התמלול המלא של FINDING THE PERFORMANCE – Directing First-Timers and Non-Actors

69 00:04:16.720 --> 00:04:19.240 there are short films, there's behind the scenes of making 70 00:04:19.279 --> 00:04:22.439 those short films. There are years and years behind the scenes, 71 00:04:23.199 --> 00:04:28.199 hundreds of podcasts, tons of comic book art, and there's 72 00:04:28.199 --> 00:04:30.000 a brand. There's a comic book I did called Steven 73 00:04:30.000 --> 00:04:33.439 the Maggots that'll be bringing back hopefully in the next 74 00:04:33.439 --> 00:04:36.360 couple weeks, and it'll be running weekly. A page a 75 00:04:36.399 --> 00:04:38.639 week will be coming out. And I really liked that 76 00:04:38.800 --> 00:04:41.360 process of building the comic as I go, So I'm 77 00:04:41.360 --> 00:04:43.240 gonna try to do that again because I've been sort 78 00:04:43.240 --> 00:04:46.480 of struggling to get that podcast back up and going. 79 00:04:46.519 --> 00:04:49.240 But the Stephen the Maggots podcast will be up so 80 00:04:49.680 --> 00:04:53.959 Patreon dot com, fest Studios, Jesus Patreon dot com slash 81 00:04:54.040 --> 00:04:58.920 Flush Studios. Most importantly, subscribing to that help support Flush 82 00:04:58.920 --> 00:05:02.240 Studios so I can more short films, finish the features 83 00:05:02.279 --> 00:05:05.399 I'm working on all of that. Any any income I 84 00:05:05.480 --> 00:05:08.319 mate goes back into Flush Studios, And right now I'm 85 00:05:08.319 --> 00:05:12.120 struggling to keep Flush Studios afloat with what I'm bringing 86 00:05:12.160 --> 00:05:15.160 in from the Patreon. So if you want to see 87 00:05:15.160 --> 00:05:18.560 more projects from Flush Studios, please head over Patreon dot 88 00:05:18.639 --> 00:05:21.040 com slash flush Studios. All right, without further ado, I'm 89 00:05:21.040 --> 00:05:25.199 done schilling Low Budget Rebels podcast. We're talking about acting 90 00:05:25.360 --> 00:05:30.319 in films and working with first time actors and working 91 00:05:30.319 --> 00:05:33.040 with actors on sets where you don't have a lot 92 00:05:33.040 --> 00:05:34.759 of time, you don't have a lot of budget, and 93 00:05:34.800 --> 00:05:36.800 you're just going out there and making it. I'm talking 94 00:05:37.199 --> 00:05:45.000 first with the incredible Dan Lotts. What was your first 95 00:05:45.040 --> 00:05:49.439 experience working with non actors and how did it go? 96 00:05:50.920 --> 00:05:54.560 Yeah, So if we if we're being honest, like I 97 00:05:54.680 --> 00:05:56.759 would get start as holdest like when I was like 98 00:05:56.800 --> 00:05:58.839 a kid, you know, working with non actors, but like 99 00:05:58.839 --> 00:06:00.600 if we're talking about a non actor in a more 100 00:06:00.800 --> 00:06:02.319 like professional sense. 101 00:06:02.680 --> 00:06:04.800 Well, I think there's something to talk about here with 102 00:06:04.879 --> 00:06:06.720 the talk. I like that you start with that, because 103 00:06:06.759 --> 00:06:09.079 that was exactly what Robert Rodriguez said to me on 104 00:06:09.120 --> 00:06:12.519 the show when I was making The Good Exercist was 105 00:06:12.560 --> 00:06:14.680 I was like, Man, I don't know how to get 106 00:06:14.680 --> 00:06:18.000 my buddy Daniel, who have worked with throughout the years, 107 00:06:18.040 --> 00:06:20.879 to give a performance that is up to snuff, like 108 00:06:20.920 --> 00:06:23.560 this guy has to carry the whole movie. And Robert 109 00:06:23.639 --> 00:06:25.399 was like, you got you fucking got it right there. 110 00:06:25.399 --> 00:06:27.439 You're not working with an actor. You're working with someone 111 00:06:27.480 --> 00:06:30.439 you can meld. They don't have any predispositions about what 112 00:06:30.480 --> 00:06:32.879 they're going to be doing, what their character does. Your 113 00:06:32.920 --> 00:06:35.439 buddy hasn't thought it through that much. You can make 114 00:06:35.560 --> 00:06:38.000 him the performance. So I think that's I think a 115 00:06:38.040 --> 00:06:42.920 lot of people misrepresent those early moments when we're kids 116 00:06:42.959 --> 00:06:45.879 and we're learning how to get our friends and our 117 00:06:45.920 --> 00:06:48.319 parents and other people to act. And it's something that 118 00:06:48.480 --> 00:06:50.600 I continue to do now, like my son is in 119 00:06:50.680 --> 00:06:52.839 my new movie, and it was one of the greatest 120 00:06:52.879 --> 00:06:55.600 things in the world because I'm working with guys and 121 00:06:55.759 --> 00:06:59.519 girls who have actually acted in movies like I'm working 122 00:06:59.560 --> 00:07:02.560 with real act now and then I have my son 123 00:07:02.639 --> 00:07:06.120 on set, and it's a completely different beast because he's 124 00:07:06.160 --> 00:07:09.319 not only not acted in a lot, he's with his dad. 125 00:07:09.519 --> 00:07:12.399 There's a totally different persona that I'm getting out of him. 126 00:07:12.439 --> 00:07:15.839 So I think that's a really interesting point of the 127 00:07:15.839 --> 00:07:16.839 people we start with. 128 00:07:17.439 --> 00:07:19.759 Yeah. Yeah, And when I started, I worked on a 129 00:07:19.959 --> 00:07:23.040 YouTube channel called Leather Jacket Studios, and it was like 130 00:07:23.120 --> 00:07:27.560 this action scenes, Like we would shoot action scenes and 131 00:07:27.639 --> 00:07:32.079 different like little things. And I think my first real 132 00:07:33.720 --> 00:07:37.600 performance that I got from people would be like my 133 00:07:37.720 --> 00:07:40.920 friend Joel Dick, you know, me and him would always 134 00:07:40.959 --> 00:07:43.319 work on those those little short films when we were kids, 135 00:07:43.600 --> 00:07:45.319 or me and my brother, or me and my other 136 00:07:45.399 --> 00:07:47.920 friends that sort of dropped off from filmmaking at the time. 137 00:07:50.279 --> 00:07:52.519 You just sort of start with the most basic thing, 138 00:07:52.560 --> 00:07:55.680 which is

like, Okay, you're looking badass on camera. That's 139 00:07:55.680 --> 00:07:57.319 all we need. You need to be in a suit, 140 00:07:57.600 --> 00:07:59.600 you have to have a gun, and you're gonna shoot 141 00:07:59.639 --> 00:08:02.560 some people. And you started like the most basic level, 142 00:08:02.639 --> 00:08:05.720 and then I think at some point you peel back 143 00:08:06.000 --> 00:08:08.079 and as you get older, you start to realize, Okay, 144 00:08:08.120 --> 00:08:09.439 there needs to be a story, there needs to be 145 00:08:09.439 --> 00:08:11.639 a reason they get here there needs to be like 146 00:08:11.680 --> 00:08:15.399 all this other stuff, and then that's when that performance 147 00:08:15.399 --> 00:08:17.920 starts to come in. I think like the first time 148 00:08:17.959 --> 00:08:22.439 I really worked with like a non actor to great 149 00:08:22.480 --> 00:08:26.279 effect would either be Joel or myself. I guess, like 150 00:08:27.360 --> 00:08:30.079 on The Long Con, I worked with Joel. He plays 151 00:08:30.079 --> 00:08:33.360 a smaller character in the movie, and he had to 152 00:08:33.360 --> 00:08:36.600 do a very unique performance. I call it the best, 153 00:08:37.879 --> 00:08:42.200 one of the best performances since Charlie Chaplin. It's a 154 00:08:42.360 --> 00:08:47.799 very nonverbal, very like specific in the background kind of 155 00:08:47.840 --> 00:08:51.799 acting that I think is hilarious and like you wouldn't 156 00:08:51.799 --> 00:08:54.399 really know unless you were paying attention in the background. 157 00:08:54.440 --> 00:08:56.080 But he just does a lot of funny scenes that 158 00:08:56.240 --> 00:08:59.639 like really contrasts with how dark the environment is, and 159 00:08:59.679 --> 00:09:02.759 I think it was important for that movie and then 160 00:09:02.840 --> 00:09:06.960 for myself. When I made Chlorine, I had never really 161 00:09:07.000 --> 00:09:09.159 acted in a more than like a one to two 162 00:09:09.240 --> 00:09:13.240 minute short film. And then I'm being I have to 163 00:09:13.279 --> 00:09:14.919 be like the main guy. I have to be the 164 00:09:14.960 --> 00:09:18.840 main character that carries a ninety minute long film, and 165 00:09:18.879 --> 00:09:22.240 that's terrifying. Like I really did not think I had 166 00:09:22.279 --> 00:09:25.440 the juice at the time, and then to know that 167 00:09:25.440 --> 00:09:28.399 that film was gonna get a lot of viewership I 168 00:09:28.399 --> 00:09:29.960 would have been. I don't think I would have ever 169 00:09:30.039 --> 00:09:32.039 made that movie if I had known that, like sixty 170 00:09:32.080 --> 00:09:35.799 thousand people were going to like watch me do my 171 00:09:35.960 --> 00:09:38.759 very first performance, you know, coming back to it with 172 00:09:38.879 --> 00:09:41.679 chlorine kills, I feel like a totally different man now. 173 00:09:41.720 --> 00:09:44.360 I feel like I could. I could do that in 174

00:09:44.440 --> 00:09:46.960 my sleep. But it's so funny to look at that 175 00:09:47.039 --> 00:09:49.919 first movie and be like, damn, I kind of had 176 00:09:49.960 --> 00:09:53.039 a lot of like hootspud to do that. 177 00:09:53.200 --> 00:09:56.759 You know, Yeah, how do you feel looking back at 178 00:09:56.759 --> 00:10:00.559 that performance of yourself? Because this is a very unique 179 00:10:00.799 --> 00:10:03.360 opportunity to talk about this because I've done it as well. 180 00:10:03.360 --> 00:10:06.120 Where I acted in Greywood's plot and sort of it 181 00:10:06.159 --> 00:10:08.919 was my it was my chance to try to learn. 182 00:10:08.960 --> 00:10:11.000 And now I've acted in a few things little Lucha 183 00:10:11.000 --> 00:10:12.639 and a bunch of other stuff of my own projects, 184 00:10:12.720 --> 00:10:17.120 and seeing now it's much easier. I have learned where 185 00:10:17.200 --> 00:10:21.039 I suck mostly, Like the biggest thing I can say 186 00:10:21.120 --> 00:10:23.879 is that I can tell, you know, a director or 187 00:10:24.159 --> 00:10:26.120 no myself, like this is what I don't want to 188 00:10:26.120 --> 00:10:27.919 do because I can't do this. I am not that 189 00:10:28.039 --> 00:10:30.919 kind of an actor. Versus Greywood's plot, where I can 190 00:10:30.960 --> 00:10:32.480 look at it and be like, wow, man, I can't 191 00:10:32.480 --> 00:10:35.080 believe I pulled that off. That's pretty crazy. How do 192 00:10:35.159 --> 00:10:38.440 you feel looking back at your performance in Chlorine and 193 00:10:39.919 --> 00:10:42.399 do you use that when you're directing? Do you use 194 00:10:42.440 --> 00:10:44.440 the things you learned during that when you're working with 195 00:10:44.480 --> 00:10:47.200 first time actors or even non first time actors. Do 196 00:10:47.240 --> 00:10:49.720 you did you learn something that has helped you throughout 197 00:10:49.720 --> 00:10:50.159 the years. 198 00:10:50.519 --> 00:10:55.000 Yeah, I think looking back on Chlorine, I there is 199 00:10:55.120 --> 00:10:58.720 one scene in particular that it was my I believe 200 00:10:58.720 --> 00:11:01.960 it was the first scene that I acted in, and 201 00:11:02.000 --> 00:11:05.559 I look at it and I cannot not cringe every 202 00:11:05.679 --> 00:11:08.080 time I watch it. It's not even like it's not 203 00:11:08.159 --> 00:11:11.159 even a bad scene. Like generally speaking, I don't think 204 00:11:11.200 --> 00:11:13.960 the average person would pull that out as the one 205 00:11:14.000 --> 00:11:16.600 that's like, oh wow, he's really bad. I just watch 206 00:11:16.639 --> 00:11:19.200 it and I'm like, I'm so unconfident that I'm like 207 00:11:19.279 --> 00:11:21.320 just trying to be quiet in the scene and like 208 00:11:21.480 --> 00:11:24.600 not I'm trying to be mysterious and quiet, and I 209 00:11:24.639 --> 00:11:26.679 don't know if it really comes off as mysterious and 210 00:11:26.759 --> 00:11:32.440 quiet in

the moment. And I think for myself, I 211 00:11:32.440 --> 00:11:34.879 always like to try to build up anyone who's working 212 00:11:34.879 --> 00:11:38.559 on my sets non actor actor to being like you 213 00:11:38.600 --> 00:11:41.360 can do this, Like I believe in you. You can 214 00:11:41.399 --> 00:11:43.360 do this. All you need to do is have the 215 00:11:43.480 --> 00:11:47.480 confidence in yourself. I think confidence is the number one 216 00:11:47.759 --> 00:11:51.720 key thing to a good performance is do I have 217 00:11:51.799 --> 00:11:55.600 the confidence to believe in myself to portray this character? 218 00:11:56.000 --> 00:11:58.679 And it's like, Okay, what things do you have confidence in? 219 00:11:58.799 --> 00:12:00.919 Do you have confidence in the directtion to care about 220 00:12:00.960 --> 00:12:03.759 the vision and care about the character that if anything 221 00:12:03.799 --> 00:12:05.840 is wrong that he'll stop the take, you know. And 222 00:12:05.919 --> 00:12:08.399 I like to try to make it clear, like if 223 00:12:08.399 --> 00:12:10.360 somebody's not working, I will tell you, but I will 224 00:12:10.360 --> 00:12:12.440 bring you off to the side. We're not gonna do 225 00:12:12.480 --> 00:12:14.120 this thing where I'm gonna embarrass you in front of 226 00:12:14.120 --> 00:12:16.480 the whole crew. We're gonna talk about it. We're gonna 227 00:12:16.519 --> 00:12:18.399 work out a plan, and then we're gonna try to 228 00:12:18.440 --> 00:12:21.000 like do another take and see what happens. I like 229 00:12:21.039 --> 00:12:23.080 to have a very personal, one on one on one 230 00:12:23.120 --> 00:12:26.080 relationship with every actor I work with, and if there's 231 00:12:26.120 --> 00:12:30.480 anything that's not working, allowing myself the ability to just 232 00:12:31.159 --> 00:12:33.039 talk to that person and be like, Okay, what's going on, 233 00:12:33.159 --> 00:12:36.440 Like why, like if this isn't working? Maybe we can 234 00:12:36.519 --> 00:12:38.799 hit at this angle, or maybe you're not hitting the 235 00:12:38.799 --> 00:12:41.480 line I want you to hit. Because with improv, I'm 236 00:12:41.519 --> 00:12:44.399 feeding them lines as they're acting, so they have to 237 00:12:44.480 --> 00:12:46.559 sometimes hit stuff that they don't even know that they 238 00:12:46.600 --> 00:12:49.360 have to hit. So sometimes I'll go through a scene 239 00:12:49.360 --> 00:12:51.480 and be like, that was amazing, but I need you 240 00:12:51.559 --> 00:12:54.000 to say this line about this bag that we need 241 00:12:54.120 --> 00:12:58.440 because it's it relates to another scene crucial to the story. Yeah, yeah, 242 00:12:58.480 --> 00:13:01.639 and it's sometimes it's funny. I was doing some improv 243 00:13:01.720 --> 00:13:06.080 acting yesterday and there was like a moment where we 244 00:13:06.159 --> 00:13:08.679 needed to show that this wallet had fallen out of 245 00:13:08.720 --> 00:13:13.039 this character's pocket, and the scene was amazing. We filmed it. 246 00:13:13.080 --> 00:13:15.320 We did this like this wonder that was like pushing 247 00:13:15.360 --> 00:13:18.360 in and I'm like, that's amazing, guys, but we didn't 248 00:13:18.360 --> 00:13:21.120 get the wallet, and everyone's like what, And I was like, no, Like, 249 00:13:21.159 --> 00:13:23.080 we don't have to refilm it. We'll film a different angle, 250 00:13:23.799 --> 00:13:26.000 but we need to get that little wallet because like, 251 00:13:26.039 --> 00:13:27.799 if we don't, then it doesn't connect to the later 252 00:13:27.840 --> 00:13:29.639 part of the movie, and then it doesn't really make 253 00:13:29.679 --> 00:13:32.440 sense that we even filmed this. So I think just 254 00:13:32.480 --> 00:13:36.000 being cognizant of that and like knowing, like what expectations 255 00:13:36.000 --> 00:13:38.000 you need to give to the actors for an improv 256 00:13:38.120 --> 00:13:41.679 movie is important, like giving them everything that you need 257 00:13:41.799 --> 00:13:44.480 so that they know, oh, I need to have this 258 00:13:44.600 --> 00:13:47.360 mark of this, mark of this Marcus is important. 259 00:13:48.480 --> 00:13:51.799 Is there a technique you have this is This is 260 00:13:51.879 --> 00:13:54.480 kind of a tricky question because it it does dive 261 00:13:54.519 --> 00:13:56.399 deep into trying to think about, like what do I 262 00:13:56.440 --> 00:13:58.600 do when I'm on set? And It's something I've thought 263 00:13:58.600 --> 00:14:01.639 a lot about since finishing my most recent movie, because 264 00:14:01.679 --> 00:14:04.879 I did learn a lot from the different styles of acting, 265 00:14:05.039 --> 00:14:08.840 from my son who's not an actor, to like professionals 266 00:14:08.840 --> 00:14:11.080 who are really fantastic and all this stuff. But is 267 00:14:11.120 --> 00:14:14.960 there something that you do when someone is struggling? Techniques 268 00:14:15.039 --> 00:14:18.840 you give to actors, especially people who you know it 269 00:14:18.919 --> 00:14:21.120 may be their first time on set. Maybe they feel 270 00:14:21.159 --> 00:14:24.360 a little bit self conscious because of the fact that 271 00:14:24.879 --> 00:14:26.919 you know they're on a Dan Lott's movie is a 272 00:14:26.919 --> 00:14:31.120 completely different experience than going to work in their day 273 00:14:31.159 --> 00:14:33.799 to day or you know, even when you were working 274 00:14:33.799 --> 00:14:36.799 with your dad on a project or working with uh, 275 00:14:37.200 --> 00:14:39.720 you know Joel in the early days, these sort of things. 276 00:14:39.799 --> 00:14:43.600 Is there techniques you use to try to inspire them. 277 00:14:43.919 --> 00:14:46.879 Yeah, I think I like to start from the most 278 00:14:46.919 --> 00:14:49.840 basic stuff that I think like goes to like the 279 00:14:49.879 --> 00:14:54.639 beginning of film history, which is open your

eyes. Just 280 00:14:54.720 --> 00:14:57.039 keep your eyes open. That's the start of the starting point. 281 00:14:57.159 --> 00:14:59.600 Like if if you just do that one thing, if 282 00:14:59.639 --> 00:15:01.960 you just keep your eyes open the whole time, and 283 00:15:02.000 --> 00:15:04.320 you blink as minimal as you if it's like you know, 284 00:15:04.360 --> 00:15:07.080 let's say you have to blink once every if you 285 00:15:07.120 --> 00:15:09.679 go four minute scene, if you can go sixty thirty 286 00:15:09.679 --> 00:15:12.879 seconds without blinking, keep the blinks to a minimum. That's 287 00:15:12.879 --> 00:15:14.960 one thing I like to tell people, and I swear 288 00:15:15.879 --> 00:15:18.399 that has a huge impact on how you're perceived. 289 00:15:18.559 --> 00:15:22.559 Dude, It's crazy. It not only has a impact on 290 00:15:22.600 --> 00:15:26.240 how you're perceived. I believe that when people don't blink, 291 00:15:26.360 --> 00:15:31.879 it causes their brain to focus energy and it brings 292 00:15:31.919 --> 00:15:34.360 the words to them so much more naturally. 293 00:15:35.080 --> 00:15:38.159 That that's one thing I've noticed. Another thing I've noticed 294 00:15:38.279 --> 00:15:42.600 is I tell people listen with intention. Listen with intention, 295 00:15:42.840 --> 00:15:46.639 Like when you're in a scene, don't just wait for 296 00:15:46.679 --> 00:15:49.159 the lines to come, like listen as if it was 297 00:15:49.200 --> 00:15:52.759 the first time you were hearing them, and like perceive them. 298 00:15:52.879 --> 00:15:55.480 Take time to respond to them, like, you don't need 299 00:15:55.559 --> 00:15:59.919 to immediately fire back your lines because they said their lines, 300 00:16:00.200 --> 00:16:02.679 Like do what a real person would do. Like if 301 00:16:02.960 --> 00:16:04.639 someone says something like that and it was like this 302 00:16:04.720 --> 00:16:07.559 really painful thing that he told you, you might pause 303 00:16:07.600 --> 00:16:09.399 and you might think for a second and then fire 304 00:16:09.480 --> 00:16:13.399 back another statement. So just listening with the intention is 305 00:16:13.440 --> 00:16:15.919 important to me as well. I think it goes along with, 306 00:16:16.840 --> 00:16:20.519 like with the the eye point. It is like, if 307 00:16:20.559 --> 00:16:24.200 you're listening and you're also seeing with intention, then then 308 00:16:24.360 --> 00:16:27.600 you're already halfway there. I think those are two key 309 00:16:27.639 --> 00:16:29.799 points that I think a lot of a lot of 310 00:16:30.080 --> 00:16:33.080 newer actors need help with, and then once they do that, 311 00:16:33.399 --> 00:16:34.679 it just kind of comes alive. 312 00:16:35.879 --> 00:16:40.720 I think there's also for me this element of allowing 313 00:16:41.000 --> 00:16:44.960 people don't necessarily allow themselves to understand what the crucial 314 00:16:45.000 --> 00:16:48.200 element of

what's happening is now, especially you working with 315 00:16:48.240 --> 00:16:50.679 complete improv. I work with a script every time so 316 00:16:50.840 --> 00:16:54.159 far Greywoods plot is iffy, but generally I work with 317 00:16:54.159 --> 00:16:56.679 a script. But I also do allow improv on my sets, 318 00:16:56.720 --> 00:16:59.679 and I'm very open to like, let's try things. And 319 00:16:59.720 --> 00:17:03.039 it's funny that a lot of actors hone in on 320 00:17:03.559 --> 00:17:06.279 the wrong thing. They'll like, you were talking about this 321 00:17:06.400 --> 00:17:10.119 dropping the wallet. Obviously that's an important moment in this 322 00:17:10.359 --> 00:17:13.640 that went over people's heads in the moment. I find 323 00:17:13.640 --> 00:17:16.000 that a lot of times I'm like, hey, man, don't 324 00:17:16.079 --> 00:17:18.559 do the script, especially like working with Max or working 325 00:17:18.559 --> 00:17:20.640 with my buddy Sean who is the lead in this 326 00:17:20.720 --> 00:17:25.119 recent movie, being like, don't worry about saying the words. 327 00:17:25.359 --> 00:17:28.079 The only sentence I need is this one. That's it. 328 00:17:28.119 --> 00:17:30.240 We've got this whole paragraph of stuff. I need this 329 00:17:30.279 --> 00:17:33.359 one say a bunch of shit, but just say these 330 00:17:33.440 --> 00:17:36.319 two words and we're okay. So just go try things, 331 00:17:36.519 --> 00:17:38.559 and I find they get really close on their first try, 332 00:17:38.799 --> 00:17:41.279 second try, they're even closer by third time. They're just 333 00:17:41.319 --> 00:17:43.240 doing the script and they don't even know they're doing it. 334 00:17:44.079 --> 00:17:46.599 Yeah. I think that's one thing I've found with improv too, 335 00:17:46.759 --> 00:17:49.920 is just if you can hone in on what you 336 00:17:50.000 --> 00:17:54.319 need them to say, people will generally. I was working 337 00:17:54.319 --> 00:17:57.880 with this new actor justin on this out of character 338 00:17:57.920 --> 00:18:01.599 movie that I'm working on. Literally never never spoke to 339 00:18:01.599 --> 00:18:05.119 the guy until two weeks ago. Bring him out. He's 340 00:18:05.119 --> 00:18:07.599 he's done improv before, but he's never done really a 341 00:18:07.680 --> 00:18:11.119 ton of improv recently. I mean I literally just gave 342 00:18:11.200 --> 00:18:14.079 him simple scene prompts like Okay, you need to come here, 343 00:18:14.079 --> 00:18:15.799 and you need to say this line to me, and 344 00:18:15.839 --> 00:18:17.640 then there's a couple of things I need to say 345 00:18:17.680 --> 00:18:20.359 before and I give him like a little little points. 346 00:18:21.200 --> 00:18:23.400 We nail it in the first take, and I'm like, Okay, 347 00:18:23.480 --> 00:18:25.759 let's move on. Let's move on to the next thing, 348 00:18:25.920 --> 00:18:28.240 like and I think that's that's kind of amazing when 349 00:18:28.359 --> 00:18:31.799 when you can hit that synthesis of like giving someone 350 00:18:31.920 --> 00:18:33.880 the point of a scene and then they can just 351 00:18:33.960 --> 00:18:36.240 kind of figure it out because naturally the brain knows 352 00:18:36.240 --> 00:18:38.279 how to tell stories too. And I think that's the 353 00:18:38.319 --> 00:18:41.799 thing that people don't realize about improv is like we 354 00:18:41.839 --> 00:18:47.720 are naturally designed as as as humans to like we 355 00:18:47.799 --> 00:18:50.200 tell stories. We do it around the fireplace, we do 356 00:18:50.240 --> 00:18:52.680 it from the beginning of time. We paint on you know, 357 00:18:53.279 --> 00:18:55.960 on caves, and you know, like we've always told stories. 358 00:18:56.000 --> 00:18:59.359 So I think people know what an inherently good story 359 00:18:59.440 --> 00:19:01.880 looks like. They might not always be able to articulate it, 360 00:19:01.880 --> 00:19:04.240 but I think in their mind they know what a 361 00:19:04.279 --> 00:19:06.680 good story is. And so I think, like when you're 362 00:19:06.720 --> 00:19:09.960 doing work with an improv actor or with a regular actor, 363 00:19:11.119 --> 00:19:15.200 their intuition sometimes is naturally good, you know, like you'd 364 00:19:15.240 --> 00:19:18.839 be surprised at seeing like where an actor takes it. 365 00:19:18.920 --> 00:19:22.559 I mean, I had a scene where the actor came 366 00:19:22.640 --> 00:19:25.119 up to me and pitched me another idea, was like, oh, 367 00:19:25.480 --> 00:19:27.599 what if this happened in this scenes that it ties 368 00:19:27.640 --> 00:19:31.920 back to later And I was like, huh, I never 369 00:19:31.960 --> 00:19:34.039 thought of that, And I thought that was a really 370 00:19:34.119 --> 00:19:36.839 genius moment. And then I was like, yeah, let's incorporate 371 00:19:36.920 --> 00:19:39.319 that we incorporated in the film. And it makes it 372 00:19:39.400 --> 00:19:41.240 so much better because then it's like, Okay, it ties 373 00:19:41.279 --> 00:19:43.680 back to this previous scene, but also ties forward to 374 00:19:43.680 --> 00:19:47.359 this other scene, and I'm like, that's improv. That's being 375 00:19:47.400 --> 00:19:50.400 willing to go with the processes, knowing sometimes I'm not 376 00:19:50.440 --> 00:19:52.680 always the smartest person in the room. I just happened 377 00:19:52.720 --> 00:19:54.119 to bring smart people along with. 378 00:19:56.279 --> 00:19:58.960 One of the greatest feelings in the world is having 379 00:19:59.039 --> 00:20:01.880 a cast and crew that is dedicated and ready to 380 00:20:01.960 --> 00:20:04.559 kick ass and they sorry, I'm moving my microphone and 381 00:20:04.559 --> 00:20:10.319 it's kind of squeaky. But having a cast a performer 382 00:20:10.400 --> 00:20:13.119 who you can trust and who comes on to set 383 00:20:13.160 --> 00:20:15.440 and is ready to get into character figure it out. 384 00:20:15.559 -->

00:20:18.079 Throws and outs at you, and like Dan Launce was 385 00:20:18.079 --> 00:20:22.319 talking about, it's one of those things where you do 386 00:20:22.359 --> 00:20:27.039 your best to make it a safe space so that 387 00:20:27.079 --> 00:20:29.759 people bring their game and not being the smartest person 388 00:20:29.759 --> 00:20:31.880 in the room is sometimes a good thing. Turning to 389 00:20:31.920 --> 00:20:34.839 people and knowing that you can trust them to give 390 00:20:34.839 --> 00:20:39.440 out advice. I remember I was on set for Get 391 00:20:39.480 --> 00:20:42.599 That Dick, my new movie, and I was talking with 392 00:20:43.160 --> 00:20:47.359 We were stressed. It was one of those weekend shoots. 393 00:20:47.400 --> 00:20:49.839 We had been going for like eleven hours. We were 394 00:20:49.960 --> 00:20:51.599 late to the night. It had been going pretty much 395 00:20:51.599 --> 00:20:53.599 all day. Everyone was fried. It was like one in 396 00:20:53.640 --> 00:20:57.720 the morning. Some people had left, some people had you know, 397 00:20:58.119 --> 00:20:59.960 had had to go because it was getting so late. 398 00:21:00.200 --> 00:21:01.920 Their stuff was done. We had done a ton of 399 00:21:02.000 --> 00:21:05.920 visual effects or special effects on set, like some really 400 00:21:05.960 --> 00:21:09.279 crazy bloody stuff, some super gory stuff, and we're getting 401 00:21:09.319 --> 00:21:11.960 to the very end and my buddy Aaron Hale, who's 402 00:21:11.960 --> 00:21:14.559 playing a character called the axe Man in the script, 403 00:21:14.680 --> 00:21:18.079 the Axe Man was standing there and he saw something 404 00:21:18.160 --> 00:21:22.400 that was potentially missing and went above and beyond to 405 00:21:22.480 --> 00:21:27.039 make it known to me. And in my head, I'm like, 406 00:21:27.240 --> 00:21:30.000 I'm I don't need that. Let's just keep going. Let's 407 00:21:30.039 --> 00:21:33.000 get tonight done. It's almost two in the morning. We're 408 00:21:33.039 --> 00:21:37.000 all flustered, frustrated, fried, ready to go home and go 409 00:21:37.039 --> 00:21:37.400 to bed. 410 00:21:37.799 --> 00:21:38.640 And I thought about it. 411 00:21:38.680 --> 00:21:40.519 I'm like, this dude is smarter than me right now 412 00:21:40.559 --> 00:21:43.000 because he's thinking about what I'm not seeing. He's seeing 413 00:21:43.079 --> 00:21:46.359 something that I'm potentially gonna miss and I ended up 414 00:21:46.400 --> 00:21:48.720 getting the thing that I needed and it was so 415 00:21:49.519 --> 00:21:52.519 massively helpful in the edit. So Aaron Hale, thank you 416 00:21:52.559 --> 00:21:55.000 so much for going above and beyond. But on top 417 00:21:55.039 --> 00:21:57.640 of that, watching the movie and seeing some of these performances, 418 00:21:57.720 --> 00:21:59.559 like Aaron Hale is not a first time actor, he 419 00:21:59.559 --> 00:22:02.279 has been doing it for a long time. Great dude, 420 00:22:02.480 --> 00:22:06.240 great director, great writer. I love Aaron to death. And 421 00:22:06.319 --> 00:22:08.880 having someone like that on set who got the character, 422 00:22:08.880 --> 00:22:11.079 who's going forward and was willing to go above and beyond. 423 00:22:11.559 --> 00:22:15.440 There are things about that character that are so beyond 424 00:22:15.519 --> 00:22:17.720 what I wrote when I was making the movie, and 425 00:22:17.720 --> 00:22:20.640 that goes a long ways. Trusting your cast, and that's 426 00:22:20.680 --> 00:22:24.119 one of the things Nick Sanakis, my next guest, talks about, 427 00:22:24.200 --> 00:22:27.640 is bringing people onto set who have a technique and 428 00:22:27.759 --> 00:22:31.680 can be organic, bringing natural performance to set, and even 429 00:22:31.720 --> 00:22:33.400 though you trust that they're going to do it. When 430 00:22:33.440 --> 00:22:37.400 you see it happen, it can be so inspiring and 431 00:22:38.440 --> 00:22:40.960 it could just make you realize, like, oh, this is 432 00:22:41.000 --> 00:22:47.720 why they're here. What was your first experience, like, what 433 00:22:47.759 --> 00:22:51.440 were the early experiences of working with actors or I 434 00:22:51.480 --> 00:22:54.880 know you act as well, like being on set and acting. 435 00:22:54.920 --> 00:22:58.480 What were some of your early experiences of learning that process. 436 00:22:59.519 --> 00:23:02.160 So I think I think we're lucky. Kevin and I 437 00:23:02.200 --> 00:23:04.000 both studied acting first. 438 00:23:04.559 --> 00:23:05.039 Okay, so. 439 00:23:06.839 --> 00:23:08.960 I was in we actually met in New York. I'm 440 00:23:09.000 --> 00:23:11.640 from New York originally, but I always when I knew 441 00:23:11.680 --> 00:23:14.200 I wanted to get into filmmaking and acting and directing 442 00:23:14.200 --> 00:23:16.279 and all that stuff, I really wanted to study in 443 00:23:16.279 --> 00:23:18.559 New York because I did feel like, you know, the 444 00:23:18.599 --> 00:23:21.039 best actors and directors kind of came out in New 445 00:23:21.119 --> 00:23:23.240 York theater, at least in the old days. It's a 446 00:23:23.279 --> 00:23:25.640 little different now, but I really wanted to study that. 447 00:23:25.680 --> 00:23:28.559 I really wanted to like learn that way. So I 448 00:23:28.599 --> 00:23:32.039 think from that it kind of helped me know how 449 00:23:32.039 --> 00:23:35.240 to talk to actors, you know, and also you know, 450 00:23:35.319 --> 00:23:37.720 I know you mentioned like non actors right as well. 451 00:23:39.000 --> 00:23:43.039 So I think the biggest thing for us is just 452 00:23:44.279 --> 00:23:46.440 it's just like kind of the communication and trying to 453 00:23:46.599 --> 00:23:50.119 just at least because I know me personally, if you 454 00:23:50.119 --> 00:23:53.400 can make them feel comfortable, I think the more comfortable, 455 00:23:53.440 --> 00:23:55.559 the

more the better performances you're going to get out 456 00:23:55.599 --> 00:23:58.920 of them. So you know, again like going back to 457 00:23:59.079 --> 00:24:00.759 you know, Kevin and I talked and then one of 458 00:24:00.839 --> 00:24:03.279 us going to talk to the actor or somebody, you know, 459 00:24:03.400 --> 00:24:06.920 not screaming cut and action as if you know we're 460 00:24:06.960 --> 00:24:09.759 on a bullhorn on like a lot somewhere. That kind 461 00:24:09.759 --> 00:24:11.480 of goes back to the Clint Eastwood thing, right, like 462 00:24:11.759 --> 00:24:15.000 isn't he famously for like not screaming because the horses 463 00:24:15.039 --> 00:24:18.960 and the Westerns would go galloping off. So just anything 464 00:24:18.960 --> 00:24:22.519 to make them feel like more comfortable and you know, 465 00:24:22.720 --> 00:24:29.160 not as rigid of like quiet, background camera set, you know, 466 00:24:29.200 --> 00:24:31.319 like all those things that can make you tense up. 467 00:24:31.720 --> 00:24:34.319 We try to just very like easily like talk to everybody, 468 00:24:34.359 --> 00:24:36.680 have them in the space, have the cameras near their face, 469 00:24:36.720 --> 00:24:38.319 have the lights near their face. Try to make it 470 00:24:38.359 --> 00:24:43.640 feel as a very uncomfortable situation as comfortable as possible. 471 00:24:43.759 --> 00:24:45.400 And that's what that's what we try to do. I 472 00:24:45.839 --> 00:24:47.720 hope we're able to do it. You don't have to 473 00:24:47.720 --> 00:24:50.839 talk to the actors tell tell you if we're any good. Yeah. 474 00:24:50.839 --> 00:24:53.079 But that's the funny thing though, is like I love 475 00:24:53.119 --> 00:24:54.680 this because I don't think this has ever come up 476 00:24:54.720 --> 00:24:58.400 on this podcast, But this concept of like screaming lights 477 00:24:58.480 --> 00:25:02.160 camera action in an intense way, pushing things, that all 478 00:25:02.279 --> 00:25:05.200 was based on budgetary reasons. Like the whole thing was 479 00:25:05.240 --> 00:25:07.359 based on like we only got so much film to burn, 480 00:25:08.039 --> 00:25:12.200 and we and you know, everyone has to sink everything properly. 481 00:25:12.240 --> 00:25:14.480 Everything has to be done in a very technical way. 482 00:25:14.920 --> 00:25:17.200 We don't live in that era anymore. Like now we 483 00:25:17.240 --> 00:25:20.839 can run digital for far longer than you know, film 484 00:25:20.839 --> 00:25:23.200 could run in the past. So I have found some 485 00:25:23.279 --> 00:25:25.599 of the best performances I personally or I've got out 486 00:25:25.640 --> 00:25:28.240 of especially non actors, is when I just let the 487 00:25:28.279 --> 00:25:30.440 camera kind of roll and I'm like, let's let's work 488 00:25:30.480 --> 00:25:33.359 this out, Like let's just pretend for a second. And 489 00:25:33.519 --> 00:25:36.000 when someone can kind of pretend and fall into the role, 490 00:25:36.039 --> 00:25:38.359 it's like, oh wow, that's they just became that person. 491 00:25:39.480 --> 00:25:39.839 Yeah. 492 00:25:40.640 --> 00:25:43.279 I mean, we'll even you know, not that I like 493 00:25:43.319 --> 00:25:45.440 to ever like trick people, but there's times where like 494 00:25:45.480 --> 00:25:48.480 we'll look over and be like, you know, just just 495 00:25:48.599 --> 00:25:50.720 roll here, you know, real quick. We're not even gonna 496 00:25:51.039 --> 00:25:52.839 you know, slate it, or or we'll just say we're 497 00:25:52.920 --> 00:25:55.880 rolling on a rehearsal and not do the whole you know, 498 00:25:55.880 --> 00:25:58.039 we'll just let sound know and like camera know, like 499 00:25:58.119 --> 00:26:00.640 just roll. We won't even slate it, just to get 500 00:26:00.920 --> 00:26:04.079 to try to get you know, something organic and natural 501 00:26:04.119 --> 00:26:06.400 because you know, again just being on the other side 502 00:26:06.400 --> 00:26:09.799 of it, I think that helped us, so hopefully it 503 00:26:10.079 --> 00:26:11.519 helps them. And like you said, yeah, that was it 504 00:26:11.720 --> 00:26:14.079 was a different time also, like I think that was 505 00:26:14.119 --> 00:26:17.559 like for like huge sets with big crews that you're 506 00:26:17.559 --> 00:26:20.160 trying to communicate to a lot of people in a 507 00:26:20.240 --> 00:26:23.519 short amount of time and obviously, like you said, film 508 00:26:23.599 --> 00:26:26.400 and money and all that stuff. So you know, and 509 00:26:26.480 --> 00:26:29.079 I get it like the early like younger version of 510 00:26:29.079 --> 00:26:30.920 yourself maybe saw it on TV and you're like, I 511 00:26:30.920 --> 00:26:32.920 want to yell action and cut you know one day. 512 00:26:33.160 --> 00:26:34.680 But I think as you do it and your mature 513 00:26:34.720 --> 00:26:38.640 you realize, like that's not maybe useful or or super 514 00:26:38.680 --> 00:26:41.640 help helpful, and it's there for a reason. It was 515 00:26:41.680 --> 00:26:44.079 there for a reason, and you know, if if you 516 00:26:44.079 --> 00:26:47.599 don't need to do it, maybe it's not as productive 517 00:26:47.640 --> 00:26:47.960 that way. 518 00:26:48.519 --> 00:26:50.799 I like that you use the term tricking because it 519 00:26:50.839 --> 00:26:54.279 is very much like I have. My style of directing 520 00:26:54.319 --> 00:26:57.960 has very much become realizing we're all coaxing something out 521 00:26:57.960 --> 00:27:00.240 of ourselves. Shit, I'm coaxing shit out of myself as 522 00:27:00.279 --> 00:27:01.960 a director a lot of the time, you know what 523 00:27:02.039 --> 00:27:04.440 I mean. Yeah, it is all just a trick and 524 00:27:04.480 --> 00:27:06.640 a gimmick to put something on screen that is a 525 00:27:07.400 --> 00:27:09.960 It's a trick in and of itself. It's not real life. 526 00:27:10.000 --> 00:27:12.720 We're we're tricking an

audience into believing something is happening, 527 00:27:12.759 --> 00:27:14.640 and hopefully they get so lost in it that they're like, 528 00:27:15.160 --> 00:27:19.039 they fall for the trick. And so I tell my 529 00:27:19.200 --> 00:27:21.079 cast and crew straight up, I'm like, hey man, we 530 00:27:21.160 --> 00:27:22.920 might be we're going to be rolling a lot. We're 531 00:27:22.920 --> 00:27:25.799 going to be trying things like if you're not down, 532 00:27:25.839 --> 00:27:28.720 if you're not comfortable, always talk to me, because I 533 00:27:28.839 --> 00:27:31.240 just want it. Let's just have an open and honest communication. 534 00:27:31.359 --> 00:27:33.920 I think that that is one of those things that 535 00:27:34.039 --> 00:27:36.079 on bigger sets, when I'm working on the you know, 536 00:27:36.160 --> 00:27:40.759 like bigger movies shooting c unit and behind the scenes 537 00:27:40.839 --> 00:27:44.480 and whatever, I often see this like lack of sincere 538 00:27:44.559 --> 00:27:47.279 communication that, I'm like, well, that's the benefit we have 539 00:27:47.359 --> 00:27:49.240 of working so closely with these people. 540 00:27:50.400 --> 00:27:52.480 No, definitely, dude, I think you hit it like right 541 00:27:52.519 --> 00:27:54.680 on the head. It's I and I've seen it too. 542 00:27:54.680 --> 00:27:57.799 And I think most people, like most actors, like, it's 543 00:27:57.839 --> 00:28:00.440 all about trust and communication, you know. And I think 544 00:28:00.480 --> 00:28:04.119 if they really trust you and know that your intentions 545 00:28:04.160 --> 00:28:05.519 are good and you're trying to get the best out 546 00:28:05.559 --> 00:28:07.319 of them, and also that they have studied in some 547 00:28:07.359 --> 00:28:10.440 capacity where they understand what you're trying to do, you know, 548 00:28:10.599 --> 00:28:13.400 like they'll go there with you, you know. I think 549 00:28:13.480 --> 00:28:17.319 when that line gets blurry or they don't you know, 550 00:28:17.440 --> 00:28:19.799 trust you or don't think you have their best intentions, 551 00:28:19.799 --> 00:28:21.640 I think that's when you get into trouble. You know. 552 00:28:21.720 --> 00:28:24.680 So like we're a big believer in open communication, you know, 553 00:28:24.799 --> 00:28:27.599 like talking to them, you know, seeing what they're comfortable with, 554 00:28:27.920 --> 00:28:31.319 suggesting trickery and some you know, if they would be 555 00:28:31.440 --> 00:28:33.880 comfortable with that, and nine times out of ten, they 556 00:28:33.920 --> 00:28:35.880 just want to give a good performance. And like I said, 557 00:28:35.920 --> 00:28:39.079 if they've studied acting in any capacity, like they know 558 00:28:39.200 --> 00:28:41.680 what you're what you're trying to do, and they'll you know, 559 00:28:41.759 --> 00:28:43.440 had an acting teacher that was like, you got to 560 00:28:43.519 --> 00:28:45.960 love to like get your heart broken. You gotta love 561 00:28:46.039 --> 00:28:49.359 to be tortured. You gotta love vengeance and excitement like 562 00:28:49.400 --> 00:28:51.920 you gotta. So if they know it, they'll they'll and 563 00:28:51.960 --> 00:28:54.079 they trust you, they'll they'll go there with you. So 564 00:28:54.119 --> 00:28:57.319 I think it's just it's just all about having that conversation. 565 00:28:57.400 --> 00:28:59.000 And I think you're right. So a lot of times, 566 00:28:59.000 --> 00:29:02.039 on the bigger stuff, which you would think they would 567 00:29:02.039 --> 00:29:04.559 have so much more time to have those, they often, 568 00:29:04.880 --> 00:29:06.759 you know, sometimes they just often don't have them. It 569 00:29:06.799 --> 00:29:08.279 seems well. 570 00:29:08.319 --> 00:29:10.319 And I think there's an element of like people being 571 00:29:10.400 --> 00:29:14.960 paid far more than people get paid on projects like ours. 572 00:29:15.200 --> 00:29:17.640 I mean, you know, we pay what we can, we 573 00:29:17.720 --> 00:29:19.640 do what we can. But I mean when I first 574 00:29:19.640 --> 00:29:22.279 started in low budget filmmaking, I wasn't paying people much 575 00:29:22.319 --> 00:29:25.440 at all, if anything, on the really early projects, and 576 00:29:26.240 --> 00:29:29.279 there was an element of then the payment becomes like, 577 00:29:30.920 --> 00:29:33.400 this is your project too, Like I want you to 578 00:29:33.480 --> 00:29:36.079 love your character. I want you to be invested as 579 00:29:36.119 --> 00:29:39.039 far as you want to be invested, and that. 580 00:29:38.920 --> 00:29:39.880 Goes a long way. 581 00:29:40.039 --> 00:29:42.240 And in the low budget day, in the early days 582 00:29:42.279 --> 00:29:44.839 and as you're getting first time actors, I mean that's 583 00:29:45.039 --> 00:29:47.160 I remember I had my mom on set. My mom's 584 00:29:47.160 --> 00:29:50.480 in my second movie, and I wrote the part for 585 00:29:50.519 --> 00:29:52.240 her because I just wanted her to cuss and swear 586 00:29:52.279 --> 00:29:54.599 at me and call me like an accident. Basically, I 587 00:29:54.640 --> 00:29:57.119 just thought that'd before and as I had her on 588 00:29:57.200 --> 00:30:01.480 set and yeah, it's hilarious say terrible things and like, 589 00:30:01.640 --> 00:30:03.920 but the one time she got uncomfortable wasn't when I 590 00:30:03.920 --> 00:30:06.000 wanted her to say God damn it. She's like, I won't. 591 00:30:06.079 --> 00:30:08.279 I can't say God, damn it. And there was a 592 00:30:08.319 --> 00:30:11.880 moment where I had to like disconnect from the mom 593 00:30:12.000 --> 00:30:14.240 that I was trying to push to do things that 594 00:30:14.279 --> 00:30:17.079 she didn't want to do, and the human being who 595 00:30:17.160 --> 00:30:19.839 was on the other side of the set acting and going, 596 00:30:19.880 --> 00:30:21.519 I don't want to be portrayed in this way. And 597

00:30:21.559 --> 00:30:23.519 I was like, you know what, I'm not going to 598 00:30:23.559 --> 00:30:26.079 push her in this way because it it's not a 599 00:30:26.119 --> 00:30:28.000 positive thing. It's not going to help her get into 600 00:30:28.000 --> 00:30:28.640 that character. 601 00:30:29.839 --> 00:30:33.000 Yeah, that's funny you said that. Because Kevin's dad. We 602 00:30:33.000 --> 00:30:36.519 we've had in almost all of our movies, how many 603 00:30:36.640 --> 00:30:39.640 three we've had in three and he's he's a he's 604 00:30:39.680 --> 00:30:44.160 a retired doctor and knee surgeon. But like very you know, 605 00:30:44.359 --> 00:30:46.839 artistic guy, and like I think, you know, he always says, 606 00:30:46.880 --> 00:30:48.640 this is like my you know, my second life. I 607 00:30:48.640 --> 00:30:50.720 wanted to be an actor, and like it is so 608 00:30:51.000 --> 00:30:53.599 natural and good and takes it so seriously and love 609 00:30:53.720 --> 00:30:57.799 like doing the work and like, so yeah, it's it's 610 00:30:57.839 --> 00:31:01.839 fun to to bring them into it. We haven't had that, 611 00:31:01.920 --> 00:31:03.920 but I could see that happening with my mom, because 612 00:31:04.000 --> 00:31:06.000 my mom. I always say my mom, we could we 613 00:31:06.000 --> 00:31:07.519 could win an oscar, and she'd be like, I didn't 614 00:31:07.599 --> 00:31:10.880 like it, Like it was very violent, but you cursed 615 00:31:10.920 --> 00:31:14.039 way too much. Can't you make something happy now? 616 00:31:14.160 --> 00:31:14.640 And like it? 617 00:31:14.920 --> 00:31:18.240 So I love that brutal honesty that only uh, only 618 00:31:18.400 --> 00:31:19.640 parents could give you, right. 619 00:31:20.039 --> 00:31:20.680 I love it. 620 00:31:20.720 --> 00:31:23.880 Is there an actor that shocked you with how good 621 00:31:23.960 --> 00:31:27.359 they were or a performance that surprised you, or a 622 00:31:27.440 --> 00:31:31.119 moment that just made you go, like thinking of Cheat specifically, 623 00:31:31.200 --> 00:31:33.799 because that's the most recent one, is there something that 624 00:31:33.839 --> 00:31:36.839 made you just go, wow, this was I did not 625 00:31:36.920 --> 00:31:37.680 see this coming. 626 00:31:38.839 --> 00:31:42.559 Yeah, I mean I think now that you said that, 627 00:31:43.079 --> 00:31:46.200 I would say probably our last movie, not Cheat, just 628 00:31:46.359 --> 00:31:49.440 because so the movie that we're in post production on 629 00:31:49.559 --> 00:31:54.680 is called Valley Vue Motel and we oddly there was 630 00:31:54.720 --> 00:31:58.400 an actor who's from Kevin's hometown which is called Warren, Pennsylvania, 631 00:31:58.400 --> 00:32:01.960 which is a small town in northwest Pennsylvania, like five 632 00:32:02.240 --> 00:32:04.799 nine thousand people, five to nine thousand people, something like that, 633 00:32:05.400 --> 00:32:08.079 and it was a friend of his that he grew 634

00:32:08.160 --> 00:32:10.400 up with that had sent been to LA that was like, 635 00:32:10.559 --> 00:32:14.640 you know, lifetime actor, great actor, great guy. He was like, 636 00:32:14.680 --> 00:32:16.599 I don't know, I just I feel like this guy 637 00:32:16.680 --> 00:32:19.200 is right for this character. He's good. I known him 638 00:32:19.200 --> 00:32:20.759 a long time. I know he's in LA. No, he's 639 00:32:20.759 --> 00:32:23.480 still acting. I've seen him in some stuff like whatever. 640 00:32:23.559 --> 00:32:27.400 And he came on and he was awesome. He was 641 00:32:27.559 --> 00:32:29.680 so so good. And that's just one of those things 642 00:32:29.680 --> 00:32:34.160 where you know, maybe it's right time, right place, right script, 643 00:32:34.240 --> 00:32:36.839 write everything. But you know, we had seen him in 644 00:32:36.920 --> 00:32:38.960 different things. You know, you see reels and you see 645 00:32:39.000 --> 00:32:42.440 audition tapes. You could only get so much from that. 646 00:32:42.559 --> 00:32:45.960 But yeah, he just came on set and just like 647 00:32:46.039 --> 00:32:48.920 he just it just sometimes it just works, you know, 648 00:32:49.960 --> 00:32:51.960 it just he just got it. And it's just like 649 00:32:52.000 --> 00:32:54.119 that's the magic like you were talking about, you know, 650 00:32:54.640 --> 00:32:57.119 where it just works, like he just he got what 651 00:32:57.119 --> 00:32:59.200 we were going for. We didn't have to overexplain it 652 00:32:59.240 --> 00:33:02.599 to him. It just yeah. So that's that's one example. 653 00:33:02.599 --> 00:33:03.960 I don't know if that's a good one. 654 00:33:04.240 --> 00:33:06.440 No, that's great. I feel like that there's an element 655 00:33:06.519 --> 00:33:10.160 of casting in this way where it's I love to 656 00:33:10.279 --> 00:33:14.440 cast someone. I know I've written a script and maybe 657 00:33:14.480 --> 00:33:16.480 I wrote it for them. Maybe I wrote it, you know, 658 00:33:17.000 --> 00:33:19.960 not with them necessarily in mind, but I kind of 659 00:33:20.519 --> 00:33:22.599 had an inkling that maybe they'd be good as I 660 00:33:22.640 --> 00:33:24.279 got through it, and then I see them in the 661 00:33:24.319 --> 00:33:27.000 role and I'm like, Bam, that was it the whole time. 662 00:33:27.000 --> 00:33:29.480 And I feel like you and Kevin have this communication 663 00:33:29.960 --> 00:33:33.200 where you're able to understand who you want, what you 664 00:33:33.240 --> 00:33:34.599 want to work with, who you want to work with, 665 00:33:34.640 --> 00:33:38.319 and that is that's paramount. The acting is so important 666 00:33:38.319 --> 00:33:43.400 to low budget film, not feeling low budget and having. 667 00:33:43.359 --> 00:33:46.799 Someone like that, yeah, it is. And you know, we 668 00:33:46.839 --> 00:33:49.440 really try, like we cast our own movies again just 669 00:33:49.480 --> 00:33:53.279 out of necessity. So what

we usually do is, you know, 670 00:33:53.319 --> 00:33:56.279 we'll put like a general casting out on you know 671 00:33:56.319 --> 00:33:59.759 whatever backstage or actors access or breakdown services or something, 672 00:33:59.799 --> 00:34:03.640 and we'll look at headshots with a demo tape and 673 00:34:03.680 --> 00:34:05.960 then from there try to pull people to actually have 674 00:34:06.039 --> 00:34:09.880 themself tape an audition for us, and then we you know, 675 00:34:09.920 --> 00:34:12.320 we just talk back and forth, and you know, a 676 00:34:12.320 --> 00:34:14.119 lot of it is like kind of instinct and like 677 00:34:14.920 --> 00:34:17.400 kind of gut, you know, it's it's weird, you know, 678 00:34:17.440 --> 00:34:19.039 and sometimes we'll get on a zoom with them and 679 00:34:19.079 --> 00:34:21.199 that could you know, just talking to somebody could kind 680 00:34:21.239 --> 00:34:23.480 of give you a vibe and tell you a lot too. 681 00:34:23.559 --> 00:34:27.760 So that's how that's how we do it. And and 682 00:34:27.800 --> 00:34:29.840 it's you know, it's worked. I think it's worked out 683 00:34:29.880 --> 00:34:31.679 for us. You know, it is always tricky. We try 684 00:34:31.719 --> 00:34:35.320 to if we're if we're doing a non union project, 685 00:34:35.360 --> 00:34:37.440 we try to pay sagult your little budget rates for 686 00:34:37.480 --> 00:34:41.599 everybody and hopefully, you know, it helps, you know, the 687 00:34:41.639 --> 00:34:43.559 actors as well, like have a chance to like really 688 00:34:43.599 --> 00:34:46.760 sink their teeth into something where it's a more major 689 00:34:47.159 --> 00:34:49.159 or not you know, a larger role than just like 690 00:34:49.199 --> 00:34:51.119 a supporting thing that they might normally get. 691 00:34:52.920 --> 00:34:56.480 I have found it incredibly invigorating to bring on people 692 00:34:56.559 --> 00:34:59.480 in a way that they don't expect, bringing on cast 693 00:34:59.519 --> 00:35:03.599 and crew, you know, even casting Max my son Sean 694 00:35:03.679 --> 00:35:06.920 Ashley as the detective Dick in my new movie, Get 695 00:35:06.920 --> 00:35:10.559 That Dick, or casting my buddy Keith Radical in Greywood's plot. 696 00:35:10.639 --> 00:35:15.199 The simple choice to cast Daniel Dagnan in Greywood's plot 697 00:35:15.320 --> 00:35:19.440 and The Good Exorcist was purely based on proximity. Daniel 698 00:35:19.519 --> 00:35:21.920 was my friend, he was around, I could cast him. 699 00:35:21.960 --> 00:35:23.599 I knew I'd want him to come out to Revel 700 00:35:23.599 --> 00:35:25.199 without a crew and be a part of the process. 701 00:35:25.599 --> 00:35:27.559 I just love being around the dude, so it was 702 00:35:27.719 --> 00:35:31.559 hugely important to me to get him in my projects. 703 00:35:31.760 --> 00:35:36.280 But watching him pull off performances that I sincerely love. 704 00:35:36.360 --> 00:35:38.199 Whether you like him or not, I don't give a shit, 705 00:35:38.280 --> 00:35:41.440 because the realities is when I make these movies, I'm 706 00:35:41.480 --> 00:35:43.159 just doing what I can do best, and that's what 707 00:35:43.159 --> 00:35:45.280 you should be doing as a low budget filmmaker, taking 708 00:35:45.360 --> 00:35:48.000 things that you can find around you and trying to 709 00:35:48.039 --> 00:35:50.800 surprise yourself. And Daniel Dagnan has some performances in my 710 00:35:50.920 --> 00:35:55.159 movies that truly and utterly shock me. They're so out 711 00:35:55.159 --> 00:36:00.840 of character for him as a human being that it 712 00:36:00.119 --> 00:36:02.360 it makes me see how good he has. Same with 713 00:36:02.440 --> 00:36:05.719 Keith Radical. He has a performance in Greywood's plot that 714 00:36:05.760 --> 00:36:07.960 I believe is one of the greatest performances I've ever seen, 715 00:36:08.000 --> 00:36:10.719 But that's because I know the dude, so watching him 716 00:36:10.800 --> 00:36:15.320 act and show up is so unique for me to see. 717 00:36:15.559 --> 00:36:16.920 And I know a lot of people have liked his 718 00:36:16.960 --> 00:36:19.239 performance because I've been told by a lot of people 719 00:36:19.280 --> 00:36:21.840 and I've seen it in reviews and people dig Keith, 720 00:36:21.960 --> 00:36:24.800 So that is incredibly exciting to see someone who had 721 00:36:24.840 --> 00:36:27.760 no interest in ever acting come out and do something 722 00:36:27.880 --> 00:36:31.000 so great. And when I talk to my next guest, 723 00:36:31.079 --> 00:36:33.960 Joe Sherlock, one of the things I really was curious 724 00:36:33.960 --> 00:36:36.920 about is how he finds people, because he finds such 725 00:36:37.000 --> 00:36:39.920 unique people for such weird movies. And that's the kind 726 00:36:39.920 --> 00:36:41.920 of stuff I want to do, is find weirdos for 727 00:36:42.000 --> 00:36:45.639 my weird shit and get the weird in the projects. 728 00:36:46.119 --> 00:36:49.320 So that's sort of what I initially brought Joe on 729 00:36:49.440 --> 00:36:51.199 to talk about, and he ended up talking about a 730 00:36:51.239 --> 00:36:54.119 lot of great things. So this is sort of some 731 00:36:54.199 --> 00:36:58.000 techniques when you're trying to make b movies, Troma style stuff. 732 00:36:58.440 --> 00:37:01.119 Joe Sherlock has the information and the knowledge of how 733 00:37:01.119 --> 00:37:02.760 to bring people in and how to set them up 734 00:37:02.840 --> 00:37:07.400 for success when they're coming out of your movies. What 735 00:37:07.760 --> 00:37:13.280 is your first experience working with a non actor and 736 00:37:13.679 --> 00:37:16.119 what was that process, Like, I. 737 00:37:16.079 --> 00:37:18.719 Mean, pretty much the first real movie I put together, 738 00:37:18.760 --> 00:37:21.880 which was called Dimension of Blood, which I started back 739 00:37:21.920 --> 00:37:25.280 in nineteen ninety five, it was all non

actors because 740 00:37:25.280 --> 00:37:28.639 it was all just me and my friends, and so 741 00:37:29.000 --> 00:37:31.119 it's a mixed bag. There's some people that are pretty 742 00:37:31.119 --> 00:37:33.559 good and there's some people that the performances are pretty 743 00:37:33.800 --> 00:37:36.119 awkward and stiff. But like we were just learning and 744 00:37:36.199 --> 00:37:39.840 just getting started, and like I said, really just the 745 00:37:39.840 --> 00:37:41.360 first thing where I was like I got to make 746 00:37:41.400 --> 00:37:43.800 a real thing, not just like screwing around on the 747 00:37:43.800 --> 00:37:48.639 weekends and making some fun little goofball thing in the backyard. 748 00:37:49.760 --> 00:37:53.440 So I've kind of worked with non actors my whole career. 749 00:37:54.039 --> 00:37:57.760 I continue to, I mean, I still the people I 750 00:37:57.800 --> 00:38:01.679 work with today are ill a circle of friends, a 751 00:38:01.679 --> 00:38:04.039 circle of friends of friends and acquaintances and people that 752 00:38:04.079 --> 00:38:09.199 I've met from conventions, screenings or like I do have 753 00:38:09.239 --> 00:38:11.519 a on my website there's a spot that says want 754 00:38:11.519 --> 00:38:12.880 to be in a movie, and so you go to 755 00:38:12.880 --> 00:38:14.840 that there's a little questionnaire to fill out. That's great. 756 00:38:15.920 --> 00:38:19.039 I've had there's been people that have like seen one 757 00:38:19.079 --> 00:38:24.320 of my movies on Tube they recognize one one woman 758 00:38:24.519 --> 00:38:28.280 recognized the area code on an old rotary phone that 759 00:38:28.360 --> 00:38:30.920 I used as a prop. She recognized the area code 760 00:38:31.159 --> 00:38:35.639 was Oregon, where I'm at, and was like, wow, that's 761 00:38:35.719 --> 00:38:38.440 like what what does that mean? So she looked it 762 00:38:38.519 --> 00:38:42.079 up and oh, there's a filmmaker in Oregon and looked 763 00:38:42.079 --> 00:38:44.360 me up, and eventually I worked with her on some movies. 764 00:38:44.679 --> 00:38:46.840 And then now there's another couple that saw movie mine 765 00:38:46.840 --> 00:38:49.480 on Tube and realized, I don't know if where it 766 00:38:49.519 --> 00:38:50.760 was in the end credit. I don't know how they 767 00:38:50.840 --> 00:38:52.519 figured it out, but they looked me up and then realized, 768 00:38:52.559 --> 00:38:54.360 oh my god, this guy is like local to us 769 00:38:55.079 --> 00:38:59.199 and reached out and and I've worked with them on 770 00:38:59.320 --> 00:39:02.840 tons of projects. So most of the people I'm working 771 00:39:02.880 --> 00:39:05.719 with I would call non actors. They are people that 772 00:39:05.920 --> 00:39:08.480 are are I think good actors, but they don't really 773 00:39:08.559 --> 00:39:11.639 aspire to do that as a career. There's a lot 774 00:39:11.639 --> 00:39:13.800 of people, I would say ninety percent ninety probably more 775 00:39:13.800 --> 00:39:15.280 than that ninety five percent of the people that I've 776 00:39:15.280 --> 00:39:17.960 worked with, they don't really do anybody else's projects, you know, 777 00:39:18.039 --> 00:39:19.840 they kind of work on my stuff and that's their 778 00:39:19.920 --> 00:39:24.039 fun thing that they do. So I'm very used to 779 00:39:24.519 --> 00:39:27.639 working with what you might call non actors. And there 780 00:39:27.639 --> 00:39:29.519 are people that I've worked with that have been on 781 00:39:30.000 --> 00:39:33.079 Grim and Portlandia and you know, and movies and all 782 00:39:33.159 --> 00:39:36.760 kinds of other stuff. So I've worked with some people 783 00:39:36.760 --> 00:39:38.760 that that do aspire to be actors and our actors, 784 00:39:38.800 --> 00:39:41.880 you know, in terms of a professional profession. But yeah, 785 00:39:42.199 --> 00:39:44.199 lots of non actors. And that's and like I said, 786 00:39:44.239 --> 00:39:47.480 it's because of how I started, how I continued, where 787 00:39:47.480 --> 00:39:50.519 I live, all that stuff that it's just sort of built. 788 00:39:50.559 --> 00:39:53.559 I've built this stable, as it were, of people that 789 00:39:53.960 --> 00:39:56.960 love doing this thing and that I can plug into 790 00:39:57.000 --> 00:39:59.079 parts that I know they're good for. 791 00:40:00.599 --> 00:40:01.079 That's great. 792 00:40:01.079 --> 00:40:02.800 That's what I was going to ask next is what 793 00:40:02.840 --> 00:40:05.440 does that process look like? Then when someone reaches out, 794 00:40:05.480 --> 00:40:07.559 they go to your website or they go wherever they 795 00:40:07.599 --> 00:40:10.280 find you, and they're they're reaching out, Hey, I want 796 00:40:10.280 --> 00:40:12.280 to be in a movie. Are you then taking that 797 00:40:12.360 --> 00:40:15.000 and going like, you know where they'd fit well? Or 798 00:40:15.199 --> 00:40:17.760 does it sometimes even maybe foster an idea where you're like, 799 00:40:17.800 --> 00:40:19.559 you want to one I had this idea that you 800 00:40:19.639 --> 00:40:21.360 might have been great in and then kind of build 801 00:40:21.440 --> 00:40:21.920 off of that. 802 00:40:24.039 --> 00:40:27.760 It depends there was someone I did a I don't 803 00:40:27.800 --> 00:40:29.840 do a lot of like vending events, like I every 804 00:40:29.880 --> 00:40:31.480 once in a while and I'll do there's a horror 805 00:40:31.480 --> 00:40:33.400 convention in Seattle that I go to every year. I've 806 00:40:33.480 --> 00:40:35.679 I've vended there a few times, and I've gone to 807 00:40:35.760 --> 00:40:38.559 some comic conventions and stuff like that. There was one 808 00:40:38.559 --> 00:40:41.599 of these night markets that they they had locally that's 809 00:40:41.599 --> 00:40:43.119 just sort of like a I don't know how to 810 00:40:43.119 --> 00:40:43.559 describe it. 811 00:40:43.559 --> 00:40:43.960 It's like a. 812

00:40:43.920 --> 00:40:47.760 Spooky vending event that's all sort of not necessarily horror theme, 813 00:40:47.800 --> 00:40:51.119 but like kind of spooky themed or whatever. And so 814 00:40:51.159 --> 00:40:52.719 I decided to try that out. So I've done a 815 00:40:52.760 --> 00:40:56.760 couple of them, and yeah, this woman came up who 816 00:40:57.159 --> 00:41:00.679 you know, saw the table full of weird ask blu 817 00:41:00.800 --> 00:41:03.960 rays and and uh, I was like, wow, what is this? 818 00:41:04.159 --> 00:41:09.000 You know, and literally at the convention, it you know, 819 00:41:09.000 --> 00:41:10.480 it was kind of slow in the afternoon, I'm like 820 00:41:10.519 --> 00:41:14.519 looking at Instagram and she had posted on one of 821 00:41:14.519 --> 00:41:16.599 my pictures and said, I want to do that, and 822 00:41:16.639 --> 00:41:18.039 it was like, you know, I don't know. Some pictures, 823 00:41:18.039 --> 00:41:20.559 some you know, I don't know, it was like a 824 00:41:20.559 --> 00:41:22.400 shower scene or a monster scene. I can't remember, but 825 00:41:22.679 --> 00:41:24.880 some you know, definitely like B movie scene, She's like, 826 00:41:24.880 --> 00:41:28.400 I want to do that, and so I commented, I said, well, 827 00:41:28.400 --> 00:41:30.199 if you really do want to do that, here's a 828 00:41:30.199 --> 00:41:33.480 link to this form, you know, and she filled it out. 829 00:41:33.519 --> 00:41:39.119 And so I was working on this movie, this sort 830 00:41:39.119 --> 00:41:42.440 of killer clown slasher movie at the time, and I 831 00:41:42.559 --> 00:41:44.320 had a sequence that was like a kind of a 832 00:41:44.360 --> 00:41:47.559 filler killer sequence. I have, like this main storyline going along, 833 00:41:47.599 --> 00:41:49.559 and then it's like, meanwhile, over here the clown is 834 00:41:49.639 --> 00:41:51.559 killing these people in this neighborhood, and back to the 835 00:41:51.599 --> 00:41:54.599 mean story, meanwhile, the clowns found somebody else. So it 836 00:41:54.719 --> 00:41:56.960 sort of chunked up that way with the kill scenes. 837 00:41:57.400 --> 00:41:59.079 And so I had one that I hadn't shot yet, 838 00:41:59.800 --> 00:42:01.719 and I thought, you know, this is a small scene, 839 00:42:02.280 --> 00:42:05.199 there's not too much to it. This might be good 840 00:42:05.239 --> 00:42:08.280 to try her out with. And so that's basically what 841 00:42:08.320 --> 00:42:11.079 I did. And in the back of my mind, I thought, Okay, 842 00:42:11.079 --> 00:42:14.400 if this is just terrible, I'll do it with somebody else, right, 843 00:42:14.519 --> 00:42:16.880 because this is the only time you basically you're introduced 844 00:42:16.920 --> 00:42:19.239 to this character. She does a couple of things and 845 00:42:19.280 --> 00:42:21.760 then she gets killed. So it was like, okay, well, 846 00:42:21.800 --> 00:42:23.800 if for some reason she's horrible to work with, or 847 00:42:23.880 --> 00:42:27.400 she's terrible, you know, worst case, I'll just say, you 848 00:42:27.440 --> 00:42:30.199 know what, I had to work with someone else. So 849 00:42:30.800 --> 00:42:33.039 it was like I like, I usually don't do auditions 850 00:42:33.039 --> 00:42:34.960 in the traditional sense, but it was kind of the audition. 851 00:42:35.440 --> 00:42:36.920 But if it worked, then I have a piece of 852 00:42:36.960 --> 00:42:39.639 the movie done. And luckily it was fantastic. She was great, 853 00:42:39.760 --> 00:42:43.000 and she's like a big star in my latest movie 854 00:42:43.000 --> 00:42:46.000 that I'm just finishing. So so that that's how that 855 00:42:46.039 --> 00:42:51.559 worked out. There was a similar thing with that. There 856 00:42:51.559 --> 00:42:53.559 was a couple that, like I said, saw my movie 857 00:42:53.559 --> 00:42:56.599 in two being reached out and and I It was 858 00:42:56.639 --> 00:43:00.400 actually the the girl Kate, who was the other one 859 00:43:00.400 --> 00:43:02.840 that we reached out and then brought her boyfriend along. 860 00:43:03.199 --> 00:43:06.039 But it was a similar thing. Well, I had a 861 00:43:06.079 --> 00:43:09.360 part for a movie that I was doing, and I said, 862 00:43:09.400 --> 00:43:11.280 you know, if you want to come down, you know, 863 00:43:11.360 --> 00:43:14.199 we could do a little you know, meet and greet, 864 00:43:14.239 --> 00:43:16.079 and I could. I actually did have a thing that 865 00:43:16.119 --> 00:43:18.679 she could read as kind of an audition, but I 866 00:43:18.760 --> 00:43:20.199 even told her, I said, you know, if that, if 867 00:43:20.199 --> 00:43:21.960 it kind of goes well, I have this whole scene 868 00:43:21.960 --> 00:43:24.519 if you wanna, we could probably do that if you 869 00:43:24.559 --> 00:43:28.320 feel like it's you know, the vibe is good. So yeah, 870 00:43:28.320 --> 00:43:30.360 so she came down, did a little reading. 871 00:43:30.440 --> 00:43:30.960 She was great. 872 00:43:31.000 --> 00:43:33.039 I could tell right away like, oh yeah, she's got it. 873 00:43:33.360 --> 00:43:35.360 And then we ended up shooting a bunch of scenes 874 00:43:35.400 --> 00:43:38.639 with her and she was hilarious and great, and I've 875 00:43:38.639 --> 00:43:42.719 actually worked with her on every project since. Oh that's awesome. 876 00:43:43.400 --> 00:43:46.440 With the type of movies you're making, how do you 877 00:43:46.679 --> 00:43:51.280 form a relationship or start the conversation, especially with some 878 00:43:51.360 --> 00:43:54.960 of the more like you know, gory or vulgar or 879 00:43:55.000 --> 00:43:58.400 whatever sequences. Is there like a specific way you communicate 880 00:43:58.440 --> 00:44:00.920 these things, because a lot of us, myself included, we 881 00:44:00.960 --> 00:44:02.840 want to do you know, we're making b movies, We're 882 00:44:02.880 --> 00:44:05.440 making crazy stuff. There's moments where you

know, it's not 883 00:44:05.480 --> 00:44:08.960 always just nudity, but there's nudity stuff, or it's not 884 00:44:09.400 --> 00:44:12.920 just over the top stuff, but like, you know, I 885 00:44:12.960 --> 00:44:16.679 have to explain to a you know, seventy year old 886 00:44:16.679 --> 00:44:18.480 man that we're going to be running a hose up 887 00:44:18.519 --> 00:44:21.880 his neck that's going to spray gallons of blood out 888 00:44:21.920 --> 00:44:23.920 of it. Because we're doing this over the top crazy scene, 889 00:44:23.920 --> 00:44:25.920 it could be challenging to explain these kind of things. 890 00:44:26.000 --> 00:44:28.159 Do you have a process that you have for these 891 00:44:28.239 --> 00:44:28.920 kind of moments. 892 00:44:29.079 --> 00:44:32.840 I am very lucky because I have surrounded myself with 893 00:44:32.920 --> 00:44:37.719 people that don't blink twice when I tell them this 894 00:44:37.760 --> 00:44:41.559 stuffy it is like part of it is just I've 895 00:44:41.559 --> 00:44:45.519 always made stuff that has some, if not a bunch, 896 00:44:45.599 --> 00:44:47.679 or at least one ridiculous, you know, over the top 897 00:44:47.719 --> 00:44:51.559 scene in it. And so the people that I've worked 898 00:44:51.559 --> 00:44:53.320 with a lot, you know, they're just used to it, 899 00:44:53.400 --> 00:44:55.360 that this is going to be some wacky, crazy thing 900 00:44:55.400 --> 00:44:57.320 and they're here for it, and that's why I continue 901 00:44:57.360 --> 00:44:59.719 to work with them. But even the new people, I 902 00:44:59.760 --> 00:45:02.119 think they know what they're getting into because they're at 903 00:45:02.199 --> 00:45:04.880 least a little familiar with what I do because they 904 00:45:04.920 --> 00:45:07.719 either were at a screening or they're a friend of 905 00:45:07.760 --> 00:45:09.519 a friend who's like, oh, yeah, she showed me all 906 00:45:09.559 --> 00:45:11.000 these movies and I thought it'd be so much fun 907 00:45:11.039 --> 00:45:14.039 to get involved. I mean, this last I had this 908 00:45:14.719 --> 00:45:16.440 sex comedy that I just made. I mean, there's a 909 00:45:16.440 --> 00:45:20.280 scene where these two girls get it on with a gorilla, 910 00:45:20.400 --> 00:45:23.639 and you know, it's all crazy fun, right, But the 911 00:45:23.679 --> 00:45:25.880 fact of the matter is there's these two girls in 912 00:45:25.960 --> 00:45:27.920 lingerie in a bed with a guy in a gorilla 913 00:45:27.960 --> 00:45:31.639 suit and they're in crazy positions. And part of the 914 00:45:31.719 --> 00:45:37.679 joke is someone comes in to the doorway like walks 915 00:45:37.760 --> 00:45:39.960 up saying, hey, did you guys see and then stop 916 00:45:40.039 --> 00:45:42.559 short and is shocked at what they're seeing, but then 917 00:45:42.639 --> 00:45:44.440 pulls out their phone the recorded a little bit because 918 00:45:44.440 --> 00:45:47.599 it's ridiculous, and then leaves. Right, So it's all for 919 00:45:47.679 --> 00:45:51.960 the joke, right, But but yeah, explaining that to someone like, oh, yeah, okay, 920 00:45:52.000 --> 00:45:53.840 so you two are going to be together, then you kiss, 921 00:45:53.840 --> 00:45:56.360 and then this gorilla comes in and then they get involved. 922 00:45:57.519 --> 00:46:00.440 That's a little weird. But I just I just showed 923 00:46:00.440 --> 00:46:03.280 it recently to some of the cast, and you know, 924 00:46:03.440 --> 00:46:06.320 got a great reactions, as it should because it's just ridiculous. 925 00:46:06.320 --> 00:46:08.519 That's the whole point is it's the ridiculousness of it. 926 00:46:08.760 --> 00:46:12.679 But yeah, I've had people who get covered in putting, 927 00:46:13.079 --> 00:46:14.880 you know, putting with food coloring in it, and they 928 00:46:15.000 --> 00:46:19.079 just get completely slimed with it. We've done tons of 929 00:46:19.079 --> 00:46:21.639 blood effects, you know stuff where people covered in gore 930 00:46:21.719 --> 00:46:25.000 and everything, and usually they're totally down for it. 931 00:46:25.000 --> 00:46:26.880 They're like, yeah, I love this stuff. 932 00:46:26.920 --> 00:46:28.679 So I mean that I'm very lucky, Like I said, 933 00:46:28.719 --> 00:46:32.000 I'm always saying I am very lucky because I've managed 934 00:46:32.039 --> 00:46:34.159 to hook up with this tribe of weirdos that dig 935 00:46:34.199 --> 00:46:36.480 this stuff and like, oh yeah, you know, we we 936 00:46:36.519 --> 00:46:39.239 got dressed up in weird costumes and ran around, you know, 937 00:46:39.280 --> 00:46:42.679 in the woods, and it's like that was their weekend, 938 00:46:42.760 --> 00:46:44.800 they and they dug it. So so I'm very lucky. 939 00:46:44.840 --> 00:46:47.119 I don't I don't ever want to have to be 940 00:46:47.159 --> 00:46:49.559 in a position where I have to talk someone into something. 941 00:46:49.719 --> 00:46:53.400 That is for sure the bottom line, but even just 942 00:46:53.400 --> 00:46:56.239 in terms of explaining something to someone, there have been 943 00:46:56.280 --> 00:47:00.320 times when I've explaining something and they're sort of rolling 944 00:47:00.360 --> 00:47:04.679 the rise, but then they go okay, and then they 945 00:47:04.719 --> 00:47:05.000 do it. 946 00:47:06.760 --> 00:47:07.519 So here's the thing. 947 00:47:07.559 --> 00:47:11.159 I think that you say you're lucky, but I think it's, Uh, 948 00:47:11.360 --> 00:47:16.960 there's an underappreciated element of expectation equaling honesty and like 949 00:47:17.159 --> 00:47:20.920 how you're honest and open about what you do that 950 00:47:20.960 --> 00:47:23.480 then forms an expectation. And I think that's hard for 951 00:47:23.519 --> 00:47:29.440 low budget filmmakers sometimes because our expectation of what we're 952 00:47:29.480 --> 00:47:34.880 pushed towards is consistent growth, being better being, don't I 953 00:47:34.880 -->

00:47:36.920 don't even know. Honestly, I don't even know what that 954 00:47:37.199 --> 00:47:39.960 concept is, but I know I've felt it before, and 955 00:47:40.000 --> 00:47:42.079 I know that I've been on sets before where the 956 00:47:42.159 --> 00:47:45.519 expectation of what's happening. I mean, here's a perfect example 957 00:47:45.519 --> 00:47:47.840 of the opposite happening. And I'm sure she'd be fine 958 00:47:47.880 --> 00:47:49.639 with me telling the story. But I worked with Jesse 959 00:47:49.800 --> 00:47:50.960 flox In. 960 00:47:51.119 --> 00:47:53.280 Actually that's great. 961 00:47:53.360 --> 00:47:55.639 Yeah, she does a lot of and but I purposely 962 00:47:55.719 --> 00:47:58.079 hired her for the movie going. I don't want you 963 00:47:58.119 --> 00:48:00.199 to be naked in this movie. I want you to 964 00:48:00.239 --> 00:48:02.840 do like a kind of a really crazy performance that's 965 00:48:02.840 --> 00:48:06.440 gonna throw the audience for a loop as to she is. 966 00:48:07.880 --> 00:48:11.000 I specifically want people to have this expectation of what 967 00:48:11.239 --> 00:48:13.880 she is and be curious to see her come back 968 00:48:14.079 --> 00:48:17.199 throughout the film. And it's it's awesome to be able 969 00:48:17.199 --> 00:48:19.400 to work with someone in that way, But it was 970 00:48:19.639 --> 00:48:21.880 there was an honesty I had to have about what 971 00:48:21.920 --> 00:48:25.440 we were doing when it was like, you know, what 972 00:48:25.599 --> 00:48:28.440 is she wearing, how what's the what's the wardrobe? How 973 00:48:28.559 --> 00:48:31.199 much tit is being shown? Where is this bullet hole 974 00:48:31.239 --> 00:48:33.559 and how close is it to the chest? Where are 975 00:48:33.599 --> 00:48:36.039 we putting it? And I was very specific about it. 976 00:48:36.199 --> 00:48:41.239 I think that honesty that you have builds an expectation 977 00:48:41.320 --> 00:48:43.039 of what's going to happen on set, and no one 978 00:48:43.079 --> 00:48:46.920 needs to have that conversation of you know, the struggle, 979 00:48:47.039 --> 00:48:48.880 it's not luck, it's it's a skill you. 980 00:48:48.880 --> 00:48:57.239 Have, Well it's a I think, yeah, honesty is absolutely 981 00:48:56.960 --> 00:48:59.599 the best way to go because, as I said, I 982 00:48:59.679 --> 00:49:02.400 never want to have to talk anybody into somebody. I 983 00:49:02.440 --> 00:49:04.239 never want to have to talk to anybody into anything, 984 00:49:04.280 --> 00:49:06.280 and I certainly am never going to like trick anybody 985 00:49:06.320 --> 00:49:08.320 for anything. And that's just not the way to go 986 00:49:09.400 --> 00:49:11.760 because I want usually, I want to work with everybody again, 987 00:49:11.880 --> 00:49:13.280 so you know, I want him to have a good time, 988 00:49:13.280 --> 00:49:16.280 to be comfortable and go away having a good time, 989 00:49:16.320 --> 00:49:17.679 so that the next time I

say, oh, I'm going 990 00:49:17.760 --> 00:49:20.199 to make a movie about a you know, crazy jello monster, 991 00:49:20.239 --> 00:49:24.559 They're like, yeah, I'm available Saturday. Someone. Just the other 992 00:49:24.639 --> 00:49:26.320 day I was talking about how crazy it was. I 993 00:49:26.360 --> 00:49:29.480 wrote a scene this is gonna it was gonna pay 994 00:49:29.519 --> 00:49:31.840 me as a as a weirdo. But I am a weirdo. 995 00:49:31.920 --> 00:49:33.840 But like I have this sex comedy I had. In 996 00:49:33.880 --> 00:49:36.239 the sex comedy, there's a guy who's a filmmaker who 997 00:49:36.280 --> 00:49:38.800 makes crazy movies. I mean, that's it's sort of an 998 00:49:38.840 --> 00:49:41.599 extreme version of me and I had a scene where 999 00:49:41.679 --> 00:49:44.079 characters are referencing him and they say, oh, yeah, he's 1000 00:49:44.119 --> 00:49:46.920 probably he's like, too bad, he isn't here to shoot this. 1001 00:49:47.480 --> 00:49:49.599 And then someone says, oh, yeah, he's probably off shooting 1002 00:49:49.639 --> 00:49:52.159 something weird right now. Well I wanted to cut to 1003 00:49:52.280 --> 00:49:55.199 something weird right now. The guy that plays the filmmaker 1004 00:49:55.559 --> 00:49:57.239 is a friend of mine who's a filmmaker up in 1005 00:49:57.360 --> 00:50:00.800 Washington and so like a eight hours away from me, 1006 00:50:00.880 --> 00:50:03.239 so like a ways away, and so I asked him, 1007 00:50:03.280 --> 00:50:05.360 I said, I have a crazy scene I want you 1008 00:50:05.400 --> 00:50:07.199 to shoot if you could shoot it and just send 1009 00:50:07.239 --> 00:50:09.199 me the footage and I'll drop it in. When they say, oh, 1010 00:50:09.199 --> 00:50:12.480 he's probably shooting something weird, and it's literally like a 1011 00:50:12.519 --> 00:50:15.519 woman's naked chest and a bunch of mustard gets squeezed 1012 00:50:15.559 --> 00:50:17.559 onto it. Right, So the joke is they're like, oh, 1013 00:50:17.559 --> 00:50:19.760 he's probably shooting something weird, and then boom, you see 1014 00:50:19.760 --> 00:50:22.400 that visual. That's the joke, and then it turns into 1015 00:50:22.719 --> 00:50:25.000 the rest of the scene is him explaining to these 1016 00:50:25.000 --> 00:50:28.000 two girls it's the movie he's making inside. My movie 1017 00:50:28.079 --> 00:50:32.079 is called Milf Weekend two, Return of the Cyber Werewolf. Right, 1018 00:50:32.159 --> 00:50:34.960 So it's all ridiculous and so he's explaining to her, 1019 00:50:35.079 --> 00:50:38.000 you have to like draw the pentagram in the mustard now, 1020 00:50:38.199 --> 00:50:41.159 and it's just like ridiculous. But I was saying that 1021 00:50:42.039 --> 00:50:43.280 at dinner or the other night. I was like, just 1022 00:50:43.320 --> 00:50:45.840 so wild that I can come up with a weird 1023 00:50:45.880 --> 00:50:49.360 idea like that and tell my friend, Hey, I'd like 1024 00:50:49.400 --> 00:50:52.599 you

to do this, and he's like sure, and then 1025 00:50:52.840 --> 00:50:54.960 finds a couple of his crazy friends because he's in 1026 00:50:54.960 --> 00:50:56.920 the same boat as I am. He's like surrounding himself 1027 00:50:56.920 --> 00:50:59.599 with the circle of weirdos who are like up for anything. 1028 00:51:00.400 --> 00:51:02.320 So of course he's got a friend who's like, oh, yeah, 1029 00:51:02.360 --> 00:51:04.760 you can squirt mustar all all over my naked chest. Sure, 1030 00:51:05.360 --> 00:51:06.960 And they shot them until the and it's like and 1031 00:51:07.000 --> 00:51:08.400 he sent me the footage and I dropped it in 1032 00:51:08.440 --> 00:51:10.320 I'm like, oh, that is perfect. That's going to get 1033 00:51:10.360 --> 00:51:14.239 a huge laugh. But it is a wild situation. But 1034 00:51:14.280 --> 00:51:17.519 that's because, like you said, I'm honest and upfront with people, 1035 00:51:17.880 --> 00:51:20.880 and if they haven't experience that, they kind of know 1036 00:51:20.960 --> 00:51:24.360 what they're getting into. And we're all along for the ride. 1037 00:51:24.719 --> 00:51:29.559 So yeah, it's a combination. I mean, the reason I 1038 00:51:29.639 --> 00:51:32.360 have this circle of weirdos that continue to like doing 1039 00:51:32.400 --> 00:51:35.119 the movies is because we've had a good time making. 1040 00:51:34.880 --> 00:51:35.599 All these moms. 1041 00:51:37.400 --> 00:51:41.840 Branching out to different locales, talking to people, making sure 1042 00:51:41.880 --> 00:51:47.400 that you are showing your face at events, at screenings, 1043 00:51:47.519 --> 00:51:49.679 at other things in your local community. To bring in 1044 00:51:49.760 --> 00:51:52.920 actors is one of the greatest ways to meet new people. 1045 00:51:53.039 --> 00:51:57.039 Most of the folks that are in my films recently 1046 00:51:57.159 --> 00:51:59.400 have been people I've either met through low budget rebels, 1047 00:52:00.159 --> 00:52:03.719 people I've met through friends and family. They are literally 1048 00:52:03.760 --> 00:52:06.360 friends or family, or they are actors that I met 1049 00:52:06.400 --> 00:52:10.880 at film festivals. Film festivals have been so great for 1050 00:52:11.159 --> 00:52:13.519 meeting people who want to do the kind of stuff 1051 00:52:13.559 --> 00:52:16.199 you're doing and have that passion and drive, and for 1052 00:52:16.280 --> 00:52:18.840 a lot of them, they're they're wearing multiple hats too. 1053 00:52:19.360 --> 00:52:21.840 And the idea of getting on someone set to just 1054 00:52:21.960 --> 00:52:25.320 kind of pimp on set for a day, maybe make 1055 00:52:25.360 --> 00:52:27.679 a couple bucks, but get to act, get to see 1056 00:52:27.679 --> 00:52:30.519 someone else's style of directing, get to work in a 1057 00:52:30.559 --> 00:52:33.920 different environment that I mean, that's helpful for all of us. 1058 00:52:34.039 --> 00:52:36.840 Most of the stuff I've learned over

the years hasn't 1059 00:52:36.880 --> 00:52:40.760 come from making movies. It's come from being on sets 1060 00:52:40.800 --> 00:52:43.559 that I wasn't being that I wasn't having to direct 1061 00:52:43.559 --> 00:52:45.519 and wasn't having to wear every hat, and suddenly I 1062 00:52:45.599 --> 00:52:48.199 was like, holy shit, man, that's how I would do something, 1063 00:52:48.639 --> 00:52:51.159 or that's most of the time. It's honestly literally, that's 1064 00:52:51.159 --> 00:52:53.440 how I would do it. Different I see something go wrong. 1065 00:52:53.760 --> 00:52:55.440 The stuff that goes right, you're like, this is dope, 1066 00:52:55.519 --> 00:52:57.280 this is super fun. And then you see something go 1067 00:52:57.360 --> 00:52:59.719 wrong and it makes you go, oh, man, when I'm 1068 00:52:59.760 --> 00:53:02.039 on that next time, I ain't doing it that way. 1069 00:53:02.119 --> 00:53:07.719 That is incredibly enticing to continue on to make another project, 1070 00:53:07.960 --> 00:53:11.280 and then you can join camaraderie with people who you 1071 00:53:11.280 --> 00:53:13.239 suddenly are like, let's work together on something in the 1072 00:53:13.239 --> 00:53:15.440 future because we got to try this and not do 1073 00:53:15.519 --> 00:53:18.519 it that way. But I mean, you also learn a 1074 00:53:18.559 --> 00:53:20.639 lot being on sets where you agree with people and 1075 00:53:20.679 --> 00:53:22.159 you find people that you want to be a part of, 1076 00:53:22.239 --> 00:53:24.480 and just watching other people's movies, and that's one of 1077 00:53:24.559 --> 00:53:28.159 the things. My next guest, Sean Ashley, talks about how 1078 00:53:28.199 --> 00:53:30.360 we go to film festivals, how we see stuff, and 1079 00:53:30.400 --> 00:53:34.920 how we find our cast and crew from attending events. 1080 00:53:39.519 --> 00:53:40.400 What has your. 1081 00:53:40.320 --> 00:53:44.599 Experience been like working with non actors, specifically, because you 1082 00:53:44.599 --> 00:53:46.480 have a lot of cats that show up. Who are 1083 00:53:46.840 --> 00:53:50.280 people who you work with professionally but don't necessarily act. 1084 00:53:50.320 --> 00:53:52.800 You've got a lot of people who are like comedians 1085 00:53:52.800 --> 00:53:54.840 you've never worked with before, and they you know they've 1086 00:53:54.840 --> 00:53:56.639 done some stuff, but you haven't seen a ton and 1087 00:53:56.679 --> 00:53:58.679 you're just like, hey, man, would you be interested in 1088 00:53:58.760 --> 00:54:01.599 being this thing? And they show up and you got 1089 00:54:01.639 --> 00:54:04.000 to kind of coax out what you need from them, 1090 00:54:04.039 --> 00:54:05.960 and you got to kind of learn their vibe. 1091 00:54:06.039 --> 00:54:07.280 What has that been like for you? 1092 00:54:09.039 --> 00:54:14.440 Mostly successful? So I feel like I am always out 1093 00:54:14.679 --> 00:54:18.320 in the world with my director,

producer brain on and 1094 00:54:18.400 --> 00:54:23.440 so yeah, if I meet you, if the thing happens 1095 00:54:23.519 --> 00:54:26.559 that I'm like, oh, this motherfucker could be good on 1096 00:54:26.639 --> 00:54:29.239 camera or what does this person do, it's like that 1097 00:54:29.320 --> 00:54:33.880 conversation is going to happen, Like that's immediately where I'll 1098 00:54:33.960 --> 00:54:36.079 just be like, come on, we're gunning it. Let's let's 1099 00:54:36.079 --> 00:54:37.920 talk about movies. I think that you would be awesome. 1100 00:54:37.960 --> 00:54:40.800 I did that with so many people. But the only 1101 00:54:40.920 --> 00:54:45.360 times that I've ever had like the moment where I'm 1102 00:54:45.400 --> 00:54:48.360 just looking at it going fuck fucked up, which is rare, 1103 00:54:48.480 --> 00:54:53.360 but it has happened is people who I didn't meet beforehand, 1104 00:54:53.599 --> 00:54:58.079 and yeah, like the casting digitally or just had somebody 1105 00:54:58.119 --> 00:55:00.639 reach out and say like, hey, man, I could be 1106 00:55:00.679 --> 00:55:02.599 in this project if I put out like an open 1107 00:55:02.679 --> 00:55:06.320 casting call. And there's been a handful of times where 1108 00:55:06.320 --> 00:55:11.679 I've just been like, oh, man, no, And it's strictly 1109 00:55:11.960 --> 00:55:15.639 it's not even about the talent. It's strictly about the energy. 1110 00:55:15.800 --> 00:55:19.320 So like you know, you hear about people like I 1111 00:55:19.320 --> 00:55:22.119 always think about curb your enthusiasm and how many lunches 1112 00:55:22.599 --> 00:55:25.440 Dave and like Larry David's at and it's like that 1113 00:55:25.880 --> 00:55:30.360 is the business though, man, Cuz like I always want 1114 00:55:30.360 --> 00:55:31.840 to go and have lunch with people or have a 1115 00:55:31.840 --> 00:55:33.599 beer with somebody before I work with them, so that 1116 00:55:33.639 --> 00:55:36.159 I can make sure that they know who I am 1117 00:55:36.639 --> 00:55:40.760 before I'm asking them to do the creative stuff. And 1118 00:55:41.119 --> 00:55:46.199 really like working with actors, which we've been fortunate enough 1119 00:55:46.320 --> 00:55:48.280 on get that Dick. I felt like we worked with 1120 00:55:48.360 --> 00:55:52.280 some really good talent on that. And that's from going 1121 00:55:52.320 --> 00:55:55.480 to the local film festivals and kind of not just 1122 00:55:55.559 --> 00:55:57.960 being there to watch our shit, being there to like 1123 00:55:59.400 --> 00:56:01.639 see who be down to come and be on camera, 1124 00:56:01.679 --> 00:56:04.559 who I like in their films. And that's even how 1125 00:56:04.559 --> 00:56:08.039 I know Devlin was he was a villain in a 1126 00:56:08.239 --> 00:56:11.599 local movie called Joe Striker, and I just remember watching 1127 00:56:11.639 --> 00:56:13.800 that movie and thinking like, oh, this is similar to 1128 00:56:13.840 --> 00:56:16.519 some of the shit I did. But this guy, this 1129 00:56:16.559 --> 00:56:21.360 guy specifically, I want to work with. So yeah, like, 1130 00:56:21.920 --> 00:56:26.679 even if they're not trained, as long as the energy's right, 1131 00:56:26.760 --> 00:56:28.760 I feel like I have a good gauge for being 1132 00:56:28.800 --> 00:56:32.199 like I can get them comfortable enough on camera that 1133 00:56:32.280 --> 00:56:35.119 it'll read right, and most of the time they're just 1134 00:56:35.239 --> 00:56:38.199 kick ass. But yeah, the handful of times that it's 1135 00:56:38.239 --> 00:56:41.280 been bad is just because the energy's off on that 1136 00:56:41.400 --> 00:56:43.559 human level. It really doesn't have anything to do with 1137 00:56:43.599 --> 00:56:46.639 talent or anything like that. It just and then I 1138 00:56:46.719 --> 00:56:50.400 watched the project and I'm like, fuck, man, that guy 1139 00:56:50.559 --> 00:56:51.199 wasn't cooler. 1140 00:56:52.079 --> 00:56:55.920 Yeah. Yeah, I've had a few of those. That's funny. 1141 00:56:55.920 --> 00:56:57.840 I wasn't even thinking about that part of it because 1142 00:56:57.840 --> 00:57:00.320 I've had people and you're right, man, it's always the 1143 00:57:00.320 --> 00:57:03.239 people I don't know, and it's always the people who 1144 00:57:03.280 --> 00:57:06.800 come out. And I remember there was one person I'm 1145 00:57:06.840 --> 00:57:09.000 not gonna name names on a project I did a 1146 00:57:09.000 --> 00:57:12.480 long time ago where I wasn't I wasn't there for 1147 00:57:12.519 --> 00:57:16.440 the first meetup, and and other people met with this person. 1148 00:57:16.639 --> 00:57:20.840 My producer has met with this person, and and I'm 1149 00:57:20.920 --> 00:57:23.840 always positive. I'm always going like, nah, man, I can 1150 00:57:23.880 --> 00:57:26.519 figure this guy out, like I know you guys don't 1151 00:57:26.519 --> 00:57:29.679 go And but they were telling me before the performance, 1152 00:57:29.679 --> 00:57:36.000 they're like they're weird, like this person is. They'll they'll work. 1153 00:57:36.119 --> 00:57:39.079 I think we'll make it work, but they're weird. And 1154 00:57:39.119 --> 00:57:43.440 then I got to directing them and I was just like, dude, 1155 00:57:43.480 --> 00:57:44.440 what the fuck is. 1156 00:57:44.400 --> 00:57:45.000 Wrong with you? 1157 00:57:45.079 --> 00:57:48.039 And but but it was like a weird realization that 1158 00:57:48.199 --> 00:57:52.360 like I'm not copasetic with everyone, right, this guy and 1159 00:57:52.400 --> 00:57:55.280 I are not vibing and I'm not digging what he's 1160 00:57:55.280 --> 00:57:57.480 putting down, and I will not work with him again. 1161 00:57:57.760 --> 00:58:01.000 And I got to get through this and and luckily 1162 00:58:01.679 --> 00:58:03.800 it was kind of a villain character, so I was 1163 00:58:03.840 --> 00:58:06.280 able to figure it out and make it work. But 1164

00:58:06.360 --> 00:58:09.360 it was just like I was shocked. It was the 1165 00:58:09.400 --> 00:58:11.559 first time, and it's made me realize over time not 1166 00:58:11.719 --> 00:58:16.199 to have a predisposition to what a performance is going 1167 00:58:16.239 --> 00:58:18.199 to be. Like I had that with Jessa, Like I'll 1168 00:58:18.199 --> 00:58:20.679 straight up say it. I didn't know Jessa. I had 1169 00:58:20.719 --> 00:58:22.679 no idea what she was going to bring. I had 1170 00:58:22.719 --> 00:58:24.920 no and we were gonna do a dinner beforehand, and 1171 00:58:24.960 --> 00:58:26.480 I was like very excited about that because I'm like, 1172 00:58:26.480 --> 00:58:30.079 I'm gonna learn how I vibe with her, because this 1173 00:58:30.199 --> 00:58:32.400 is going to be a very unique experience because she 1174 00:58:32.440 --> 00:58:34.719 could have came on and I've known her for long 1175 00:58:34.840 --> 00:58:37.760 enough through social media. I've seen her in stuff to 1176 00:58:37.840 --> 00:58:39.679 be like, I have a feeling I know what she's 1177 00:58:39.679 --> 00:58:41.800 going to be like. But who fucking knows. She could 1178 00:58:41.880 --> 00:58:44.239 show up and be like, look me, a short, little motherfucker, 1179 00:58:44.239 --> 00:58:46.599 I don't like this guy. He's a creet and does 1180 00:58:46.679 --> 00:58:48.840 not vibe with me and we have a bad time. 1181 00:58:49.079 --> 00:58:49.880 Luckily that didn't. 1182 00:58:49.679 --> 00:58:51.119 Happen at all. I love Jessa. 1183 00:58:51.199 --> 00:58:55.159 She was fucking fantastic yes, and totally got the project, 1184 00:58:55.199 --> 00:58:56.480 totally got what we were going for. 1185 00:58:57.639 --> 00:58:58.559 It was super funny. 1186 00:58:58.559 --> 00:59:01.239 There's in the in the get that credits, there's a 1187 00:59:01.400 --> 00:59:05.239 moment where she's like answering a phone and she goes like, 1188 00:59:05.719 --> 00:59:09.039 I'm so glad we got connected. That's not the right word, 1189 00:59:09.119 --> 00:59:12.159 And it makes me laugh every time because it's so like, 1190 00:59:12.320 --> 00:59:16.159 perfectly I don't know, just her personality in a really 1191 00:59:16.159 --> 00:59:20.719 funny way, her fucking great, Yeah that happens. It's all 1192 00:59:20.760 --> 00:59:23.840 about energy. You're right when you're an indie filmmaker, figuring 1193 00:59:23.840 --> 00:59:27.000 out what you're doing, find the energy, find those people 1194 00:59:27.039 --> 00:59:29.199 who you who you flow with. 1195 00:59:29.639 --> 00:59:33.239 Yeah, And I mean that's why, like Devlin is always 1196 00:59:34.519 --> 00:59:37.159 I just like having that dude around. I love seeing 1197 00:59:37.239 --> 00:59:40.280 him on fucking camera. But like you know, just even 1198 00:59:40.320 --> 00:59:42.320 if we're on set, if I look over my shoulder 1199 00:59:42.320 --> 00:59:44.960 I see Devlin, there's just this way that I'm like, 1200 00:59:45.440 --> 00:59:48.039 oh man, we're doing this again. This just feels good. 1201 00:59:49.039 --> 00:59:51.320 I feel like a professional when Devlin's on set. I 1202 00:59:51.320 --> 00:59:53.239 don't know what it is about him, but the second 1203 00:59:53.280 --> 00:59:55.280 he's there, I'm like, I'm a real director with a 1204 00:59:55.320 --> 00:59:56.280 real fucking actor. 1205 00:59:57.920 --> 01:00:00.119 He brings in. Six is the same way, like and 1206 01:00:00.159 --> 01:00:02.159 I look up, Like, especially with this music video we 1207 01:00:02.239 --> 01:00:04.280 just did, there were just times where you know, I'm 1208 01:00:04.360 --> 01:00:07.000 running the camera, which was fun, and I'm just looking 1209 01:00:07.000 --> 01:00:10.000 at him. I'm like, dude, the light this this fucking 1210 01:00:10.079 --> 01:00:12.199 kicks ass, Like this is just so much fun. 1211 01:00:12.519 --> 01:00:12.719 Yeah. 1212 01:00:12.800 --> 01:00:16.039 Ben six is a lighting extraordinary, like a savant when 1213 01:00:16.039 --> 01:00:18.239 it comes to just like figuring stuff out. And there 1214 01:00:18.239 --> 01:00:20.280 are moments where I would see him setting up lights 1215 01:00:20.320 --> 01:00:22.679 and I'd be like, that's not what I would do. 1216 01:00:22.880 --> 01:00:24.960 That's weird, man, And then I see it in the movie, 1217 01:00:24.960 --> 01:00:27.000 I'm like, oh, yeah, shit, that is exactly what I 1218 01:00:27.000 --> 01:00:27.800 should have been doing. 1219 01:00:27.880 --> 01:00:28.920 Like six knows it. 1220 01:00:29.480 --> 01:00:32.440 Yeah, Six is fucking killer for that. Because the big 1221 01:00:32.480 --> 01:00:35.320 thing that just happened on the music video set that 1222 01:00:35.440 --> 01:00:38.400 was like a small accident, was we were there and 1223 01:00:38.440 --> 01:00:41.599 we had we used my porch because I had the 1224 01:00:41.719 --> 01:00:43.639 archways and we just turned the camera so you couldn't 1225 01:00:43.639 --> 01:00:45.679 tell it was my house. But we had these three 1226 01:00:45.760 --> 01:00:49.119 fixtures and Six was gonna put some wireless DMX bulbs 1227 01:00:49.119 --> 01:00:51.559 in there and we were gonna do like creepy horror 1228 01:00:51.599 --> 01:00:53.880 flashy lighting. And we were good on to the point 1229 01:00:53.920 --> 01:00:56.079 we're like, well, let's see what he could do. As 1230 01:00:56.159 --> 01:00:58.960 soon as my dude touched the bulb and the fixture 1231 01:00:59.039 --> 01:01:03.840 started moving, I was like, bro, save your energy. All 1232 01:01:03.880 --> 01:01:06.920 we're gonna do is moving fixtures. So in the video 1233 01:01:07.280 --> 01:01:10.519 when I would do rolling, Six would just swing them 1234 01:01:11.079 --> 01:01:14.440 before I started. And now we've got these spooky lights. 1235 01:01:14.440 --> 01:01:17.800 It's like it's little things like that, man, it doesn't 1236 01:01:18.039 --> 01:01:20.480 And even going

back to the analog shit, it's like, dude, 1237 01:01:21.360 --> 01:01:25.280 small things like that they read, man, even if the 1238 01:01:25.360 --> 01:01:29.760 shot is super quick. It's like you're That was creepier 1239 01:01:29.840 --> 01:01:32.199 because the fixtures are moving around like they would be 1240 01:01:32.239 --> 01:01:35.000 in a haunted house. And it was just again the 1241 01:01:35.039 --> 01:01:38.400 beautiful accidents, because the other big beautiful accident in the 1242 01:01:38.400 --> 01:01:42.199 effects world that just happened was I wanted that silhouette 1243 01:01:42.199 --> 01:01:46.320 and spraying the blood on the wall. Renee wanted a 1244 01:01:46.599 --> 01:01:50.679 ring around dude's neck filled with blood that's just gonna 1245 01:01:50.679 --> 01:01:53.199 be flowing before the head rip, and I was like, 1246 01:01:53.960 --> 01:01:57.199 that's cool, man, but like, I don't know, that sounds 1247 01:01:57.199 --> 01:01:59.039 like a lot of work, you know, Like, but I'm 1248 01:01:59.079 --> 01:02:02.000 just looking at him and he's just giving me that look. 1249 01:02:01.840 --> 01:02:03.360 Like we're doing it, dude. 1250 01:02:03.400 --> 01:02:06.360 And so in the video, the thing that I wasn't 1251 01:02:06.400 --> 01:02:10.280 necessarily looking for wound up making the video because that 1252 01:02:10.519 --> 01:02:15.159 blood flowing out at Drew's neck just fucking rips. It 1253 01:02:15.239 --> 01:02:20.519 looks so cool, and again wasn't gonna happen, but it did. 1254 01:02:20.599 --> 01:02:23.800 Because you're around badass people that are like pushing you 1255 01:02:24.000 --> 01:02:24.840 to do things. 1256 01:02:25.679 --> 01:02:27.840 Yeah, I find that with the like talking about the 1257 01:02:27.840 --> 01:02:30.239 little things that go a long way. I find that 1258 01:02:30.280 --> 01:02:33.880 with working with the people who I haven't worked with, 1259 01:02:34.440 --> 01:02:40.079 specifically actors. It's fun to see in the moment where 1260 01:02:40.119 --> 01:02:42.400 their energy is and what we can get from them. 1261 01:02:42.440 --> 01:02:44.639 I know, is that a lot with get that dick in, 1262 01:02:45.360 --> 01:02:47.480 you know, those little things that people would bring that other, 1263 01:02:47.679 --> 01:02:50.880 Like speaking of Renee, Renee would be like, you know, 1264 01:02:50.960 --> 01:02:53.480 not throwing out like a director's note, but being like, yeah, 1265 01:02:53.840 --> 01:02:56.039 she's got this happening, and I kind of dig that. 1266 01:02:56.760 --> 01:02:58.400 Can we build off of that with you know, when 1267 01:02:58.440 --> 01:03:01.159 she gets shot or whatever. These little things that kind 1268 01:03:01.159 --> 01:03:04.199 of like elevate a performance, even from people who are 1269 01:03:05.440 --> 01:03:08.119 you know, not used to being on camera or haven't 1270 01:03:08.159 --> 01:03:11.119 done it a lot, or maybe something is. It was 1271 01:03:11.159 --> 01:03:13.440 so fucking hot when we were filming in the backyard 1272 01:03:13.440 --> 01:03:16.119 at your in law's place, and everyone's energy was just 1273 01:03:16.239 --> 01:03:18.559 like all over the place. 1274 01:03:18.639 --> 01:03:19.480 That heat just. 1275 01:03:19.400 --> 01:03:23.559 Brings out weird vibes in people. And now I watch 1276 01:03:23.639 --> 01:03:25.719 the movie and I'm like, there's a scene where there 1277 01:03:25.719 --> 01:03:29.679 are three cult members, you know, having like a kind 1278 01:03:29.679 --> 01:03:33.840 of frantic conversation. That frantic conversation would not have happened 1279 01:03:33.880 --> 01:03:38.000 without that heat, without that rain coming in, that weird energy, 1280 01:03:38.039 --> 01:03:41.400 and you just feel it because they as and it 1281 01:03:41.440 --> 01:03:44.679 was three very different styles of acting too, happening at 1282 01:03:44.679 --> 01:03:49.280 the same time between like Devlin Aaron Hale the comedy 1283 01:03:49.440 --> 01:03:54.440 Crystal having her like very different choice in character, and 1284 01:03:54.480 --> 01:03:57.199 we just had it all coming together and I love 1285 01:03:57.320 --> 01:03:58.440 that moment because of it. 1286 01:03:58.800 --> 01:04:03.079 Yeah, that's a that's a very strong scene. That that 1287 01:04:03.079 --> 01:04:08.000 that that part fucking rips because then you get no spoilers. 1288 01:04:08.199 --> 01:04:08.880 It's just good. 1289 01:04:09.079 --> 01:04:10.039 Yeah, it's just good. Yeah. 1290 01:04:10.119 --> 01:04:12.239 Yeah, it's just you get this incredible action and this 1291 01:04:12.320 --> 01:04:18.119 incredible like intensity out of everyone. 1292 01:04:16.480 --> 01:04:17.360 You've worked with. 1293 01:04:17.840 --> 01:04:20.360 Let's okay, so let's talk about acting in this way 1294 01:04:20.440 --> 01:04:23.119 really quick, because I think you have very you have 1295 01:04:23.159 --> 01:04:27.960 a different perspective because you've worked with a massive variety 1296 01:04:28.000 --> 01:04:31.440 of people when you're working on not even just people 1297 01:04:32.000 --> 01:04:37.360 fucking blow up dolls. What are some of your like, uh, 1298 01:04:38.320 --> 01:04:40.880 techniques for directing actors. What are some of the things 1299 01:04:40.880 --> 01:04:42.719 you do when you get on set and you're just going, like, 1300 01:04:43.280 --> 01:04:45.599 I got to try to figure this out, uh and 1301 01:04:46.000 --> 01:04:47.199 get the lines I need. 1302 01:04:48.679 --> 01:04:53.840 So my normal method, if I'm looking back on it, 1303 01:04:53.880 --> 01:04:59.239 is I always have a very hands on approach to 1304 01:04:59.280 --> 01:05:02.199 the actors, Like I will I'm the kind of guy 1305 01:05:02.239 --> 01:05:04.719 who will stand where you're gonna do where you're gonna 1306 01:05:04.800 --> 01:05:07.480 do it, and I'll say, okay, let me figure out 1307 01:05:07.480 -->

01:05:10.840 the blocking for you. Okay, looks like you're three steps away. Okay, 1308 01:05:10.880 --> 01:05:12.519 I want you to do this and this and this 1309 01:05:12.679 --> 01:05:17.800 kind of energy, and I think and we'll see what 1310 01:05:17.840 --> 01:05:20.719 happens with the next project. Because it was very and 1311 01:05:20.719 --> 01:05:23.599 that's me. I'm very hands on, like I'll do it 1312 01:05:23.719 --> 01:05:26.199 the way that I think I want it done and 1313 01:05:26.280 --> 01:05:29.280 present it to you like this is this type of character, 1314 01:05:29.679 --> 01:05:32.199 and I'll let you do your thing with it, but 1315 01:05:32.360 --> 01:05:35.119 if it's not what I want, I'll steer you back. 1316 01:05:35.199 --> 01:05:39.159 It's like, hey man, I want that like real aggressive, 1317 01:05:39.239 --> 01:05:41.519 you know, if you're not. If I want something animalistic 1318 01:05:41.559 --> 01:05:44.400 and you're not fucking tigering it up for me, like 1319 01:05:44.480 --> 01:05:47.920 I'll let you know, you know. But what was really 1320 01:05:47.920 --> 01:05:50.599 cool was making get that dick and watching your approach 1321 01:05:50.639 --> 01:05:54.239 because that is not how you roll. Like your approach 1322 01:05:54.320 --> 01:05:59.159 is way more let them do their thing, let me 1323 01:05:59.239 --> 01:06:02.400 see how this works, and then I can direct it 1324 01:06:02.480 --> 01:06:07.719 because now I'm ready for it and I dug that, 1325 01:06:08.000 --> 01:06:09.920 and so I think I want to kind of like 1326 01:06:10.280 --> 01:06:15.519 take a little bit of that for myself and in 1327 01:06:15.599 --> 01:06:19.360 my approach be a little bit less like aggressive. Not 1328 01:06:19.480 --> 01:06:22.039 that I think anybody's been scared of what I've been doing. 1329 01:06:22.079 --> 01:06:25.880 But I think there's like a good balance between the two. 1330 01:06:26.079 --> 01:06:29.360 Like maybe I might get a different performance out of 1331 01:06:29.360 --> 01:06:32.519 somebody if they didn't watch me do it right away, 1332 01:06:32.639 --> 01:06:35.159 you know, and I can if I feel like they're 1333 01:06:35.280 --> 01:06:38.360 not getting there, then maybe then that's when I do it. 1334 01:06:39.239 --> 01:06:42.119 But I mean, up until this point, I am a 1335 01:06:42.480 --> 01:06:48.599 very aggressive, intense kind of director, Like I like I 1336 01:06:48.719 --> 01:06:51.679 like Putting because it's a character that if you didn't 1337 01:06:51.719 --> 01:06:54.400 show up that day, Hell, I'll put the mustache on, 1338 01:06:54.480 --> 01:06:56.719 I'll put I'll put tits on, like I don't give 1339 01:06:56.719 --> 01:06:59.840 a shit man, Like I'm I'm ready to rock. So 1340 01:07:00.519 --> 01:07:03.840 like in that moment, I'm like, at no point did 1341 01:07:03.880 --> 01:07:08.079 I write something that I wouldn't be comfortable doing or whatever. 1342 01:07:08.320 --> 01:07:12.440

I'm just limited in you know. If I'm writing a 1343 01:07:12.559 --> 01:07:15.239 fem fatale character, it's like I'm not gonna be believable, 1344 01:07:15.360 --> 01:07:17.480 but I'll put a blonde wig on, and now she 1345 01:07:17.519 --> 01:07:21.719 has a bad mustache, you know, like whatever. But that's 1346 01:07:21.760 --> 01:07:25.599 always been my approach, is very very hands on. And 1347 01:07:25.639 --> 01:07:28.360 I'm a big Tarantino fan, and so like when you 1348 01:07:28.440 --> 01:07:32.400 watch those things and he's standing next to the camera, 1349 01:07:32.960 --> 01:07:35.320 and his whole thing is like they're acting for you 1350 01:07:35.360 --> 01:07:38.639 and all of that. It's like I did enough stage 1351 01:07:38.679 --> 01:07:43.159 productions as a kid and all that that I really 1352 01:07:43.599 --> 01:07:47.519 love being in there and putting the costumes on, and 1353 01:07:47.599 --> 01:07:51.280 like I get excited when other people put costumes on, 1354 01:07:51.440 --> 01:07:54.079 and like the character comes to life and I'm just 1355 01:07:54.199 --> 01:07:56.400 looking at it. I get so stoked, and then I 1356 01:07:56.480 --> 01:07:59.079 just I become the joker everybody. 1357 01:07:59.119 --> 01:07:59.519 I just I. 1358 01:08:00.039 --> 01:08:01.440 You were on set, like I do it to Drew 1359 01:08:01.480 --> 01:08:04.199 all the time. Just grab his shoulders. You I'm a 1360 01:08:04.320 --> 01:08:09.000 number one. It's like in that moment, as soon as 1361 01:08:09.039 --> 01:08:12.119 you're in costume, I'm like, we are now playing pretend 1362 01:08:12.360 --> 01:08:15.239 to the max, and this is just it's so much fun. 1363 01:08:15.320 --> 01:08:16.800 So I'm I'm hands on. 1364 01:08:16.960 --> 01:08:17.760 That's my approach. 1365 01:08:19.800 --> 01:08:22.680 I love the way Sean talks about Drew Bean, our dude. 1366 01:08:22.720 --> 01:08:24.880 He's been in like a bunch of our projects recently. 1367 01:08:24.880 --> 01:08:27.600 He's such a great guy and I love playing pretend 1368 01:08:27.600 --> 01:08:31.640 with him. That's the beautiful thing about being low budget 1369 01:08:31.680 --> 01:08:35.560 filmmakers and being able to hire folks who are just 1370 01:08:35.640 --> 01:08:38.479 coming out and playing in your world. There isn't the 1371 01:08:38.600 --> 01:08:41.840 pressure and anxiety that comes with working on bigger projects 1372 01:08:41.880 --> 01:08:44.880 where you're under type. You know, we're okay, take that back, 1373 01:08:44.960 --> 01:08:47.760 we're under type budgets. Obviously, we're under tight schedules. A 1374 01:08:47.800 --> 01:08:49.760 lot of times. We have to work fast and furious. 1375 01:08:49.760 --> 01:08:53.880 But we're all playing in this world, these worlds together, 1376 01:08:54.239 --> 01:08:56.560 and we're all coming together hopefully when we're working on 1377 01:08:56.560 --> 01:08:59.640 projects like this to try to make something interesting, because 1378 01:08:59.680 --> 01:09:01.840 lord fucking knows, we ain't doing it for the cash 1379 01:09:01.880 --> 01:09:04.640 in our pockets. We're doing it because we love it. 1380 01:09:04.760 --> 01:09:08.319 We want to make something fascinating, something interesting, and hopefully 1381 01:09:08.399 --> 01:09:13.279 show people a story that is unique, something different, and 1382 01:09:13.319 --> 01:09:17.640 something fun. So I love that Sean talks about plan 1383 01:09:17.680 --> 01:09:20.920 and pretend, having your guy on set, having your friends there, 1384 01:09:20.960 --> 01:09:22.760 having the people who mean a lot to you, working 1385 01:09:22.760 --> 01:09:25.760 with people like I worked with my mom, I worked 1386 01:09:25.800 --> 01:09:28.960 with you know, my sister in law is and get 1387 01:09:28.960 --> 01:09:31.159 that dick for just a minute. But those kind of 1388 01:09:31.159 --> 01:09:33.399 moments where you get to have someone come on set, 1389 01:09:33.840 --> 01:09:36.520 see the kind of stuff you're doing, play in your world, 1390 01:09:36.920 --> 01:09:39.520 it doesn't get better than that. It's so fucking fun. 1391 01:09:40.520 --> 01:09:43.039 All right. That's I'm gonna wrap up this episode because 1392 01:09:43.359 --> 01:09:45.279 I gotta move on and edit the next episode. 1393 01:09:45.279 --> 01:09:46.000 I'm so excited. 1394 01:09:46.000 --> 01:09:48.479 I got one more episodes with one more episode with 1395 01:09:48.560 --> 01:09:52.479 these guys, and I have them on to kind of 1396 01:09:52.520 --> 01:09:55.319 give their tips and tricks and interesting theories behind low 1397 01:09:55.359 --> 01:09:58.960 budget filmmaking, sort of a survival guide in the next episode. 1398 01:09:59.640 --> 01:10:02.600 All I'm most wrapped up with season six and this 1399 01:10:02.640 --> 01:10:05.560 has been such an incredible adventure. I've had so much fun. 1400 01:10:05.600 --> 01:10:07.920 Thank you to everyone who subscribed with the Patreon because 1401 01:10:07.960 --> 01:10:10.920 I've got a few new subscribers from this season. People 1402 01:10:10.920 --> 01:10:13.000 are jumping on board and it means a lot. I 1403 01:10:13.079 --> 01:10:17.079 need subscribers to keep this podcast going, to be able 1404 01:10:17.159 --> 01:10:20.159 to afford paying for the software, paying for the stuff 1405 01:10:20.199 --> 01:10:22.359 I need to make these episodes happen, to keep them 1406 01:10:22.399 --> 01:10:26.199 in the quality that they're in. So with that being said, 1407 01:10:26.359 --> 01:10:29.920 Patreon dot com slash Flush Studios, that's where you can 1408 01:10:29.960 --> 01:10:33.079 go to subscribe help us out. And I'm thinking for 1409 01:10:33.159 --> 01:10:35.800 season seven, I'm gonna make some small changes and I'm 1410 01:10:35.800 --> 01:10:39.680 pretty excited about it. I have high hopes about this 1411 01:10:39.800 --> 01:10:43.359 podcast after the past year. Twenty twenty five was a 1412 01:10:43.399 --> 01:10:46.239 great year for this show, and twenty twenty six is 1413 01:10:46.239 --> 01:10:49.800 looking to be just as good. So if you're as 1414 01:10:49.800 --> 01:10:51.560 excited about it as I am, please head over to 1415 01:10:51.600 --> 01:10:54.479 patreon dot com slash Flush Studio. Subscribe eleven dollars a year. 1416 01:10:54.720 --> 01:10:59.079 Subscribe for five dollars you get bonus stuff. There are 1417 01:10:59.119 --> 01:11:02.359 a producer credits so that you can actually be a 1418 01:11:02.399 --> 01:11:05.960 part of Flush Studios. You could be a producer on 1419 01:11:06.039 --> 01:11:09.000 projects as I work on them. And with the new 1420 01:11:09.039 --> 01:11:11.159 stuff coming out, I'm hoping that next year we get 1421 01:11:11.159 --> 01:11:15.479 some really cool, you know, productions happening that involve the patrons, 1422 01:11:15.479 --> 01:11:18.319 including Keith is Fucking Nuts, a new short film that 1423 01:11:18.319 --> 01:11:21.720 I'm doing, the Steven the Maggott's comics are going to 1424 01:11:21.760 --> 01:11:23.840 be coming out soon. I'm incredibly excited about all of it. 1425 01:11:23.880 --> 01:11:26.399 But patrion dot com slash Flush Studios, I'm fucking done 1426 01:11:26.439 --> 01:11:28.880 saying it. That's where you find it, all right, until 1427 01:11:28.960 --> 01:11:31.159 next time, everybody, I have had a great time. 1428 01:11:31.279 --> 01:11:32.279 Make sure to. 1429 01:11:32.279 --> 01:11:34.840 Go tell your friends about the podcast. That's spread the word, 1430 01:11:35.479 --> 01:11:38.399 and you know, keep making the stuff you're making, keep 1431 01:11:38.399 --> 01:11:44.920 doing your thing, keep kicking ass, and as always, stay rebellious. 1432 01:11:45.680 --> 01:11:48.439 Low Budget Rebels is brought to you by the indie 1433 01:11:48.439 --> 01:11:53.279 film Hustle Network, recorded at Flush Studios headquarters in tropical Atlanta, 1434 01:11:53.399 --> 01:11:57.520 produced by the film Daddy Josh Stifter balla baboo,