its immortality to become human and the backdrop of the Cold War of,
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00:07:42,329 --> 00:07:43,059
of Berlin,
279
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the both sides of Berlin.
280
00:07:44,190 --> 00:07:46,040
It's just a beautifully shot movie.
281
00:07:46,049 --> 00:07:48,079
But um thematically,
282
00:07:48,089 --> 00:07:48,890
it's just what's it called?
283
00:07:49,100 --> 00:07:52,019
It's called Wings of Desire and the director,
284
00:07:52,029 --> 00:07:53,970
I think it won a bunch of awards again.
285
00:07:53,980 --> 00:07:54,089
You know,
286
00:07:54,100 --> 00:07:55,290
we're back into the eighties again.
287
00:07:55,299 --> 00:07:55,739
But it,
288
00:07:55,750 --> 00:07:56,510
it,
289
00:07:56,519 --> 00:07:57,579
it affected me.
290
00:07:57,589 --> 00:08:00,339
I was in college at the time and seeing that,
291
00:08:00,350 --> 00:08:01,399
that film.
292
00:08:01,410 --> 00:08:02,399
Um Yeah,
293
00:08:02,410 --> 00:08:03,709
that story really,
294
00:08:03,720 --> 00:08:04,619
it really affected me.
295
00:08:04,630 --> 00:08:04,970
And again,
296
00:08:04,980 --> 00:08:06,049
that's one of those things.
297
00:08:06,059 --> 00:08:09,500
It's a German film with subtitles so you could watch it.
298
00:08:09,510 --> 00:08:10,529
Uh without,
299
00:08:10,750 --> 00:08:11,279
you know,
300
00:08:11,290 --> 00:08:11,920
unless you,
301
00:08:12,769 --> 00:08:12,959
yeah,
302
00:08:12,970 --> 00:08:14,779
without the audio and you would,
303
00:08:14,790 --> 00:08:18,089
it would be a beautiful it would still be a beautiful film.
304
00:08:18,100 --> 00:08:19,519
Did you watch that on your wedding night?
305
00:08:19,809 --> 00:08:20,359
No,
306
00:08:20,369 --> 00:08:20,959
I didn't.
307
00:08:20,970 --> 00:08:21,359
No,
308
00:08:21,470 --> 00:08:21,880
no,
309
00:08:21,890 --> 00:08:22,100
no,
310
00:08:22,109 --> 00:08:23,589
because you guys would be sleeping.
311
00:08:24,739 --> 00:08:24,779
Oh,
312
00:08:24,920 --> 00:08:26,350
nice,
313
00:08:26,440 --> 00:08:27,209
nice.
314
00:08:27,220 --> 00:08:28,339
Well played.
315
00:08:28,820 --> 00:08:29,529
All right.
316
00:08:29,540 --> 00:08:30,100
So,
317
00:08:30,109 --> 00:08:30,119
uh,
318
00:08:30,130 --> 00:08:30,829
we,
319
00:08:30,839 --> 00:08:31,549
we've got,
320
00:08:31,559 --> 00:08:31,570
uh,
321
00:08:31,579 --> 00:08:39,950
Bill is here with us and Bill has a wide and varied background as a Hollywood film director.
322
00:08:39,960 --> 00:08:41,929
So definitely an expert in the field.
323
00:08:41,940 --> 00:08:42,210
But,
324
00:08:42,219 --> 00:08:42,250
um,
325
00:08:42,260 --> 00:08:42,729
Steve,
326
00:08:42,739 --> 00:08:44,570
you met Bill a long time ago.
327
00:08:44,580 --> 00:08:45,309
Why don't you,
328
00:08:45,320 --> 00:08:48,130
uh why don't you uh give Bill his big intro,
329
00:08:48,200 --> 00:08:48,960
Bill.
330
00:08:48,969 --> 00:08:50,229
Where did we meet?
331
00:08:50,909 --> 00:08:51,679
I think it was in a,
332
00:08:51,690 --> 00:08:52,979
a Met's office many,
333
00:08:52,989 --> 00:08:53,719
many years ago,
334
00:08:53,729 --> 00:08:54,349
probably.
335
00:08:54,770 --> 00:08:54,789
Yeah,
336
00:08:54,799 --> 00:08:55,549
probably.
337
00:08:55,619 --> 00:08:55,840
Yeah.
338
00:08:56,070 --> 00:08:56,419
Yeah,
339
00:08:56,520 --> 00:09:00,989
I remember um there was always a community of filmmakers and,
340
00:09:01,270 --> 00:09:04,330
and we're talking about our Met Zap here in uh in his office.
341
00:09:04,340 --> 00:09:07,770
And I remember sitting around the uh used to have these picnic tables and,
342
00:09:07,859 --> 00:09:08,250
you know,
343
00:09:08,260 --> 00:09:09,960
you never knew who was gonna be sitting there and,
344
00:09:09,969 --> 00:09:10,510
and one day,
345
00:09:10,520 --> 00:09:11,799
Bill was sitting beside me,
346
00:09:11,809 --> 00:09:12,280
we,
347
00:09:12,289 --> 00:09:13,719
we became very good friends.
348
00:09:13,940 --> 00:09:14,770
So,
349
00:09:14,780 --> 00:09:15,609
um so it was really,
350
00:09:15,619 --> 00:09:17,260
really good to hear your voice bud.
351
00:09:18,479 --> 00:09:24,320
It's uh great to be here and I'm really excited to talk to you guys about storytelling and,
352
00:09:24,330 --> 00:09:25,940
or whatever you'd like to ask me about.
353
00:09:26,400 --> 00:09:26,900
Well,
354
00:09:26,909 --> 00:09:27,250
I have a,
355
00:09:27,260 --> 00:09:28,140
I have a question.
356
00:09:28,150 --> 00:09:29,250
I know that you're a,
357
00:09:29,260 --> 00:09:31,840
you're a midwest guy uh from Chicago.
358
00:09:32,460 --> 00:09:34,580
And so I'd love to,
359
00:09:34,760 --> 00:09:35,409
the listeners,
360
00:09:35,419 --> 00:09:36,590
would love to know your story.
361
00:09:36,599 --> 00:09:36,760
Like,
362
00:09:36,770 --> 00:09:37,979
how did you get into Hollywood.
363
00:09:37,989 --> 00:09:40,780
How did you get from Chicago and get to Hollywood?
364
00:09:41,809 --> 00:09:41,830
Oh,
365
00:09:41,840 --> 00:09:42,739
man.
366
00:09:42,750 --> 00:09:43,450
Um I,
367
00:09:43,479 --> 00:09:46,700
I often say that my life is a cautionary tale.
368
00:09:46,710 --> 00:09:49,750
Um So it's uh I,
369
00:09:49,760 --> 00:09:51,299
I've had kids on set,
370
00:09:51,309 --> 00:09:51,580
you know,
371
00:09:51,590 --> 00:09:52,289
say to me like,
372
00:09:52,299 --> 00:09:52,500
oh,
373
00:09:52,510 --> 00:09:53,059
I don't,
374
00:09:53,070 --> 00:09:53,260
you know,
375
00:09:53,270 --> 00:09:54,280
just tell me what to do.
376
00:09:54,289 --> 00:09:54,700
And I said,
377
00:09:54,710 --> 00:09:54,900
I'm,
378
00:09:54,909 --> 00:09:57,030
I'm gonna tell you everything I've done and if you do the opposite,
379
00:09:57,039 --> 00:09:57,919
you should be fine.
380
00:09:58,280 --> 00:10:01,190
Um It's uh I literally,
381
00:10:01,200 --> 00:10:01,809
I was a,
382
00:10:02,239 --> 00:10:04,940
I was like an artist without a medium forever.
383
00:10:05,130 --> 00:10:06,340
And so,
384
00:10:06,349 --> 00:10:06,799
um you know,
385
00:10:06,809 --> 00:10:07,539
growing up,
386
00:10:07,549 --> 00:10:08,859
I just wanted to,
387
00:10:09,320 --> 00:10:09,330
I,
388
00:10:09,340 --> 00:10:10,640
I felt creative,
389
00:10:10,650 --> 00:10:12,150
I thought I wanted to do art,
390
00:10:12,320 --> 00:10:13,049
but I didn't really know,
391
00:10:13,059 --> 00:10:14,179
understand what that meant.
392
00:10:14,239 --> 00:10:15,690
So I tried everything.
393
00:10:15,750 --> 00:10:17,130
Like I was into photography,
394
00:10:17,140 --> 00:10:18,309
oil painting,
395
00:10:18,320 --> 00:10:18,780
jewelry,
396
00:10:18,789 --> 00:10:19,219
making,
397
00:10:19,229 --> 00:10:20,500
flower design,
398
00:10:20,710 --> 00:10:21,330
you name it.
399
00:10:21,340 --> 00:10:24,260
Like there was a thing that was creative,
400
00:10:24,270 --> 00:10:25,429
like I just want to try it.
401
00:10:25,900 --> 00:10:29,219
Um Some of those were massive failures.
402
00:10:29,229 --> 00:10:31,119
Um But uh you know,
403
00:10:31,130 --> 00:10:31,260
it was,
404
00:10:31,270 --> 00:10:32,619
it was just sort of like,
405
00:10:32,679 --> 00:10:34,650
kind of figuring out my,
406
00:10:34,659 --> 00:10:35,330
uh my,
407
00:10:35,340 --> 00:10:37,479
my place in the art world.
408
00:10:37,710 --> 00:10:39,130
And then at the same time,
409
00:10:39,140 --> 00:10:39,679
like,
410
00:10:39,690 --> 00:10:43,460
I just had a lot of business experience from a very young age.
411
00:10:43,469 --> 00:10:45,429
Uh I was managing companies when I was 15,
412
00:10:45,440 --> 00:10:46,640
16 years old.
413
00:10:46,869 --> 00:10:55,140
And so I was sort of developing these two sides of it and managing a company in a way is a lot like directing because it's,
414
00:10:55,150 --> 00:10:55,780
it's,
415
00:10:56,500 --> 00:10:57,969
you it's leadership skills,
416
00:10:57,979 --> 00:10:58,200
right?
417
00:10:58,210 --> 00:11:02,239
You're really just learning how to communicate with people more effectively.
418
00:11:02,340 --> 00:11:06,750
You're learning that being a boss doesn't really mean anything in terms of like telling people what to do.
419
00:11:06,760 --> 00:11:09,260
It's really about inspiring people and,
420
00:11:09,270 --> 00:11:12,270
and making people wanna work with you and,
421
00:11:12,280 --> 00:11:12,859
and make,
422
00:11:12,869 --> 00:11:14,609
and helping people understand that.
423
00:11:14,619 --> 00:11:15,070
You've got a,
424
00:11:15,080 --> 00:11:16,890
a vision for where things are going.
425
00:11:17,179 --> 00:11:17,390
Hey,
426
00:11:17,400 --> 00:11:17,710
Bill,
427
00:11:17,719 --> 00:11:18,469
this is Kurt.
428
00:11:18,479 --> 00:11:19,969
I'm sorry to stop your story.
429
00:11:19,979 --> 00:11:20,340
But what,
430
00:11:20,349 --> 00:11:23,809
what kind of company are you managing at 15 and 16 years old?
431
00:11:23,820 --> 00:11:26,210
If you could elaborate on that before you go in?
432
00:11:26,690 --> 00:11:27,299
Sure.
433
00:11:27,309 --> 00:11:27,979
Sure.
434
00:11:27,989 --> 00:11:28,390
Um,
435
00:11:28,400 --> 00:11:28,700
you know,
436
00:11:28,710 --> 00:11:28,780
I,
437
00:11:28,789 --> 00:11:30,000
I worked for this,
438
00:11:30,010 --> 00:11:30,020
uh,
439
00:11:30,030 --> 00:11:32,900
family in Chicago and they owned a whole bunch of stuff.
440
00:11:32,909 --> 00:11:33,280
So,
441
00:11:33,520 --> 00:11:33,630
um,
442
00:11:33,640 --> 00:11:34,320
we had,
443
00:11:34,330 --> 00:11:45,840
we had some flower shops and um landscape supply companies and uh over the road trucking companies and like a strip mall and a tanning salon and like all kinds of stuff.
444
00:11:45,849 --> 00:11:48,000
I thought you were gonna say Amway or something.
445
00:11:48,719 --> 00:11:48,739
Yeah.
446
00:11:49,630 --> 00:11:50,229
So I,
447
00:11:50,260 --> 00:11:52,080
I kind of got involved at that level,
448
00:11:52,090 --> 00:11:52,309
like,
449
00:11:52,320 --> 00:11:53,219
like early on,
450
00:11:53,229 --> 00:11:53,460
you know,
451
00:11:53,469 --> 00:11:53,479
I,
452
00:11:53,489 --> 00:11:57,219
I showed up one day like they need somebody to sweep the floor and I just kind of never left.
453
00:11:57,520 --> 00:11:58,130
Um,
454
00:11:58,140 --> 00:12:00,450
like they had me on salary by the time I was 16.
455
00:12:01,190 --> 00:12:01,859
And,
456
00:12:01,869 --> 00:12:02,179
um,
457
00:12:02,520 --> 00:12:02,849
and it,
458
00:12:02,859 --> 00:12:03,140
you know,
459
00:12:03,150 --> 00:12:03,770
it was awkward too.
460
00:12:03,780 --> 00:12:07,489
I had people working for me who were 60 70 years old and,
461
00:12:07,500 --> 00:12:07,510
uh,
462
00:12:07,520 --> 00:12:07,890
you know,
463
00:12:07,900 --> 00:12:08,179
you,
464
00:12:08,190 --> 00:12:08,909
it's weird,
465
00:12:08,919 --> 00:12:09,109
you're,
466
00:12:09,119 --> 00:12:09,929
you're like a 15,
467
00:12:09,940 --> 00:12:10,359
16,
468
00:12:10,369 --> 00:12:11,330
17 year old and,
469
00:12:11,340 --> 00:12:11,640
and,
470
00:12:11,650 --> 00:12:12,080
you know,
471
00:12:12,530 --> 00:12:12,849
it's,
472
00:12:12,859 --> 00:12:13,409
you're,
473
00:12:13,419 --> 00:12:15,900
you're talking to somebody who's dramatically your senior.
474
00:12:15,909 --> 00:12:16,950
Uh and where I come from,
475
00:12:16,960 --> 00:12:18,570
that's a little bit awkward.
476
00:12:18,590 --> 00:12:20,770
Um But you get over that all that really quick.
477
00:12:20,780 --> 00:12:21,130
So,
478
00:12:21,690 --> 00:12:22,469
um anyway,
479
00:12:22,479 --> 00:12:22,940
so I had,
480
00:12:22,950 --> 00:12:27,679
I had like a good business background and good managerial experience for a long time.
481
00:12:28,109 --> 00:12:28,890
And,
482
00:12:29,369 --> 00:12:29,580
you know,
483
00:12:29,590 --> 00:12:31,760
I just kept pursuing this idea of what,
484
00:12:31,770 --> 00:12:32,380
where's,
485
00:12:32,390 --> 00:12:33,919
where's my artistic outlet.
486
00:12:34,130 --> 00:12:39,659
And my brother is an actor and a writer and a musician and a dancer.
487
00:12:39,669 --> 00:12:40,690
And like,
488
00:12:40,700 --> 00:12:41,260
he's a,
489
00:12:41,270 --> 00:12:41,849
whatever,
490
00:12:41,859 --> 00:12:45,539
a quintuple threat and he's been doing that since he could walk.
491
00:12:45,549 --> 00:12:45,869
And you guys,
492
00:12:46,929 --> 00:12:47,780
you guys are partners now.
493
00:12:47,789 --> 00:12:47,979
Yeah.
494
00:12:47,989 --> 00:12:49,440
And we're business partners now.
495
00:12:49,450 --> 00:12:50,000
Um But,
496
00:12:50,010 --> 00:12:57,340
but I think that exposed me from an early age to kind of like a little bit of the idea of drama and acting and stage plays and all that kind of stuff,
497
00:12:57,669 --> 00:12:59,340
but I still wasn't really involved in it.
498
00:13:00,280 --> 00:13:01,109
And,
499
00:13:01,119 --> 00:13:01,609
uh you know,
500
00:13:01,619 --> 00:13:02,169
for a minute,
501
00:13:02,179 --> 00:13:05,349
I thought I was going to be an actor and I quickly got rid of that idea.
502
00:13:05,359 --> 00:13:08,989
Um because I just don't feel like that's my part of the process.
503
00:13:09,359 --> 00:13:10,809
Um But I,
504
00:13:10,820 --> 00:13:11,229
uh you know,
505
00:13:11,239 --> 00:13:11,650
when I came,
506
00:13:11,659 --> 00:13:13,369
I came to Los Angeles more for weather,
507
00:13:13,380 --> 00:13:14,219
I think than anything else.
508
00:13:14,229 --> 00:13:16,179
My brother had been here for about six months.
509
00:13:16,559 --> 00:13:17,169
And so I said,
510
00:13:17,179 --> 00:13:18,950
can I come sleep on your couch for a month?
511
00:13:18,960 --> 00:13:20,119
And see if I like L A.
512
00:13:20,130 --> 00:13:20,770
He was like,
513
00:13:20,780 --> 00:13:20,830
yeah.
514
00:13:20,840 --> 00:13:21,179
Sure.
515
00:13:21,190 --> 00:13:21,770
Cool.
516
00:13:21,780 --> 00:13:25,520
And I got here and I got a job with Disney but like,
517
00:13:25,530 --> 00:13:27,020
not in the cool part.
518
00:13:27,299 --> 00:13:28,969
So I was,
519
00:13:28,979 --> 00:13:31,049
I was buried over,
520
00:13:31,059 --> 00:13:32,250
I wasn't on the studio a lot.
521
00:13:32,260 --> 00:13:34,270
I was over in consumer products doing like,
522
00:13:34,429 --> 00:13:35,030
you know,
523
00:13:35,039 --> 00:13:38,789
uh like business planning and operations and stuff like that over there.
524
00:13:38,799 --> 00:13:39,150
It wasn't,
525
00:13:39,159 --> 00:13:40,969
it wasn't even super cool.
526
00:13:40,979 --> 00:13:41,080
I mean,
527
00:13:41,090 --> 00:13:42,130
it was cool to me because I was like,
528
00:13:42,140 --> 00:13:44,549
I'm in L A and I get to rollerblade at the beach every weekend.
529
00:13:45,119 --> 00:13:47,849
Um Like that's as far as I thought it.
530
00:13:47,859 --> 00:13:48,710
And like I said,
531
00:13:48,719 --> 00:13:48,729
I,
532
00:13:48,739 --> 00:13:48,919
I don't,
533
00:13:48,929 --> 00:13:49,700
you still do that,
534
00:13:49,710 --> 00:13:49,989
don't you?
535
00:13:51,309 --> 00:13:51,340
Well,
536
00:13:51,349 --> 00:13:52,489
I live at the beach.
537
00:13:52,500 --> 00:13:52,619
I,
538
00:13:52,630 --> 00:13:54,409
I don't roll it as much as I should.
539
00:13:54,419 --> 00:13:56,200
Um I walk.
540
00:13:56,530 --> 00:13:58,090
Um Yeah,
541
00:13:58,099 --> 00:13:58,469
so,
542
00:13:58,479 --> 00:13:59,330
so,
543
00:13:59,340 --> 00:14:00,190
um you know,
544
00:14:00,200 --> 00:14:03,309
just being here was terrific because of,
545
00:14:03,320 --> 00:14:03,640
you know,
546
00:14:03,650 --> 00:14:04,849
one I had a steady job.
547
00:14:04,859 --> 00:14:12,700
That was great and I was kind of getting exposed to more and more things in the acting realm and,
548
00:14:12,750 --> 00:14:13,010
you know,
549
00:14:13,020 --> 00:14:14,140
eventually my brother and I,
550
00:14:14,219 --> 00:14:16,619
with a group of friends just started kind of,
551
00:14:16,630 --> 00:14:16,960
hey,
552
00:14:16,969 --> 00:14:17,650
on the weekends,
553
00:14:17,659 --> 00:14:21,599
let's shoot some short films and let's make some music videos and let's do stuff like that.
554
00:14:21,609 --> 00:14:21,820
And,
555
00:14:22,130 --> 00:14:22,270
you know,
556
00:14:22,280 --> 00:14:24,109
he was in a band at the time and,
557
00:14:24,210 --> 00:14:24,409
you know,
558
00:14:24,419 --> 00:14:25,409
there's all that going on.
559
00:14:25,419 --> 00:14:25,969
And so,
560
00:14:26,599 --> 00:14:26,950
you know,
561
00:14:26,960 --> 00:14:30,280
these little projects that were costing me way too much money,
562
00:14:30,289 --> 00:14:30,909
um,
563
00:14:30,919 --> 00:14:33,010
of my own dollars just,
564
00:14:33,020 --> 00:14:33,570
you know,
565
00:14:34,190 --> 00:14:35,429
plunking down and this is,
566
00:14:35,440 --> 00:14:36,859
I don't even want to say how many years ago,
567
00:14:36,869 --> 00:14:37,159
but,
568
00:14:37,169 --> 00:14:37,559
you know,
569
00:14:37,840 --> 00:14:41,380
I'm spending 789 $10,000 on a short show.
570
00:14:41,609 --> 00:14:41,830
That's a,
571
00:14:41,840 --> 00:14:42,039
no,
572
00:14:42,109 --> 00:14:42,640
all the time,
573
00:14:43,289 --> 00:14:43,809
you know,
574
00:14:44,309 --> 00:14:44,609
you know,
575
00:14:44,619 --> 00:14:45,039
Bill,
576
00:14:45,049 --> 00:14:46,140
what that sounds like,
577
00:14:46,150 --> 00:14:46,159
uh,
578
00:14:46,169 --> 00:14:52,479
in Detroit terms is working for one of the auto companies while you're building your own car in your garage.
579
00:14:53,039 --> 00:14:54,150
Exactly.
580
00:14:54,159 --> 00:14:55,270
Exactly.
581
00:14:55,280 --> 00:14:56,549
And I always tell people like,
582
00:14:56,559 --> 00:14:56,890
they're like,
583
00:14:56,900 --> 00:14:57,690
why do you make movies?
584
00:14:57,700 --> 00:14:58,109
And I'm like,
585
00:14:58,119 --> 00:14:59,570
I use Detroit as an example.
586
00:14:59,580 --> 00:15:00,039
I always say,
587
00:15:00,049 --> 00:15:00,450
you know,
588
00:15:00,460 --> 00:15:01,510
if you're in Detroit,
589
00:15:01,520 --> 00:15:02,539
you're probably gonna make cars.
590
00:15:02,549 --> 00:15:03,119
If you're in L A,
591
00:15:03,130 --> 00:15:03,909
you should make movies.
592
00:15:03,919 --> 00:15:06,070
Like that's kind of what the town does.
593
00:15:06,080 --> 00:15:07,070
It makes sense,
594
00:15:07,830 --> 00:15:08,369
makes sense.
595
00:15:08,510 --> 00:15:08,809
Yeah.
596
00:15:08,820 --> 00:15:09,099
So,
597
00:15:09,109 --> 00:15:10,150
so we,
598
00:15:10,159 --> 00:15:13,559
we did that eventually I wound up getting a job over at the studio.
599
00:15:14,289 --> 00:15:14,880
Um,
600
00:15:14,890 --> 00:15:16,659
and that was,
601
00:15:16,669 --> 00:15:17,530
that was amazing.
602
00:15:17,539 --> 00:15:17,770
It was,
603
00:15:17,780 --> 00:15:19,729
I was in production management over there,
604
00:15:19,739 --> 00:15:19,929
like,
605
00:15:19,940 --> 00:15:24,440
and it kind of started low and worked my way up and it was crazy because I,
606
00:15:24,450 --> 00:15:24,679
you know,
607
00:15:24,690 --> 00:15:32,130
during the week I'd be working on a $200 million movie and on the weekends I'm making like a $2 movie with my brother and,
608
00:15:32,140 --> 00:15:32,690
you know,
609
00:15:32,700 --> 00:15:33,349
you're kind of,
610
00:15:33,469 --> 00:15:35,070
you're learning both sides of it.
611
00:15:35,169 --> 00:15:35,729
Um,
612
00:15:36,020 --> 00:15:38,419
like the first short that I was directing,
613
00:15:38,669 --> 00:15:38,679
I,
614
00:15:38,690 --> 00:15:39,460
I was,
615
00:15:39,469 --> 00:15:40,049
I was so,
616
00:15:40,059 --> 00:15:41,090
I was so terrible.
617
00:15:41,099 --> 00:15:41,890
I can't even tell you,
618
00:15:41,900 --> 00:15:43,630
I go back and I cringe at that now.
619
00:15:44,010 --> 00:15:44,609
Um,
620
00:15:45,030 --> 00:15:45,679
because I just did,
621
00:15:45,690 --> 00:15:46,070
like,
622
00:15:46,080 --> 00:15:46,090
I,
623
00:15:46,099 --> 00:15:47,799
I thought I was Michael Bay or something,
624
00:15:47,809 --> 00:15:47,929
you know,
625
00:15:47,940 --> 00:15:48,440
like I was,
626
00:15:48,450 --> 00:15:49,080
I'm working on,
627
00:15:49,090 --> 00:15:51,429
I was working on Pearl Harbor and,
628
00:15:51,739 --> 00:15:52,010
you know,
629
00:15:52,020 --> 00:15:52,260
I'm,
630
00:15:52,270 --> 00:15:54,739
I'm scouting a location with,
631
00:15:54,750 --> 00:15:57,359
with my friends to go shoot this short as if I had a choice.
632
00:15:57,369 --> 00:15:59,479
Like it's the location we were gonna use like that.
633
00:15:59,929 --> 00:16:00,869
It was free.
634
00:16:00,880 --> 00:16:03,159
That's why we're using it and,
635
00:16:03,169 --> 00:16:03,619
and I'm like,
636
00:16:03,630 --> 00:16:04,679
I think I can make this work,
637
00:16:04,690 --> 00:16:04,739
you know,
638
00:16:04,750 --> 00:16:08,710
we're gonna have to repaint this wall and we have to move this furniture or whatever and they're like,
639
00:16:08,719 --> 00:16:08,940
yeah,
640
00:16:08,950 --> 00:16:10,460
so grab the other side of the couch.
641
00:16:10,469 --> 00:16:10,739
I mean,
642
00:16:10,750 --> 00:16:11,080
like,
643
00:16:11,109 --> 00:16:12,960
like I'm talking as if I'm,
644
00:16:12,969 --> 00:16:15,700
I'm speaking like there's a set decorating department and they were like,
645
00:16:15,710 --> 00:16:15,780
no,
646
00:16:15,789 --> 00:16:15,900
no,
647
00:16:15,909 --> 00:16:16,479
you're,
648
00:16:16,659 --> 00:16:19,419
you're the department like you're all,
649
00:16:19,429 --> 00:16:21,070
you're all the way to tomorrow.
650
00:16:21,830 --> 00:16:22,099
Yeah,
651
00:16:22,109 --> 00:16:23,900
like you doing the whole thing.
652
00:16:24,380 --> 00:16:25,729
Um Yeah.
653
00:16:25,739 --> 00:16:25,929
So,
654
00:16:25,940 --> 00:16:26,190
I mean,
655
00:16:26,200 --> 00:16:26,530
look,
656
00:16:26,539 --> 00:16:26,640
it,
657
00:16:26,650 --> 00:16:31,369
I had an incredibly uh fortunate experience at Disney.
658
00:16:31,380 --> 00:16:33,219
Uh It was a really good run for me.
659
00:16:33,409 --> 00:16:33,650
You know,
660
00:16:33,659 --> 00:16:37,849
I worked maj the majority of the time in live action film and television production.
661
00:16:38,109 --> 00:16:40,450
I moved over to development on the film side.
662
00:16:40,460 --> 00:16:44,859
Um I had partial responsibility for running them up as franchise for a while.
663
00:16:45,020 --> 00:16:46,039
Um You know,
664
00:16:46,049 --> 00:16:48,510
I've worked on over 30 films,
665
00:16:48,520 --> 00:16:49,460
six of them with budgets,
666
00:16:49,469 --> 00:16:51,000
over $200 million.
667
00:16:51,010 --> 00:16:55,150
I've worked on tons of network television shows.
668
00:16:55,159 --> 00:16:55,169
Uh,
669
00:16:55,179 --> 00:16:57,289
five of those went over 100 episodes.
670
00:16:57,890 --> 00:16:58,280
Um,
671
00:16:58,570 --> 00:16:59,000
Power Rangers,
672
00:16:59,059 --> 00:16:59,679
Power Rangers,
673
00:16:59,690 --> 00:17:00,010
right.
674
00:17:00,900 --> 00:17:00,919
Uh,
675
00:17:00,929 --> 00:17:01,429
no.
676
00:17:01,440 --> 00:17:01,719
Well,
677
00:17:01,729 --> 00:17:04,109
Power Rangers is post Disney actually.
678
00:17:04,520 --> 00:17:05,089
Um,
679
00:17:05,939 --> 00:17:07,430
and I actually,
680
00:17:07,439 --> 00:17:11,569
uh Saban had still owned Power Rangers at the time and,
681
00:17:11,579 --> 00:17:11,939
um,
682
00:17:12,040 --> 00:17:13,630
after I left Disney,
683
00:17:13,760 --> 00:17:13,770
I,
684
00:17:13,780 --> 00:17:17,510
I had done some stuff with the Muppets to kind of revitalize that franchise.
685
00:17:17,859 --> 00:17:19,780
And I got a call from Saban saying,
686
00:17:19,790 --> 00:17:19,920
hey,
687
00:17:19,930 --> 00:17:20,989
we know what you do with Muppets.
688
00:17:21,000 --> 00:17:22,890
Can you help us with Power Rangers?
689
00:17:23,260 --> 00:17:25,810
So I went over there and shot some Power Ranger stuff.
690
00:17:25,819 --> 00:17:26,199
That's,
691
00:17:26,209 --> 00:17:26,920
that's awesome.
692
00:17:26,930 --> 00:17:27,380
So,
693
00:17:27,390 --> 00:17:27,939
Bill,
694
00:17:27,949 --> 00:17:28,349
um,
695
00:17:28,680 --> 00:17:30,790
you've kind of run the gamut like you,
696
00:17:30,800 --> 00:17:33,819
it's like starting uh starting at the pizza shop,
697
00:17:33,829 --> 00:17:38,150
making the pizza and then owning a franchise really?
698
00:17:38,160 --> 00:17:38,329
I mean,
699
00:17:38,339 --> 00:17:39,469
the way way you've done that.
700
00:17:39,479 --> 00:17:43,209
And so what we were talking about today and you being the,
701
00:17:43,219 --> 00:17:45,719
our resident subject matter expert now in,
702
00:17:45,729 --> 00:17:47,500
in film and as a director,
703
00:17:47,540 --> 00:17:52,400
we're talking about film as a storytelling medium and clearly,
704
00:17:52,410 --> 00:17:53,060
like you said,
705
00:17:53,069 --> 00:17:53,219
you know,
706
00:17:53,229 --> 00:17:54,079
you started out,
707
00:17:54,089 --> 00:17:54,939
you had,
708
00:17:55,540 --> 00:18:00,729
you had the creative drivers and you tried a lot of different things uh to as,
709
00:18:00,739 --> 00:18:03,280
as a creative outlet uh to,
710
00:18:03,290 --> 00:18:04,469
to tell stories.
711
00:18:04,479 --> 00:18:07,349
So how do you think you fell into film?
712
00:18:07,479 --> 00:18:11,530
Like what resonated about telling stories through film,
713
00:18:11,540 --> 00:18:13,500
what resonated with you that,
714
00:18:13,510 --> 00:18:14,750
that was gonna be your medium,
715
00:18:15,520 --> 00:18:16,469
I think,
716
00:18:16,479 --> 00:18:16,729
um,
717
00:18:17,510 --> 00:18:18,060
of it,
718
00:18:18,069 --> 00:18:19,619
it's three things for me really,
719
00:18:19,630 --> 00:18:20,000
uh,
720
00:18:21,390 --> 00:18:24,810
3d space and color have always made a lot of sense to me.
721
00:18:24,869 --> 00:18:25,109
Like,
722
00:18:25,119 --> 00:18:26,890
and I know it sounds kind of broad and weird.
723
00:18:27,170 --> 00:18:27,680
But,
724
00:18:27,689 --> 00:18:28,199
um,
725
00:18:28,839 --> 00:18:29,849
we like weird broads,
726
00:18:29,859 --> 00:18:30,449
by the way.
727
00:18:31,150 --> 00:18:31,319
Yeah,
728
00:18:31,329 --> 00:18:32,319
exactly.
729
00:18:32,380 --> 00:18:32,640
And,
730
00:18:32,650 --> 00:18:34,069
and I like a lot of,
731
00:18:34,079 --> 00:18:34,750
I tell a lot of you,
732
00:18:34,760 --> 00:18:34,920
like,
733
00:18:34,930 --> 00:18:35,359
I'm the,
734
00:18:35,369 --> 00:18:37,199
I'm like the gayest straight guy you're ever gonna meet.
735
00:18:37,209 --> 00:18:37,510
Like,
736
00:18:37,520 --> 00:18:38,260
I,
737
00:18:38,270 --> 00:18:39,119
I like,
738
00:18:39,130 --> 00:18:41,300
I like that's why you give good hugs.
739
00:18:41,930 --> 00:18:41,959
Oh,
740
00:18:41,969 --> 00:18:43,239
I'm glad you said hugs.
741
00:18:46,079 --> 00:18:49,780
I said hug ug um No,
742
00:18:50,219 --> 00:18:50,640
no judgment.
743
00:18:51,209 --> 00:18:52,520
Um No,
744
00:18:52,849 --> 00:18:53,060
I,
745
00:18:53,219 --> 00:18:53,699
I like,
746
00:18:53,709 --> 00:18:53,719
I,
747
00:18:53,729 --> 00:18:55,479
I love set design.
748
00:18:55,489 --> 00:18:56,770
I love production design.
749
00:18:56,780 --> 00:18:56,920
You know,
750
00:18:56,930 --> 00:18:59,069
my mom asked me to decorate her house.
751
00:18:59,079 --> 00:18:59,550
Like that's,
752
00:18:59,560 --> 00:18:59,969
that's,
753
00:19:00,180 --> 00:19:00,739
you know,
754
00:19:01,109 --> 00:19:02,420
that's just who I am from,
755
00:19:02,430 --> 00:19:03,420
from the get go.
756
00:19:03,670 --> 00:19:06,760
Um I'm actually a certified master floral designer.
757
00:19:07,089 --> 00:19:09,349
Um like I went through all the classes for that.
758
00:19:09,810 --> 00:19:13,040
Um I've done weddings and funerals and all that kind of stuff.
759
00:19:13,050 --> 00:19:17,280
Um So I just like color is really easy for me.
760
00:19:17,290 --> 00:19:18,010
Like I don't easy.
761
00:19:18,020 --> 00:19:21,119
Just meaning it all makes sense to me and 3d space does.
762
00:19:21,130 --> 00:19:21,410
So,
763
00:19:21,420 --> 00:19:21,939
so,
764
00:19:22,140 --> 00:19:22,359
you know,
765
00:19:22,369 --> 00:19:26,479
I walk into a blank room or a blank stage or whatever and I can tell you exactly what it's going to look like.
766
00:19:26,489 --> 00:19:33,520
Like it's all just lays out for me and I think those two things buttered up against.
767
00:19:34,349 --> 00:19:35,810
Uh and again,
768
00:19:35,819 --> 00:19:41,680
I wanna say it's like this managerial skill set that I have where again,
769
00:19:42,290 --> 00:19:43,420
it's that idea of like,
770
00:19:43,430 --> 00:19:45,869
you have to provide vision,
771
00:19:45,880 --> 00:19:48,780
you have to provide inspiration for people.
772
00:19:49,540 --> 00:19:53,020
But the way you do that is by connecting with them very one on one and very directly.
773
00:19:53,030 --> 00:19:53,709
And to do that,
774
00:19:53,719 --> 00:19:56,130
you really need to be like almost like a psychologist,
775
00:19:56,219 --> 00:19:56,520
right?
776
00:19:56,530 --> 00:19:57,010
You need to,
777
00:19:57,020 --> 00:20:04,650
you need to really instantly be able to get into a person's head and find out what makes them tick and how to move this forward.
778
00:20:04,660 --> 00:20:11,969
And it's the same with like directing actors in a part in that you really need to help them break down a character and understand this character.
779
00:20:11,979 --> 00:20:15,709
And you're gonna have these great discussions about motivation and,
780
00:20:15,719 --> 00:20:20,050
and what's going on in the scene and how is the scene affected by the story and,
781
00:20:20,060 --> 00:20:21,489
and all those things together.
782
00:20:21,880 --> 00:20:22,930
But you combine,
783
00:20:23,010 --> 00:20:23,310
you know,
784
00:20:23,319 --> 00:20:30,239
sort of like that understanding of the human psyche with a love of color in 3d space and all of a sudden it was like,
785
00:20:30,250 --> 00:20:30,489
oh,
786
00:20:30,500 --> 00:20:31,770
and I know how to manage people.
787
00:20:31,780 --> 00:20:32,800
So I was like,
788
00:20:32,810 --> 00:20:33,180
maybe,
789
00:20:33,189 --> 00:20:33,369
yeah,
790
00:20:33,380 --> 00:20:33,750
I was just like,
791
00:20:33,760 --> 00:20:34,849
I'll give this a try.
792
00:20:34,859 --> 00:20:36,099
And once I tried directing,
793
00:20:36,109 --> 00:20:36,609
I was like,
794
00:20:36,619 --> 00:20:36,790
yeah,
795
00:20:36,800 --> 00:20:37,180
this is,
796
00:20:37,189 --> 00:20:39,060
this is definitely something I enjoy.
797
00:20:39,119 --> 00:20:40,979
But if you don't thoroughly love it,
798
00:20:40,989 --> 00:20:41,140
you,
799
00:20:41,150 --> 00:20:43,060
we should do it because it's a lot of work.
800
00:20:43,069 --> 00:20:44,579
Like it's crazy.
801
00:20:44,770 --> 00:20:46,954
It's combination of people of,
802
00:20:46,964 --> 00:20:49,834
of the presentation of the film and the story,
803
00:20:49,844 --> 00:20:50,055
right?
804
00:20:50,064 --> 00:20:52,484
It's a combination you're not just creating and,
805
00:20:52,494 --> 00:20:54,244
and showing a film with color,
806
00:20:54,255 --> 00:20:54,724
with,
807
00:20:54,734 --> 00:20:55,645
with audio.
808
00:20:55,655 --> 00:20:55,864
It's,
809
00:20:55,875 --> 00:20:58,145
it's the people you have to manage as well to do that.
810
00:20:58,155 --> 00:20:58,594
Correct.
811
00:20:58,604 --> 00:20:58,744
I mean,
812
00:20:58,755 --> 00:20:59,484
that's where the difference.
813
00:21:00,545 --> 00:21:00,755
Yeah,
814
00:21:00,765 --> 00:21:01,045
I mean,
815
00:21:01,055 --> 00:21:01,444
you need,
816
00:21:01,454 --> 00:21:03,714
you need credibility and respect from,
817
00:21:04,094 --> 00:21:04,334
you know,
818
00:21:04,344 --> 00:21:05,265
from the crew,
819
00:21:05,474 --> 00:21:07,084
from all the crew members.
820
00:21:07,094 --> 00:21:07,905
But by the way,
821
00:21:07,915 --> 00:21:16,849
it's just imagine any other job you go into where every single person in the building and I'm talking from the craft service person to the producer,
822
00:21:16,859 --> 00:21:17,750
to the hair,
823
00:21:17,760 --> 00:21:18,390
makeup person.
824
00:21:18,400 --> 00:21:20,469
They all feel like they can do the job better than you,
825
00:21:20,520 --> 00:21:21,770
every one of them.
826
00:21:22,199 --> 00:21:23,760
Um And you've got,
827
00:21:24,119 --> 00:21:24,589
you know,
828
00:21:24,599 --> 00:21:30,959
sometimes two and sometimes 20 people looking over your shoulder like watching every single movie make like and oh,
829
00:21:30,969 --> 00:21:33,349
and here's the most famous person on the planet standing in front of you.
830
00:21:33,650 --> 00:21:33,939
Yeah.
831
00:21:33,949 --> 00:21:34,500
And so,
832
00:21:34,510 --> 00:21:35,819
so how do you balance that?
833
00:21:35,829 --> 00:21:36,819
So OK,
834
00:21:36,829 --> 00:21:41,160
so there's the creative aspect as a director where you're like,
835
00:21:41,170 --> 00:21:41,540
OK,
836
00:21:41,550 --> 00:21:44,560
we've taken this script and I have a,
837
00:21:44,569 --> 00:21:46,479
a vision of how I want this film to,
838
00:21:46,489 --> 00:21:47,619
to look and,
839
00:21:47,630 --> 00:21:52,380
and feel and then you've got the financial pressures of the studio saying,
840
00:21:52,500 --> 00:21:52,819
hey,
841
00:21:52,829 --> 00:21:59,040
this thing better make money and then you've got uh the whole production staff and everyone thinking that yeah,
842
00:21:59,050 --> 00:21:59,989
they know better,
843
00:22:00,000 --> 00:22:01,189
they can do it better than you.
844
00:22:01,199 --> 00:22:06,420
How do you um keep all those balls in the air without taking Xanax?
845
00:22:06,449 --> 00:22:07,000
Yeah,
846
00:22:08,400 --> 00:22:09,699
I'm not saying I don't take Xanax,
847
00:22:11,810 --> 00:22:12,099
you know,
848
00:22:12,109 --> 00:22:12,339
it's a,
849
00:22:12,349 --> 00:22:15,489
it's um the first and foremost I'd say is,
850
00:22:15,500 --> 00:22:15,619
you know,
851
00:22:15,630 --> 00:22:25,260
you gotta have an awesome team around you of folks that you communicate well with and probably have worked with in the past and everybody kind of,
852
00:22:26,099 --> 00:22:26,619
you know,
853
00:22:26,630 --> 00:22:26,989
that's why,
854
00:22:27,000 --> 00:22:29,270
like I've worked with my brother so many times.
855
00:22:29,280 --> 00:22:29,650
Like I don't,
856
00:22:29,660 --> 00:22:30,430
when I'm working with him,
857
00:22:30,439 --> 00:22:34,489
I don't have to wonder is this covered as that covered kind of thing?
858
00:22:34,500 --> 00:22:34,670
Like,
859
00:22:35,300 --> 00:22:35,469
yeah,
860
00:22:35,479 --> 00:22:36,160
you trust,
861
00:22:36,170 --> 00:22:37,689
you build that team of trust.
862
00:22:37,969 --> 00:22:38,500
So back to,
863
00:22:38,510 --> 00:22:39,670
back to your story really quick.
864
00:22:39,680 --> 00:22:39,829
When,
865
00:22:39,839 --> 00:22:40,410
when was your,
866
00:22:40,420 --> 00:22:40,430
uh,
867
00:22:40,510 --> 00:22:41,810
moment of,
868
00:22:41,819 --> 00:22:42,890
when you knew you made it,
869
00:22:43,280 --> 00:22:44,040
in your opinion?
870
00:22:44,890 --> 00:22:44,939
Oh,
871
00:22:44,949 --> 00:22:47,040
I don't think I've made it now really?
872
00:22:47,079 --> 00:22:47,689
I mean,
873
00:22:48,079 --> 00:22:48,520
yeah,
874
00:22:48,530 --> 00:22:49,369
I,
875
00:22:49,390 --> 00:22:50,329
I look,
876
00:22:50,339 --> 00:22:51,069
it's very,
877
00:22:51,079 --> 00:22:51,390
I'm,
878
00:22:51,400 --> 00:22:54,520
I'm not a braggadocious person by nature.
879
00:22:54,530 --> 00:22:54,989
So it's,
880
00:22:55,000 --> 00:22:55,420
I mean,
881
00:22:55,430 --> 00:22:57,689
I've done some really cool stuff but I,
882
00:22:57,699 --> 00:22:59,530
I really don't look back,
883
00:22:59,540 --> 00:23:00,489
I only look forward.
884
00:23:00,500 --> 00:23:04,339
So I just kind of look at what I haven't done and like,
885
00:23:04,349 --> 00:23:05,650
I don't think I'm a great director.
886
00:23:05,660 --> 00:23:08,410
I think I'm a better director every single time I direct,
887
00:23:08,420 --> 00:23:08,979
you know,
888
00:23:09,489 --> 00:23:11,209
and like I want to die on set.
889
00:23:11,219 --> 00:23:11,869
Like that's,
890
00:23:11,880 --> 00:23:12,530
that's how much I like.
891
00:23:12,540 --> 00:23:13,630
You're a practitioner.
892
00:23:13,640 --> 00:23:15,709
You're definitely a humble human being,
893
00:23:15,719 --> 00:23:16,530
that's for sure.
894
00:23:17,500 --> 00:23:17,780
Yeah,
895
00:23:17,790 --> 00:23:18,189
I just,
896
00:23:18,199 --> 00:23:18,430
I mean,
897
00:23:18,439 --> 00:23:18,680
I love,
898
00:23:18,689 --> 00:23:19,410
I love,
899
00:23:19,420 --> 00:23:21,869
I think it's a privilege and an honor to get to do the job,
900
00:23:21,880 --> 00:23:23,140
whether you're doing it for,
901
00:23:23,229 --> 00:23:23,489
you know,
902
00:23:23,500 --> 00:23:25,180
a million dollars or $1.
903
00:23:25,189 --> 00:23:29,069
I think it's the idea that you get to wake up and do something you enjoy that much,
904
00:23:29,619 --> 00:23:32,089
um for a living and get to work with so much,
905
00:23:32,099 --> 00:23:33,390
so many talented people.
906
00:23:33,400 --> 00:23:34,579
It's just like,
907
00:23:34,589 --> 00:23:36,790
how lucky are we that success all,
908
00:23:36,800 --> 00:23:37,160
all within?
909
00:23:37,489 --> 00:23:38,130
And that's a great,
910
00:23:38,140 --> 00:23:40,630
that's a great attitude to have.
911
00:23:40,640 --> 00:23:41,750
Um So Bill,
912
00:23:41,760 --> 00:23:42,869
one of our,
913
00:23:42,880 --> 00:23:44,949
uh our last questions is,
914
00:23:44,959 --> 00:23:48,089
what kind of stories are you attracted to?
915
00:23:48,099 --> 00:23:48,239
So,
916
00:23:48,250 --> 00:23:48,699
as a,
917
00:23:48,839 --> 00:23:51,260
as a director and as a filmmaker,
918
00:23:51,510 --> 00:23:52,109
um you know,
919
00:23:52,119 --> 00:23:53,670
I'm sure sometimes you've,
920
00:23:53,680 --> 00:23:56,109
uh you've had to take scripts that you didn't want to take.
921
00:23:56,119 --> 00:23:56,489
But like,
922
00:23:56,500 --> 00:23:57,670
if you had your druthers,
923
00:23:57,680 --> 00:23:59,380
what kind of stories,
924
00:23:59,390 --> 00:24:01,510
um do you like to tell through film?
925
00:24:01,520 --> 00:24:01,640
Well,
926
00:24:01,650 --> 00:24:02,109
hang on,
927
00:24:02,829 --> 00:24:04,520
I don't know what his favorite movie is.
928
00:24:07,290 --> 00:24:08,500
What's your favorite movie?
929
00:24:09,790 --> 00:24:10,469
Uh I,
930
00:24:10,510 --> 00:24:12,640
I don't know if I can say a favorite movie,
931
00:24:12,650 --> 00:24:14,510
I'm gonna tell you a couple of favorite movies.
932
00:24:14,520 --> 00:24:15,459
Um But,
933
00:24:15,469 --> 00:24:16,359
but,
934
00:24:16,380 --> 00:24:16,930
uh you know,
935
00:24:16,939 --> 00:24:19,459
I think if like go back in time and make any movie,
936
00:24:19,469 --> 00:24:20,280
my movie,
937
00:24:20,290 --> 00:24:20,780
I think,
938
00:24:20,790 --> 00:24:21,260
you know,
939
00:24:21,270 --> 00:24:22,689
Raiders Of The Lost Ark is,
940
00:24:22,699 --> 00:24:24,060
is way out there for me.
941
00:24:24,680 --> 00:24:26,380
Um It's,
942
00:24:26,390 --> 00:24:26,959
it's,
943
00:24:26,969 --> 00:24:27,359
you know,
944
00:24:27,369 --> 00:24:27,540
it's,
945
00:24:27,550 --> 00:24:27,910
I don't know,
946
00:24:27,920 --> 00:24:29,199
we as a kid,
947
00:24:29,209 --> 00:24:29,420
you know,
948
00:24:29,430 --> 00:24:31,380
I saw it in the theater and,
949
00:24:31,709 --> 00:24:31,979
you know,
950
00:24:31,989 --> 00:24:32,280
we,
951
00:24:32,290 --> 00:24:36,300
we would go back and re enact those scenes in the yard and stuff,
952
00:24:36,310 --> 00:24:36,619
you know,
953
00:24:36,630 --> 00:24:40,300
like swinging from a rope and all that stuff off a tree.
954
00:24:40,560 --> 00:24:41,770
Um it's,
955
00:24:41,780 --> 00:24:41,969
yeah,
956
00:24:41,979 --> 00:24:42,329
there's just,
957
00:24:42,339 --> 00:24:44,680
there's comedy and there's action and there's,
958
00:24:44,689 --> 00:24:44,939
you know,
959
00:24:44,949 --> 00:24:46,219
adventure and it's just,
960
00:24:46,229 --> 00:24:48,349
there's so many great things wrapped up in that.
961
00:24:48,660 --> 00:24:50,199
Um There's,
962
00:24:50,209 --> 00:24:51,579
I'd like some classics too.
963
00:24:51,589 --> 00:24:51,790
I mean,
964
00:24:51,800 --> 00:24:52,329
I think,
965
00:24:52,729 --> 00:24:53,270
you know,
966
00:24:53,280 --> 00:24:57,140
um as corny as it is like Casablanca to me is,
967
00:24:57,150 --> 00:25:03,300
is so incredibly well written and I don't think anybody could pull some of those lines off except for Bogie.
968
00:25:03,829 --> 00:25:05,119
Um just,
969
00:25:05,130 --> 00:25:06,589
just super fun.
970
00:25:06,599 --> 00:25:10,300
Um But I also have a lot of love for a lot of new films,
971
00:25:10,310 --> 00:25:10,750
you know.
972
00:25:10,900 --> 00:25:11,609
Uh So yeah,
973
00:25:11,619 --> 00:25:12,680
that goes into so what,
974
00:25:12,689 --> 00:25:14,239
what type of films,
975
00:25:14,420 --> 00:25:16,140
what type of stories do you like to tell?
976
00:25:16,150 --> 00:25:17,439
Like if you had your pick?
977
00:25:18,560 --> 00:25:20,489
So it,
978
00:25:20,500 --> 00:25:21,239
it's funny,
979
00:25:21,250 --> 00:25:22,900
like from a genre standpoint,
980
00:25:22,910 --> 00:25:28,119
I think I'd love to do more action drama than I have in the past.
981
00:25:28,130 --> 00:25:30,890
But that's just because I haven't done as much of that.
982
00:25:31,430 --> 00:25:32,979
Um And,
983
00:25:32,989 --> 00:25:34,170
and I think just like an actor,
984
00:25:34,180 --> 00:25:34,650
like if you said,
985
00:25:34,660 --> 00:25:34,750
like,
986
00:25:34,760 --> 00:25:35,650
what kind of parts do you want?
987
00:25:35,660 --> 00:25:36,530
They'd be like good ones,
988
00:25:36,540 --> 00:25:36,780
you know,
989
00:25:36,790 --> 00:25:40,540
like they don't care whether it's a horror or comedy or drama or what it is.
990
00:25:40,650 --> 00:25:42,939
They want to flex it out like they wanna go do all of them.
991
00:25:42,949 --> 00:25:43,219
Yeah.
992
00:25:43,229 --> 00:25:43,410
Yeah,
993
00:25:43,420 --> 00:25:45,069
I wanna do all of those for me though.
994
00:25:45,079 --> 00:25:45,819
What really,
995
00:25:45,829 --> 00:25:46,540
what the,
996
00:25:46,550 --> 00:25:48,020
the Met thing for me and,
997
00:25:48,030 --> 00:25:53,079
and I think a lot of folks forget about this on the writing process is it's all character,
998
00:25:53,670 --> 00:25:54,199
you know,
999
00:25:54,599 --> 00:25:58,949
um people sometimes think stakes are high because,
1000
00:25:59,349 --> 00:25:59,680
you know,
1001
00:25:59,689 --> 00:26:04,020
you're battling for the soul of all humanity and that really doesn't matter if,
1002
00:26:04,030 --> 00:26:08,099
but if you're battling for the life of one person that matters,
1003
00:26:08,109 --> 00:26:08,449
you know,
1004
00:26:08,459 --> 00:26:10,040
like whose eyes am I seeing this through?
1005
00:26:10,050 --> 00:26:14,959
And as long as you have a great character that you can really sink your teeth into that,
1006
00:26:14,969 --> 00:26:16,420
um you know,
1007
00:26:16,430 --> 00:26:16,739
is,
1008
00:26:16,750 --> 00:26:21,180
is creatively well drawn and has depth to it.
1009
00:26:21,189 --> 00:26:21,359
I mean,
1010
00:26:21,369 --> 00:26:22,459
when I write scripts,
1011
00:26:23,119 --> 00:26:23,420
you know,
1012
00:26:23,430 --> 00:26:24,000
I don't,
1013
00:26:24,010 --> 00:26:31,319
I write pages of bio about a character knowing that none of that's ever going to use that.
1014
00:26:31,599 --> 00:26:32,229
You know,
1015
00:26:32,239 --> 00:26:33,589
just everything.
1016
00:26:33,599 --> 00:26:34,760
Tell me their favorite food.
1017
00:26:34,770 --> 00:26:35,890
Why is it their favorite food?
1018
00:26:35,900 --> 00:26:37,550
When did it become their favorite food?
1019
00:26:37,680 --> 00:26:37,979
You know,
1020
00:26:37,989 --> 00:26:38,160
like,
1021
00:26:38,170 --> 00:26:39,089
what are they allergic to?
1022
00:26:39,099 --> 00:26:40,949
What's their least favorite color?
1023
00:26:40,959 --> 00:26:43,000
It gives you the foundation for that character,
1024
00:26:43,010 --> 00:26:43,199
right?
1025
00:26:43,209 --> 00:26:43,339
I mean,
1026
00:26:43,349 --> 00:26:45,010
it just builds out the character to give the,
1027
00:26:45,020 --> 00:26:46,609
the core of that back story.
1028
00:26:46,819 --> 00:26:47,339
So,
1029
00:26:48,359 --> 00:26:49,229
choices and the,
1030
00:26:49,319 --> 00:26:53,599
the worst stories are stories that don't have good character development in my opinion.
1031
00:26:53,609 --> 00:26:53,849
Yeah.
1032
00:26:54,390 --> 00:26:56,939
So as long as you've got like a really well drawn character,
1033
00:26:56,949 --> 00:26:58,209
that's got a lot of depth to it.
1034
00:26:58,219 --> 00:26:58,739
That's,
1035
00:26:58,760 --> 00:26:59,349
that,
1036
00:26:59,660 --> 00:27:00,150
you know,
1037
00:27:00,160 --> 00:27:01,000
has some,
1038
00:27:01,010 --> 00:27:01,310
I mean,
1039
00:27:01,319 --> 00:27:04,979
I have a lot of fun with actor friends of mine when they're doing auditions and,
1040
00:27:04,989 --> 00:27:05,530
and they'll call me,
1041
00:27:05,540 --> 00:27:06,719
like to come direct them on a,
1042
00:27:06,729 --> 00:27:08,550
just a home tape thing.
1043
00:27:08,890 --> 00:27:09,500
Uh,
1044
00:27:09,630 --> 00:27:12,079
but one of the fun parts about that is,
1045
00:27:12,089 --> 00:27:12,229
you know,
1046
00:27:12,239 --> 00:27:19,719
they just get sides which are like three pages of script or two pages of script or something and maybe like a one or two sentence character description.
1047
00:27:20,069 --> 00:27:21,920
So you have to make all these choices.
1048
00:27:21,930 --> 00:27:24,760
Like you gotta hyper analyze every word on the page.
1049
00:27:24,770 --> 00:27:28,089
You really gotta dig in and make all these choices and you know,
1050
00:27:28,099 --> 00:27:31,979
we'll sit down for a couple of hours and just break down a character just who is this and what's going on here?
1051
00:27:31,989 --> 00:27:33,040
And why did they say this then?
1052
00:27:33,050 --> 00:27:34,119
Why did they say that there,
1053
00:27:34,130 --> 00:27:34,319
you know,
1054
00:27:34,329 --> 00:27:34,510
like,
1055
00:27:34,540 --> 00:27:36,660
just kind of breaking down this thing,
1056
00:27:36,670 --> 00:27:37,880
but that's so much fun,
1057
00:27:38,219 --> 00:27:38,699
you know.
1058
00:27:38,709 --> 00:27:39,160
So,
1059
00:27:39,170 --> 00:27:39,660
so Bill,
1060
00:27:39,670 --> 00:27:39,880
I got,
1061
00:27:39,890 --> 00:27:40,400
you know,
1062
00:27:40,410 --> 00:27:41,780
we're talking about stories,
1063
00:27:41,790 --> 00:27:42,880
we're talking about movie making.
1064
00:27:42,890 --> 00:27:43,000
I'm,
1065
00:27:43,010 --> 00:27:43,979
I'm in a TV world,
1066
00:27:43,989 --> 00:27:46,319
but as far as movie making has changed throughout the years,
1067
00:27:46,329 --> 00:27:46,579
what,
1068
00:27:46,589 --> 00:27:49,939
what's changed and where do you see this going as far as that type of storytelling?
1069
00:27:51,380 --> 00:27:55,979
Uh I think the biggest thing that changed for me was,
1070
00:27:56,650 --> 00:27:56,900
you know,
1071
00:27:56,910 --> 00:28:02,229
there used to be like good cameras and bad cameras and there used to be like,
1072
00:28:02,239 --> 00:28:04,770
uh we can't do some of that because it's out of budget,
1073
00:28:04,800 --> 00:28:05,339
right?
1074
00:28:05,750 --> 00:28:09,400
Uh I wish I had this or I wish I had that now.
1075
00:28:09,410 --> 00:28:10,699
The wonderful thing is like,
1076
00:28:10,709 --> 00:28:11,920
everything's possible,
1077
00:28:12,150 --> 00:28:12,520
right?
1078
00:28:12,530 --> 00:28:13,160
Like you,
1079
00:28:13,170 --> 00:28:17,910
whatever you really want to be in this thing can 100% be in there,
1080
00:28:17,920 --> 00:28:19,010
there's different ways it can be.
1081
00:28:19,319 --> 00:28:19,959
What do you mean?
1082
00:28:20,319 --> 00:28:21,719
Um You know,
1083
00:28:21,979 --> 00:28:24,290
whether it's visual effects or,
1084
00:28:24,300 --> 00:28:24,489
you know,
1085
00:28:24,500 --> 00:28:24,949
like a,
1086
00:28:24,959 --> 00:28:26,150
a helicopter shot,
1087
00:28:26,160 --> 00:28:28,199
a helicopter shot was you had to get a helicopter,
1088
00:28:28,510 --> 00:28:28,979
you know,
1089
00:28:29,050 --> 00:28:30,459
now you can have a drone,
1090
00:28:30,739 --> 00:28:31,410
you know,
1091
00:28:31,800 --> 00:28:32,380
um,
1092
00:28:32,780 --> 00:28:33,060
you know,
1093
00:28:33,069 --> 00:28:33,339
if,
1094
00:28:33,349 --> 00:28:34,329
if I wanted a,
1095
00:28:34,339 --> 00:28:35,400
a motion move,
1096
00:28:35,410 --> 00:28:35,579
you know,
1097
00:28:35,589 --> 00:28:35,819
with that,
1098
00:28:35,829 --> 00:28:37,959
that looks like a jib crane flying,
1099
00:28:38,319 --> 00:28:39,579
you gotta go get yourself a crane.
1100
00:28:39,589 --> 00:28:40,219
Now,
1101
00:28:40,390 --> 00:28:40,569
you know,
1102
00:28:40,579 --> 00:28:42,180
I could just position a couple of cameras and we,
1103
00:28:42,189 --> 00:28:43,540
we can make the move and post.
1104
00:28:44,319 --> 00:28:45,770
And I'm not saying that's easy.
1105
00:28:45,780 --> 00:28:47,469
That takes really time for folks as well.
1106
00:28:47,479 --> 00:28:50,229
But the idea that all this is possible.
1107
00:28:50,329 --> 00:28:51,219
And so what I've,
1108
00:28:51,229 --> 00:28:54,109
what I've moved to is because I used to try and figure it out,
1109
00:28:54,119 --> 00:28:54,550
you know,
1110
00:28:55,099 --> 00:28:57,050
and now I stopped figuring it out because I'm like,
1111
00:28:57,060 --> 00:28:58,290
I'm probably gonna get it wrong.
1112
00:28:58,579 --> 00:29:00,069
So,
1113
00:29:00,079 --> 00:29:00,650
uh you know,
1114
00:29:00,660 --> 00:29:07,959
I get my VP and my editor and post supervisor and V FX person and we all meet together and I say this is what I want this to look like.
1115
00:29:07,969 --> 00:29:08,790
At the end of the day,
1116
00:29:09,270 --> 00:29:10,739
you folks tell me the,
1117
00:29:10,750 --> 00:29:12,250
the smartest way to shoot this,
1118
00:29:12,329 --> 00:29:12,630
you know,
1119
00:29:12,660 --> 00:29:14,010
because again,
1120
00:29:14,020 --> 00:29:17,229
if I'm gonna guess I might guess wrong and I might guess expensive.
1121
00:29:17,270 --> 00:29:19,189
So just let's work it out.
1122
00:29:19,199 --> 00:29:19,390
But I,
1123
00:29:19,400 --> 00:29:20,839
but you're still providing that vision,
1124
00:29:20,849 --> 00:29:23,150
you're still providing that context and,
1125
00:29:23,160 --> 00:29:25,569
and I'll bring photo references or samples or whatever.
1126
00:29:25,579 --> 00:29:25,910
And they're like,
1127
00:29:25,920 --> 00:29:27,329
I want it to look exactly like this.
1128
00:29:27,339 --> 00:29:29,770
I want to look as close to that as possible or whatever.
1129
00:29:30,109 --> 00:29:30,589
And I'm,
1130
00:29:30,599 --> 00:29:33,250
I'm blown away sometimes by what they come up with,
1131
00:29:33,359 --> 00:29:33,709
you know,
1132
00:29:33,719 --> 00:29:34,500
because it's like,
1133
00:29:34,619 --> 00:29:34,650
oh,
1134
00:29:34,660 --> 00:29:35,069
that,
1135
00:29:35,079 --> 00:29:36,949
that is definitely not what I would expect.
1136
00:29:36,979 --> 00:29:37,229
So,
1137
00:29:37,239 --> 00:29:37,680
to me,
1138
00:29:37,689 --> 00:29:38,109
like,
1139
00:29:38,359 --> 00:29:39,829
that's so awesome that,
1140
00:29:39,839 --> 00:29:44,459
that we have this toolbox of ridiculous,
1141
00:29:45,099 --> 00:29:46,770
ridiculously awesome tools,
1142
00:29:46,780 --> 00:29:46,989
you know,
1143
00:29:47,000 --> 00:29:47,189
to,
1144
00:29:47,199 --> 00:29:48,270
to create stories with.
1145
00:29:49,000 --> 00:29:49,510
Well,
1146
00:29:49,520 --> 00:29:50,890
this has been great Bill.
1147
00:29:50,900 --> 00:29:51,209
I mean,
1148
00:29:51,219 --> 00:29:52,569
you literally are,
1149
00:29:52,579 --> 00:29:54,239
are a wealth of knowledge.
1150
00:29:54,250 --> 00:29:54,569
I mean,
1151
00:29:54,579 --> 00:29:54,800
you know,
1152
00:29:54,810 --> 00:29:56,369
so much about filmmaking,
1153
00:29:56,380 --> 00:29:57,829
probably more than anyone that I've,
1154
00:29:57,839 --> 00:29:58,780
I've met in,
1155
00:29:58,790 --> 00:30:00,930
in Hollywood in the many years that I've worked there.
1156
00:30:01,130 --> 00:30:05,849
And um and I'm very honored to be able to be working with you with and Joseph on a,
1157
00:30:05,859 --> 00:30:08,810
on an upcoming project that we're doing collectively together.
1158
00:30:08,819 --> 00:30:09,780
So that,
1159
00:30:09,790 --> 00:30:10,130
that's,
1160
00:30:10,140 --> 00:30:11,589
that's an amazing thing to me.
1161
00:30:12,430 --> 00:30:12,709
No.
1162
00:30:12,719 --> 00:30:14,040
Thank you guys so much.
1163
00:30:14,050 --> 00:30:14,380
I'm,
1164
00:30:14,390 --> 00:30:15,439
I'm a big fan.
1165
00:30:15,449 --> 00:30:23,119
Uh I think is a really fun series and uh I think there's a lot of uh deep storytelling to be done with that as well.
1166
00:30:23,130 --> 00:30:26,280
So let's go conquer the world with it.
1167
00:30:26,979 --> 00:30:27,209
All right,
1168
00:30:27,369 --> 00:30:28,400
we'll talk to you soon.
1169
00:30:29,069 --> 00:30:29,469
All right.
1170
00:30:29,479 --> 00:30:30,089
Peace and love,
1171
00:30:30,099 --> 00:30:30,520
gentlemen.
1172
00:30:30,530 --> 00:30:30,930
Thank you.
1173
00:30:31,479 --> 00:30:31,839
Thank you.
1174
00:30:32,939 --> 00:30:35,959
You know how much wealth of knowledge there was and what he was saying,
1175
00:30:36,439 --> 00:30:36,449
oh,
1176
00:30:36,510 --> 00:30:37,430
my goodness.
1177
00:30:37,439 --> 00:30:41,579
There's for a young filmmaker just to sit and listen to that.
1178
00:30:41,589 --> 00:30:42,020
I mean,
1179
00:30:42,339 --> 00:30:44,329
but just the fact of the volume,
1180
00:30:44,339 --> 00:30:49,699
like when you're working on a 202 $100 million movie as a director or in any capacity.
1181
00:30:49,709 --> 00:30:50,150
Right.
1182
00:30:50,160 --> 00:30:51,150
That's a big deal.
1183
00:30:51,300 --> 00:30:51,479
No,
1184
00:30:51,489 --> 00:30:52,040
definitely,
1185
00:30:52,050 --> 00:30:53,729
definitely build huge,
1186
00:30:53,739 --> 00:30:55,430
huge wealth of knowledge.
1187
00:30:55,439 --> 00:30:55,449
Uh,
1188
00:30:55,459 --> 00:30:56,430
not only,
1189
00:30:56,459 --> 00:30:57,829
not only in,
1190
00:30:57,839 --> 00:30:57,849
uh,
1191
00:30:57,859 --> 00:30:58,469
you know what,
1192
00:30:58,479 --> 00:31:04,099
it's like being a director in Hollywood but kind of how you get there and it's kind of a hodgepodge how you can get,
1193
00:31:04,109 --> 00:31:04,280
you know,
1194
00:31:04,290 --> 00:31:05,229
when I asked him the question,
1195
00:31:05,239 --> 00:31:08,219
what was his aha moment of when he made it and his answer to that?
1196
00:31:08,229 --> 00:31:08,489
Right.
1197
00:31:08,500 --> 00:31:08,819
It's like,
1198
00:31:08,829 --> 00:31:08,859
well,
1199
00:31:08,869 --> 00:31:10,140
I still haven't made it yet.
1200
00:31:10,150 --> 00:31:13,020
He just felt that way despite the projects he's been involved with,
1201
00:31:13,030 --> 00:31:13,760
despite the,
1202
00:31:13,959 --> 00:31:16,050
the amount of time he's spent doing this,
1203
00:31:16,140 --> 00:31:16,420
I mean,
1204
00:31:16,430 --> 00:31:19,660
that's a midwestern value perhaps that he still feels that way.
1205
00:31:19,670 --> 00:31:21,500
But it's funny you say that because like when,
1206
00:31:21,510 --> 00:31:22,290
when we're out there,
1207
00:31:22,300 --> 00:31:24,890
we hear that from people who work in Hollywood,
1208
00:31:24,900 --> 00:31:29,790
they say we love people from the midwest because they get shit done.
1209
00:31:29,800 --> 00:31:30,439
Like there's,
1210
00:31:30,780 --> 00:31:31,550
it's like not,
1211
00:31:31,560 --> 00:31:32,550
it's a lot of,
1212
00:31:32,579 --> 00:31:34,709
a lot of it's that work ethic,
1213
00:31:34,719 --> 00:31:34,800
right?
1214
00:31:34,810 --> 00:31:36,030
They're fairly humble about it,
1215
00:31:36,040 --> 00:31:36,219
right?
1216
00:31:36,229 --> 00:31:37,229
It's all about me.
1217
00:31:37,239 --> 00:31:37,390
Yeah.
1218
00:31:37,400 --> 00:31:37,599
No,
1219
00:31:37,609 --> 00:31:41,189
it's blocking in and like we need to get so we've gotta get this done today.
1220
00:31:41,199 --> 00:31:45,949
So let's break it down and let's let's execute when you start working at 14,
1221
00:31:45,959 --> 00:31:47,500
15 years of age.
1222
00:31:47,510 --> 00:31:47,910
You know,
1223
00:31:47,920 --> 00:31:48,479
I know you guys,
1224
00:31:48,849 --> 00:31:49,150
I mean,
1225
00:31:49,160 --> 00:31:50,770
I worked in the corn fields,
1226
00:31:50,780 --> 00:31:51,030
you know,
1227
00:31:51,300 --> 00:31:51,989
dessel corn,
1228
00:31:52,000 --> 00:31:52,390
those were,
1229
00:31:52,400 --> 00:31:53,369
those were hard,
1230
00:31:53,380 --> 00:31:54,489
hard jobs.
1231
00:31:55,209 --> 00:31:55,810
People,
1232
00:31:56,709 --> 00:31:57,920
I mean,
1233
00:31:58,770 --> 00:31:59,270
people,
1234
00:31:59,339 --> 00:32:01,420
people that you said they were 70 years old,
1235
00:32:01,430 --> 00:32:02,844
they had people that were working for him.
1236
00:32:02,854 --> 00:32:04,285
That's incredible.
1237
00:32:04,295 --> 00:32:04,505
I mean,
1238
00:32:04,515 --> 00:32:08,405
but when you come from that working class and then you go out there,
1239
00:32:08,484 --> 00:32:09,925
it is definitely different.
1240
00:32:10,125 --> 00:32:10,604
I mean,
1241
00:32:10,614 --> 00:32:13,464
those are the people that I see running a lot of the,
1242
00:32:13,474 --> 00:32:14,685
uh these corporations.
1243
00:32:14,905 --> 00:32:16,645
So because it is a business,
1244
00:32:16,655 --> 00:32:16,905
here's,
1245
00:32:16,915 --> 00:32:17,064
well,
1246
00:32:17,074 --> 00:32:18,185
here's what struck me,
1247
00:32:18,194 --> 00:32:19,925
here's what struck me about what Bill said it,
1248
00:32:19,935 --> 00:32:25,964
it um echoes what you said earlier about filmmaking.
1249
00:32:25,974 --> 00:32:29,949
It's they call it a production because you are building,
1250
00:32:29,959 --> 00:32:31,069
you're assembling.
1251
00:32:31,229 --> 00:32:33,010
And like from what I heard,
1252
00:32:33,020 --> 00:32:36,930
what he was saying is the process of filmmaking.
1253
00:32:36,939 --> 00:32:37,719
It is,
1254
00:32:38,050 --> 00:32:38,969
it is a process,
1255
00:32:38,979 --> 00:32:40,050
there is a way you do it,
1256
00:32:40,060 --> 00:32:43,989
it is a building an assembly and a design and all those,
1257
00:32:44,060 --> 00:32:44,310
you know,
1258
00:32:44,319 --> 00:32:46,229
all those things uh which I find,
1259
00:32:46,239 --> 00:32:49,150
which I find fascinating what I find really respectful of,
1260
00:32:49,160 --> 00:32:50,910
of somebody like this is as I mentioned,
1261
00:32:50,920 --> 00:32:51,069
the,
1262
00:32:51,079 --> 00:32:52,300
the managing of people,
1263
00:32:52,599 --> 00:32:52,880
right?
1264
00:32:52,890 --> 00:32:54,609
You have the managing of people of all different types,
1265
00:32:54,619 --> 00:32:55,420
you have your actors,
1266
00:32:55,430 --> 00:32:56,849
you have your grips,
1267
00:32:56,859 --> 00:32:58,170
you have everybody in between,
1268
00:32:58,250 --> 00:33:01,619
but also you're managing the actual visual,
1269
00:33:01,630 --> 00:33:02,380
audio,
1270
00:33:02,599 --> 00:33:05,579
technical aspect of that production as well.
1271
00:33:05,589 --> 00:33:07,819
So it's people and technology,
1272
00:33:07,829 --> 00:33:08,089
it's,
1273
00:33:08,099 --> 00:33:10,439
it's all this put together and pulling that together.
1274
00:33:10,449 --> 00:33:12,719
That that's why you see a lot of names,
1275
00:33:12,729 --> 00:33:13,119
you know,
1276
00:33:13,130 --> 00:33:14,000
in the credits,
1277
00:33:14,290 --> 00:33:14,300
uh,
1278
00:33:14,310 --> 00:33:15,459
for different people,
1279
00:33:15,469 --> 00:33:15,739
like,
1280
00:33:15,750 --> 00:33:15,900
you know,
1281
00:33:15,910 --> 00:33:16,979
they've worked together many,
1282
00:33:16,989 --> 00:33:18,310
many times over and over again,
1283
00:33:18,319 --> 00:33:19,260
like Jon Favreau for,
1284
00:33:19,270 --> 00:33:20,020
for example,
1285
00:33:20,030 --> 00:33:21,829
and the Mandalorian and he,
1286
00:33:21,839 --> 00:33:21,859
um,
1287
00:33:21,869 --> 00:33:23,020
a lot of the people,
1288
00:33:23,030 --> 00:33:23,619
you know,
1289
00:33:23,630 --> 00:33:28,280
you actually worked on Iron Man and that as well so that you see that commonality and why,
1290
00:33:28,290 --> 00:33:31,180
because they want to work with the people that they can trust.
1291
00:33:31,189 --> 00:33:32,410
They'll said it clearly.
1292
00:33:32,530 --> 00:33:33,060
Um,
1293
00:33:33,069 --> 00:33:34,180
and if you're doing anything,
1294
00:33:34,189 --> 00:33:36,119
it doesn't really matter whether you're starting a small business,
1295
00:33:36,130 --> 00:33:37,449
a pizza shop or whatever,
1296
00:33:37,459 --> 00:33:43,040
you have to surround yourself with people that you can trust and that can do the work and get things done.
1297
00:33:43,310 --> 00:33:44,339
And if they can't,
1298
00:33:44,349 --> 00:33:44,880
that's the,
1299
00:33:44,890 --> 00:33:46,750
those are the wrong people to hang out with,
1300
00:33:47,239 --> 00:33:47,599
you know,
1301
00:33:47,609 --> 00:33:48,479
and leadership.
1302
00:33:48,489 --> 00:33:48,619
He,
1303
00:33:48,630 --> 00:33:49,689
he also hit on this too.
1304
00:33:49,699 --> 00:33:50,619
Leadership.
1305
00:33:50,630 --> 00:33:54,640
It's not about bossing people around leadership is about service.
1306
00:33:54,650 --> 00:33:57,079
It's where you actually are helping the people around.
1307
00:33:57,089 --> 00:33:57,760
You rise up.
1308
00:33:57,770 --> 00:33:59,099
It's the best they can be.
1309
00:33:59,739 --> 00:34:00,640
We didn't ask this.
1310
00:34:00,650 --> 00:34:01,000
I'm sorry,
1311
00:34:01,010 --> 00:34:02,300
we didn't ask this when we had him on.
1312
00:34:02,310 --> 00:34:03,839
But what's the best way to,
1313
00:34:03,849 --> 00:34:07,560
to look up Bill and find out what he's doing and projects and everything?
1314
00:34:07,930 --> 00:34:07,949
Yeah.
1315
00:34:08,239 --> 00:34:08,330
Um,
1316
00:34:08,340 --> 00:34:08,780
well,
1317
00:34:08,790 --> 00:34:09,669
I know his uh,
1318
00:34:09,699 --> 00:34:12,520
beach glass films dot com.
1319
00:34:12,530 --> 00:34:14,760
That's Bill's his production company,
1320
00:34:14,899 --> 00:34:15,290
his brother.
1321
00:34:15,610 --> 00:34:15,739
Yeah,
1322
00:34:15,750 --> 00:34:16,760
him and his brother,
1323
00:34:16,770 --> 00:34:17,560
him and his brother.
1324
00:34:17,570 --> 00:34:17,679
Yeah.
1325
00:34:18,000 --> 00:34:22,020
So you guys got kind of sparked an idea in my head that I,
1326
00:34:22,030 --> 00:34:23,260
I gotta get out.
1327
00:34:23,300 --> 00:34:24,469
Um uh oh no,
1328
00:34:24,479 --> 00:34:24,729
this,
1329
00:34:24,739 --> 00:34:25,250
this whole,
1330
00:34:25,260 --> 00:34:27,750
this whole idea like you said about trust,
1331
00:34:27,760 --> 00:34:28,280
right?
1332
00:34:28,290 --> 00:34:28,899
To me,
1333
00:34:28,909 --> 00:34:30,949
I always think I'm thinking in terms of story.
1334
00:34:30,959 --> 00:34:32,189
So the story craft,
1335
00:34:32,209 --> 00:34:35,159
the story craft of what it takes to make a film,
1336
00:34:35,169 --> 00:34:39,219
which means you have to put a team together and there's a process and it's a,
1337
00:34:39,239 --> 00:34:40,540
it's truly is a,
1338
00:34:40,550 --> 00:34:41,949
a production.
1339
00:34:41,959 --> 00:34:42,620
And Steve,
1340
00:34:42,629 --> 00:34:47,800
you said the propensity for people to work with people that they trust.
1341
00:34:48,090 --> 00:34:49,300
Um part of it,
1342
00:34:49,310 --> 00:34:50,550
part of that trust,
1343
00:34:50,560 --> 00:34:50,570
I,
1344
00:34:50,580 --> 00:34:54,419
I believe in the story craft is now the creative part.
1345
00:34:54,429 --> 00:34:59,260
It's like you need to understand that person's creativity and what their,
1346
00:34:59,659 --> 00:35:01,120
you know what their end game is,
1347
00:35:01,129 --> 00:35:01,620
right?
1348
00:35:01,780 --> 00:35:02,129
Like,
1349
00:35:02,139 --> 00:35:03,719
and you wouldn't know that right out of the gate.
1350
00:35:03,729 --> 00:35:08,820
But Bill said he likes working with his brother because his brother knows what he's looking for.
1351
00:35:08,830 --> 00:35:09,959
So he could probably,
1352
00:35:10,270 --> 00:35:14,439
they could probably finish each other's sentences and like in the,
1353
00:35:14,449 --> 00:35:15,439
in the storytelling,
1354
00:35:15,449 --> 00:35:20,370
in the story craft and the story making that is such an advantage on so many fronts,
1355
00:35:20,379 --> 00:35:22,219
not only on the business side,
1356
00:35:22,229 --> 00:35:26,739
being able to produce that film or produce that book or show or whatever,
1357
00:35:27,070 --> 00:35:33,080
but also the creativity to find someone that their creativity resonates with your creativity.
1358
00:35:33,090 --> 00:35:33,409
How do you,
1359
00:35:33,419 --> 00:35:36,479
how do you guys do that with your own stories when you're writing stories?
1360
00:35:36,489 --> 00:35:37,639
When you're creating stories?
1361
00:35:37,649 --> 00:35:37,780
How,
1362
00:35:37,790 --> 00:35:38,610
how do you do that.
1363
00:35:38,760 --> 00:35:39,639
I was gonna say,
1364
00:35:39,649 --> 00:35:40,120
I mean,
1365
00:35:40,139 --> 00:35:42,219
literally you use a sports analogy.
1366
00:35:42,229 --> 00:35:43,300
Uh It's like a relay,
1367
00:35:44,370 --> 00:35:44,709
you know,
1368
00:35:44,719 --> 00:35:45,100
like I,
1369
00:35:45,110 --> 00:35:46,540
I do a lot of stuff,
1370
00:35:46,550 --> 00:35:46,739
you know,
1371
00:35:46,750 --> 00:35:49,719
and a lot of writing with Joseph and it's effortless.
1372
00:35:50,229 --> 00:35:51,389
I'll write apart.
1373
00:35:51,399 --> 00:35:55,399
He'll write a part and then somehow I don't know how it happens.
1374
00:35:55,409 --> 00:35:56,040
It's just,
1375
00:35:56,219 --> 00:35:57,560
they sink together and,
1376
00:35:57,570 --> 00:35:57,600
and,
1377
00:35:57,610 --> 00:35:59,860
and then when I go back and read a lot of the stuff,
1378
00:35:59,870 --> 00:36:02,100
it's like they were written by one person.
1379
00:36:02,260 --> 00:36:06,620
That's when you truly know that you've put together a team of individuals that you know,
1380
00:36:06,629 --> 00:36:06,889
that are,
1381
00:36:06,899 --> 00:36:09,219
are connected on that level.
1382
00:36:09,229 --> 00:36:10,550
And that's not easy to do.
1383
00:36:10,560 --> 00:36:10,959
You have to,
1384
00:36:10,969 --> 00:36:11,080
to,
1385
00:36:11,090 --> 00:36:12,100
to do that.
1386
00:36:12,110 --> 00:36:12,500
You have to,
1387
00:36:12,510 --> 00:36:14,040
I spend a lot of time with Joseph.
1388
00:36:14,500 --> 00:36:15,620
According to Laurie,
1389
00:36:17,229 --> 00:36:18,250
I was gonna ask,
1390
00:36:18,290 --> 00:36:18,489
you know,
1391
00:36:19,659 --> 00:36:23,429
we are dating now as Bill said,
1392
00:36:24,330 --> 00:36:24,719
OK,
1393
00:36:24,729 --> 00:36:28,199
so the uh the gay straight guys that I know my wife,
1394
00:36:28,209 --> 00:36:29,389
Julia says she's like,
1395
00:36:29,399 --> 00:36:29,409
uh,
1396
00:36:29,419 --> 00:36:32,280
oh your girlfriends on the phone really?
1397
00:36:32,290 --> 00:36:33,199
Stop it.
1398
00:36:34,639 --> 00:36:35,229
Anyhoo,
1399
00:36:35,239 --> 00:36:39,129
curse my girlfriend abominable.
1400
00:36:41,290 --> 00:36:41,739
No,
1401
00:36:42,169 --> 00:36:43,310
wait,
1402
00:36:43,320 --> 00:36:43,639
no,
1403
00:36:43,649 --> 00:36:44,179
no,
1404
00:36:44,189 --> 00:36:44,260
no,
1405
00:36:44,270 --> 00:36:44,659
no,
1406
00:36:44,669 --> 00:36:44,889
no.
1407
00:36:44,899 --> 00:36:45,409
This is really,
1408
00:36:45,419 --> 00:36:46,800
this is really important because it's,
1409
00:36:46,810 --> 00:36:56,229
it's finding people that you have an affinity for a deep level of trust and understanding that you find a way to work with uh both personally and professionally.
1410
00:36:56,239 --> 00:36:58,520
And so Steve said he doesn't know how it comes together.
1411
00:36:58,530 --> 00:37:03,370
I this is how I know it comes together because someone again at the end of the day,
1412
00:37:03,379 --> 00:37:04,899
someone has to own the story,
1413
00:37:04,909 --> 00:37:05,370
right?
1414
00:37:05,379 --> 00:37:05,899
So,
1415
00:37:06,159 --> 00:37:06,760
um you know,
1416
00:37:06,770 --> 00:37:09,040
we worked on uh Jack's Medal.
1417
00:37:09,050 --> 00:37:12,340
So this was Steve's story about his great uncle and I know he's,
1418
00:37:12,350 --> 00:37:13,540
he's talked about it before.
1419
00:37:13,550 --> 00:37:21,100
But um it was really his personal story along with the story of his great uncle coming over from England and winning the fa cup.
1420
00:37:21,110 --> 00:37:21,489
And you know,
1421
00:37:21,500 --> 00:37:22,239
all these,
1422
00:37:22,260 --> 00:37:23,239
all these great things,
1423
00:37:23,250 --> 00:37:25,379
but it was a deeply personal story.
1424
00:37:25,590 --> 00:37:26,500
So you,
1425
00:37:26,510 --> 00:37:27,110
you know,
1426
00:37:27,439 --> 00:37:29,199
I had to give Steve the room,
1427
00:37:29,209 --> 00:37:30,570
it was his story.
1428
00:37:30,750 --> 00:37:31,520
But he was,
1429
00:37:31,530 --> 00:37:31,899
you know,
1430
00:37:31,909 --> 00:37:32,659
I finally said,
1431
00:37:32,669 --> 00:37:33,080
like he said,
1432
00:37:33,090 --> 00:37:34,270
I got to get this story out,
1433
00:37:34,280 --> 00:37:35,679
but he was so close to it.
1434
00:37:35,899 --> 00:37:36,239
I said,
1435
00:37:36,250 --> 00:37:36,580
listen,
1436
00:37:36,590 --> 00:37:39,239
just get something out and I'll,
1437
00:37:39,250 --> 00:37:40,939
I'll provide the framework and the stuff,
1438
00:37:41,159 --> 00:37:42,439
objective lens that you could,
1439
00:37:42,739 --> 00:37:42,860
yeah,
1440
00:37:42,870 --> 00:37:42,879
I,
1441
00:37:42,889 --> 00:37:42,909
I'll,
1442
00:37:42,919 --> 00:37:45,389
I'll like help in the,
1443
00:37:45,399 --> 00:37:46,479
in the crafting of it.
1444
00:37:46,489 --> 00:37:47,010
But the,
1445
00:37:47,020 --> 00:37:47,120
the,
1446
00:37:47,129 --> 00:37:48,320
the heart of it,
1447
00:37:48,570 --> 00:37:48,770
the,
1448
00:37:48,780 --> 00:37:50,600
the spirit of the story,
1449
00:37:50,610 --> 00:37:56,149
he had to take ownership and he did take ownership of it and that's the way we're able to work together because,
1450
00:37:56,379 --> 00:37:56,729
you know,
1451
00:37:56,739 --> 00:37:57,250
I,
1452
00:37:57,260 --> 00:38:00,199
I stepped back and allowed him like that,
1453
00:38:00,209 --> 00:38:04,219
that creative space and that personal space.
1454
00:38:04,229 --> 00:38:05,129
Um and,
1455
00:38:05,139 --> 00:38:06,520
and took the role of like,
1456
00:38:06,530 --> 00:38:08,879
I'm gonna be more like the sort of the,
1457
00:38:08,929 --> 00:38:09,239
yeah,
1458
00:38:10,620 --> 00:38:12,439
the former and the shaper,
1459
00:38:12,449 --> 00:38:12,879
right?
1460
00:38:12,889 --> 00:38:13,139
And,
1461
00:38:13,149 --> 00:38:14,159
and conversely like,
1462
00:38:14,169 --> 00:38:14,419
you know,
1463
00:38:14,429 --> 00:38:14,580
you know,
1464
00:38:14,590 --> 00:38:15,280
we've done that,
1465
00:38:15,290 --> 00:38:15,439
you know,
1466
00:38:15,449 --> 00:38:16,419
we've done that with,
1467
00:38:16,429 --> 00:38:17,239
with other things.
1468
00:38:17,250 --> 00:38:17,389
Yeah.
1469
00:38:17,399 --> 00:38:17,689
So,
1470
00:38:17,699 --> 00:38:18,820
but at the end of the day,
1471
00:38:18,830 --> 00:38:19,250
like,
1472
00:38:19,260 --> 00:38:19,360
you know,
1473
00:38:19,370 --> 00:38:20,510
Bill is a director.
1474
00:38:20,520 --> 00:38:21,580
Someone's got to own it,
1475
00:38:21,590 --> 00:38:21,870
like,
1476
00:38:21,879 --> 00:38:22,439
own it.
1477
00:38:23,199 --> 00:38:23,459
Well,
1478
00:38:23,469 --> 00:38:24,790
what's interesting about Jack's Medal?
1479
00:38:24,800 --> 00:38:24,909
And I,
1480
00:38:24,919 --> 00:38:25,570
I think I,
1481
00:38:25,580 --> 00:38:27,290
I'd love to close with this part of it.
1482
00:38:27,300 --> 00:38:27,719
Is that,
1483
00:38:27,840 --> 00:38:29,469
that forward that you wrote,
1484
00:38:29,820 --> 00:38:34,389
that was from the perception of Jack even though he wasn't alive anymore.
1485
00:38:34,399 --> 00:38:34,810
Right.
1486
00:38:34,820 --> 00:38:35,159
Right.
1487
00:38:35,179 --> 00:38:35,879
So,
1488
00:38:35,889 --> 00:38:38,229
so I would remember I asked you to,
1489
00:38:38,239 --> 00:38:38,830
to write,
1490
00:38:38,840 --> 00:38:39,290
I do.
1491
00:38:39,320 --> 00:38:39,679
In fact,
1492
00:38:39,689 --> 00:38:40,370
I wrote it,
1493
00:38:40,409 --> 00:38:40,810
I did.
1494
00:38:40,820 --> 00:38:44,050
But this turned out even better in my opinion because,
1495
00:38:44,379 --> 00:38:45,010
well,
1496
00:38:45,020 --> 00:38:51,610
it was just a thought that I had him and like the only person that can write the forward to this book is Jack.
1497
00:38:52,449 --> 00:38:53,020
But then I thought,
1498
00:38:53,030 --> 00:38:53,260
well,
1499
00:38:53,270 --> 00:38:54,260
but he's dead.
1500
00:38:54,290 --> 00:38:54,909
It's a problem.
1501
00:38:54,919 --> 00:38:56,770
How can that happen?
1502
00:38:57,419 --> 00:38:59,040
So I wrote just a,
1503
00:38:59,050 --> 00:39:02,459
I jotted down a bunch of notes and I called Joseph and I said,
1504
00:39:02,469 --> 00:39:03,060
Joseph,
1505
00:39:04,030 --> 00:39:05,679
somehow through the Ether,
1506
00:39:05,689 --> 00:39:07,040
Jack has to write this.
1507
00:39:07,419 --> 00:39:13,129
And so he took the notes that I had and he wrote it back and I made a few modifications to it after that.
1508
00:39:13,139 --> 00:39:14,320
And it's,
1509
00:39:14,330 --> 00:39:16,600
it literally was written through the ether.
1510
00:39:16,610 --> 00:39:16,840
I mean,
1511
00:39:16,850 --> 00:39:18,310
it was that,
1512
00:39:18,330 --> 00:39:22,909
that's one of the most amazing things that I've ever worked with him on is just that forward,
1513
00:39:23,239 --> 00:39:23,540
you know,
1514
00:39:23,550 --> 00:39:24,320
forget the rest of the book.
1515
00:39:24,330 --> 00:39:25,489
But the rest of the book is I like,
1516
00:39:25,500 --> 00:39:26,310
it's a good book.
1517
00:39:26,320 --> 00:39:27,320
I think it's a great story.
1518
00:39:27,330 --> 00:39:28,169
But but the,
1519
00:39:28,179 --> 00:39:28,689
but that,
1520
00:39:28,699 --> 00:39:30,899
that forward is so unique because I don't know,
1521
00:39:30,909 --> 00:39:35,429
a lot of books that have the forward written by someone that's dead and the way it was done,
1522
00:39:35,439 --> 00:39:36,379
it was phenomenal,
1523
00:39:36,389 --> 00:39:36,969
in my opinion,
1524
00:39:36,979 --> 00:39:37,120
right?
1525
00:39:37,129 --> 00:39:38,610
It was much better than what I could have wrote.
1526
00:39:38,979 --> 00:39:40,040
But that said,
1527
00:39:40,110 --> 00:39:42,385
imagine the filmmaking side of that,
1528
00:39:42,395 --> 00:39:42,504
right?
1529
00:39:42,514 --> 00:39:48,425
If you were to take that book and that story and make that film and make that forward that part of that film,
1530
00:39:48,445 --> 00:39:49,675
you have to be able to that.
1531
00:39:49,685 --> 00:39:51,574
Here's the omniscient narrator,
1532
00:39:51,584 --> 00:39:52,024
right?
1533
00:39:52,044 --> 00:39:53,235
Like the unseen one,
1534
00:39:53,245 --> 00:39:53,665
when you,
1535
00:39:53,675 --> 00:39:55,625
you can see the visual of,
1536
00:39:55,705 --> 00:39:56,044
you know,
1537
00:39:56,054 --> 00:39:57,915
a desk with someone with a,
1538
00:39:57,925 --> 00:39:59,534
an old ink pen and,
1539
00:39:59,735 --> 00:39:59,955
you know,
1540
00:39:59,965 --> 00:40:01,104
writing out in cursive,
1541
00:40:01,114 --> 00:40:01,395
you know,
1542
00:40:01,405 --> 00:40:01,804
this,
1543
00:40:01,814 --> 00:40:04,344
the thoughts of like I'm dead now or whatever.
1544
00:40:04,354 --> 00:40:04,375
I,
1545
00:40:04,385 --> 00:40:04,665
you know,
1546
00:40:04,675 --> 00:40:08,064
they did that uh series of unfortunate events.
1547
00:40:08,264 --> 00:40:16,659
Um that whole series was like that where you had the the narrator was this sort of mysterious person that was guiding you through the story,
1548
00:40:16,669 --> 00:40:17,699
through the story.
1549
00:40:17,709 --> 00:40:17,939
And,
1550
00:40:17,949 --> 00:40:20,620
and you and Jack was that was that character?
1551
00:40:20,629 --> 00:40:20,739
I mean,
1552
00:40:20,750 --> 00:40:21,280
because when I,
1553
00:40:21,290 --> 00:40:27,320
when Steve gave me the notes and I wrote that um that intro uh that forward,
1554
00:40:27,330 --> 00:40:28,639
I wrote it like,
1555
00:40:28,649 --> 00:40:30,250
like a character,
1556
00:40:30,260 --> 00:40:30,959
like this is a character,
1557
00:40:30,969 --> 00:40:32,239
this is the character,
1558
00:40:32,250 --> 00:40:36,939
like there has to be some sort of mystery and humor and it had to be representative of,
1559
00:40:36,949 --> 00:40:40,290
of what Jack's personality was probably like.
1560
00:40:40,300 --> 00:40:42,360
And Steve and I had multiple discussions about that and then,
1561
00:40:42,370 --> 00:40:42,679
yeah,
1562
00:40:42,989 --> 00:40:43,100
um,
1563
00:40:43,110 --> 00:40:43,919
it came out,
1564
00:40:43,929 --> 00:40:44,790
it came out great.
1565
00:40:44,800 --> 00:40:45,120
So,
1566
00:40:45,129 --> 00:40:46,770
before we wrap up,
1567
00:40:46,780 --> 00:40:48,520
we've got to circle back about Kurt.
1568
00:40:48,530 --> 00:40:49,620
Your favorite movie?
1569
00:40:49,629 --> 00:40:50,810
My favorite movie.
1570
00:40:50,820 --> 00:40:50,939
So,
1571
00:40:50,949 --> 00:40:51,979
we've heard yours,
1572
00:40:51,989 --> 00:40:52,219
right?
1573
00:40:52,229 --> 00:40:53,239
We've heard both of yours.
1574
00:40:53,679 --> 00:40:54,250
Um,
1575
00:40:54,260 --> 00:40:58,969
this is uncharacteristic for somebody like me who has a strong sports background.
1576
00:40:58,979 --> 00:40:59,139
You know,
1577
00:40:59,149 --> 00:40:59,389
I'm,
1578
00:40:59,399 --> 00:41:00,570
I'm big and burly.
1579
00:41:00,580 --> 00:41:00,709
I'm,
1580
00:41:00,719 --> 00:41:01,899
I'm abominable,
1581
00:41:01,909 --> 00:41:04,389
I believe is what you addressed me as earlier.
1582
00:41:04,689 --> 00:41:07,070
Uh my favorite movie of all time Bar and,
1583
00:41:07,080 --> 00:41:10,520
and sometimes my kids laugh at me because we'll play it in the house.
1584
00:41:10,530 --> 00:41:11,810
Is the sound of music.
1585
00:41:12,320 --> 00:41:13,169
And here's why I,
1586
00:41:13,689 --> 00:41:15,659
I've been to where they tape it at in Austria.
1587
00:41:15,669 --> 00:41:16,889
I love that area.
1588
00:41:17,090 --> 00:41:18,189
I love music.
1589
00:41:18,770 --> 00:41:19,820
I love the story.
1590
00:41:19,830 --> 00:41:20,800
It's got the drama,
1591
00:41:20,810 --> 00:41:22,120
it's got the love line,
1592
00:41:22,209 --> 00:41:23,590
it's got the war,
1593
00:41:23,600 --> 00:41:23,810
right?
1594
00:41:23,820 --> 00:41:28,649
It's got all this going on and somehow they put it all together with beautiful music,
1595
00:41:28,659 --> 00:41:30,239
with beautiful scenery,
1596
00:41:30,250 --> 00:41:31,239
beautiful vis,
1597
00:41:31,250 --> 00:41:31,639
you know,
1598
00:41:31,649 --> 00:41:32,530
visionary.
1599
00:41:32,810 --> 00:41:34,820
Um That's why it's one of my favorite movies.
1600
00:41:34,889 --> 00:41:35,989
I have a theory that,
1601
00:41:36,000 --> 00:41:42,600
that our favorite movies are usually tied to some seminal uh moment of where we were in our,
1602
00:41:42,610 --> 00:41:44,060
in our lives.
1603
00:41:44,070 --> 00:41:44,629
Like that's the,
1604
00:41:44,639 --> 00:41:45,719
that's the emotional.
1605
00:41:45,729 --> 00:41:45,939
So,
1606
00:41:45,989 --> 00:41:46,290
let's see.
1607
00:41:46,300 --> 00:41:47,780
In 1965.
1608
00:41:47,790 --> 00:41:47,889
Yeah,
1609
00:41:47,899 --> 00:41:50,419
I don't think I would have been thinking a whole lot about it,
1610
00:41:50,429 --> 00:41:51,000
but no,
1611
00:41:51,010 --> 00:41:51,330
honestly,
1612
00:41:51,340 --> 00:41:52,060
I just love the,
1613
00:41:52,070 --> 00:41:52,870
the creativity.
1614
00:41:52,879 --> 00:41:54,419
I love the uh the music,
1615
00:41:54,429 --> 00:41:55,550
the music is a big part of it,
1616
00:41:55,560 --> 00:41:56,280
obviously.
1617
00:41:56,290 --> 00:41:57,830
And so and great acting.
1618
00:41:58,139 --> 00:41:58,270
Yeah.
1619
00:41:58,280 --> 00:41:59,199
Great acting.
1620
00:41:59,209 --> 00:41:59,939
Absolutely.
1621
00:42:00,570 --> 00:42:01,479
All right guys,
1622
00:42:01,489 --> 00:42:02,379
uh film,
1623
00:42:02,389 --> 00:42:04,100
television and storytelling,
1624
00:42:04,110 --> 00:42:05,179
we could go on forever.
1625
00:42:05,189 --> 00:42:05,739
But,
1626
00:42:05,750 --> 00:42:07,620
uh I think this is a good one.
1627
00:42:09,820 --> 00:42:10,639
Bill was awesome.
1628
00:42:10,889 --> 00:42:11,080
Great.
1629
00:42:11,510 --> 00:42:12,659
And on that note,
1630
00:42:12,669 --> 00:42:14,439
uh thanks everyone and,
1631
00:42:14,449 --> 00:42:14,469
uh,
1632
00:42:14,790 --> 00:42:16,560
we'll see you on the flip side.

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