Split Your Head - Season 4 - Episode 59 - Interview with Lachlan Saille (Albatross)

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You are now listening to the Someone's Favorite Productions podcast Network.
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Hello and welcome to Tumbleweeds and TV Cowboys. My name
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is Hunter. In this podcast, I'll be joined by a
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different guest each week to discuss a classic Western movie
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or TV show. I've been a fan of classic westerns
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for as long as I can remember, and in recent
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years they've become very nostalgic for me. I love the esthetic,
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the tropes, and I love seeing different filmmakers takes on
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them at their best. They're incredibly entertaining, rewatchable, and some
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of my all time favorite movies are Westerns. We'll mostly
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focus on Western movies made in Hollywood, but we'll also
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be covering spaghetti westerns and one thing I'm very excited
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to get into our Western TV shows. I've got some
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amazing guests coming on the show, film professors, historians, and podcasters.
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And Tumbleweeds and TV Cowboys is part of the Someone's
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Favorite Productions Podcast network, and many guests on the show
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will be from other shows on the network.
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Thanks for listening, Hello, and welcome to Split Your Head.
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I'm your host, Bob, and today's special guest is Lachlan Saley,
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a filmmaker who first came onto my radar for being
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instrumental in New Wave Video's recent release of the Japanese
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horror film Nighty Night. Lachlan's own work, however, is far
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more singular and provocative than this creature feature might indicate.
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His new film Albatross is a very dark and experimental
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drama about abuse and grief that is unlike anything I've
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seen before. So naturally I had to have Lachlan on
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to talk about this heavy film and what has inspired
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him to tackle such challenging content.
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Lachlan, how are you doing.
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I'm doing good, Bob, how are you good?
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Good? Yeah, thanks for coming on.
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We've been chatting for quite a while now about this
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and I've been really intrigued about the film and it's
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a powerful movie. And as I understand, it's been playing
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a few festival screenings.
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So what's the reception been like so far? Well, so far,
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it's been quite an enlightening experience to actually go through
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the festival process because it's the first film of mine
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that I really pushed for festival submission. Because I was
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working with a very tight crew and we all kind
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of unified together and I think brought our best efforts
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to make the film, and we knew once it had
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been put together that it was something that it would
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need some time to find its audience, and so it
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was quite cathartic, I suppose in a sense that when
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you finally see your work put on the big screen
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and you can hear the visceral responses of people responding
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to those moments that took your breath away when they
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were being recorded, that was like very gratifying, But in
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the same way, it was kind of like, this is
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just the first stepping stone to really getting the film
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to the people who actually need it.
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So it's early days, it's early sure, sure, yeah, yeah.
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Have you had any feedback from people who have seen it,
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who have, you know, interpretations that you weren't expecting, or
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maybe like kind of told you about their own experiences
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and like how cathartic it was for them.
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On what normally happens is people go into.
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The film and have a very subjective reading, depending on
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how they relate to characters through their own experiences.
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So I think some of the best responses.
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That I've had have been those where people have seen
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the film and basically pretty much pull an aspect out
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of the character and go, I can see myself in that,
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you know that I can relate to that, and then
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that is feedback to me that says I'm actually on point,
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like I'm capturing something that's real and authentic to the
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human experience. Because the film is obviously pulling from a
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lot of history that is real and has been experienced
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by people, it's really quite hard to.
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Grapple with some of that.
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And so when an audience member is able to kind
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of find a through line where they go, I see
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myself here and this, you know, this speaks to me
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on a very personal level. I think that that is
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the kind of audience member that I want the film
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to be able to reach.
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Mhmm. Yeah.
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So then I feel like the way we're talking about,
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maybe we should just get into kind of the nitty
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gritty of the film itself, you know. So Albatras, like,
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what inspired you to make something this challenging and heavy.
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So Albatross, I guess is kind of like a combination
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of a lot of different ideas and themes that I've
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been working with for quite some time.
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I've always been.
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Interested in the experience of people who have gone through
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traumatic events and I guess fallen through the cracks in
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a sense that there's family dysfunction, there's you know, lots
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of tumult under the surface of the relationships on an
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interpersonal level. And I guess the starting point really was
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when I made well, initially it was going to be
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called Shades of Red, which was an animated film, and
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I started that when I was twenty two, and I
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think it was one of those two big for the
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Boots kind of moments where you had so much ambition
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and hopefulness that you'd be able to make something that
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was big and bold and grand and make a difference,
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you know, as someone in their early twenties is want
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to do.
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But then you run into.
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The reality of, well, I need to be able to organize,
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you know, run the gauntlet of people in all different countries,
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all working in different time zones, but fund this, you know,
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find find time to arrange that, you know, And so
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basically it was pulling away from the idea of writing
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and directing, you know, that project into you know, trying
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to be the producer, sole financer, you know, and eventually
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you just get stretched in on all fronts and you know,
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the film pretty much collapses in on itself.
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But what I learned was in this exhumation, which was the.
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Fragments of Red documentary, where I pretty much just piecemealed
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what we could achieve together as and gave it as
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much kind of context and you know, gave everyone on
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board the chance to speak about its design process and
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its development.
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So really that was the starting point, and.
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It really for me, was the best way of demonstrating
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where I came from to begin with, which was this
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anger at injustice into well, you can't be angry about
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it and actually achieve something that's going to be fair
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and equitable to survivors. Because survivors, I don't think need
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your anger.
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They need a safe place.
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They need to feel that you're actually creating a space
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that's open and safe and respectful to their experiences and
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make sure their voices are being heard. And for that,
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you don't have anger, don't have fear, You have authenticity.
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You don't pretend to be, you know.
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The master above all of you know, having a perfect representation.
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You just have to be a reliable ally that isn't
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afraid to say that they make mistakes and they want
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to grow and they want to support and they want
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to be, you know, the best kind of ally that
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they possibly can be to support and make safe space
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for you in your experiences and to help you grow.
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Yeah, okay, so here's a very like specific creative question.
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Then are you when you went about creating like rating Albatras,
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did you ensure that you had the authenticity in place
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in order to start writing the script or did you
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write the script and then try to you finacid into
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something more authentic.
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So there was an early version of the script which
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was actually entirely testimonial. I had recorded a sit down
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interview with someone close to me who pretty much told
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me ran the gauntlet of all of the abuse and
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indignities that they had gone through. And I thought at
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that time, I thought that the most compelling way to
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tell the story was essentially through a fragmentary narrative, similar
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to what you see in Albatross, where basically you're moving
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through these events in the character's life and you are
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seeing it from their perspective, looking back at those moments
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from the outside point of view. And I think that
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even then, the introspective aspect of it was, you know,
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an important thing for me. But I think that where
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that differed was there wasn't really a voice to respond
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to that. It was just they are speaking to someone,
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and that someone has very limited kind of response to.
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That.
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You know, all of this kind of traumatic experiences that
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they're being that are being divulged to them.
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And so.
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Really at that point, I shared that version of the
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script with Molly who plays mal in Albatross.
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And I've known Molly for a very long time, back
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from when.
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I was in my university days. We made a short
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film back then and we've kept in touch ever since,
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and I said to her back then, we've got to
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work on something in the future, because you know, really
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she is one.
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Of the great untapped talents.
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And you know, I know she kind of spends a
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lot more time in the comedy scene, but I think
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she's got a real flair for the dramatic, as you know,
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as you probably agree watching Albatross. So yeah, I shared
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it with her and we had some back and forth,
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fruitful discussions about kind of I guess the qualities and
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the shortcomings of that, and then I took it away
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and I pretty much rewrote it from the ground up,
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taking a much more frek minary approach, which is essentially
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the way that I tend to do most of my writing.
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It's very little about an A to Z approach. It's
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more like a Q S A, you know, j you know,
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like the the skeleton is there, but actually getting the
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fleshed out pieces is very much like a jigsaw puzzle.
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You're like, you're pretty much stripping down all of the
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aspects of what you're trying to say and distilling it
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into a really short, cohesive package. Like the script was
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only thirty three pages I think, all written out, but
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even then I think we edited at least three or
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four pages out of it because the dialogue was just
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too dense and it wasn't giving the the content room
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to breathe. So, I mean, it comes from a place
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of authenticity, but I think I really spent from that
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initial script, which was pretty much unfiltered. I think it
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was about two years really combing it down to a
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point where I was like this this works.
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Yeah, And then even then you're not one hundred percent.
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Sure it will all work. When you do film it,
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you really can get a sense of like, Okay, this works,
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and then there's parts that you're like, this is there
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as a backup, this isn't this might work it might not.
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And then in the editing, which took another well, I mean,
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I drag my feet when it comes to this, because
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I find that when you're sitting down and really going
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through all the material, you're like new ideas emerge about
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what exactly you actually want to focus on. For example,
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the very opening sequence the credits, that was the very
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very very last thing I wrote, and I wrote it
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maybe two weeks before we started filming. The rest of
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it was made well well in the past before that.
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So I think there's certain aspects that you really go okay,
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authenticity is on point, but where does it belong? And
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so it's very much about like going okay, We catalog
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all of these different kind of like points from the
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character story and then find exactly the position where it's
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going to fit most naturally, because there's a lot of
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back and forth and in terms of like there's not
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much of a linearity to the character's journey in terms
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of what's said, but there is a linearity in terms
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of what it means to the characters and how they
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grow and develop and how they relate to that.
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Yeah, and I also feel like what's being revealed to
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the audience as well over the course of the film,
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like the third act really seems to tap into something
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that I found, yeah, very provocative and kind of hard
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to really like put your finger on, you know, but
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that kind of leads me to asking about this. And
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because like, as you're talking about the film, you know,
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your concerns about like justice and have like a kind
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of like creating a safe space more or less for survivors,
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I think it would maybe give someone who's never heard
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of this the impression that might be somewhat of like
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a didactic or kind of like psa kind of film,
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you know, but it's like far from that, you know,
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And I think I think that makes me want to
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kind of like dive into certain aspects of the film,
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like like how there is elements of like sexuality and
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there's elements of.
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Kink in this film, which to to me like.
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Tackling a film that I'm trying to you know, like
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I'm so concerned about justice and representing survivors with authenticity,
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I'd be terrified to tackle something like and then we're
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going to talk about sexuality and kink, you know, Like
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how did you how did you go about you know,
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wanting to include that, How did you go about doing that,
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you know, like properly.
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I think when it comes to a film representation, for me,
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probably one of the most important parts is that you
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essentially are not wanting to come at it from a
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judgmental point of view, and you don't want to come
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at it from the perspective that you are a arbiter
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of justice, and you know, you know all there is
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to know about the experience because you know all my
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friends have been abused, or you know, or I'm not
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racist because I've got a black friend.
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You know, you fall into a fallacy.
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You fall into a fallacy of believing that you have
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all of this, you know, untapped knowledge, and you if
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whatever you put on the screen is gospel. I choose
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to believe that this film will eventually become outdated and
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irrelevant because through you know, human growth and development and
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a better introspective understanding of ourselves and each other, we
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will be able to transcend from that, We will be
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able to openly have these really tough conversations and have
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strategies and ways to grow beyond that. So when I
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look at the film and really grapple with the subjects
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in there, I think, you know, I need to approach
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it in a way that is an honest representation of
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the experiences that I have been exposed to. But I
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am always approaching it with the caveat that it's not
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a representation that may be true twenty thirty fifty years
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from now if the world grows beyond that, and I mean,
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of course, adversely, if the world devolves from that.
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This is the current.
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Environment of the political landscape between.
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Well.
279
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But but that makes me think though in a way,
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like you're you're concerned about or not. You're not concerned,
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you don't seem concerned about, but you are mentioning that
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there is hopefully going to be a point where this
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film and its subject matter is outdated. But I think that,
284
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you know, as you're expressing before we recorded, like how
285
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you connect a lot of this to politics, that I
286
00:20:35.400 --> 00:20:38.799
think the film has like a metaphorical power to it
287
00:20:38.839 --> 00:20:40.720
in a way, you know, like I think we can
288
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look at these things as like abuse on a small
289
00:20:43.839 --> 00:20:47.559
scale can also be a metaphor for abuse on a large.
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Scale, you know, politically speaking.
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To them, I would I will repeat what I said
292
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before we start recording, which is that it was good.
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So the film was where We were recording the film
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in pretty much the week leading up to the US
295
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twenty twenty four election, and so it was very much
296
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playing on my mind when we were going through production.
297
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And I feel that a big aspect of what played
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on my mind there was that communication is experiencing a
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00:21:25.720 --> 00:21:28.599
bit of a breakdown. You know, this whole kind of
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concept of partisan lines. You're seeing such a huge disconnect,
301
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you know, when you're talking.
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About left and right and.
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You know right and wrong, and you know you've got
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all sorts of conspiratorial discussions, a complete breakdown in like
305
00:21:45.640 --> 00:21:50.920
actual coherent debate, and you know, people not going into
306
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conversations with the intent to change. It's the intent to
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either attack or to change the other person without having
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00:21:59.119 --> 00:22:02.799
introspection to go, hey, maybe I'm the one who needs
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00:22:02.839 --> 00:22:07.000
to kind of change and grow, you know. And so
310
00:22:07.119 --> 00:22:09.039
it was really playing on my mind when it came
311
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to creating the film is that it's very monologue heavy.
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It's very much creating a wide, breathing space for the
313
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characters to espouse all of their thoughts and really you know,
314
00:22:25.880 --> 00:22:29.680
run the run the gamut of all of the different
315
00:22:32.079 --> 00:22:35.279
you know, things that are playing on their mind. And
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I think on a you know, contextual level, it was
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really helpful to have that kind of backdrop, and I
318
00:22:45.240 --> 00:22:48.880
mean the result of that election really speaks to kind
319
00:22:48.960 --> 00:22:54.400
of how detached from reality a lot of you know,
320
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discourse really can be. And I think that in creating
321
00:23:02.920 --> 00:23:07.680
the film and having that be about these open spaces
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where there is this freedom of communication where they can
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talk openly and they give each other the space and
324
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just listen. I think there's only really about four or
325
00:23:20.200 --> 00:23:24.079
five lines where are actually dialogue and the rest is
326
00:23:24.359 --> 00:23:26.480
essentially back and forth monologue.
327
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Do you really.
328
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Get this sense that the characters are taking on what
329
00:23:35.559 --> 00:23:39.960
is being heard and then building upon that and relating
330
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that to themselves.
331
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And how they relate to what they're being told.
332
00:23:45.720 --> 00:23:49.279
And a lot of that comes from, I guess the
333
00:23:49.400 --> 00:23:56.240
counterpoint to Mal's character in the film, which has experienced
334
00:23:57.119 --> 00:24:03.839
She has experienced a more what we would consider to
335
00:24:03.880 --> 00:24:09.720
be a more i guess, stereotypical kind of abuse from
336
00:24:09.839 --> 00:24:14.839
a close member of a family, whereas the alternative point
337
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of view is someone who has experienced a lot of
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00:24:19.920 --> 00:24:26.000
physical abuse. And then you know, because of that kind
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00:24:26.039 --> 00:24:30.240
of suppressive home environment that put themselves in a situation
340
00:24:30.400 --> 00:24:35.240
where they could have been an abuser, had that shut
341
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down by the abusive parent, and then festered on that
342
00:24:43.160 --> 00:24:47.240
and really had to live with that kind of you know,
343
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sense of doubt and guilt and shame, especially in respect
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to their sexuality and their interests, which at that point
345
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would only be half formed. And I think that you
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00:25:00.720 --> 00:25:05.519
always have to be respectful to the fact that people
347
00:25:05.559 --> 00:25:11.599
who have aberrant you know, not just sexual you know,
348
00:25:11.799 --> 00:25:18.599
responses to stimulus and whatnot, but also have you know,
349
00:25:20.559 --> 00:25:23.519
different perspectives on the world and the reality that they
350
00:25:23.559 --> 00:25:28.680
live in. You don't really know where they came from
351
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and what they experienced to make them believe and to
352
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feel the way that they feel. And so I think
353
00:25:37.599 --> 00:25:44.400
there is a real temptation for most people to judge
354
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people for being that way, and I think there is
355
00:25:49.359 --> 00:25:55.160
a distinction to be made between judgment and empathy, especially
356
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when it comes to something as polarizing as the US
357
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polar scene. Right now, you.
358
00:26:02.400 --> 00:26:06.160
Know, you're talking so much about representation everything. I'm just
359
00:26:06.240 --> 00:26:11.160
really curious how you went about, like, you know, helping
360
00:26:11.240 --> 00:26:15.440
the actors, you know, kind of get into these really
361
00:26:15.440 --> 00:26:20.079
complex rules and complex arts, and like how did what
362
00:26:20.200 --> 00:26:23.279
was the vibel like on the set because like you know,
363
00:26:23.359 --> 00:26:27.599
it's it's very heavy and downtrodden stuff, so it's like
364
00:26:28.079 --> 00:26:30.119
you know, where you would you wrap for the day
365
00:26:30.160 --> 00:26:32.039
and like you know, play pranks on each other or.
366
00:26:32.160 --> 00:26:33.559
Something to kind of late in the moon.
367
00:26:35.440 --> 00:26:40.000
Well, it was quite a tight filming schedule really. Okay,
368
00:26:40.319 --> 00:26:41.319
we filmed.
369
00:26:41.759 --> 00:26:45.319
We did all the principal photography in like four and
370
00:26:45.359 --> 00:26:51.319
a half days. We shot for example, we shot the
371
00:26:51.400 --> 00:26:55.079
red Room sequence all in a single day and that
372
00:26:55.200 --> 00:26:58.400
was the hardest day. We had two intimacy coordinators on
373
00:26:58.799 --> 00:27:04.640
set that were just interchanging. Oh they interchanged like one
374
00:27:04.680 --> 00:27:07.240
would come and then the other one had to duck off.
375
00:27:09.000 --> 00:27:13.960
And so we did that for that sequence, and we
376
00:27:14.000 --> 00:27:20.920
shot all of the stuff with the child actors, and yeah,
377
00:27:20.960 --> 00:27:22.599
we did all the stuff with the child actors on
378
00:27:22.640 --> 00:27:24.359
the first day. I was like, we've got to We've
379
00:27:24.359 --> 00:27:26.240
got to get all of that out of the way first.
380
00:27:26.480 --> 00:27:31.079
That's that's important. And really they're only there for a
381
00:27:31.079 --> 00:27:35.079
few shots, but those few shots really kind of bring
382
00:27:35.160 --> 00:27:40.240
the point home without showing too much. It just implies everything.
383
00:27:41.319 --> 00:27:46.839
So we had the intimacy coordinators there for all of that.
384
00:27:47.519 --> 00:27:53.279
For the main actors, I met with them well, in advance,
385
00:27:54.039 --> 00:27:58.759
we had conversations and they would they would have conversations
386
00:27:58.759 --> 00:28:01.279
between each other about level of comfort.
387
00:28:03.319 --> 00:28:07.559
There's definitely some moments.
388
00:28:07.119 --> 00:28:10.319
Where we had to really kind of like block out
389
00:28:10.319 --> 00:28:12.240
the scenes first, and we did a lot of that
390
00:28:12.440 --> 00:28:17.680
with the Red Room sequence especially, and so you know,
391
00:28:18.119 --> 00:28:22.359
myself and the cinematographer and sound would just be away
392
00:28:22.400 --> 00:28:24.440
from the away from the space, and I was just
393
00:28:24.519 --> 00:28:29.319
like you and the intimacy coordinators, go and work through
394
00:28:29.440 --> 00:28:33.920
the motions for what you need to what you need
395
00:28:33.960 --> 00:28:40.079
to do, And so we worked from well, I mean,
396
00:28:40.640 --> 00:28:44.200
the script itself was far more abstract when it came to,
397
00:28:44.680 --> 00:28:47.880
for example, the Red Room sequence, it was very much
398
00:28:48.599 --> 00:28:53.519
like a series of broken shards of glass, and the
399
00:28:53.559 --> 00:28:57.599
reflections of them would be like the bouncing back and forward
400
00:28:57.720 --> 00:29:02.680
through these sharks. And then logistically it was like, well,
401
00:29:02.680 --> 00:29:04.559
how the hell could we do that? And we're going
402
00:29:04.599 --> 00:29:06.960
to like put a bunch of hooks in this because
403
00:29:06.960 --> 00:29:12.000
it was shot in a recording studio and we could
404
00:29:12.039 --> 00:29:14.480
have you know, drilled holes in the ceiling and like
405
00:29:14.599 --> 00:29:18.680
hooked a bunch of glass pieces on strings and then
406
00:29:18.799 --> 00:29:22.119
like filmed within that. But then it was like logistically
407
00:29:22.839 --> 00:29:24.720
and you know, from a producer point.
408
00:29:24.519 --> 00:29:25.640
Of view, hard to do.
409
00:29:26.720 --> 00:29:31.519
Yeah, and then by chance we got a I went
410
00:29:31.559 --> 00:29:36.079
to the producer's house, who was actually someone who had
411
00:29:36.119 --> 00:29:40.079
auditioned for the role of Eve, but she was so
412
00:29:40.240 --> 00:29:44.440
enamored with the film, well the concept of the film,
413
00:29:44.480 --> 00:29:46.400
that she was like, I'm on board. You know, I'll
414
00:29:46.440 --> 00:29:49.279
help you in whatever capacity I can. So we you know,
415
00:29:49.519 --> 00:29:53.319
filmed using her backyard and her recording studio, and she
416
00:29:53.440 --> 00:29:59.880
knew connections in the local hills area, so you know it,
417
00:30:00.000 --> 00:30:02.519
it was just like a real stroke of good luck
418
00:30:02.880 --> 00:30:07.440
that we found someone who was really connected in that sense,
419
00:30:08.160 --> 00:30:12.759
because the budget was like six thousand Australian dollars like pennies,
420
00:30:14.240 --> 00:30:18.839
you know, and everyone involved was doing it not for
421
00:30:18.880 --> 00:30:22.240
the money, but for you know, understanding that this was
422
00:30:22.279 --> 00:30:27.480
something that you know, they could really get behind. And yeah,
423
00:30:28.039 --> 00:30:31.319
that wasn't afraid to kind of shy away from interrogating
424
00:30:32.319 --> 00:30:36.559
these kinds of themes and not necessarily wanting to just say,
425
00:30:37.079 --> 00:30:42.640
you know this, this is it, it solved, and so
426
00:30:42.839 --> 00:30:46.640
I think that everyone was coming on board with that
427
00:30:47.480 --> 00:30:48.279
kind of mindset.
428
00:30:49.000 --> 00:30:50.319
I'm so sorry, Lachlan.
429
00:30:50.440 --> 00:30:53.359
Yeah, to the listeners and watches on YouTube, we've been
430
00:30:53.440 --> 00:30:56.559
running into some technical difficulties, so we unfortunately have to
431
00:30:56.640 --> 00:30:59.119
keep this one on the shorter side, which is a
432
00:30:59.160 --> 00:31:03.160
shame because lack when you're a fascinating guy and Albatras
433
00:31:03.279 --> 00:31:05.480
is such a powerful movie and I hope that it,
434
00:31:05.839 --> 00:31:09.400
you know, can show up in everyone's festivals nearby.
435
00:31:09.039 --> 00:31:10.279
Them so they can check it out.
436
00:31:11.759 --> 00:31:15.119
But yeah, before getting into the questionnaire, and like, you know,
437
00:31:15.119 --> 00:31:16.599
I know the film just came out, but do you
438
00:31:16.599 --> 00:31:19.920
have any future plans for like a next film or
439
00:31:19.960 --> 00:31:21.480
anything or anything else you're working on.
440
00:31:23.079 --> 00:31:28.240
Well, without going into too much detail, I have two
441
00:31:28.319 --> 00:31:30.400
different ideas that.
442
00:31:32.119 --> 00:31:34.160
Are kind of like just cooking up.
443
00:31:34.200 --> 00:31:37.880
And I guess the.
444
00:31:36.440 --> 00:31:37.839
Creative process is.
445
00:31:40.240 --> 00:31:42.480
I don't know how common this is for other creatives,
446
00:31:42.519 --> 00:31:47.160
but it tends to be very much kitchen sink where
447
00:31:47.200 --> 00:31:49.960
everything gets thrown in and then you kind of sort
448
00:31:50.000 --> 00:31:53.440
through it and filter out what it is exactly that
449
00:31:53.480 --> 00:31:57.400
you want to talk about. And so for me, I
450
00:31:57.440 --> 00:32:03.400
think that a there were two main story threads that
451
00:32:03.440 --> 00:32:07.200
I was interested in pursuing, and one of them, you know,
452
00:32:07.480 --> 00:32:10.559
there are so many written, so much richness in the ideas,
453
00:32:10.599 --> 00:32:13.920
but the challenge is to be able to communicate that
454
00:32:14.119 --> 00:32:17.440
idea in a compelling way, and so that one was
455
00:32:17.599 --> 00:32:21.559
more the too approach coming of age story from the
456
00:32:21.599 --> 00:32:28.440
perspective of a child growing up in today's chaotic, you know, social, political,
457
00:32:28.480 --> 00:32:34.599
cultural ecosystem where you're pretty much you know, you're on
458
00:32:34.680 --> 00:32:39.039
the cusp of a new financial crisis that you're seeing
459
00:32:39.400 --> 00:32:45.000
the greater disparity between the haves and the haves nots,
460
00:32:45.160 --> 00:32:49.200
just getting wide to the point of, you know, where
461
00:32:49.240 --> 00:32:54.440
there's there's no seemingly no bridge between either and there
462
00:32:54.480 --> 00:32:59.319
living in two separate realities, you know, and people with
463
00:32:59.440 --> 00:33:06.799
power act with impunity and not getting any kind of
464
00:33:06.880 --> 00:33:11.039
reprisal for that or none that can be seen from
465
00:33:11.319 --> 00:33:14.640
day to day life, going into an education system which
466
00:33:14.680 --> 00:33:21.200
seems primed to railroad them into the system rather than
467
00:33:21.440 --> 00:33:26.640
being an agent of change within the system, and the
468
00:33:26.880 --> 00:33:30.799
challenge of having all of that going on and then
469
00:33:30.960 --> 00:33:35.880
meeting a guidance or a form of a guide that
470
00:33:36.119 --> 00:33:37.480
could lead.
471
00:33:37.279 --> 00:33:42.759
Them out of that rut, that can actually put a
472
00:33:42.799 --> 00:33:46.279
promise on the table or a sense of direction that
473
00:33:46.440 --> 00:33:49.480
can lead them to believing that the world can get better,
474
00:33:50.079 --> 00:33:54.400
because you know, in today's society, we're facing full manner
475
00:33:54.440 --> 00:33:58.000
of crises and one of the big ones is, of course,
476
00:33:58.480 --> 00:34:01.960
you know, decline in birth rates, which in itself is not.
477
00:34:02.839 --> 00:34:05.599
An issue if it's just a very glad drop of client.
478
00:34:05.759 --> 00:34:10.119
But we're talking off a cliff because the prospects of
479
00:34:10.440 --> 00:34:13.239
being able to raise a child are no longer feasible.
480
00:34:13.760 --> 00:34:17.280
You're you know, on a financial level and also on
481
00:34:17.360 --> 00:34:19.400
a I don't want to bring my child into this
482
00:34:19.480 --> 00:34:24.079
world kind of level, you know. And to what extent
483
00:34:24.239 --> 00:34:29.559
is that a manufactured reality or a similacrum of the
484
00:34:29.599 --> 00:34:34.280
online the permanently online community where you were constantly exposed
485
00:34:34.280 --> 00:34:38.840
to the worst of the worst of humanity, especially when
486
00:34:38.880 --> 00:34:43.039
you've got the President of the United States, you know,
487
00:34:43.199 --> 00:34:46.639
retreating someone getting murdered on camera with a hammer. I mean,
488
00:34:46.679 --> 00:34:48.880
that was only a few weeks ago, and it's just
489
00:34:48.960 --> 00:34:55.960
like that's normal now. And so this, you know, this change,
490
00:34:56.159 --> 00:35:00.840
I suppose in the kind of social and cultural and
491
00:35:00.880 --> 00:35:05.320
political space where life suddenly has gone back to being
492
00:35:05.599 --> 00:35:09.440
more disposable and less valuable. And then to grow up
493
00:35:09.480 --> 00:35:12.480
and see that and reject that, but not having the
494
00:35:12.679 --> 00:35:16.880
capacity to escape from that or to grow from that
495
00:35:17.079 --> 00:35:20.519
or change from that path and to see the world
496
00:35:20.679 --> 00:35:24.039
just keep pushing you in that direction of how do
497
00:35:24.159 --> 00:35:25.320
we you.
498
00:35:25.280 --> 00:35:27.000
Know, you've just got to go this way.
499
00:35:27.039 --> 00:35:28.599
You've got to get your job, you've got to fit
500
00:35:28.679 --> 00:35:31.679
into society, you've got to you know, pay your taxes,
501
00:35:31.760 --> 00:35:34.280
you've got to do all of these things. But you're
502
00:35:34.280 --> 00:35:37.119
doing it to perpetuate a system that would crush you
503
00:35:37.239 --> 00:35:41.559
under foot any chance it got. So that was one
504
00:35:41.599 --> 00:35:46.880
of the ideas, and the other idea was essentially a
505
00:35:46.960 --> 00:35:54.320
similar one, but it was more the humanization of.
506
00:35:52.559 --> 00:35:57.840
The Internet era and how that can relate to.
507
00:35:59.400 --> 00:36:02.840
A traumatiz person, a person that wants to grow, that
508
00:36:02.920 --> 00:36:07.119
wants to change, that wants to transcend, but the reality
509
00:36:07.119 --> 00:36:13.119
around them keeps on pushing in on them and insisting
510
00:36:13.239 --> 00:36:17.920
that they are the villain, the wrong one, the defect
511
00:36:17.960 --> 00:36:21.239
in society, the thing that should not be the way
512
00:36:21.280 --> 00:36:26.719
that they are. And I suppose that one is definitely
513
00:36:26.760 --> 00:36:32.719
more of a horror thriller bent. I think that, you know,
514
00:36:33.880 --> 00:36:38.360
the premise is really built out of home invasion and
515
00:36:38.360 --> 00:36:43.840
surviving a home invasion. Yeah, and then the implications of
516
00:36:43.920 --> 00:36:51.679
the journey to healing been constantly, you know, jeopardized by
517
00:36:51.800 --> 00:36:55.559
the reality that they go out into and face every day.
518
00:36:55.800 --> 00:36:57.960
And we're talking from a female point of view.
519
00:36:58.480 --> 00:37:05.239
Sexual harassment, you know, denigration in the workplace, harassment online,
520
00:37:05.400 --> 00:37:09.599
all of these different factors that are constantly at play
521
00:37:09.840 --> 00:37:14.480
in terms of, you know, limiting the ability of a
522
00:37:14.480 --> 00:37:19.199
person to pick themselves up and to carry on and
523
00:37:20.239 --> 00:37:23.599
you feel like they're progressing in the world. And I
524
00:37:23.639 --> 00:37:29.400
think that it really taps into the same kind of
525
00:37:29.480 --> 00:37:33.239
like anxieties that I think a lot of people in
526
00:37:33.280 --> 00:37:37.199
my generation, the new generation coming through have, which is
527
00:37:37.760 --> 00:37:41.880
you're constantly being watched, You're constantly being surveiled. You can't
528
00:37:42.559 --> 00:37:48.400
go out in public and respond without thinking, you know,
529
00:37:48.559 --> 00:37:51.599
someone's going to be recording this, I'm going to be
530
00:37:51.800 --> 00:37:54.800
you know, I'll be crucified online if I you know,
531
00:37:56.000 --> 00:38:01.159
do whatever, and so, you know, to an extent, you know,
532
00:38:01.320 --> 00:38:05.599
being surveiled in such a way is a good social filter,
533
00:38:06.199 --> 00:38:10.400
but it presents a huge amount of pitfalls in terms
534
00:38:10.400 --> 00:38:13.599
of the way that we are able to interact with
535
00:38:13.639 --> 00:38:18.280
other people and the separation. The degree of separation that
536
00:38:18.320 --> 00:38:22.840
we have on a screen versus in person interaction allows
537
00:38:22.880 --> 00:38:27.800
so much dehumanization to take place, you know, just the
538
00:38:27.880 --> 00:38:31.079
ease in which we can villainize someone on the basis
539
00:38:31.159 --> 00:38:34.800
of the worst ten seconds of their life recorded on
540
00:38:34.840 --> 00:38:40.239
camera versus the reality that they live every day and
541
00:38:40.679 --> 00:38:44.840
understanding that context around the reality. It's like, well, a
542
00:38:44.880 --> 00:38:47.880
lot of people don't want to do that legwork, and actually,
543
00:38:48.679 --> 00:38:54.159
you know, acknowledge that other people are these complicated, nuanced
544
00:38:54.280 --> 00:38:58.480
human beings that are not always operating at one hundred
545
00:38:58.480 --> 00:39:04.519
percent capacity. So it's it poses a real I think,
546
00:39:04.599 --> 00:39:09.199
social challenge now where who we are is almost always
547
00:39:09.280 --> 00:39:15.639
performative and not representative of the reality of who we are.
548
00:39:16.800 --> 00:39:21.119
You know, For me, I am I remember when I
549
00:39:21.239 --> 00:39:22.599
was a child and I was.
550
00:39:22.599 --> 00:39:26.360
Never really good at social interaction.
551
00:39:26.039 --> 00:39:28.000
And a lot of that was just that I wasn't
552
00:39:28.039 --> 00:39:31.519
socialized in a convention of sense, Like I mean, I
553
00:39:31.559 --> 00:39:34.639
would go to school, but I only had a small
554
00:39:34.679 --> 00:39:36.960
little friends group of my own, and they were the
555
00:39:37.519 --> 00:39:41.679
nerds back when nerds meant, you know, computer oriented and
556
00:39:41.760 --> 00:39:43.639
not just people who buy stuff.
557
00:39:45.199 --> 00:39:50.039
You know, I think. But I'd go home and I'd
558
00:39:50.079 --> 00:39:50.880
just be on my own.
559
00:39:50.960 --> 00:39:53.679
I lived on we lived on acreage when I was young,
560
00:39:53.840 --> 00:39:58.079
and you know, just go out, be in nature, just
561
00:39:58.239 --> 00:40:01.280
be away from people, you know. And it wasn't necessarily
562
00:40:01.360 --> 00:40:03.639
that I didn't like people. I just didn't like what
563
00:40:04.480 --> 00:40:06.800
they had to say. You know, most of the time
564
00:40:06.880 --> 00:40:10.920
there was like I think, you know, it's a cliche,
565
00:40:11.079 --> 00:40:13.519
and people tend to dress up the fact that they're
566
00:40:13.599 --> 00:40:15.039
unique by saying.
567
00:40:14.719 --> 00:40:17.320
That, oh, we don't like to have superficial conversations.
568
00:40:18.039 --> 00:40:20.599
But it's like, it's not about it being superficial, it's
569
00:40:20.599 --> 00:40:26.159
about what's the meaning behind the conversation, Like are you introspecting,
570
00:40:26.280 --> 00:40:29.199
are you growing from having this, or are you just
571
00:40:29.280 --> 00:40:32.599
going to like use it to reconfirm your own biases
572
00:40:33.519 --> 00:40:36.280
and go on living the way that you have been doing.
573
00:40:36.440 --> 00:40:41.360
You know, it's like the like it. There's only a
574
00:40:41.400 --> 00:40:42.679
few moments I think.
575
00:40:42.519 --> 00:40:44.800
In many people's lives where they really go, this is
576
00:40:44.840 --> 00:40:48.000
a big moment, and I change and I grow and
577
00:40:48.039 --> 00:40:53.239
I'm doing this and now things are different, you know,
578
00:40:53.559 --> 00:40:58.960
Like I don't know, as an example, people maybe turning
579
00:40:59.000 --> 00:41:03.239
to vegans like they've seen something that was that heavy
580
00:41:03.599 --> 00:41:07.280
and shocking that it was like transformative for them, Like
581
00:41:07.400 --> 00:41:11.679
they just rejected the premise of you know, eating meat
582
00:41:11.719 --> 00:41:17.599
and participating in that kind of you know, ecosystem, and
583
00:41:18.800 --> 00:41:21.119
they did the hard yards, they did the work, they
584
00:41:21.159 --> 00:41:22.960
committed to you know.
585
00:41:23.000 --> 00:41:24.280
That change in their life.
586
00:41:24.760 --> 00:41:29.360
You know, the same goes for the advocacy, Like I mean,
587
00:41:29.639 --> 00:41:31.960
sometimes you just hear a story and it rocks you
588
00:41:32.039 --> 00:41:34.920
to your core and you just go, is this.
589
00:41:35.039 --> 00:41:36.760
Is this the path that I want to take as
590
00:41:36.760 --> 00:41:39.239
a person and who I want to become?
591
00:41:40.199 --> 00:41:44.119
Or is this one that I want to change? And
592
00:41:44.159 --> 00:41:48.119
there's no problem with changing. And I think that humans
593
00:41:48.159 --> 00:41:51.960
necessarily need to change and grow and evolve, and that's
594
00:41:52.000 --> 00:41:56.440
what human society and human history has been all about.
595
00:41:57.719 --> 00:41:58.800
You know, like if we're.
596
00:41:58.679 --> 00:42:01.960
Looking back even a hundred years, the concept of commercial
597
00:42:02.000 --> 00:42:07.199
flights was like a pipe dream, you know, and yet
598
00:42:07.760 --> 00:42:12.480
in one hundred and plus years, we're sending sending spaceships
599
00:42:12.519 --> 00:42:15.360
to the moon. You know.
600
00:42:16.320 --> 00:42:18.960
You tell me about your movie idea, this.
601
00:42:18.880 --> 00:42:24.599
Is well, you know, we go we go abstract here,
602
00:42:25.320 --> 00:42:28.159
this is just it's an insight into a mind.
603
00:42:28.280 --> 00:42:30.000
You know.
604
00:42:33.119 --> 00:42:36.679
But this, this is the way that I was following
605
00:42:36.760 --> 00:42:36.960
it on.
606
00:42:37.119 --> 00:42:39.960
And you're like years ago commercial flight, I'm.
607
00:42:39.800 --> 00:42:46.280
Like lost a thread here, But this is this is
608
00:42:47.000 --> 00:42:50.440
how I would curate an idea, you know, I would
609
00:42:50.519 --> 00:42:54.559
really kind of dig deep into kind of I guess
610
00:42:55.119 --> 00:42:58.280
all of the different threads of what what what do
611
00:42:58.320 --> 00:42:59.199
I want to talk about?
612
00:42:59.239 --> 00:43:00.639
Why do I want to talk about it?
613
00:43:01.039 --> 00:43:04.000
What are all the introspective points that I want to
614
00:43:04.000 --> 00:43:08.079
make about it. Yeah, and I think, you know, Albatross
615
00:43:08.159 --> 00:43:11.280
was a really good testing ground for that because it
616
00:43:11.360 --> 00:43:12.920
was like we can strip it and.
617
00:43:13.039 --> 00:43:17.119
The narrative down to its barest point and pull out.
618
00:43:17.079 --> 00:43:22.199
The raw most material from each section and really then
619
00:43:22.280 --> 00:43:26.000
stitch it all together and create the implications through the editing.
620
00:43:26.920 --> 00:43:27.800
Right, And so.
621
00:43:29.480 --> 00:43:31.840
You know, do you want to kind of what I
622
00:43:31.960 --> 00:43:35.360
want to kind of build on, you know, that same
623
00:43:35.480 --> 00:43:39.719
kind of structural idea where you're not necessarily firing the
624
00:43:39.800 --> 00:43:47.199
most you know, linear narrative or cohesive you know, plot,
625
00:43:48.320 --> 00:43:54.239
but you're pulling out those really raw, really relatable human
626
00:43:54.400 --> 00:43:58.840
elements and making something that people can go and give
627
00:43:58.880 --> 00:44:02.679
themselves either poor and grow from, or they can look
628
00:44:02.719 --> 00:44:05.639
at it and go, you know this, this is at
629
00:44:05.719 --> 00:44:10.360
least like challenging me on a deeper level than you know,
630
00:44:11.079 --> 00:44:16.159
a standard Tropes centered story.
631
00:44:16.320 --> 00:44:19.880
So yeah, like those would be I would say the two.
632
00:44:20.360 --> 00:44:23.679
Main ideas, one being coming of age story, another being
633
00:44:23.719 --> 00:44:28.199
more of a home invasion horror thriller kind of thing.
634
00:44:29.320 --> 00:44:34.199
And I think, you know, especially with the horror thriller premise,
635
00:44:35.039 --> 00:44:41.480
it would follow on. I guess like for example, with Albatross,
636
00:44:41.519 --> 00:44:45.800
I think what makes it really fertile ground for discussion,
637
00:44:47.599 --> 00:44:50.400
and you might agree with this, is that we know
638
00:44:51.360 --> 00:44:57.840
what's happened early, we understand the early, and then it's
639
00:44:57.880 --> 00:45:01.119
what is built from that that is the main story.
640
00:45:02.800 --> 00:45:04.840
You know. The same was true when I had the
641
00:45:04.920 --> 00:45:09.840
Shades of Red project, Like the sexual assault that's written
642
00:45:09.840 --> 00:45:12.920
into the story happens early, and my interest in the
643
00:45:12.960 --> 00:45:18.639
story was what happens after that, up to the point
644
00:45:18.719 --> 00:45:21.519
where she actually has the strength to speak out about it,
645
00:45:21.599 --> 00:45:26.079
because that, for me, was an untraveled road where there
646
00:45:26.159 --> 00:45:29.679
was so much in there in terms of like the
647
00:45:29.760 --> 00:45:34.079
personal family or family based dramas that were going on.
648
00:45:34.559 --> 00:45:36.119
You know, she didn't want to speak up, she didn't
649
00:45:36.119 --> 00:45:38.559
want to be a problem, She didn't want to, you know,
650
00:45:38.880 --> 00:45:41.679
step out of line with the goals and hopes and
651
00:45:41.760 --> 00:45:45.199
dreams of her parents, and so you know, all of
652
00:45:45.239 --> 00:45:49.320
these things kind of like created this catalyst of you know,
653
00:45:49.760 --> 00:45:55.559
personal breakdown to save face, to fit the social bands
654
00:45:55.599 --> 00:45:59.880
that she was living in and not step on anytime,
655
00:46:00.199 --> 00:46:04.199
not break out of that cycle of shame and stigma,
656
00:46:04.360 --> 00:46:07.719
and then be further exploited because of that. And I
657
00:46:07.760 --> 00:46:13.320
think that you know, I've seen it happen. Well, I've
658
00:46:13.360 --> 00:46:17.679
heard the testimonies of it happened so many times. And
659
00:46:18.760 --> 00:46:22.920
you know, like there's a very good YouTube channel called
660
00:46:24.320 --> 00:46:30.039
Soft White Underbelly, I believe, and it's focuses on like
661
00:46:30.159 --> 00:46:34.480
skid row and of the well pretty much like all
662
00:46:34.480 --> 00:46:41.719
the denizens in skin skid Row, and they interview drug addicts, pimps,
663
00:46:44.280 --> 00:46:48.440
people we've raped, the family members, or being child abusers.
664
00:46:49.280 --> 00:46:51.920
And I think one of the three lines with that
665
00:46:52.760 --> 00:46:56.480
is that there's no judgment. But a lot of the time,
666
00:46:56.559 --> 00:47:01.079
because it's just an interview with this person, you really
667
00:47:01.119 --> 00:47:04.840
get only a very superficial level of introspection. Like they'll
668
00:47:04.880 --> 00:47:09.760
talk about it in many ways, you know, and they'll
669
00:47:09.880 --> 00:47:12.760
justify it in many ways, but usually there's no an
670
00:47:12.840 --> 00:47:16.800
introspection of I was in this place because of this
671
00:47:17.280 --> 00:47:21.039
and this happened, and you know, I'm growing from this,
672
00:47:21.159 --> 00:47:24.400
I'm transcending this because most of these people are in
673
00:47:24.440 --> 00:47:28.199
this place where there is you know, people have given
674
00:47:28.280 --> 00:47:31.440
up and there's no hope. There's just this perpetuation of
675
00:47:31.559 --> 00:47:34.400
drug abuse and all.
676
00:47:34.280 --> 00:47:36.920
Matter of things going on.
677
00:47:37.840 --> 00:47:42.719
So it's a really enlightening channel and I think that
678
00:47:42.880 --> 00:47:45.320
it sheds a lot of light on the reality that
679
00:47:45.440 --> 00:47:48.840
faces many people that have fallen through the cracks in
680
00:47:48.880 --> 00:47:53.119
the system. But you know, at the same time, I
681
00:47:53.159 --> 00:47:55.599
was like, I don't want to just make something that
682
00:47:55.800 --> 00:48:00.039
kind of tells what happens. I want something where you go, so,
683
00:48:00.920 --> 00:48:07.880
this is horrible, this has happened. But with introspection, with time,
684
00:48:08.480 --> 00:48:13.000
with growth, with support, there is a bright light at
685
00:48:13.000 --> 00:48:15.920
the end of the time. There is hot But it's
686
00:48:16.000 --> 00:48:18.960
not a simple hope and it's not something that can
687
00:48:19.039 --> 00:48:22.000
just be resolved by you know, you just say, there's
688
00:48:22.000 --> 00:48:24.800
a seventy minute film and it just ends and it
689
00:48:24.920 --> 00:48:25.760
solves everything.
690
00:48:25.960 --> 00:48:30.239
You know is going to figure it out, man, But.
691
00:48:30.920 --> 00:48:36.039
He doesn't, and no one really does. But their important
692
00:48:36.199 --> 00:48:43.280
aspect is always that you start that conversation a representation
693
00:48:43.559 --> 00:48:46.639
that is willing to talk about these things. You put
694
00:48:46.679 --> 00:48:49.559
it out there, and then it's up to the audience
695
00:48:49.599 --> 00:48:54.239
to interpret that through their own subjective lens, through their
696
00:48:54.239 --> 00:49:01.480
own experiences, through you know, their empathy, right, you know
697
00:49:01.519 --> 00:49:05.559
what it means to them? Yeah, you know, if if
698
00:49:05.639 --> 00:49:09.519
it's something that affects them in a way that uh,
699
00:49:09.840 --> 00:49:12.320
you know, profoundly changes them. And that's like the biggest
700
00:49:12.320 --> 00:49:15.599
compliments I can receive, you know, like, then I know
701
00:49:15.760 --> 00:49:17.920
that I'm really speaking truth about something.
702
00:49:18.599 --> 00:49:18.800
Yeah.
703
00:49:18.960 --> 00:49:22.360
So, I think for me as a filmmaker.
704
00:49:21.920 --> 00:49:26.000
The you know, the biggest part of the journey is
705
00:49:26.079 --> 00:49:32.280
to feel like you're touching something that you know no
706
00:49:32.360 --> 00:49:36.000
one else has kind of been able to, you know,
707
00:49:36.480 --> 00:49:41.360
like you've been able to touch someone on an emotional
708
00:49:41.440 --> 00:49:46.440
level or a psychological level that makes them reframe their life,
709
00:49:47.119 --> 00:49:50.239
you know. And I don't think I'm there yet.
710
00:49:50.519 --> 00:49:50.760
You know.
711
00:49:50.880 --> 00:49:54.119
As much as I think Albatross is heavy and intense
712
00:49:54.199 --> 00:49:59.159
and very personal, I think you know you want to
713
00:49:59.239 --> 00:50:01.679
keep making films? Was until you've said all that there
714
00:50:01.719 --> 00:50:04.440
is to say, and I haven't got very started yet.
715
00:50:04.639 --> 00:50:09.960
Yeah, well said, well said, And I completely agree. I think,
716
00:50:10.679 --> 00:50:14.480
you know, I think that no matter what people take
717
00:50:14.519 --> 00:50:19.639
away from Albatros, they will be ruminating on it and
718
00:50:19.679 --> 00:50:24.800
opening up dialogues either internally or with other people about it.
719
00:50:24.840 --> 00:50:29.199
And so I think your your goal for making that happen,
720
00:50:29.239 --> 00:50:32.599
you've definitely achieved that, you know. So, yeah, I'm excited
721
00:50:32.679 --> 00:50:36.880
to see these other projects too. I mean, I love
722
00:50:36.960 --> 00:50:39.920
coming of age films and home I love horror movies,
723
00:50:40.039 --> 00:50:41.079
home invasion films.
724
00:50:41.079 --> 00:50:47.199
So I'll just make one that puts the two together them.
725
00:50:45.599 --> 00:50:49.400
You could, yeah, I mean, I don't know if I've
726
00:50:49.440 --> 00:50:51.960
seen that before necessarily, so why.
727
00:50:51.760 --> 00:50:56.840
Not, But it would just like a while. You know,
728
00:50:57.880 --> 00:51:01.559
the development process is always very long for me because
729
00:51:02.199 --> 00:51:06.280
you know, you've got a fertile ground of ideas, but
730
00:51:06.320 --> 00:51:11.400
you're very specific about what ideas really are sticking points you.
731
00:51:11.639 --> 00:51:15.039
Well, and Albatrast just came out, so like you don't
732
00:51:15.079 --> 00:51:17.039
have to rush to the next time, you know what
733
00:51:17.079 --> 00:51:19.000
I mean, You get a tour on this one and
734
00:51:19.039 --> 00:51:21.039
get it out there, get the blue ray out, get
735
00:51:21.199 --> 00:51:21.639
other people.
736
00:51:21.880 --> 00:51:25.079
Yeah, it's a process. It's a process.
737
00:51:25.559 --> 00:51:32.239
There's yeah, lots of lots of time to ruminate and grow.
738
00:51:32.400 --> 00:51:35.119
But you know, at the same time, you go, you know,
739
00:51:35.679 --> 00:51:37.400
you want to strike while the iron's hot.
740
00:51:37.840 --> 00:51:40.039
You know, the world is going through so much.
741
00:51:39.960 --> 00:51:44.000
Kind of upheaval that you kind of want something that's
742
00:51:44.039 --> 00:51:47.920
prescient and of the moment at the same time, but
743
00:51:48.159 --> 00:51:51.880
you don't want to rush it and watch the whole thing. Yeah,
744
00:51:52.559 --> 00:51:56.519
you know, I appreciate all of the early attention that
745
00:51:56.559 --> 00:51:59.280
the film has been getting so far, because you know,
746
00:51:59.519 --> 00:52:04.280
it's aboutation, but I think more than just validation. It's
747
00:52:04.360 --> 00:52:06.719
just like it's saying that it's hitting a nail on
748
00:52:06.760 --> 00:52:11.719
the head in some way. You know, you don't necessarily
749
00:52:11.760 --> 00:52:14.840
have to like what it's saying, but you can't admit
750
00:52:15.039 --> 00:52:19.599
that it's not touching a raw nerve. That is speaking
751
00:52:19.760 --> 00:52:24.159
some level of truth to very complicated manners. And it's
752
00:52:24.239 --> 00:52:28.679
a subjective truth for sure, but it's a truth that
753
00:52:30.159 --> 00:52:37.400
most people wouldn't talk about or would, you know, whitewash or.
754
00:52:37.360 --> 00:52:40.840
Simplify because it is easier to do that.
755
00:52:42.519 --> 00:52:45.280
But for me, I'm just like, if I'm going to invest,
756
00:52:45.400 --> 00:52:50.199
you know, however many years of development, I have to,
757
00:52:50.360 --> 00:52:53.119
I want to be one hundred percent on board with
758
00:52:53.159 --> 00:52:56.679
what I'm putting out there, you know, if not in
759
00:52:56.719 --> 00:52:58.880
the future, for now, I want to be able to
760
00:52:58.920 --> 00:53:04.239
believe that and then go off learn more, experience more,
761
00:53:04.840 --> 00:53:09.679
understand more, and just keep building upon that, you know.
762
00:53:10.000 --> 00:53:12.599
But I think Albatross is a strong foundation.
763
00:53:13.400 --> 00:53:14.000
Absolutely.
764
00:53:14.320 --> 00:53:18.119
Yeah, well said, all right, let's move on to the questionnaire.
765
00:53:18.360 --> 00:53:21.400
I'll let you get on your way and we'll get
766
00:53:21.400 --> 00:53:25.159
you back on Lachlan and we'll have the technical difficulty
767
00:53:25.239 --> 00:53:28.920
started out for next time, you know, we will. Okay, So,
768
00:53:29.159 --> 00:53:31.920
what is one item you can't live without?
769
00:53:33.199 --> 00:53:37.599
Oh, okay, because I'm doing I do a lot of
770
00:53:37.599 --> 00:53:42.599
film preservation. I would have to say probably my digitization software.
771
00:53:43.679 --> 00:53:48.880
Oh okay, okay, it's invaluable, you know. Y. Yeah, And
772
00:53:48.920 --> 00:53:52.400
I won't get into the film preservation aspect now, but
773
00:53:52.480 --> 00:53:53.800
maybe in the future season.
774
00:53:53.880 --> 00:53:56.039
Yeah, you'll come back and talk about that, because you
775
00:53:56.159 --> 00:53:59.280
had a hand in eighty eight, which I haven't watched yet.
776
00:53:59.559 --> 00:54:01.079
I did pre ordered the.
777
00:54:01.000 --> 00:54:06.000
Blu ray though, so I actually have a science copy
778
00:54:06.039 --> 00:54:10.440
from the director up there. They thank me for all
779
00:54:10.480 --> 00:54:14.800
the contributions because yeah, it was a that's a fantastic story,
780
00:54:15.039 --> 00:54:18.159
and I'm happy to talk about it in the future.
781
00:54:18.800 --> 00:54:22.440
Yeah, definitely, definitely. Okay, what was the last great movie
782
00:54:22.480 --> 00:54:23.840
you saw in theaters?
783
00:54:24.199 --> 00:54:27.559
Oh? Well, to be honest, I don't actually go to
784
00:54:27.719 --> 00:54:30.800
theaters very often on my own, behalf. I go with
785
00:54:31.320 --> 00:54:34.480
clients because I'm a support worker. And so the last
786
00:54:34.679 --> 00:54:37.599
really good one that I saw was actually the Puss
787
00:54:37.599 --> 00:54:42.119
in Puss in Boots too the last year, and I
788
00:54:42.159 --> 00:54:48.679
think it was just a really fantastic example of transcending
789
00:54:48.760 --> 00:54:55.119
the sequel curse and just that but telling its own,
790
00:54:55.320 --> 00:55:00.800
really compelling story in a nuanced way, you know, pretty
791
00:55:00.840 --> 00:55:05.039
much gives you the opportunity to see very like pretty
792
00:55:05.079 --> 00:55:10.599
much every different villain trope play out, and you know,
793
00:55:10.800 --> 00:55:14.519
kind of see a contrast between them, you know, have
794
00:55:14.599 --> 00:55:18.400
a really comparable kind of character story and everything. Like.
795
00:55:18.480 --> 00:55:22.760
That's a really good child centric movie. I would recommend.
796
00:55:25.960 --> 00:55:29.400
Yeah, from the last few years, that was the one
797
00:55:29.440 --> 00:55:31.360
that I probably remember the best.
798
00:55:33.760 --> 00:55:38.440
But yeah, okay, what was the last great concert you
799
00:55:38.480 --> 00:55:38.760
went to?
800
00:55:39.519 --> 00:55:43.760
Oh gosh, well, maybe it wouldn't be. I don't know
801
00:55:43.800 --> 00:55:46.440
if it's surprising or not, but I haven't gone to
802
00:55:46.480 --> 00:55:50.119
a concert for like decades.
803
00:55:50.039 --> 00:55:52.800
Like, I couldn't remember the last time I am.
804
00:55:53.679 --> 00:55:56.920
I'm very out of the social.
805
00:55:58.960 --> 00:56:02.360
So there's a backup question for that, because you know,
806
00:56:02.519 --> 00:56:05.920
not everyone gets out to concerts anymore. But what was
807
00:56:05.960 --> 00:56:07.559
the last great song you listened to?
808
00:56:08.360 --> 00:56:13.920
Oh gosh, well, one that I listen to quite frequently
809
00:56:14.119 --> 00:56:17.039
that I quite enjoy because I'm a big prog rock,
810
00:56:18.599 --> 00:56:23.519
like I lost the long unresolving music, you know, yeah,
811
00:56:23.559 --> 00:56:26.199
and I mean progressive rock.
812
00:56:26.039 --> 00:56:30.320
And metal and you know, the same classical and stuff.
813
00:56:30.679 --> 00:56:36.760
They all love their unresolving, complicated works. One which I liked,
814
00:56:36.800 --> 00:56:41.079
which is quite an amusing band name. Scenes we're recording
815
00:56:41.079 --> 00:56:47.239
this on Riverside is from Riverside called Second Life Syndrome, okay,
816
00:56:47.239 --> 00:56:51.559
and it's got such an interesting musical texture to it.
817
00:56:51.960 --> 00:56:56.920
Lyrically it's a bit simplistic, but the delivery of everything,
818
00:56:57.960 --> 00:57:03.559
it's just a very satisfying fifteen minutes track. Yeah, gotta
819
00:57:03.599 --> 00:57:06.440
say it's a you know, long stuff is.
820
00:57:06.360 --> 00:57:07.119
My bread and butter.
821
00:57:07.440 --> 00:57:11.280
Like I years and years ago, I made a list
822
00:57:11.400 --> 00:57:15.480
of single track albums on Write Your Music.
823
00:57:16.119 --> 00:57:16.400
Okay.
824
00:57:16.440 --> 00:57:18.760
I think I came up to like six hundred or something.
825
00:57:18.840 --> 00:57:19.360
Oh my god.
826
00:57:19.800 --> 00:57:22.360
You know, like you had some like real classics like
827
00:57:22.920 --> 00:57:27.920
from Edge of Sanity, Okay, you know, some like metalcore,
828
00:57:28.679 --> 00:57:32.440
some you know, really thrashy black metal kind of things,
829
00:57:32.480 --> 00:57:35.679
and then you had the more meandering ambient.
830
00:57:36.079 --> 00:57:38.079
You had lots of progressive rock.
831
00:57:39.239 --> 00:57:41.719
You know. Classical was a big one as well. You know,
832
00:57:41.960 --> 00:57:46.039
like I don't really pin myself down to any particular
833
00:57:46.119 --> 00:57:50.119
music taste, but for me, it's like, if it's got
834
00:57:50.159 --> 00:57:55.639
to be long and dense and rich in yeah, you know, just.
835
00:57:55.679 --> 00:57:57.159
Something you can sink your teeth into.
836
00:57:57.840 --> 00:58:00.679
Are you familiar with sleeps a smoker?
837
00:58:01.119 --> 00:58:04.199
I am, okay, because that was the first one that
838
00:58:04.239 --> 00:58:06.199
came to mind. That's an hour long sign.
839
00:58:06.519 --> 00:58:10.119
I might I might have it back there in the seeding, Okay, okay,
840
00:58:10.159 --> 00:58:12.320
but yeah, so that's a that's a lot of classics
841
00:58:12.360 --> 00:58:15.880
of the Yeah. Yeah, Like I mean, it's perhaps not
842
00:58:15.960 --> 00:58:20.880
as textually dynamic as a lot of other stuff, but
843
00:58:21.000 --> 00:58:21.320
it is.
844
00:58:21.679 --> 00:58:23.760
It is a vibe.
845
00:58:24.320 --> 00:58:27.760
And I can't say I've ever partook in in any
846
00:58:27.800 --> 00:58:31.760
of that, but oh, okay, you know, I do appreciate
847
00:58:32.360 --> 00:58:34.400
the music aspect, you know.
848
00:58:34.480 --> 00:58:37.920
I think there's another one called.
849
00:58:37.119 --> 00:58:40.119
The Great Barrier Reefer, which is like an eighty minute
850
00:58:40.559 --> 00:58:44.119
track amazing by a band called Bong Ripper.
851
00:58:44.320 --> 00:58:47.440
So you're okay, it tells you all is to know
852
00:58:48.199 --> 00:58:53.000
that kind of Yeah, Okay, what was the last great
853
00:58:53.079 --> 00:58:53.800
book you read?
854
00:58:56.199 --> 00:59:00.840
It would probably be Conspiracy to Murder and it was
855
00:59:00.880 --> 00:59:07.880
about the Rwandan genocide and it was essentially it's essentially
856
00:59:07.960 --> 00:59:12.280
a compilation of like journalist reports of the time and
857
00:59:12.320 --> 00:59:18.800
about how they the there was essentially this humongous propaganda
858
00:59:18.840 --> 00:59:22.119
campaign that just built and built and built and built
859
00:59:22.119 --> 00:59:29.239
and built until it reached that boiling overpoint. And like
860
00:59:29.920 --> 00:59:37.800
just I think that it's a very timely book regardless
861
00:59:37.840 --> 00:59:42.280
of the time, and I think all great art kind
862
00:59:42.320 --> 00:59:44.800
of is in a way, But in the same sense,
863
00:59:44.840 --> 00:59:47.519
it's like you wish it wasn't you wish it wasn't time,
864
00:59:47.880 --> 00:59:51.599
you wish you just we've just learned the lesson. We've
865
00:59:51.599 --> 00:59:56.840
looked at the history everyone had, you know, unilaterately accepted
866
00:59:57.199 --> 01:00:00.920
that it was horrendous and what look out for and
867
01:00:01.000 --> 01:00:07.079
how to avoid this. But yeah, I mean we're here, Yeah,
868
01:00:07.159 --> 01:00:12.480
and people tend to kind of, you know, fall into
869
01:00:12.559 --> 01:00:17.920
those spaces where that interrogation of reality is just not there,
870
01:00:18.880 --> 01:00:22.840
you know, whether by design or just buy apathy, and
871
01:00:23.920 --> 01:00:27.639
you know, just overwhelm. I mean that's a big thing,
872
01:00:27.760 --> 01:00:33.519
the twenty four hour news cycles. Yeah, quite a nefarious
873
01:00:33.519 --> 01:00:35.039
beast mm.
874
01:00:36.440 --> 01:00:39.519
But it's a conspiracy to murder, that's what it's called.
875
01:00:40.039 --> 01:00:41.079
Yeah, Okay.
876
01:00:41.800 --> 01:00:45.840
For his final meal, John Wayne Geese picked KFC chicken,
877
01:00:46.000 --> 01:00:50.119
shrimp and strawberries for your final meal before being executed.
878
01:00:50.360 --> 01:00:51.079
What would you pick?
879
01:00:51.760 --> 01:00:53.440
It depends on being executed for.
880
01:00:57.239 --> 01:01:02.400
Asking that I just say nothing, nothing, get me out
881
01:01:02.400 --> 01:01:08.719
of here. But if it was something minor, then I
882
01:01:08.760 --> 01:01:14.239
think I would want to really drag down the wheels
883
01:01:14.239 --> 01:01:18.159
of justice really slowly, so I'd give them a really
884
01:01:18.239 --> 01:01:22.800
ridiculous request that takes them like years to fulfill, you know,
885
01:01:23.000 --> 01:01:24.800
really really dredge up those.
886
01:01:24.679 --> 01:01:28.920
Tax expenses on their part, a malicious compliance.
887
01:01:29.159 --> 01:01:31.239
You got to eat it, right, So like, what do
888
01:01:31.280 --> 01:01:33.639
you want to eat? And it's it's potentially the last
889
01:01:33.639 --> 01:01:34.440
thing you'll ever eat.
890
01:01:34.719 --> 01:01:36.159
It's gotta be amazing.
891
01:01:36.920 --> 01:01:41.760
Well. See, one of my one of my earliest lovers
892
01:01:41.760 --> 01:01:44.719
in food was always apples. Loved me, loved me apples.
893
01:01:45.599 --> 01:01:51.159
But I never liked apple pie. Just just apples. I'm
894
01:01:51.199 --> 01:01:53.199
a simple man, a simple man.
895
01:01:55.880 --> 01:01:56.960
What about apple size?
896
01:01:58.159 --> 01:02:02.280
No, No, just just juice. I kind of yeah, I
897
01:02:02.320 --> 01:02:04.440
can get behind apple juice, apple fritters.
898
01:02:05.880 --> 01:02:07.559
Don't think I've ever had apple fritters.
899
01:02:07.800 --> 01:02:11.760
Do you have green apple flavor? Green apple flavored candies?
900
01:02:13.639 --> 01:02:13.679
No?
901
01:02:13.880 --> 01:02:14.679
I prefer an apple.
902
01:02:15.840 --> 01:02:18.519
So just apple, that's it. You want the simplest.
903
01:02:19.199 --> 01:02:22.599
I would have a fruit salad of some kind, okay,
904
01:02:23.000 --> 01:02:24.639
because I'm a friend of guy, you know.
905
01:02:24.920 --> 01:02:31.920
Okay, I think that's it, you know, yeah, just for salad.
906
01:02:32.559 --> 01:02:33.840
Yeah, yummy, yummy.
907
01:02:34.880 --> 01:02:35.360
Okay.
908
01:02:35.719 --> 01:02:39.320
People are going to think like you did it? M
909
01:02:39.480 --> 01:02:41.400
h if you're like.
910
01:02:43.039 --> 01:02:44.519
Talking about doesn't it?
911
01:02:44.840 --> 01:02:45.000
Yeah?
912
01:02:45.039 --> 01:02:45.679
I guess.
913
01:02:47.480 --> 01:02:51.639
Do you want to do you remain prescient? And yeah,
914
01:02:52.079 --> 01:02:55.960
I mean h gay is prevalent for the wrong reasons.
915
01:02:56.719 --> 01:02:59.639
John Wayne Gacy, William H.
916
01:02:59.800 --> 01:03:02.199
I think you you know what, someone else did this
917
01:03:02.400 --> 01:03:04.960
on the show when they said they said William H.
918
01:03:05.079 --> 01:03:08.840
Gacy because they combined William H. Macy and John Wayne
919
01:03:08.800 --> 01:03:11.519
Gaze a second.
920
01:03:12.800 --> 01:03:13.519
He's a good bloke.
921
01:03:13.800 --> 01:03:17.639
I wouldn't I wouldn't want to do him a disservice. Yeah,
922
01:03:18.079 --> 01:03:20.559
But I mean, I guess that's testament to how little
923
01:03:20.599 --> 01:03:24.440
I pay attention to serial killer worship culture.
924
01:03:24.679 --> 01:03:26.480
You know, yeah, you don't. You don't need it in
925
01:03:26.519 --> 01:03:26.920
your life.
926
01:03:27.599 --> 01:03:31.239
Okay, food, sound that's your your final meal?
927
01:03:31.280 --> 01:03:35.320
Okay, so final question? Could art go too far?
928
01:03:37.000 --> 01:03:38.079
Oh?
929
01:03:38.400 --> 01:03:41.440
This is like the meatiest question of them all, I know,
930
01:03:41.599 --> 01:03:46.559
And and I'm actually like, I feel like I could
931
01:03:46.599 --> 01:03:48.400
give you a very long answer for this one, but
932
01:03:48.559 --> 01:03:51.760
I'll try and keep it within bounds. So I actually
933
01:03:51.760 --> 01:03:54.599
had those conversations just the other day, and I think
934
01:03:54.679 --> 01:03:56.000
that this comes down.
935
01:03:55.880 --> 01:03:58.519
To lots of different things.
936
01:03:59.400 --> 01:04:03.400
So there certain films and I don't really haven't I
937
01:04:03.440 --> 01:04:06.400
can't off the top of my head think of too many,
938
01:04:06.920 --> 01:04:10.440
but the few that i'd give like a half star
939
01:04:10.599 --> 01:04:14.199
to on like Letterbox or whatever, because I'm just like,
940
01:04:14.599 --> 01:04:19.159
this is something that is antithetical to humanity in the
941
01:04:19.239 --> 01:04:22.480
sense that humanity is worse having this in the world
942
01:04:23.000 --> 01:04:24.159
than if it was not made.
943
01:04:24.719 --> 01:04:26.400
And I can't think of any film.
944
01:04:26.679 --> 01:04:28.320
You can't think of any of these films.
945
01:04:28.880 --> 01:04:30.000
No, I can think of them.
946
01:04:30.199 --> 01:04:32.039
I can think of them, can you see?
947
01:04:32.239 --> 01:04:34.880
But I'm going to be hesitant about saying too many
948
01:04:34.920 --> 01:04:40.719
of them. But for example, and you run, like, as
949
01:04:40.719 --> 01:04:42.599
you can probably see behind me, I've got a lot
950
01:04:42.599 --> 01:04:48.960
of like Japanese paraphernalia and whatnot. One of the things
951
01:04:49.000 --> 01:04:52.519
that you find, especially in like the VHS era that
952
01:04:52.960 --> 01:04:57.639
was in Japan at least, was that they were after
953
01:04:57.679 --> 01:05:01.440
the recession, even before the recession in the late eighties
954
01:05:01.480 --> 01:05:04.599
and into the nineties, was that there was almost a
955
01:05:04.679 --> 01:05:08.400
desperation by the producers to make money by any means possible.
956
01:05:09.000 --> 01:05:11.679
And a lot of it is like carried over into
957
01:05:11.679 --> 01:05:14.239
the way that they like promote a lot of their material,
958
01:05:15.000 --> 01:05:17.440
you know, like there's just no shortage of blood guards,
959
01:05:17.519 --> 01:05:22.599
boobs all that over everything, you know, like just even
960
01:05:22.679 --> 01:05:26.280
the most like tame kind of movies. Yeah, got ones,
961
01:05:26.360 --> 01:05:28.760
And it's just like what the hell like this is?
962
01:05:29.239 --> 01:05:31.519
This is like it makes it look like the grossest
963
01:05:31.559 --> 01:05:34.199
sickest thing ever. But it's really just like a rather
964
01:05:34.320 --> 01:05:39.239
pedestrian horror flick with a bit of you know, titillation
965
01:05:39.360 --> 01:05:44.320
and whatnot. But I think on the flip side of that,
966
01:05:44.400 --> 01:05:50.280
you have them going this. Say, for example, it's say Cigara,
967
01:05:51.119 --> 01:05:56.920
who was the oh yeah, man who killed his university
968
01:05:56.960 --> 01:06:03.320
student friend, cannibalized and net filed her, and then due
969
01:06:03.320 --> 01:06:08.639
to court technicality over I think it was like a
970
01:06:09.679 --> 01:06:11.559
you know, there was a there was something some kind
971
01:06:11.559 --> 01:06:14.639
of technicality that took place between the French authorities and
972
01:06:14.679 --> 01:06:17.480
the Japanese authorities where he couldn't be charged once he
973
01:06:17.519 --> 01:06:21.079
returned to his home country with any further offenses anyway,
974
01:06:21.280 --> 01:06:24.119
and then became a minor celebrity in Japan, which for
975
01:06:24.519 --> 01:06:31.360
ungodly who knows why, Who knows why, But essentially they
976
01:06:31.400 --> 01:06:34.840
were like, let's milk the absolute hell out of out
977
01:06:34.880 --> 01:06:35.039
of it.
978
01:06:35.920 --> 01:06:36.280
And so.
979
01:06:37.719 --> 01:06:42.719
One film, which is probably the most like wrongheaded film
980
01:06:42.880 --> 01:06:46.239
that concept you couldn't imagine and I actually have a
981
01:06:46.239 --> 01:06:53.119
copy of it, God forbid, is I Want to Eat,
982
01:06:53.320 --> 01:06:57.159
which is essentially he has given carte blanche to retell
983
01:06:57.440 --> 01:07:01.440
the story of what he did his way, so he
984
01:07:01.480 --> 01:07:04.840
gets to like pick the actor and like go through
985
01:07:04.880 --> 01:07:08.599
the summary and relive the experience, and so he's pretty
986
01:07:08.639 --> 01:07:15.639
much given Yeah, he's given the keys to keys to
987
01:07:16.360 --> 01:07:21.039
do whatever. And I just think that insidious. It's like
988
01:07:21.039 --> 01:07:24.679
one of the most insidious ideas for a project to go,
989
01:07:24.920 --> 01:07:33.880
Let's let someone who murdered and cannibalized and necrophiled someone. Yeah,
990
01:07:33.920 --> 01:07:38.280
how could you give them the opportunity to just relive that?
991
01:07:40.039 --> 01:07:43.719
And I mean the film is a failure because the
992
01:07:43.760 --> 01:07:47.079
actress that's involved just has a breakdown and goes, this.
993
01:07:46.960 --> 01:07:49.280
Is like like I'm out of my depth here, Like.
994
01:07:49.159 --> 01:07:49.719
What the hell?
995
01:07:50.559 --> 01:07:53.840
And like you can but it's very matter in the
996
01:07:53.880 --> 01:07:55.440
sense that you can see behind the scenes.
997
01:07:55.440 --> 01:07:58.320
You can see them like pushing her to do this
998
01:07:58.519 --> 01:08:01.280
and do that and go into and it's just the
999
01:08:01.320 --> 01:08:06.719
most disgusting feeling to know that it's doing it. The
1000
01:08:06.800 --> 01:08:09.960
fact that it exists is an affront to the family
1001
01:08:10.119 --> 01:08:13.800
of the victim. Yeah, of course, and you just go,
1002
01:08:14.559 --> 01:08:18.600
this should not exist. But the fact that it does
1003
01:08:19.439 --> 01:08:25.880
can still hold historical and educational merit. Yeah, you can
1004
01:08:25.920 --> 01:08:27.960
look at something like that and you can go this
1005
01:08:28.039 --> 01:08:32.239
is what capital and the brazen pursuit of capital can
1006
01:08:32.319 --> 01:08:35.560
take people to You know, people who are even desperate
1007
01:08:36.399 --> 01:08:40.039
or have no other means to you know, make money,
1008
01:08:40.800 --> 01:08:44.640
will go in for this and you know, create something
1009
01:08:44.760 --> 01:08:48.960
that you know just should not really exist, like in
1010
01:08:49.279 --> 01:08:54.279
a sane in a sane you know, ecosystem, which actually
1011
01:08:54.319 --> 01:08:59.119
followed some kind of ethical litmus test. It shouldn't exist,
1012
01:09:00.479 --> 01:09:04.960
but you know, you can't change the fact that it
1013
01:09:04.960 --> 01:09:09.640
does now, but you can learn from that. So yes,
1014
01:09:10.000 --> 01:09:13.479
I think art can go too far. There's definitely some
1015
01:09:13.600 --> 01:09:18.920
other films that are similar to that, especially ones that
1016
01:09:18.960 --> 01:09:22.039
were made in I don't know what you would call it,
1017
01:09:22.079 --> 01:09:25.039
but pretty much they you know, they were all about
1018
01:09:25.079 --> 01:09:28.119
testing the envelope and saying, you know, we want to
1019
01:09:28.159 --> 01:09:34.039
liberalize everything and make it as you know, nothing is forbidden,
1020
01:09:34.079 --> 01:09:36.760
everything is free. There's something like I mean sweet Movie,
1021
01:09:36.800 --> 01:09:43.239
for instance. There's a fantastic dissection of that on Letterbox
1022
01:09:43.359 --> 01:09:46.439
by I think like the top review where he really
1023
01:09:46.680 --> 01:09:49.520
digs into I forget who the reviewer is, but he
1024
01:09:49.600 --> 01:09:52.680
really digs into the reasons why the film is a
1025
01:09:52.720 --> 01:09:57.560
failure because it doesn't acknowledge consent as a concept.
1026
01:09:58.520 --> 01:09:59.800
And I think that.
1027
01:10:02.079 --> 01:10:05.800
You know, you can understand that it was a different
1028
01:10:05.960 --> 01:10:11.800
time and for a historical as a historical document, it
1029
01:10:11.920 --> 01:10:14.199
is at least interesting in the same way that like
1030
01:10:14.239 --> 01:10:14.800
a birth of a.
1031
01:10:14.880 --> 01:10:15.880
Nation is interesting.
1032
01:10:16.720 --> 01:10:20.000
But you can you know, you don't have to endorse it,
1033
01:10:20.840 --> 01:10:24.119
you don't have to agree with it. But unfortunately you
1034
01:10:24.199 --> 01:10:27.600
can't suppress it, because then if you suppress it, it's
1035
01:10:27.640 --> 01:10:30.760
so easy to then be hijacked and used as this
1036
01:10:30.840 --> 01:10:35.039
is you know, forbidden and taboo, and that creates its
1037
01:10:35.199 --> 01:10:42.560
own challenge because if something is taboo, it really prevents
1038
01:10:42.800 --> 01:10:47.520
having a discourse about it. Sure, it prevents any kind
1039
01:10:47.560 --> 01:10:53.039
of ability to learn from that material, you know, And
1040
01:10:53.079 --> 01:10:55.880
I think you can learn from any kind of material
1041
01:10:56.399 --> 01:11:02.359
save from like extremely illicit stuff that absolutely.
1042
01:11:01.760 --> 01:11:02.560
Should not exist.
1043
01:11:02.720 --> 01:11:07.880
But that's not even art of course, Okay, But what.
1044
01:11:07.880 --> 01:11:09.800
Would you say that is though, like what do you
1045
01:11:10.239 --> 01:11:11.039
are saying.
1046
01:11:10.960 --> 01:11:15.840
Child abuse material? Like that's an example of something that
1047
01:11:16.119 --> 01:11:18.920
you know has no artistic merit because it's not it's
1048
01:11:19.000 --> 01:11:20.520
not interested in the artistic.
1049
01:11:21.239 --> 01:11:23.520
Yes, it exists to exploit.
1050
01:11:24.840 --> 01:11:28.960
Would you say that something that is like universally illegal
1051
01:11:29.479 --> 01:11:33.640
would then would then be material that just should not exist,
1052
01:11:33.760 --> 01:11:36.479
you know, because I think like where could you go
1053
01:11:36.520 --> 01:11:39.960
in the world where a child abuse material wouldn't be illegal?
1054
01:11:40.960 --> 01:11:46.520
I think there's also the you know, but there there's
1055
01:11:46.560 --> 01:11:48.840
a lot of conversations that you could have about the
1056
01:11:48.920 --> 01:11:53.560
fact that you know, as a japan example, back you know,
1057
01:11:53.600 --> 01:11:55.479
I think it was only into the eighties that they
1058
01:11:55.560 --> 01:11:59.640
changed the age of consent for example, okay. You know,
1059
01:12:00.079 --> 01:12:05.960
like there's a lot of these kind of like blurred
1060
01:12:06.039 --> 01:12:12.479
lines in the understanding of what is legal, illegal, moral, amral.
1061
01:12:12.720 --> 01:12:16.680
But I think as science progresses and has progressed and
1062
01:12:16.800 --> 01:12:20.600
more science, you know, kind of interrogates a lot of
1063
01:12:20.640 --> 01:12:21.760
these kind of like.
1064
01:12:23.159 --> 01:12:24.439
Challenging areas.
1065
01:12:25.039 --> 01:12:28.199
The more clear that it is that now that we
1066
01:12:28.279 --> 01:12:32.760
have that knowledge, we don't go back and progress into it.
1067
01:12:34.880 --> 01:12:35.880
And I think so.
1068
01:12:38.119 --> 01:12:41.600
Art doesn't really have a limit, because once that limit's reached,
1069
01:12:41.600 --> 01:12:48.560
it's no longer art, it's it's something completely different. Yeah,
1070
01:12:48.880 --> 01:12:51.800
Like I mean having like I ran the gauntlet on
1071
01:12:51.880 --> 01:12:55.920
like the disturbing films back in my early twenties, and
1072
01:12:56.000 --> 01:12:58.000
I mean a lot of a lot of that stuff
1073
01:12:58.000 --> 01:13:01.359
and the way that it well, the way that certain
1074
01:13:01.439 --> 01:13:08.359
films interpreted the material. I use that and the bad
1075
01:13:08.960 --> 01:13:12.680
representations of that material to inform how to make a
1076
01:13:12.760 --> 01:13:14.039
better representation.
1077
01:13:14.800 --> 01:13:20.680
Like I reviewed Read to Kill Okay.
1078
01:13:20.600 --> 01:13:27.039
And that I said, it's a terrible representation. Terrible, yeah,
1079
01:13:27.119 --> 01:13:30.439
you know, and the fact that they even specifically say
1080
01:13:30.520 --> 01:13:32.840
this is meant to make to raise awareness of people
1081
01:13:32.840 --> 01:13:35.159
with disabilities. I was like, that's such a.
1082
01:13:37.119 --> 01:13:37.920
But forget that.
1083
01:13:38.279 --> 01:13:43.199
Representation is still representation. You know, you can still learn
1084
01:13:43.319 --> 01:13:50.920
from something being shockingly wrongheaded, right, you know. But I
1085
01:13:50.960 --> 01:13:53.640
think at that point, it's less you're enjoying it for
1086
01:13:53.680 --> 01:13:59.079
the aesthetics and more you're a you know, just breaking
1087
01:13:59.119 --> 01:14:04.319
it down and critiquing and you know, building more knowledge
1088
01:14:04.439 --> 01:14:07.479
around like the production, and you know, it becomes less
1089
01:14:07.520 --> 01:14:11.279
about what resulted and more about the context in which
1090
01:14:11.279 --> 01:14:14.880
it was made. And so that's what I think is
1091
01:14:14.920 --> 01:14:18.239
true of a lot of the really bad examples of
1092
01:14:18.920 --> 01:14:24.800
pushing the envelope. And you know, like I think, I
1093
01:14:24.960 --> 01:14:28.479
just call up Japan a lot because I've obviously dipped
1094
01:14:28.479 --> 01:14:31.560
my toes into it, but like, you know, like they
1095
01:14:32.880 --> 01:14:36.399
tried to make money out of everything, and so at
1096
01:14:36.439 --> 01:14:40.760
a certain point you just go, it's more it's it's
1097
01:14:40.840 --> 01:14:43.479
not good for your mental health to just look at
1098
01:14:43.479 --> 01:14:48.840
these things as they're just so cynical about the nature
1099
01:14:48.840 --> 01:14:52.319
of humanity. Like I mean, it's it's so far removed
1100
01:14:52.359 --> 01:14:58.359
from having a actual discourse about film that you lose
1101
01:14:58.399 --> 01:15:02.079
your you lose the way, like it makes you feel
1102
01:15:02.119 --> 01:15:07.319
worse about being human to have seen this than it
1103
01:15:07.399 --> 01:15:10.800
would to have not been involved with it. It's like,
1104
01:15:12.119 --> 01:15:16.479
you know, like I watched you know, Martyrs and like
1105
01:15:16.560 --> 01:15:19.600
a Serbian film, and you know, they push the extreme
1106
01:15:19.920 --> 01:15:23.399
to the point that it's almost comical. But the intent
1107
01:15:23.560 --> 01:15:27.760
is literally just to be provocative, I find, and I
1108
01:15:27.760 --> 01:15:32.000
think the provocation is not read merit enough in my
1109
01:15:32.159 --> 01:15:37.199
mind for it to be something that I would engage
1110
01:15:37.239 --> 01:15:41.960
with critically. Like I just feel like it does it
1111
01:15:42.000 --> 01:15:47.199
doesn't do a good service to you know, make a
1112
01:15:47.239 --> 01:15:52.680
film like this without the intent to believe that by
1113
01:15:52.720 --> 01:15:56.199
making it you're actually improving upon something if you're doing
1114
01:15:56.199 --> 01:16:01.479
it for a cynical capital reason. You know, there's a
1115
01:16:01.520 --> 01:16:05.840
difference between art as a business and art as for arts,
1116
01:16:08.319 --> 01:16:11.279
you know, Like like almost all of the films that
1117
01:16:11.359 --> 01:16:16.479
I have in the background of me is pretty much
1118
01:16:16.800 --> 01:16:21.239
all just examples of trying to capitalize the most on
1119
01:16:22.039 --> 01:16:25.199
you know, a film, you know, and I think of
1120
01:16:25.239 --> 01:16:28.880
it as a kind of reminder of what I'm trying
1121
01:16:28.920 --> 01:16:32.439
to avoid when I make films, Like I've never really.
1122
01:16:32.159 --> 01:16:32.920
Been one for.
1123
01:16:34.640 --> 01:16:38.600
Capital interests, Like I would be happy to just make
1124
01:16:38.680 --> 01:16:43.000
films on the fringe that you know, don't receive studio backing,
1125
01:16:43.119 --> 01:16:47.479
don't really need big budgets because for me, it's more
1126
01:16:47.479 --> 01:16:53.000
about channeling human experience, and human experience is free as
1127
01:16:53.039 --> 01:16:56.560
long as you're actually looking to get it. When I
1128
01:16:56.720 --> 01:16:59.680
do preservation work, like there's stuff that I find that
1129
01:17:00.920 --> 01:17:03.439
you just go they made it because they just wanted
1130
01:17:03.479 --> 01:17:06.079
to make a film. They were just you know, in
1131
01:17:06.119 --> 01:17:10.319
that creative mindset. They just loved the idea of you know, participating, creating.
1132
01:17:10.840 --> 01:17:14.840
You know, the joy of creation is more of an
1133
01:17:15.000 --> 01:17:20.239
incentive then capital interest. Of course, the capital is nice,
1134
01:17:21.279 --> 01:17:25.319
you know, it allows and permits for more kind of
1135
01:17:25.319 --> 01:17:30.439
flexibility in how you be creative. But the imagination is free,
1136
01:17:31.239 --> 01:17:33.960
you know, you just have to know how to channel
1137
01:17:34.000 --> 01:17:38.039
it in a way that can overcome the restrictions of
1138
01:17:38.039 --> 01:17:41.239
your own circumstance. Like I had to save up the
1139
01:17:42.039 --> 01:17:45.960
money to make Albatross, and you know it's only a
1140
01:17:46.000 --> 01:17:48.920
small sum, but you know it's not like I live
1141
01:17:49.039 --> 01:17:53.600
too large. You know, by this collection in the back,
1142
01:17:53.720 --> 01:17:58.399
that's like ten years of gradual cherry picking and building,
1143
01:17:58.600 --> 01:18:03.119
you know, and it just took a long time to
1144
01:18:03.199 --> 01:18:06.680
get to a point of that stability where you go, Okay,
1145
01:18:07.000 --> 01:18:11.159
my head's centered. I understand what I'm trying to create.
1146
01:18:11.399 --> 01:18:15.319
I believe in what I'm putting forward. Let's do it,
1147
01:18:15.520 --> 01:18:18.319
and let's do it for a reason that I can
1148
01:18:19.000 --> 01:18:23.560
advocate for, because I don't want to, you know, be
1149
01:18:23.680 --> 01:18:27.159
on defence and not feel like I've got an answer
1150
01:18:27.159 --> 01:18:29.159
for why was it this way and why was it
1151
01:18:29.199 --> 01:18:34.960
that way? You know, yeah, I think you know, I'm
1152
01:18:35.199 --> 01:18:37.960
very upfront about the fact that I am a flawed
1153
01:18:38.039 --> 01:18:40.000
human and.
1154
01:18:40.640 --> 01:18:43.159
But you have conviction, and that's what the that's what
1155
01:18:43.159 --> 01:18:44.560
you're talking about is having conviction.
1156
01:18:45.600 --> 01:18:49.520
You have to you have to want to grow, you know,
1157
01:18:49.960 --> 01:18:54.279
like I look at my relationship with my partner, and
1158
01:18:54.520 --> 01:18:58.399
I just think we help build each other up and
1159
01:18:58.479 --> 01:19:02.439
grow as a people. And there was you know, my
1160
01:19:02.600 --> 01:19:06.079
childhood was not necessarily that because I didn't understand people,
1161
01:19:06.119 --> 01:19:12.000
I didn't understand myself, and so I had to be introspective.
1162
01:19:12.279 --> 01:19:16.039
I had to go away and think, you know, why
1163
01:19:16.079 --> 01:19:20.239
I am why, you know, are things not falling into place?
1164
01:19:20.760 --> 01:19:24.319
Why is the reality that I am seeing in say
1165
01:19:24.319 --> 01:19:28.239
an online space not reflecting in my day to day life,
1166
01:19:28.800 --> 01:19:31.359
and then you go, Okay, maybe this is something that
1167
01:19:31.439 --> 01:19:34.039
I need to build up from. Maybe this is something
1168
01:19:34.119 --> 01:19:38.079
that I need to sit back and say, this isn't
1169
01:19:38.119 --> 01:19:42.119
working because I am not interrogating myself, like I don't
1170
01:19:42.159 --> 01:19:45.840
understand what I want. I am not you know, because
1171
01:19:45.880 --> 01:19:49.119
I don't understand what I want. I'm just trying to,
1172
01:19:49.960 --> 01:19:52.920
you know, make someone else happy at the expense of myself,
1173
01:19:53.600 --> 01:19:58.880
or I'm just trying to you know, be as much
1174
01:19:58.880 --> 01:20:01.039
as I can for them and putting myself on the
1175
01:20:01.079 --> 01:20:06.079
back burner, or you know, and not being able to
1176
01:20:06.119 --> 01:20:10.680
face rejection, you act in terrible ways. You know, like
1177
01:20:11.399 --> 01:20:14.319
there's there's so many of your learning experiences that you get,
1178
01:20:14.399 --> 01:20:17.560
but the key is is you've got to actually learn
1179
01:20:17.640 --> 01:20:21.680
from them otherwise, you know, what, what what was the
1180
01:20:21.680 --> 01:20:24.319
purpose of going through that? You know, you're just going
1181
01:20:24.399 --> 01:20:25.399
to keep going through.
1182
01:20:25.199 --> 01:20:26.159
It if you don't learn.
1183
01:20:26.960 --> 01:20:30.600
Yeah, And you know, the same goes for any kind
1184
01:20:30.640 --> 01:20:33.800
of human experience. You know, like if you get burned
1185
01:20:33.840 --> 01:20:38.640
politically by by someone you don't you know, you thought
1186
01:20:38.800 --> 01:20:42.319
was on your side and then you get burned, well,
1187
01:20:43.439 --> 01:20:44.840
maybe someone else.
1188
01:20:46.159 --> 01:20:49.960
I feel like you're gonna reveal something that we didn't
1189
01:20:49.960 --> 01:20:51.079
know about you, lach Lynn.
1190
01:20:52.760 --> 01:20:59.960
I was just making a blanket, a blanket assertion about.
1191
01:21:01.199 --> 01:21:02.239
The state of the world.
1192
01:21:02.439 --> 01:21:04.199
But right very I get it. I get it.
1193
01:21:04.439 --> 01:21:07.199
Okay, Well I should let you go because you have to.
1194
01:21:07.359 --> 01:21:09.680
You have to wake up your part, I believe and
1195
01:21:09.840 --> 01:21:13.680
make your practice because you're you're in Australia and I'm
1196
01:21:13.720 --> 01:21:17.920
in Canada where where world's apart. I'm going to better
1197
01:21:18.039 --> 01:21:20.039
out in an hour you're starting your day now.
1198
01:21:20.079 --> 01:21:21.399
It's it's wild.
1199
01:21:22.159 --> 01:21:25.920
Yeah, But I mean the interconnectedness of the world is
1200
01:21:25.960 --> 01:21:26.520
a great.
1201
01:21:26.319 --> 01:21:28.680
Thing, you know, absolutely. Yeah.
1202
01:21:28.800 --> 01:21:34.439
Podcasts like this allow you know, people here to you know,
1203
01:21:34.720 --> 01:21:38.800
put ideas in the minds and hearts of people all
1204
01:21:38.840 --> 01:21:42.199
over the world. And there's so much you know that
1205
01:21:42.279 --> 01:21:46.560
we can share and learn from and grow from. And yeah,
1206
01:21:46.960 --> 01:21:49.880
every day just try and be a better person to yourself,
1207
01:21:50.279 --> 01:21:56.079
to others. And yeah, that's that's probably the best side.
1208
01:21:57.119 --> 01:21:57.680
Yeah, there we go.
1209
01:21:57.760 --> 01:21:57.920
There.
1210
01:21:57.920 --> 01:21:59.840
We got to leave it at that. Okay, thank you
1211
01:21:59.840 --> 01:22:00.720
so much, Lachlann.
1212
01:22:01.199 --> 01:22:03.720
You will come back and we'll talk about your preservation
1213
01:22:03.800 --> 01:22:05.159
work in your next projects.
1214
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I will get you back on wonderful Okay, have a
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good day, buddy. Yeah, thank you. Thank you for listening.
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To hear more shows from the Someone's Favorite Productions podcast network,
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please select the link in the description