Speaker 2: Hello and welcome to Lone Star Silver Screen, a podcast about everything that exists at the intersection of Texas and the movies. I'm your host, Austin Zuck, and today I am joined by a good friend of mine, Miss Haley Chow. Haley is the creator behind the popular Instagram account, History Undressed. She loves old Hollywood and ⁓ exploring the fashion of the times. Haley, welcome to the show.
Speaker 1: Thank you, Austin. Thank you for having me and thank you for the beautiful introduction. I love that.
Speaker 2: Well, thank you for joining me. And the reason I wanted to have you on is I have wanted to have you on for quite some time, but I wanted to find the right topic for us to discuss. timing worked out really well because the Dallas international film festival just wrapped. ⁓ talked about it a little bit on my most recent episode, but I wanted to do a. proper debrief after the fact with someone who was boots on the ground for basically the entire event and ⁓ that is you, right?
Speaker 1: That would be me, yes.
Speaker 2: So for anybody who is unfamiliar with you and your work, can you talk just a little bit about what it is you do as the person behind History Undressed?
Speaker 1: Yes, of course. I am a film and fashion historian. And ⁓ just so happened that my outlet is Instagram ⁓ sharing to the masses. so really like it's like it's great because it's basically me just doing what I love and posting about it and having other people follow follow along their journey. So if I go and see a classic film that I love, ⁓ I'll share ⁓ if I'm watching a classic film I haven't seen in a while or for the first time and I go, I do my due diligence with my deep dives, find facts on the films, costume design history, of course, and I go ahead and share that. There's really not much to what I do other than just being creative, having fun. And as I've grown, I've been able to collaborate with other like-minded people, because naturally the algorithm helps you find your people. So that's pretty much the bulk of what I do. What I do is actually very multi-hyphenate complicated. usually I have my friend Katherine next to me to explain to the person who asks, Haley, what do you do? And I just look at her and I'm like, can you please just tell me? So she, Katherine was standing next to me on the carpet all week. Dallas International Film Festival. And it's always a blast to have a buddy.
Speaker 2: And is that Catherine Forbes?
Speaker 1: That would be Katherine Forbes. Yes, we love her last name. We love her. She is the official ⁓ media coordinator, and I just want to shout her out. is absolutely incredible, did an incredible job this year, especially she always has a great job. But as we've gotten so big, and since social media has changed, social media when it comes to covering any event, it's no longer like, okay, your turnover time can be like, you know, like three to five business days. No, the turnover time has to be now. you're conducting the interview, you're already thinking about your turnover time. So that that's the most stressful part about being a press in recent years. Other than no sleep aspect of it all. but yeah, yeah. Dallas International Film Festival was phenomenal this year. It was incredible.
Speaker 2: So we're going to get into the details behind everything that you got to see and do there in just a second. But I did want to ask you when I started this show, I used to begin every episode with an icebreaker. Okay. And I, would be an over under question. So you tell me if a topic is overrated or underrated and I happened to have one come across my desk that I thought would be perfect to ask you. Okay. Are you ready?
Speaker 1: I'm so ready.
Speaker 2: Overrated, underrated, Marilyn Monroe.
Speaker 1: You cannot ask me this on her centennial year. am not going to get myself cancelled. gotten sent so many Marilyn Monroe coffee table books complimentary this year. Therefore, the answer is obviously.
Speaker 2: She's almost overrated because she's so omnipresent.
Speaker 1: Yes, let's say that. Good. Good job. Good answer. Yes.
Speaker 2: The reason I, I, this happened was I got an email from the Academy Museum in Los Angeles and they're about to open up their Marilyn Monroe exhibit for I guess the centennial. I was like, this is perfect. I'll ask Haley about Marilyn Monroe.
Speaker 1: And Hailey still wants her brand deal.
Speaker 2: Okay, that's fair. We're not going to jeopardize any deals.
Speaker 1: No, but we all love Marilyn Monroe. And I feel like this year especially, there's so much more to learn about her, like always. I feel like we're always learning about Marilyn Monroe. So that's like kind of the magic of her.
Speaker 2: Absolutely. Okay. So going to diff, let's, let's just give kind of an overview of what you're doing at diff. Like when you're there, you are working the red carpet. are interviewing filmmakers and other guests. Like you said a minute ago, you are kind of creating content in real time and figuring out how you're going to edit and post this. I mean, are you getting to attend any screenings or sit in on any Q and A's or is it. all time spent on the carpet interviewing everyone.
Speaker 1: I do not attend anything. And that is something that I think I briefly talked to you about. I talked to someone about this. But yeah, I wish I could fully enjoy the film festival for itself. Because everyone I talked to on the carpet is like, this has been such a fun festival. And I'm like, ⁓ yeah, I'm sure it is. yeah, just because there's a call time for press, And even though it is a later call time, it's a lot of energy and you're interviewing ⁓ sometimes to like 35 or plus people a day in a very short amount of time. And then ⁓ after it's time to edit. You can't run over to the Texas theater to go enjoy screening. can't ⁓ do I'm lucky enough to have screeners ⁓ that, so I ⁓ to do all of that and watch all their films before the festival. So yeah, but one of these days, hopefully I'll be able to attend ⁓ more. I like if I curated my sleep schedule and my time better, I would be able to attend a few of the Q &As. ⁓
Speaker 2: Yeah, but where's the fun in that?
Speaker 1: I know it is it's a balance because mostly when I'm invited to work a festival it's you you're working the festival you know but that gives you an all-access badge to go where go to the carpet I mean it's complicated ⁓ but right now I really I'm really enjoying it Like with Diff, especially, part of the fun of being on the carpet and being boots on the ground is being surrounded by the people you're working alongside with. And that's in itself is like its own mini festival inside a festival, if that makes sense.
Speaker 2: so something that I'm always curious about when someone is in your position and like you said you're having to talk to ⁓ of people dozens of creatives in a in a day and know Sometimes these people are people we know and they're associated with relatively ⁓ big-name projects ⁓ But lot of times you're talking to people who are attached to independent projects who maybe you're not even familiar with ahead of time unless you've happened to catch a screener what are you doing to prepare for those conversations?
Speaker 1: Yes, and I think we talked about this when we did the DMACC, but personality higher. know it's but I'm so dead serious. I perceive ⁓ the art conversation. ⁓ And I think really helps also is that I am an artist myself. So I just kind of Instead of an interview, I'm lucky that I have my own platform so I can the narrative of what I want the interview to look like and sound like. And what I want ⁓ a genuine conversation ⁓ between two ⁓ between two creatives, between two people that just simply love what they do. And proceeding with that and being in making, because I see my job as the first thing I need to do is make that person feel comfortable. Like, and think about it this way, you have three minutes until whenever the people on the red carpet, the attendees start like, you know, being like, Haley, you got to stop talking or they got to stop talking. Move ⁓ So I have whatever time that they give me. But ⁓ yeah, you want to within that short frame of time, ⁓ it's art form. If you think about it this way, you need to make them feel comfortable, let their guard down. And then also let my guard down. cause it's like a mirror almost, right? And cause good interview ⁓ means that you emotion from the filmmakers, ⁓ the talent and get them to something that they haven't shared with everybody else already on the press line. ⁓ also you want, like for me, I want to create a moment where this is meaningful and memorable for me and this made my day. And I that, I want the filmmakers to kind of walk away feeling that same way. And I feel like I've, the first year, Even though like which was my this was my third year, but even the first year I noticed that like, hey, like I think I'm pretty good at this. I want to blind completely not even understanding what a red carpet interview looked like or what it would be like. But I just learned, you know, if you just like. Just see it as like a bonding connection, then it naturally makes for really great content and it's really fun to edit the payoff for me is because. you can get jaded really quickly, stressed out really quickly because you're editing and there's so many different people and you can't remember anybody's names. You can't attach a name to a project and it gets confusing. So you get jaded really quickly, but then there's always those little reminders. I'm very lucky and I'm not trying to brag, but I'm very lucky that every single year filmmakers have found me later on like at an after party or while I'm walking around the film festival and just be like, Thank you so much for the great questions. We appreciate you so much. I've made people cry before, which makes me happy. That's the goal. And this I speaking to ⁓ the director and main actor of ⁓ afterwards, they went to the red carpet attendees ⁓ and ⁓ told that, my gosh, Haley just like, We had the best conversation. Like she made us cry. Like it was so meaningful. It was so touching. And I found that out like way later. I found that out like days later when the attendees were like, hey, ⁓ my gosh, like, we forgot to tell you. And I'm like, so that like, how can you not just how can that not be the most rewarding thing in the world, you know?
Speaker 2: Yeah, no, that that sounds incredible and something I wanted to ask you about did mention that I did a d magazine piece on you Which I did and I will include a link to that in the episode description for anyone interested in reading But sometimes when i'm doing an interview with someone I can tell ⁓ during interview whenever I get a quote that i'm like that's going in the article. That's perfect. That's a closer. That's an opener. Whatever, right? And then sometimes whenever I'm putting the article together and I'm revisiting my interview and kind of reading over the transcript, something will jump out at me and catch me by surprise. Are you ever kind of surprised whenever you go back to edit your videos or are you usually pretty clear about what you're going to use, you know, in real time when you're on the carpet?
Speaker 1: I'm usually pretty, I can tell usually pretty quickly the conversation. Cause there's always that moment. It's a moment that you just remember that flip of a moment. ⁓ And going through, I think there was this one, the ⁓ one I edited this past week that I wouldn't use the word surprise, but It did, ⁓ I guess I could be a surprise. It surprised me by how really truly moving it was, even though I knew it was moving in the moment. It was that kind of moment where like I would happily rewatch that my own interview like over and over again, because it felt like to me. ⁓ just like proud of it, you know what I mean? And so I that your question.
Speaker 2: Yes, yes, no, that's perfect and so yeah if someone is interested in in doing the kind of work you do because there is like you're saying there's an artistry to it to being able to connect with people To being able to operate in these spaces and ⁓ build genuine connections on short notice I mean what you recommend people do if they want to kind of follow in your footsteps and start ⁓ You know speaking with creatives and working red carpets themselves
Speaker 1: I would say everybody... It depends, because it's everybody does it differently and everybody, like, goes about it differently. But I think at the end of the day, everybody just wants to have a good conversation, right? So I would... I think the best advice is just to be so truly authentically yourself and in return, the filmmakers will do the same. And that's... That's what I got.
Speaker 2: Do you ever feel like, you know, you're not able to build that connection when you're on the carpet? Like, is that ever a challenge for you?
Speaker 1: Sometimes I feel like I have to push a little harder if someone's being just maybe a little flippant, is that the right word? if they walk, if they're on the carpet and they're like, I'm just here to talk about my film and I have these two talking points. And that's okay. So I don't like... Cause at the same day you have to also read the room, right? So if that, you get an inkling that that's what they want, then you go ahead and just give them what they want.
Speaker 2: So I wanted to ask as well, you this isn't the only red carpet you work at Diff, you know, I mean, you work other events, you know, they may be similar, they may be very different, but as far as the types of creatives you're interviewing, do you feel like there's anything that kind of sets Diff apart from some of the other events that you work?
Speaker 1: Yes, that would be the family. It since year one ⁓ I especially felt it year two, is ⁓ on diff team works so closely together that you just, it's an immediate bond. You never feel like left out or ⁓ like in room full of people. Everyone is there genuinely because they are excited and they love this. And I always like ⁓ walk away, whether it's a big diff or diff shorts, I always walk away just feeling like super emotional because I feel all of my feels that I just got to hang out with my family all week, my chosen family. yeah, and because for now, since it's my third year in and I work multiple festivals. know everybody. I know the press. I know all the programmers. And of course, it helps that my best friend happens to be so happy to be the lead of DIV's official social. So I kind of get inside knowledge sometimes. So I feel like that helps too. So yeah, think that's what makes DIV stands out. It's just that it's one big welcoming family.
Speaker 2: Well, and so this year, in addition to DIFF, there was another event kind of occurring concurrently, which was the Dallas Industry Conference. And this was put on jointly by DIFF and the Dallas Film Commission. a major thing that happened here was ⁓ Mike DeLuca from Warner Brothers came and gave the ⁓ And ⁓ believe you got to spend some time with him. Is that right?
Speaker 1: the the video footage anyways, because the thing is, they set up Michael DeLuca the same time that I'm supposed to be on the red carpet, the call time for the red carpet. And so I got to the red carpet, I had all my stuff set up. And then everyone's like, hey, wait, no, like Michael DeLuca is like starting in like five minutes. like, ⁓ so I pack up everything, tripod down everything, and I run over and then that's when you saw me like running. And I was, see I wasn't even aware I was supposed to be that day, okay? And just, there are no rules, okay? then, no, so when they thought I do a photo, they were like, okay, it's okay, like, Haley, it's okay, you just don't, can sit this one out. But again, because everyone knows me so well, because I'm the old Hollywood freak who is like obsessed with film and classic film and everything and every, ⁓ Warner Brothers is a huge part of that. Everyone was like, Okay, we're getting you in Haley, we got you like this is so they made it happen. So I got in and ended up sitting front row that was very last minute. Mind you, I'm supposed to be interviewing people but I was very, very happy to be able to not only hear him speak with the wonderful Danielle who we, who's incredible and a milestone moment for her, like my goodness. because I was sitting front row, it was very easy to just walk up to him afterwards and have a actually decent conversation with him. ⁓ that's a very cherished moment that I will carry because that's incredible. ⁓ of course, the personality hiring me again is the first thing was like, I swear the first thing that came out of my mouth, what was it? was like, like I think I introduced myself and I said I was a film historian and he's like, ⁓ I love film historians. And I'm like, ⁓ did you know film historians are currently beefing with ⁓ TCM? no, mean, film historians are currently beefing with Warner Brothers, pardon. Yeah, that's even worse, huh? No, here's the thing though often I I gauge here's the thing this is the art of conversation so because I had spent we had spent a good time listening to him talk for Right, right. So I gauge to silly personality and his wit and banter and his love for Diet Coke So was like, all right, I can I was like I think I can make fun of this guy So I I went up there and I did And then ⁓ after said like ⁓ well aren't film historians beefing with Warner Brothers. And then he's like, we are? And I'm like, well, is TCM going to survive? And because there's this whole discourse. I know there was a big scare several years ago that Warner Brothers was going to swallow and shut down TCM. Right. It was like a whole thing. And then he was like, no, no, no, don't worry. TCM is covered by an umbrella. it's going to be staying. And I was like, So it's also going to be like, also going to remain on HBO Max. And he was like, yes. And I'm like, okay. And then we took a picture and he's like, can I hold my diet coke? And I'm like, yes, you may. And so that was, that was my experience with Michael DeLuca.
Speaker 2: That's incredible. So I was, as you noted, I was in line because much like you, I did not get a ticket for this event. And the good people of diff very generously pulled me out of line because I did some articles and they got me a seat. So I got to see him speak. Uh, but before I went in there, someone not with diff was like, you need to behave yourself, no press. So similar to what you got with no videos, they were like, we don't want any articles or anything like that, but you get to go in. And I was like, okay, thank you. I'm fine with that. so I was well behaved and I had a great time. And ⁓ I even told that person, I was like, well, if you had let me do press, he was lovely. Like I wouldn't even have been able to write anything bad if I wanted to. But then later that evening, I was chatting with a filmmaker in line for something else and they were like, yeah, you know, my friend Haley Chow got to meet, got to meet Mike DeLuca earlier. And I was like, how did Haley get through? ⁓ I got told to behave!
Speaker 1: through the same way you got through by the good people at.
Speaker 2: They really do put on such a wonderful festival and they take such good care of everyone and I mean like was a very special moment and I'm so appreciative of them for you know finding me a seat in that room because I really wanted to be there for the keynote ⁓ even just like the other screenings that I attended because unlike you I do all of my work for diff before the festival where I'm doing like a preview piece for D magazine and then at the actual festival I'm mostly networking in between screenings, but I actually get to see some movies. But I didn't reserve tickets for most stuff, especially that first day. ⁓ they were just so great about like getting everyone in and taking care of everyone. And it was a really special event. I love that group and ⁓ so glad that Dallas has that.
Speaker 1: I forgot, I read some article yesterday that said like, like ⁓ what it? This is a flop. But it basically, it was insinuating that film festivals are like the new, like cool thing. Like kind of like, I think was reference to like movie theaters. It's like film festivals are. the next big thing, the cool thing to go to. And thing that's most important about a film festival is that it's just ⁓ ⁓ ⁓ yourself and easy to navigate and easy to get into things. And it doesn't feel like so exclusive and hoity-toity that you're like, just confused. And is like... Even though I have not been an attendee at Diff, I can tell from everyone I talked to, like, yes, it is very welcoming. it is as what's advertised. Like, here are the movies that are screening in what rooms ⁓ when to go. And you're able to go and enjoy yourself. ⁓ what some people might not know is that if they don't film festivals or if they've never been to one, a lot of the time it's just hard to even get into a screening. Right. And like, so they might say, okay, Cinderella 1950 at this theater at this time. And but what they really mean is you have to get in line three hours before to wait in line. And even if if we run out of chairs by the end, then you can't get in. So, yeah, having diff here is very, very special.
Speaker 2: So as we wrap up, something I wanted to circle back to was when you were talking to Mr. DeLuca, you mentioned TCM to him. Turner Classic Movies for anyone who is unfamiliar. And I can't imagine you're listening to this podcast if you aren't familiar, but how were resources like that to you ⁓ as budding cinephile whenever you were just kind of exploring the world of old Hollywood ⁓ that is so important to you?
Speaker 1: It was beyond important. I actually had cable up until like last year. miss cable. But had And I would record when was first starting out, I would record ⁓ every single movie that were screening of every single day. And if I didn't do that, then I would comb through and I would read all like all the little short descriptions of each film and I would record the ones that I was really interested in. And that was very important as a budding cinephile and diving into the world of old Hollywood. my last ⁓ the last place where I lived, the power would go out every so often. So the worst days were always the days where the power went out because that means everything from my T-Vote got erased. That would make me so mad. I remember one time I had collected, like, so I had, you know, saved all this from cable on Turner Fox movies and I had like Gone With the Wind on there. I had all like a list of like
Speaker 2: No!
Speaker 1: all of these like film noirs I was so excited to watch or ready to rewatch had at my hands. It was like my own personal like curated like Netflix might as well been right. It was like hours and hours and hours of movies and it was always the worst when the power would go out. I'm like I have to start again. Yes so safe to say yes TCM is very important to me.
Speaker 2: ⁓ no. So if someone is not ingrained in the world of classic film yet, I'm gonna ask you to be the spokesperson for movies released before 1990 for a second. What are they missing out on by not diving into that part of Hollywood?
Speaker 1: think they're missing out on everything to be completely honest. I spend almost every single day of my life living in 1950 and other like my friends or people around me ask me if I've seen a movie, a box office movie and I'm like, no, like I'm literally in 1950 or if they're talking about, yeah, or if they're talking about, you know, like. anything like 90s or 2000s and I'm just so I'm so out of the loop. So but I think studying the classes is so important because and Jane Fonda set this to she said this in an interview with Ben Minkowitz at one point when talking about Ted Turner, but may he rest in peace. Ted Turner passed away today on the day we're recording this podcast. Yes. ⁓ founder of Trinoclassic Movies. Watching classic films is like studying history. it's like, it's just, so a lot of people aren't familiar with like, for instance, pre-code films. Cause if you watch like a basic classic, like Casa which is probably mostly people have seen that film. Like then you know that things are ⁓ very and tame and everything. But if you go into pre-code, it's scandal, it's sex, it's... gay marriage, like it's a nudity and everything. And that was, you know, 1920s, 1930s Hollywood. And then it all got erased when we went moved into Hayes code, which is when they were censoring what could be shown on screen. So if more people knew about that, then maybe they would understand the intricacies of how history repeats itself and how groundbreaking as they might say it, like the films of today were, well, it's been done before, just in 1920, you just didn't know about it.
Speaker 2: I think that is a great point. And something that I loved when I first started exploring films from the late twenties and the early thirties was, you know, sometimes you watch something and you're like, we never, we improve upon this. Like this ⁓ set tone for, you know, every ⁓ thriller how it's edited up to today. ⁓ And it's whenever you go back that far, ⁓ how the films can feel. And I don't think people expect that. And I will also tell you that after I interviewed you for the D magazine piece, you inspired me to go back and do some digging into pre-code Hollywood. So I've literally got a list of pre-code films I need to check out. And occasionally I'll pull up the, the Criterion channel, one of my go-tos and they'll have pre-code collections available. And I've been checking out some of those movies. And my goal is to watch a solid number of those. want to do like 20 this year. just to broaden my palette. And that is all your influence.
Speaker 1: I'm so glad. Well, thank you. That means a lot to me. Thank you. Was it surprising when you watched your first pre-code?
Speaker 2: I was shocked, honestly. the ones that I had seen up to this point, I had seen some films from that time, but they were the classics, right? The ones that everyone cites, like, know, Passion of Joan of Arc or whatever, and and some of those movies. This was my first time going back and watching one that isn't totemic, you And it was like, this is just a movie that has survived from this time. ⁓ And like were saying, it is kind of... crazy to go back that far and see them, you know, having kind of frank discussions about sex and being very open about these topics that for the next 30, 35 years, Hollywood wouldn't touch with a nine foot pole.
Speaker 1: Mm-hmm, yeah. Well, first of all, thank you. That's such a huge compliment. And I also need to shout out my other friend, Samantha, who I met 10 years ago over the internet. And she is, because my at that time was like 40s and ⁓ 50s, she was always 20s and ⁓ 30s. she actually indoctrinated me into Greek code. And that's what I love about having cinephile friends is that you get to... kind of introduce each other to movies, which is kind of like the art of the film festival as well.
Speaker 2: Absolutely. Okay. Haley, end every episode of the show by asking my guests a very simple question. This is all about Texas and the movies. So to send us home before we do plugs, what is something you love about Texas?
Speaker 1: I love how Texas surprises me. I think growing up in West Plano was sterilized culturally in a sense. And at that when not leaving the suburbs, I just felt like my world was so small. I was like, ⁓ there's nothing here. There's no culture. There's no history. I need to go to New York and all of that. And then ⁓ But again, I think I've said this before, history is something that you have to seek out. Just as things to do in Texas, ⁓ have to seek out the things that you want to do. So as moved into historian territory is when ⁓ the whole of the historian is to do the research. So I am constantly finding new historic places, historic theaters. you know, places that house old Hollywood clothing and in Texas. And so I love how I'm constantly surprised because there is a stigma of Texas, right, from people that aren't from here. And so I love how I'm constantly surprised by Texas and I love how Texas is constantly surprising other people.
Speaker 2: I love that. That's a great answer. Okay, ma'am. If anyone has listened to this and they want to follow you on your journey and just keep up with your artistry and everything that you were putting out into the sphere, where can they go?
Speaker 1: Yes, well, my ⁓ page is history and trust spelled just like it sounds. And I am also a poet and I have a new book out called Paris never hurt me. ⁓ It's pretty easy title to remember and it is ⁓ on Amazon. if you are boycotting Amazon, it is available on Barnes and Noble online. And my name is spelled. after it's named I'm named after Haley Mills so my name is spelled with a Y.
Speaker 2: And it is a great book of poetry. picked up a copy and I have really enjoyed that. So I highly recommend it to anyone who is listening right now, you know, give it a shot, check it out. And I think you'll have a pretty good time.
Speaker 1: Thank you so much. appreciate that.
Speaker 2: Of course. Now, Haley, I want to thank you again so much for taking the time to join me on the podcast. You have been phenomenal. Is there anything else that we need to say as we close this out? Anything else that you didn't feel like you got to, ⁓ to address that was on your mind?
Speaker 1: just want to say just how thankful I am to be here, be just doing what ⁓ doing. It's kind of thing that you can't predict. ⁓ It's kind of thing you can't put on your vision board because it's so just, it's just something, an opportunity that finds you. So I'm just very thankful and I'm thankful for everybody I know and everyone I've met and everyone I continue to meet, just like you often. ⁓
Speaker 2: Well, thank you so much. All right. Well, I appreciate it I'll have you back on soon.
Speaker 1: Great. Well, thank you so much for this. This was really fun. I appreciate it.
Speaker 1: Thank you, Austin. Thank you for having me and thank you for the beautiful introduction. I love that.
Speaker 2: Well, thank you for joining me. And the reason I wanted to have you on is I have wanted to have you on for quite some time, but I wanted to find the right topic for us to discuss. timing worked out really well because the Dallas international film festival just wrapped. ⁓ talked about it a little bit on my most recent episode, but I wanted to do a. proper debrief after the fact with someone who was boots on the ground for basically the entire event and ⁓ that is you, right?
Speaker 1: That would be me, yes.
Speaker 2: So for anybody who is unfamiliar with you and your work, can you talk just a little bit about what it is you do as the person behind History Undressed?
Speaker 1: Yes, of course. I am a film and fashion historian. And ⁓ just so happened that my outlet is Instagram ⁓ sharing to the masses. so really like it's like it's great because it's basically me just doing what I love and posting about it and having other people follow follow along their journey. So if I go and see a classic film that I love, ⁓ I'll share ⁓ if I'm watching a classic film I haven't seen in a while or for the first time and I go, I do my due diligence with my deep dives, find facts on the films, costume design history, of course, and I go ahead and share that. There's really not much to what I do other than just being creative, having fun. And as I've grown, I've been able to collaborate with other like-minded people, because naturally the algorithm helps you find your people. So that's pretty much the bulk of what I do. What I do is actually very multi-hyphenate complicated. usually I have my friend Katherine next to me to explain to the person who asks, Haley, what do you do? And I just look at her and I'm like, can you please just tell me? So she, Katherine was standing next to me on the carpet all week. Dallas International Film Festival. And it's always a blast to have a buddy.
Speaker 2: And is that Catherine Forbes?
Speaker 1: That would be Katherine Forbes. Yes, we love her last name. We love her. She is the official ⁓ media coordinator, and I just want to shout her out. is absolutely incredible, did an incredible job this year, especially she always has a great job. But as we've gotten so big, and since social media has changed, social media when it comes to covering any event, it's no longer like, okay, your turnover time can be like, you know, like three to five business days. No, the turnover time has to be now. you're conducting the interview, you're already thinking about your turnover time. So that that's the most stressful part about being a press in recent years. Other than no sleep aspect of it all. but yeah, yeah. Dallas International Film Festival was phenomenal this year. It was incredible.
Speaker 2: So we're going to get into the details behind everything that you got to see and do there in just a second. But I did want to ask you when I started this show, I used to begin every episode with an icebreaker. Okay. And I, would be an over under question. So you tell me if a topic is overrated or underrated and I happened to have one come across my desk that I thought would be perfect to ask you. Okay. Are you ready?
Speaker 1: I'm so ready.
Speaker 2: Overrated, underrated, Marilyn Monroe.
Speaker 1: You cannot ask me this on her centennial year. am not going to get myself cancelled. gotten sent so many Marilyn Monroe coffee table books complimentary this year. Therefore, the answer is obviously.
Speaker 2: She's almost overrated because she's so omnipresent.
Speaker 1: Yes, let's say that. Good. Good job. Good answer. Yes.
Speaker 2: The reason I, I, this happened was I got an email from the Academy Museum in Los Angeles and they're about to open up their Marilyn Monroe exhibit for I guess the centennial. I was like, this is perfect. I'll ask Haley about Marilyn Monroe.
Speaker 1: And Hailey still wants her brand deal.
Speaker 2: Okay, that's fair. We're not going to jeopardize any deals.
Speaker 1: No, but we all love Marilyn Monroe. And I feel like this year especially, there's so much more to learn about her, like always. I feel like we're always learning about Marilyn Monroe. So that's like kind of the magic of her.
Speaker 2: Absolutely. Okay. So going to diff, let's, let's just give kind of an overview of what you're doing at diff. Like when you're there, you are working the red carpet. are interviewing filmmakers and other guests. Like you said a minute ago, you are kind of creating content in real time and figuring out how you're going to edit and post this. I mean, are you getting to attend any screenings or sit in on any Q and A's or is it. all time spent on the carpet interviewing everyone.
Speaker 1: I do not attend anything. And that is something that I think I briefly talked to you about. I talked to someone about this. But yeah, I wish I could fully enjoy the film festival for itself. Because everyone I talked to on the carpet is like, this has been such a fun festival. And I'm like, ⁓ yeah, I'm sure it is. yeah, just because there's a call time for press, And even though it is a later call time, it's a lot of energy and you're interviewing ⁓ sometimes to like 35 or plus people a day in a very short amount of time. And then ⁓ after it's time to edit. You can't run over to the Texas theater to go enjoy screening. can't ⁓ do I'm lucky enough to have screeners ⁓ that, so I ⁓ to do all of that and watch all their films before the festival. So yeah, but one of these days, hopefully I'll be able to attend ⁓ more. I like if I curated my sleep schedule and my time better, I would be able to attend a few of the Q &As. ⁓
Speaker 2: Yeah, but where's the fun in that?
Speaker 1: I know it is it's a balance because mostly when I'm invited to work a festival it's you you're working the festival you know but that gives you an all-access badge to go where go to the carpet I mean it's complicated ⁓ but right now I really I'm really enjoying it Like with Diff, especially, part of the fun of being on the carpet and being boots on the ground is being surrounded by the people you're working alongside with. And that's in itself is like its own mini festival inside a festival, if that makes sense.
Speaker 2: so something that I'm always curious about when someone is in your position and like you said you're having to talk to ⁓ of people dozens of creatives in a in a day and know Sometimes these people are people we know and they're associated with relatively ⁓ big-name projects ⁓ But lot of times you're talking to people who are attached to independent projects who maybe you're not even familiar with ahead of time unless you've happened to catch a screener what are you doing to prepare for those conversations?
Speaker 1: Yes, and I think we talked about this when we did the DMACC, but personality higher. know it's but I'm so dead serious. I perceive ⁓ the art conversation. ⁓ And I think really helps also is that I am an artist myself. So I just kind of Instead of an interview, I'm lucky that I have my own platform so I can the narrative of what I want the interview to look like and sound like. And what I want ⁓ a genuine conversation ⁓ between two ⁓ between two creatives, between two people that just simply love what they do. And proceeding with that and being in making, because I see my job as the first thing I need to do is make that person feel comfortable. Like, and think about it this way, you have three minutes until whenever the people on the red carpet, the attendees start like, you know, being like, Haley, you got to stop talking or they got to stop talking. Move ⁓ So I have whatever time that they give me. But ⁓ yeah, you want to within that short frame of time, ⁓ it's art form. If you think about it this way, you need to make them feel comfortable, let their guard down. And then also let my guard down. cause it's like a mirror almost, right? And cause good interview ⁓ means that you emotion from the filmmakers, ⁓ the talent and get them to something that they haven't shared with everybody else already on the press line. ⁓ also you want, like for me, I want to create a moment where this is meaningful and memorable for me and this made my day. And I that, I want the filmmakers to kind of walk away feeling that same way. And I feel like I've, the first year, Even though like which was my this was my third year, but even the first year I noticed that like, hey, like I think I'm pretty good at this. I want to blind completely not even understanding what a red carpet interview looked like or what it would be like. But I just learned, you know, if you just like. Just see it as like a bonding connection, then it naturally makes for really great content and it's really fun to edit the payoff for me is because. you can get jaded really quickly, stressed out really quickly because you're editing and there's so many different people and you can't remember anybody's names. You can't attach a name to a project and it gets confusing. So you get jaded really quickly, but then there's always those little reminders. I'm very lucky and I'm not trying to brag, but I'm very lucky that every single year filmmakers have found me later on like at an after party or while I'm walking around the film festival and just be like, Thank you so much for the great questions. We appreciate you so much. I've made people cry before, which makes me happy. That's the goal. And this I speaking to ⁓ the director and main actor of ⁓ afterwards, they went to the red carpet attendees ⁓ and ⁓ told that, my gosh, Haley just like, We had the best conversation. Like she made us cry. Like it was so meaningful. It was so touching. And I found that out like way later. I found that out like days later when the attendees were like, hey, ⁓ my gosh, like, we forgot to tell you. And I'm like, so that like, how can you not just how can that not be the most rewarding thing in the world, you know?
Speaker 2: Yeah, no, that that sounds incredible and something I wanted to ask you about did mention that I did a d magazine piece on you Which I did and I will include a link to that in the episode description for anyone interested in reading But sometimes when i'm doing an interview with someone I can tell ⁓ during interview whenever I get a quote that i'm like that's going in the article. That's perfect. That's a closer. That's an opener. Whatever, right? And then sometimes whenever I'm putting the article together and I'm revisiting my interview and kind of reading over the transcript, something will jump out at me and catch me by surprise. Are you ever kind of surprised whenever you go back to edit your videos or are you usually pretty clear about what you're going to use, you know, in real time when you're on the carpet?
Speaker 1: I'm usually pretty, I can tell usually pretty quickly the conversation. Cause there's always that moment. It's a moment that you just remember that flip of a moment. ⁓ And going through, I think there was this one, the ⁓ one I edited this past week that I wouldn't use the word surprise, but It did, ⁓ I guess I could be a surprise. It surprised me by how really truly moving it was, even though I knew it was moving in the moment. It was that kind of moment where like I would happily rewatch that my own interview like over and over again, because it felt like to me. ⁓ just like proud of it, you know what I mean? And so I that your question.
Speaker 2: Yes, yes, no, that's perfect and so yeah if someone is interested in in doing the kind of work you do because there is like you're saying there's an artistry to it to being able to connect with people To being able to operate in these spaces and ⁓ build genuine connections on short notice I mean what you recommend people do if they want to kind of follow in your footsteps and start ⁓ You know speaking with creatives and working red carpets themselves
Speaker 1: I would say everybody... It depends, because it's everybody does it differently and everybody, like, goes about it differently. But I think at the end of the day, everybody just wants to have a good conversation, right? So I would... I think the best advice is just to be so truly authentically yourself and in return, the filmmakers will do the same. And that's... That's what I got.
Speaker 2: Do you ever feel like, you know, you're not able to build that connection when you're on the carpet? Like, is that ever a challenge for you?
Speaker 1: Sometimes I feel like I have to push a little harder if someone's being just maybe a little flippant, is that the right word? if they walk, if they're on the carpet and they're like, I'm just here to talk about my film and I have these two talking points. And that's okay. So I don't like... Cause at the same day you have to also read the room, right? So if that, you get an inkling that that's what they want, then you go ahead and just give them what they want.
Speaker 2: So I wanted to ask as well, you this isn't the only red carpet you work at Diff, you know, I mean, you work other events, you know, they may be similar, they may be very different, but as far as the types of creatives you're interviewing, do you feel like there's anything that kind of sets Diff apart from some of the other events that you work?
Speaker 1: Yes, that would be the family. It since year one ⁓ I especially felt it year two, is ⁓ on diff team works so closely together that you just, it's an immediate bond. You never feel like left out or ⁓ like in room full of people. Everyone is there genuinely because they are excited and they love this. And I always like ⁓ walk away, whether it's a big diff or diff shorts, I always walk away just feeling like super emotional because I feel all of my feels that I just got to hang out with my family all week, my chosen family. yeah, and because for now, since it's my third year in and I work multiple festivals. know everybody. I know the press. I know all the programmers. And of course, it helps that my best friend happens to be so happy to be the lead of DIV's official social. So I kind of get inside knowledge sometimes. So I feel like that helps too. So yeah, think that's what makes DIV stands out. It's just that it's one big welcoming family.
Speaker 2: Well, and so this year, in addition to DIFF, there was another event kind of occurring concurrently, which was the Dallas Industry Conference. And this was put on jointly by DIFF and the Dallas Film Commission. a major thing that happened here was ⁓ Mike DeLuca from Warner Brothers came and gave the ⁓ And ⁓ believe you got to spend some time with him. Is that right?
Speaker 1: the the video footage anyways, because the thing is, they set up Michael DeLuca the same time that I'm supposed to be on the red carpet, the call time for the red carpet. And so I got to the red carpet, I had all my stuff set up. And then everyone's like, hey, wait, no, like Michael DeLuca is like starting in like five minutes. like, ⁓ so I pack up everything, tripod down everything, and I run over and then that's when you saw me like running. And I was, see I wasn't even aware I was supposed to be that day, okay? And just, there are no rules, okay? then, no, so when they thought I do a photo, they were like, okay, it's okay, like, Haley, it's okay, you just don't, can sit this one out. But again, because everyone knows me so well, because I'm the old Hollywood freak who is like obsessed with film and classic film and everything and every, ⁓ Warner Brothers is a huge part of that. Everyone was like, Okay, we're getting you in Haley, we got you like this is so they made it happen. So I got in and ended up sitting front row that was very last minute. Mind you, I'm supposed to be interviewing people but I was very, very happy to be able to not only hear him speak with the wonderful Danielle who we, who's incredible and a milestone moment for her, like my goodness. because I was sitting front row, it was very easy to just walk up to him afterwards and have a actually decent conversation with him. ⁓ that's a very cherished moment that I will carry because that's incredible. ⁓ of course, the personality hiring me again is the first thing was like, I swear the first thing that came out of my mouth, what was it? was like, like I think I introduced myself and I said I was a film historian and he's like, ⁓ I love film historians. And I'm like, ⁓ did you know film historians are currently beefing with ⁓ TCM? no, mean, film historians are currently beefing with Warner Brothers, pardon. Yeah, that's even worse, huh? No, here's the thing though often I I gauge here's the thing this is the art of conversation so because I had spent we had spent a good time listening to him talk for Right, right. So I gauge to silly personality and his wit and banter and his love for Diet Coke So was like, all right, I can I was like I think I can make fun of this guy So I I went up there and I did And then ⁓ after said like ⁓ well aren't film historians beefing with Warner Brothers. And then he's like, we are? And I'm like, well, is TCM going to survive? And because there's this whole discourse. I know there was a big scare several years ago that Warner Brothers was going to swallow and shut down TCM. Right. It was like a whole thing. And then he was like, no, no, no, don't worry. TCM is covered by an umbrella. it's going to be staying. And I was like, So it's also going to be like, also going to remain on HBO Max. And he was like, yes. And I'm like, okay. And then we took a picture and he's like, can I hold my diet coke? And I'm like, yes, you may. And so that was, that was my experience with Michael DeLuca.
Speaker 2: That's incredible. So I was, as you noted, I was in line because much like you, I did not get a ticket for this event. And the good people of diff very generously pulled me out of line because I did some articles and they got me a seat. So I got to see him speak. Uh, but before I went in there, someone not with diff was like, you need to behave yourself, no press. So similar to what you got with no videos, they were like, we don't want any articles or anything like that, but you get to go in. And I was like, okay, thank you. I'm fine with that. so I was well behaved and I had a great time. And ⁓ I even told that person, I was like, well, if you had let me do press, he was lovely. Like I wouldn't even have been able to write anything bad if I wanted to. But then later that evening, I was chatting with a filmmaker in line for something else and they were like, yeah, you know, my friend Haley Chow got to meet, got to meet Mike DeLuca earlier. And I was like, how did Haley get through? ⁓ I got told to behave!
Speaker 1: through the same way you got through by the good people at.
Speaker 2: They really do put on such a wonderful festival and they take such good care of everyone and I mean like was a very special moment and I'm so appreciative of them for you know finding me a seat in that room because I really wanted to be there for the keynote ⁓ even just like the other screenings that I attended because unlike you I do all of my work for diff before the festival where I'm doing like a preview piece for D magazine and then at the actual festival I'm mostly networking in between screenings, but I actually get to see some movies. But I didn't reserve tickets for most stuff, especially that first day. ⁓ they were just so great about like getting everyone in and taking care of everyone. And it was a really special event. I love that group and ⁓ so glad that Dallas has that.
Speaker 1: I forgot, I read some article yesterday that said like, like ⁓ what it? This is a flop. But it basically, it was insinuating that film festivals are like the new, like cool thing. Like kind of like, I think was reference to like movie theaters. It's like film festivals are. the next big thing, the cool thing to go to. And thing that's most important about a film festival is that it's just ⁓ ⁓ ⁓ yourself and easy to navigate and easy to get into things. And it doesn't feel like so exclusive and hoity-toity that you're like, just confused. And is like... Even though I have not been an attendee at Diff, I can tell from everyone I talked to, like, yes, it is very welcoming. it is as what's advertised. Like, here are the movies that are screening in what rooms ⁓ when to go. And you're able to go and enjoy yourself. ⁓ what some people might not know is that if they don't film festivals or if they've never been to one, a lot of the time it's just hard to even get into a screening. Right. And like, so they might say, okay, Cinderella 1950 at this theater at this time. And but what they really mean is you have to get in line three hours before to wait in line. And even if if we run out of chairs by the end, then you can't get in. So, yeah, having diff here is very, very special.
Speaker 2: So as we wrap up, something I wanted to circle back to was when you were talking to Mr. DeLuca, you mentioned TCM to him. Turner Classic Movies for anyone who is unfamiliar. And I can't imagine you're listening to this podcast if you aren't familiar, but how were resources like that to you ⁓ as budding cinephile whenever you were just kind of exploring the world of old Hollywood ⁓ that is so important to you?
Speaker 1: It was beyond important. I actually had cable up until like last year. miss cable. But had And I would record when was first starting out, I would record ⁓ every single movie that were screening of every single day. And if I didn't do that, then I would comb through and I would read all like all the little short descriptions of each film and I would record the ones that I was really interested in. And that was very important as a budding cinephile and diving into the world of old Hollywood. my last ⁓ the last place where I lived, the power would go out every so often. So the worst days were always the days where the power went out because that means everything from my T-Vote got erased. That would make me so mad. I remember one time I had collected, like, so I had, you know, saved all this from cable on Turner Fox movies and I had like Gone With the Wind on there. I had all like a list of like
Speaker 2: No!
Speaker 1: all of these like film noirs I was so excited to watch or ready to rewatch had at my hands. It was like my own personal like curated like Netflix might as well been right. It was like hours and hours and hours of movies and it was always the worst when the power would go out. I'm like I have to start again. Yes so safe to say yes TCM is very important to me.
Speaker 2: ⁓ no. So if someone is not ingrained in the world of classic film yet, I'm gonna ask you to be the spokesperson for movies released before 1990 for a second. What are they missing out on by not diving into that part of Hollywood?
Speaker 1: think they're missing out on everything to be completely honest. I spend almost every single day of my life living in 1950 and other like my friends or people around me ask me if I've seen a movie, a box office movie and I'm like, no, like I'm literally in 1950 or if they're talking about, yeah, or if they're talking about, you know, like. anything like 90s or 2000s and I'm just so I'm so out of the loop. So but I think studying the classes is so important because and Jane Fonda set this to she said this in an interview with Ben Minkowitz at one point when talking about Ted Turner, but may he rest in peace. Ted Turner passed away today on the day we're recording this podcast. Yes. ⁓ founder of Trinoclassic Movies. Watching classic films is like studying history. it's like, it's just, so a lot of people aren't familiar with like, for instance, pre-code films. Cause if you watch like a basic classic, like Casa which is probably mostly people have seen that film. Like then you know that things are ⁓ very and tame and everything. But if you go into pre-code, it's scandal, it's sex, it's... gay marriage, like it's a nudity and everything. And that was, you know, 1920s, 1930s Hollywood. And then it all got erased when we went moved into Hayes code, which is when they were censoring what could be shown on screen. So if more people knew about that, then maybe they would understand the intricacies of how history repeats itself and how groundbreaking as they might say it, like the films of today were, well, it's been done before, just in 1920, you just didn't know about it.
Speaker 2: I think that is a great point. And something that I loved when I first started exploring films from the late twenties and the early thirties was, you know, sometimes you watch something and you're like, we never, we improve upon this. Like this ⁓ set tone for, you know, every ⁓ thriller how it's edited up to today. ⁓ And it's whenever you go back that far, ⁓ how the films can feel. And I don't think people expect that. And I will also tell you that after I interviewed you for the D magazine piece, you inspired me to go back and do some digging into pre-code Hollywood. So I've literally got a list of pre-code films I need to check out. And occasionally I'll pull up the, the Criterion channel, one of my go-tos and they'll have pre-code collections available. And I've been checking out some of those movies. And my goal is to watch a solid number of those. want to do like 20 this year. just to broaden my palette. And that is all your influence.
Speaker 1: I'm so glad. Well, thank you. That means a lot to me. Thank you. Was it surprising when you watched your first pre-code?
Speaker 2: I was shocked, honestly. the ones that I had seen up to this point, I had seen some films from that time, but they were the classics, right? The ones that everyone cites, like, know, Passion of Joan of Arc or whatever, and and some of those movies. This was my first time going back and watching one that isn't totemic, you And it was like, this is just a movie that has survived from this time. ⁓ And like were saying, it is kind of... crazy to go back that far and see them, you know, having kind of frank discussions about sex and being very open about these topics that for the next 30, 35 years, Hollywood wouldn't touch with a nine foot pole.
Speaker 1: Mm-hmm, yeah. Well, first of all, thank you. That's such a huge compliment. And I also need to shout out my other friend, Samantha, who I met 10 years ago over the internet. And she is, because my at that time was like 40s and ⁓ 50s, she was always 20s and ⁓ 30s. she actually indoctrinated me into Greek code. And that's what I love about having cinephile friends is that you get to... kind of introduce each other to movies, which is kind of like the art of the film festival as well.
Speaker 2: Absolutely. Okay. Haley, end every episode of the show by asking my guests a very simple question. This is all about Texas and the movies. So to send us home before we do plugs, what is something you love about Texas?
Speaker 1: I love how Texas surprises me. I think growing up in West Plano was sterilized culturally in a sense. And at that when not leaving the suburbs, I just felt like my world was so small. I was like, ⁓ there's nothing here. There's no culture. There's no history. I need to go to New York and all of that. And then ⁓ But again, I think I've said this before, history is something that you have to seek out. Just as things to do in Texas, ⁓ have to seek out the things that you want to do. So as moved into historian territory is when ⁓ the whole of the historian is to do the research. So I am constantly finding new historic places, historic theaters. you know, places that house old Hollywood clothing and in Texas. And so I love how I'm constantly surprised because there is a stigma of Texas, right, from people that aren't from here. And so I love how I'm constantly surprised by Texas and I love how Texas is constantly surprising other people.
Speaker 2: I love that. That's a great answer. Okay, ma'am. If anyone has listened to this and they want to follow you on your journey and just keep up with your artistry and everything that you were putting out into the sphere, where can they go?
Speaker 1: Yes, well, my ⁓ page is history and trust spelled just like it sounds. And I am also a poet and I have a new book out called Paris never hurt me. ⁓ It's pretty easy title to remember and it is ⁓ on Amazon. if you are boycotting Amazon, it is available on Barnes and Noble online. And my name is spelled. after it's named I'm named after Haley Mills so my name is spelled with a Y.
Speaker 2: And it is a great book of poetry. picked up a copy and I have really enjoyed that. So I highly recommend it to anyone who is listening right now, you know, give it a shot, check it out. And I think you'll have a pretty good time.
Speaker 1: Thank you so much. appreciate that.
Speaker 2: Of course. Now, Haley, I want to thank you again so much for taking the time to join me on the podcast. You have been phenomenal. Is there anything else that we need to say as we close this out? Anything else that you didn't feel like you got to, ⁓ to address that was on your mind?
Speaker 1: just want to say just how thankful I am to be here, be just doing what ⁓ doing. It's kind of thing that you can't predict. ⁓ It's kind of thing you can't put on your vision board because it's so just, it's just something, an opportunity that finds you. So I'm just very thankful and I'm thankful for everybody I know and everyone I've met and everyone I continue to meet, just like you often. ⁓
Speaker 2: Well, thank you so much. All right. Well, I appreciate it I'll have you back on soon.
Speaker 1: Great. Well, thank you so much for this. This was really fun. I appreciate it.
