TYLER MARIE: Breaking Barriers as a Female Director | EPISODE 11

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90% of the film is accurate to real life.
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At least I can write.
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I still have my ink.
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I still have my paper.
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At least I can write.
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And I never really had seen directing as an option.
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I'm a very feminine person.
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I always thought of a director as like Steven Spielberg, you know, baggy pants, baseball cap.
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I want to show people that young, beautiful, objectified young women ask themselves the same questions that Dostoevsky did.
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I began to independently direct.
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I sold my car to direct my first short film because I had no money.
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Writing is so easy you just sit down and bleed.
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And I feel that with this film, that I just sat down and let it all out.
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They say luxury is a lifestyle.
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I say it's a mindset.
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And this one comes with room service.
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Here at The Mayborn, where European charm meets California flair, I don't just check in, I reset.
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Because real power isn't loud.
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It's knowing when to ghost the noise and draft something far more lasting behind the scenes.
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The Mayborn, Beverly Hills.
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All
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right.
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Hi, Tyler Marie.
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Hi there.
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Welcome to The Basic Show.
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Thank you for having me.
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Oh, very excited to have you and share your story with our audience.
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Awesome.
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You look fabulous.
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Always sparkly.
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I love the eye makeup.
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You always
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look like a beautiful fairy.
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I'm a connoisseur of glitter.
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You
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are, and it really fits you really well.
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Thank you, yeah.
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So introduce yourself a little bit.
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Give us the background, how you started in filmmaking.
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So you're an amazing writer, producer, filmmaker.
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So give us a little bit of the tease.
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How did you start in film industry?
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Yeah, so I'm a lover of stories, always love storytelling.
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When I was in high school, I really fell in love with literature and I saw myself as a writer.
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I was obsessive.
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And when I began college, I began as an English major.
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But there was a film elective and I always loved films growing up.
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My dad's a huge film buff.
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So I thought, you know, I'm going to do this for fun.
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And when I was on that set, I was a script supervisor.
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And I remember we were shooting at like four in the morning on like a 12 hour day.
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It started to pour rain and we all had to wear garbage bags because we didn't have raincoats.
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So we'd like cut out garbage bags or wearing it.
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And the moment that we shot was so beautiful.
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And I never really had seen directing as an option.
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I'm a very feminine person.
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I always thought of a director as like Steven Spielberg, you know, baggy pants, baseball cap.
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But when I had that moment on set, you know, I can imagine it right now.
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Um, I had the feeling that directing was like visual storytelling.
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Like it was visual writing, everything that I was attracted to and loved in writing directing was that and more.
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Um, so I was 19 years old and that was almost 10 years ago.
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And I really haven't looked back since, you know, I was, that was in Dallas, Texas where my family was.
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Um, and then I knew I had to go to LA.
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And I packed my two cats up, Renoir and Thomas O'Malley, shout out, my gold velvet couch, my few belongings, and I moved to LA with like$800 to my name.
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And I went to an apartment in Koreatown.
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And I was like, I don't have a job or anything.
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And I spent a month reaching out to like 20 billion people on LinkedIn saying like, hi, like I was reaching out to any place possible.
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And by a weird and magical situation, one of the HR people at Warner Brothers responded to me and said, hey, Monday morning, come in for an interview.
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And, you know, again, that was almost 10 years ago.
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I worked at Warner Brothers for four and a half years.
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I worked for DC Entertainment and Development and really got a crazy cool side of the industry and And on my lunch breaks, I would like specifically pack lunches.
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So on my lunch breaks, I could walk on this Warner Brothers lot and just like look at the stages and think, oh my God, you know, what a cool thing.
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So I really, and I was so in love with old Hollywood, like stories of Betty Davis and Lauren Bacall and, you know, old Hollywood stories were really where I found women having strong voices, whether it was, you know, their kitschy interviews on, you know, or just their pronounced characters.
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I felt such strong voices from women.
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So really loved old Hollywood.
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And then from Warner Brothers, I began to independently direct.
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I sold my car to direct my first short film because I had no money.
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Wow, the sacrifices.
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And almost everyone on that set worked for free because they were excited about it.
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And my selling my car, which it was an okay car, Sorry, what
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was the first project you said you did?
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My first short
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film.
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Your first short film?
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It's called Here or There, yeah.
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Okay.
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Yeah, it was called Here or There, and I sold my car to make my first short film just to cover the camera equipment.
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And, you know, I had already been working at Warner Brothers, but I told myself, I was like, okay, Tyler Marie, if you cannot direct a short film, you cannot be a director.
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Like, if you can't do this first step, you have to turn away and not try this anymore.
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And I felt so, not helpless, but I didn't know anyone in L.A., who would work on a crew.
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I didn't know DPs.
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I didn't even know where to begin because I was in the more corporate studio side of things.
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But I gave myself the challenge.
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I said, okay, make this short film.
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And if you can't do it, then I don't know, stay at Corporate Warner Brothers.
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So I made the short film, which was crazy.
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And it happened during COVID.
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And my actress like, You know, all the actors or whatever had changes because we shot the first half of the film before COVID and then after COVID.
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So the whole thing was so funny and it just reminds me of how, you know, funny filmmaking can be sometimes.
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You know, you mentioned one interesting thing.
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You said, oh, some magic happened that the studio got back to me.
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And I feel like it wasn't magic.
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I feel you put your effort into it.
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You wasn't, you weren't just sitting and waiting.
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for the opportunity to come your way.
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You actually came here determined, even though you didn't have connections, you still found the way to get through and then situations aligned to fit your purpose.
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That's incredible.
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So that wasn't magic.
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You actually did some work.
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Definitely, definitely.
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You know, I've had many an old boss say, I'm a persistent person.
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Persistency and consistency to me is almost equal to talent.
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Yeah.
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Yeah.
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It's even, it's so funny when I was in college, there was this magazine that I ended up working at called Living Magazine in the Dallas area.
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And I was like a junior in college and they weren't hiring.
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And almost every day, knock, knock, knock, I went to the physical location and said, I said, I'll do work for free.
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I'll do whatever you like.
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I will do whatever I want to be here.
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And my editor, Megan Camp, who's so wonderful and a good friend to this day, she said she was like, it was definitely your persistence because we weren't even hiring.
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And then we thought, oh, we'll make you the social media manager.
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And I went from that to assistant editor to and my being an assistant editor at Living Magazine is what helped me get my job at Warner Brothers because I began as an assistant editor for DC Comics.
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So it's, you know, that whole jump.
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And then from DC Comics, I went to television development at DC Entertainment.
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Wow, that's incredible.
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So you said you received rejections.
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You didn't take it for an answer.
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You went, you knocked on the doors, you made connections.
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And this way they said, okay, let's give this girl a chance.
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That's amazing.
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Yeah, I did it with a smile, but I was definitely probably annoyed to some degree.
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But
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also proves that you knew exactly what you want to do, right?
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You didn't take it for an answer.
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Like, okay, you know what?
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I'm going to try something else and work in McDonald's.
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I mean, yeah, no,
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totally.
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And I always felt very much like, You know, once I decided I was going to be a director, that was it.
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And I knew I had to get there.
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And I didn't always know how I was going to get there, but I just knew that was the calling on my life.
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That's what I was supposed to do with my life.
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It was never like, oh, I'm trying out different things.
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It was just once I knew, it's like when you fall in love, you just know and you fall.
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And I fell in love with filmmaking.
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I fell in love with cinema.
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I got bullied in my little private university.
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Because everyone loved David Fincher.
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And I wanted Sofia Coppola and Jean-Luc Godard and Wong Kar-Wai.
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You know what I mean?
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I love foreign cinema.
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And yeah, it's just so funny because it really felt like a deep love affair that began then and has been continuing ever since.
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Well, congratulations.
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I mean, I'm saying this because I recently saw on your Instagram the announcement that you worked on your first debut.
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It's called The Pretty Babies.
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Yes.
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Yeah, Pretty Babies.
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Pretty Babies.
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So and...
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It's incredible because it's an all-star ensemble, right?
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We have Ashley Benson, we have Emily Ellen Lindt, Madeline Page, and Sadie Stanley.
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Congratulations is big.
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So can you tell us a little bit more about this project?
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How did you get it?
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And then what's the theme, a story behind this film?
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Is it a short film?
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Feature.
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Feature-length film.
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Wow.
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Yeah.
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Okay, tell us more about it.
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So, you know, it's so funny.
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I, you know, in college, because I got my degree in English and film, Two separate degrees.
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So I was writing features then.
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But nothing ever clicked as like, this is what I want to make my directorial debut.
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And it was 2020.
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I remember I was folding clothes in my closet and I just had this image in my mind and I had the basic storyline, which is, you know, on the Variety article.
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I had the basic storyline and I just thought of it and I was like, that's going to be my debut.
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I just know.
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And that was 2020.
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That was five years ago.
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There were like possible attachments and then it didn't happen and then it didn't happen, possible producers.
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And I never honestly was going after like big name, big talent or anything.
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I really thought, you know, I was, I believe the story was necessary and important.
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And I thought, you know, If I have to get a more expensive car and sell that and make this movie, I'll do it.
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The car's in work for you.
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Yes, I know.
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You know, half legs will travel.
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You know, I just thought no matter what, I need to tell this story.
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So maybe I'll get like a small amount together or something.
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I don't know.
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I rewrote that film 20 billion times.
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Same storyline, but like different scenes and different arcs and all that stuff.
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And early...
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Yeah, early 2024, I had like this 120 page script, but it didn't feel like what the script should be.
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And I just moved into this house in Silver Lake.
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I was by myself with my cats.
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And I remember having this realization of, oh, this is me and my best friend.
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And it became very personal and it became very emotional.
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And I took that 130 page script and I made it my script that I have now.
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And it's so funny because I was like, I'd never been to Cannes, you know, the film festival.
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And I didn't have the money to have gone to Cannes.
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So I did a payment plan for my flight.
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I was like, I think I can afford this amount.
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And I'm just going to get myself to Cannes.
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And I don't know what's going to happen.
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Maybe I'll fall asleep on a bench.
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But I just wanted to be in a place where cinema...
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I told you, cinema is and probably always will be my number one love affair.
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And I wanted to be in a place that loves cinema too.
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So I went to Cannes and...
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that at some event, I met my producer, Jordan Wagner, who's one of my closest people, who is one of the main reasons that this film is where it's at now, because he saw the vision, he saw me, and he gave it wings to fly.
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So
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you're not just a director, you're a writer.
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You've wrote the script a million times.
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You found a way, come to Cannes, and then you found the producer?
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Yeah, and like I said, Jordan...
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You know, I couldn't have imagined a better producer.
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I couldn't have, you know, give me a magic lamp or something and, you know, you have the wishes.
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I couldn't have wished up a better producer.
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He is so perfect.
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We're such great collaborators.
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And he really, like I said, put wings on this project and made it fly.
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So
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how do you even approach him?
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Like, what did you say?
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Like, excuse
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me?
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I honestly didn't even pitch him the project.
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Like, we met.
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We got along really well.
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We became really good friends.
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And then from that friendship, I think like a trust established and we both had similar backgrounds in growing up.
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So we saw a deeper part of each other.
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Like I'd say, he's probably one of my closest friends.
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And he just saw the potential and he started to ask me what project I was doing.
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I'm kind of a shy person.
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Like when I meet people, I'm not like...
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I would never tell.
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Look at you, so well-spoken, charismatic.
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Thank you.
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No, I can be very shy.
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I definitely don't approach people and say like, oh, here's my script.
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Right.
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But because of an interest in each other and a friendship in that sense, you know, he asked me, what projects are you doing, etc., etc.?
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?
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And that began the conversation.
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And then he asked me to send him the script.
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And I've never had this happen.
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I remember I sent it to him at 10 a.m.
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And at 4 p.m.
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the same day, he texted me and he was like, I want to produce this.
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Wow.
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And it was so surreal.
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It was July last year.
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It was a year ago.
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Wow.
00:14:00.745 --> 00:14:07.793
And I can be a little cup half empty in the sense of like, is this really going to happen?
00:14:07.832 --> 00:14:09.335
He's working on all these other projects.
00:14:09.375 --> 00:14:10.134
I don't have attachments.
00:14:10.174 --> 00:14:11.216
I don't have anything right now.
00:14:12.116 --> 00:14:12.658
But he really...
00:14:13.153 --> 00:14:16.818
stayed the narrow course, built it with me.
00:14:16.879 --> 00:14:18.802
He did so much work that he didn't have to do.
00:14:18.841 --> 00:14:22.907
You know, for me, I see the vision, I see the story, and I have that belief in it.
00:14:23.807 --> 00:14:27.673
But he really came in and helped to such an incredible degree.
00:14:27.714 --> 00:14:34.503
And we worked on it together to bring it to the point that it is, which is like, it honestly feels like a Cinderella story.
00:14:34.682 --> 00:14:35.744
It is a Cinderella
00:14:35.764 --> 00:14:35.985
story.
00:14:36.184 --> 00:14:36.504
Yeah.
00:14:37.090 --> 00:14:38.211
It's a Cinderella story.
00:14:38.371 --> 00:14:42.397
Finding these actors who fell in love with the story, fell in love with the characters.
00:14:42.417 --> 00:14:51.607
And what I love and that's so consistent amongst every collaborator on this set is a love and a passion for cinema and a love and a passion for story.
00:14:51.628 --> 00:14:53.629
We don't have big paychecks.
00:14:53.951 --> 00:14:54.711
We don't have glitz.
00:14:54.892 --> 00:14:55.932
We do have glamour.
00:14:55.952 --> 00:14:56.833
We have the glitter.
00:14:56.854 --> 00:14:58.736
We have the glitter and the glitz.
00:14:59.096 --> 00:15:04.903
But it truly is people loving cinema and loving these characters and loving the story.
00:15:04.923 --> 00:15:06.105
And I know...
00:15:06.594 --> 00:15:12.379
without a shadow of a doubt that that's going to come through in the piece because it's how we built it up, you know.
00:15:12.399 --> 00:15:13.902
Well, congratulations again.
00:15:14.001 --> 00:15:14.182
Thank you.
00:15:14.201 --> 00:15:17.605
That seemed like a really incredible story that you will see through.
00:15:17.645 --> 00:15:21.250
And it's exciting because this is your baby, right?
00:15:21.269 --> 00:15:22.071
This is your project.
00:15:22.171 --> 00:15:23.011
It's like a pretty baby.
00:15:23.052 --> 00:15:24.153
Pretty baby, you know.
00:15:24.173 --> 00:15:30.198
You will be able to, you know, look it through and direct it exactly how you envision it, right?
00:15:30.500 --> 00:15:36.326
It is such a lucky thing because I know so many directors sometimes will write and they're not able to direct or...
00:15:36.994 --> 00:15:38.076
They're waiting for the script.
00:15:38.155 --> 00:15:44.326
And like I said, this story, I just feel it in my bones and a deep part of myself.
00:15:46.089 --> 00:15:49.895
I think a big part of directing is you have to see the vision of the story.
00:15:49.916 --> 00:15:55.686
It has to be so clear in your mind, even clearer than real life is sometimes.
00:15:56.225 --> 00:15:59.311
And thankfully, I have that with this one that I'm so excited about.
00:15:59.431 --> 00:16:05.941
So you cannot, I know you cannot say a lot about it, but can you give us just the teaser what this story in the movie is about?
00:16:06.100 --> 00:16:07.243
Yes, yeah,
00:16:07.663 --> 00:16:14.514
it's about two best friends who, sorry, can you tell me what the, I just have
00:16:14.533 --> 00:16:15.534
to make sure I'm not adding anything.
00:16:15.595 --> 00:16:17.798
Yeah, actually, I'll read it out.
00:16:17.979 --> 00:16:25.350
So this story follows two teenage girls running away to chase stardom only to face the dark underbelly of sex work.
00:16:27.618 --> 00:16:28.779
That is, I know.
00:16:28.820 --> 00:16:29.179
Is it
00:16:29.220 --> 00:16:33.787
something that you personally had to encounter in terms of the plot?
00:16:34.408 --> 00:16:38.735
Or it came just as inspiration from, like you said, a cutout of the newspaper?
00:16:38.794 --> 00:16:39.355
How did it come?
00:16:39.635 --> 00:16:40.557
I went through so many.
00:16:40.918 --> 00:16:50.312
I'd say most of the film is, I'd say 90% of the film is accurate to real life.
00:16:51.193 --> 00:16:56.081
And that's what I find special about it for myself is it's so personal.
00:16:56.738 --> 00:16:58.980
There's a famous quote, it's Hemingway.
00:16:59.000 --> 00:17:02.264
He says, writing is so easy, you just sit down and bleed.
00:17:02.283 --> 00:17:08.090
And I feel that with this film that I just sat down and let it all out.
00:17:08.151 --> 00:17:13.596
And so it was less building a story concept and more therapy.
00:17:14.357 --> 00:17:17.641
I'm not someone who's like, oh, I write five pages a day, check.
00:17:18.221 --> 00:17:25.130
I'm someone who in breakups, in tragic moments, in difficult times, we all have our vices.
00:17:25.473 --> 00:17:28.999
And for me, it is opening up that laptop and writing it out.
00:17:30.942 --> 00:17:44.721
When I'm hurt, when things I don't quite understand, when there's situations that I can't even give answers to sometimes, I open up that laptop and scenic writing is what gets me through it.
00:17:44.781 --> 00:17:46.344
It's really therapeutic for me.
00:17:46.364 --> 00:17:50.650
I don't write to just achieve or do something like that.
00:17:50.730 --> 00:17:52.092
I write because I need to.
00:17:52.712 --> 00:17:55.517
Because how else am I going to hold this?
00:17:55.696 --> 00:18:02.545
It's interesting you say that because in my mind, it's not easy to sit down and finish the project from A to Z.
00:18:02.665 --> 00:18:11.817
I know a lot of writers have writer's blocks or they want to do something, they're so passionate, but they can't really pass through certain blocks they have to finish the story.
00:18:11.836 --> 00:18:12.917
In your case, it's opposite.
00:18:12.958 --> 00:18:15.520
You were feeling and living that much.
00:18:15.602 --> 00:18:17.523
So you just almost like in one breath.
00:18:17.763 --> 00:18:18.424
Yes, I know.
00:18:18.505 --> 00:18:26.578
I have like pen, yellow legal pads, so many docs with just like scenes typed up and in the most unorthodox way.
00:18:26.598 --> 00:18:34.653
And then I go, I sit down and I look at the computer screen and then I begin to mesh the story together because then I really see it.
00:18:35.413 --> 00:18:39.760
So as a director, what are your anticipations before you start filming?
00:18:40.363 --> 00:18:41.304
Like, what do you expect?
00:18:41.364 --> 00:18:45.505
Have you ever been on the set that big I mean it's probably the first feature
00:18:45.545 --> 00:19:48.701
I've worked yeah first feature it's so huge what's daunting is of course the timeline the amount of days you know I've shot short films and commercials and music videos and things but you know you have one to three days obviously a feature is much longer but I am walking into this with such a genuine passion for cinema with you know I'm known for very decent work ethic and I believe that I don't know that the souls of my mentors will guide me that being like the Wong Kar Wai or the Jean-Luc Godard or you know the Scorsese and Sofia Coppola and you know um Sandra Locke you know I don't know but I believe that the um Jane Campion too all these uh directors who I love who feel you know like parts of me um will guide me because I'm coming to it with like a genuine desire to touch people and make a beautiful film
00:19:49.902 --> 00:20:16.230
that's really beautiful what you said I don't know half of the directors you mentioned but tell me so you said you're very quiet and shy so being a director you need to get the actress to the point where they fulfill your vision how do you feel about you know settling for certain scenes or getting them to where you want them to get, kind of overcoming your shyness?
00:20:16.511 --> 00:20:19.476
Or it's a whole different personality that comes out of you when you direct?
00:20:20.036 --> 00:20:20.277
It is.
00:20:20.297 --> 00:20:23.601
I feel more like myself when I'm on set directing.
00:20:24.142 --> 00:20:26.265
And because I care so much about it.
00:20:26.404 --> 00:20:32.173
And I also usually cast actors who have a deep understanding of the characters and the story and why we're here.
00:20:32.192 --> 00:20:34.536
It's definitely not for close-ups.
00:20:34.576 --> 00:20:35.877
Like it's for the story.
00:20:35.897 --> 00:20:40.104
I 100% feel more like myself.
00:20:40.183 --> 00:20:41.385
Like that's what I'm supposed to do.
00:20:41.665 --> 00:20:48.214
I think in regular life, I can tend to be more shy because I just don't want to exert too much energy towards things that I'm like, oh, I don't care.
00:20:48.535 --> 00:20:49.977
I don't care where we go to eat.
00:20:50.116 --> 00:20:51.298
I really don't, you know?
00:20:51.318 --> 00:20:59.390
So I'm going to be quiet about it versus on set when it's a scene that I really care about or a moment or a shot or something.
00:20:59.410 --> 00:21:01.192
I'm so zoned in.
00:21:01.211 --> 00:21:06.019
But also, I believe there's no reason to be aggressive or cruel on set.
00:21:06.078 --> 00:21:16.934
I love how David Lynch would talk about his sets and always, you know, you know, treating his crews and cast with kindness.
00:21:17.015 --> 00:21:28.415
And that's something that I aspire to do as well, is to always treat, whether it's a PA or makeup or anyone, whoever is on that set, I want to tell them thank you for being on my set.
00:21:28.635 --> 00:21:29.037
What if they're
00:21:29.057 --> 00:21:30.159
not fulfilling your vision?
00:21:30.179 --> 00:21:34.426
Would you have the strength to really put them in their place?
00:21:34.487 --> 00:21:36.068
Or you would rather just go...
00:21:36.577 --> 00:21:37.378
Go along with it.
00:21:37.419 --> 00:21:41.103
I think if they're not fulfilling my vision, then I'm not communicating correctly.
00:21:41.722 --> 00:21:55.416
So I need to change or work on my communication because I think that's one of the biggest pros of a great director is their ability to communicate to anyone the vision properly.
00:21:55.958 --> 00:22:04.066
So I think it's less, oh, this person's doing something wrong and more like, oh, how can I communicate this better?
00:22:04.705 --> 00:22:13.759
And but also when I'm hiring crew and the people that I've already brought onto this project, who I just want to say I'm in love, absolutely in love with my heads of department.
00:22:14.259 --> 00:22:19.007
Jonathan Guggenheim, our production designer, and Lauren Gutuarez, our director of photography.
00:22:19.047 --> 00:22:21.770
Again, I could not have dreamed up a better combo.
00:22:21.790 --> 00:22:34.130
And, you know, it's so funny because even like when we're not working, Jonathan and I will like look through books and be like, oh, Robert Altman's Three Women and just, you know, fangirl over cinema.
00:22:34.402 --> 00:22:41.553
And then he went to the thrift shop when we were working and he got Spike Lee's diary that he made when he was making his first feature.
00:22:41.593 --> 00:22:45.878
And we were getting teary eyed reading, you know, Spike Lee's statements and all of that.
00:22:45.920 --> 00:22:49.023
So it's like, I feel like they're my people.
00:22:49.224 --> 00:22:51.086
Like when you find your people, you just find them.
00:22:51.126 --> 00:22:52.890
And I really feel like I found my people.
00:22:53.270 --> 00:23:03.205
Lauren as well will stay up like till one in the morning, just like, oh, this scene from Christiane Epp or this scene from this film or this scene, you know, and you can just see the love of cinema.
00:23:03.521 --> 00:23:04.943
It's so fun.
00:23:04.983 --> 00:23:06.085
It's so cathartic.
00:23:06.105 --> 00:23:09.448
I love seeing the passion in
00:23:09.488 --> 00:23:11.230
your voice and your eyes.
00:23:11.790 --> 00:23:15.154
I'm so excited for you, you know, for this project.
00:23:15.234 --> 00:23:17.277
It seems like a dream team come along.
00:23:17.457 --> 00:23:17.917
It is.
00:23:17.938 --> 00:23:20.339
The whole thing is such a dream, and it really is.
00:23:20.400 --> 00:23:31.888
I have so many friends who are telling me, like, how are you going to feel 12-hour days, all this work, you're going to be out of L.A., you know, etc., And I'm like, I can't stop smiling.
00:23:32.068 --> 00:23:32.829
I can't sleep.
00:23:33.330 --> 00:23:38.176
It feels like, oh my gosh, I have the opportunity to do what I'm supposed to do on this earth.
00:23:38.257 --> 00:23:40.519
And it's so fun and it's so cool.
00:23:40.578 --> 00:23:44.684
Cinema directing is creating life on camera.
00:23:44.724 --> 00:23:48.169
It's a little Frankenstein's monster.
00:23:48.209 --> 00:23:49.349
You're creating life.
00:23:50.270 --> 00:23:53.234
You're doing something almost godlike in a sense.
00:23:53.635 --> 00:23:55.377
And it's just such a privilege.
00:23:55.417 --> 00:23:56.239
It's so beautiful.
00:23:56.278 --> 00:23:58.561
And then to find collaborators who see that too.
00:23:59.041 --> 00:24:09.474
And aren't on set for status or anything like even the actresses are so passionate about cinema and what and agree that it's such a privilege that we get to do this.
00:24:09.734 --> 00:24:16.323
So speaking about that, how would you describe your style, I guess, filming style, your aesthetic when you're shooting?
00:24:16.644 --> 00:24:23.071
Well, I would have to say two of my biggest influences are, you know, foreign cinema.
00:24:24.012 --> 00:25:23.987
I love Bergman and Godard and Agnes Varda and you know so much of foreign cinema has influenced me and it's a lot more emotional you know i actually last night was just re-watching hiroshima monomore and the opening scene what is it what is it uh hiroshima monomore it's um it was made i believe in the early 60s or late 50s okay but it's about the hiroshima bomb but how the how the film opens it's of these two lovers cradling each other and you see this dust falling on them but it has like a weird glow and it's the it's so melancholy and sad because obviously the bodies were buried alive you know moments like that where an image and an image in cinema creates the whole feeling creates everything that's so powerful so foreign cinema has been one of my biggest influences um as well as old hollywood i love films i have a funny story actually um my family became very religious they became born again born again christians when i was um 13, 14.
00:25:24.106 --> 00:25:24.406
Okay.
00:25:25.228 --> 00:25:31.458
And I wasn't allowed to watch any movies like after the 1960s because they, you know, were a bit strict about it.
00:25:31.498 --> 00:25:37.366
So that was when Netflix had the DVDs that you could have sent to you.
00:25:38.689 --> 00:25:41.732
So every movie I got, you know, in my...
00:25:42.394 --> 00:25:42.914
I'm not too old.
00:25:42.954 --> 00:25:52.549
So like every movie that I got in that time was like a Greta Garbo film, Charlie Chaplin, you know, all these films from a previous period that not a lot of my peers...
00:25:52.834 --> 00:25:56.498
had been watching, but I was getting them on Netflix because I was trying to watch it.
00:25:56.557 --> 00:25:58.820
Even the way you look, the way you dress, definitely
00:25:59.102 --> 00:26:00.383
inspired me.
00:26:00.502 --> 00:26:01.483
I love old Hollywood.
00:26:01.523 --> 00:26:04.268
I love the glamour of that whole period and era.
00:26:04.288 --> 00:26:09.253
I love silent films and pre-code films, like all of those, so fun.
00:26:09.334 --> 00:26:12.617
And then also literature has deeply influenced me.
00:26:12.637 --> 00:26:16.883
I took a feminist lit theory class in college.
00:26:16.903 --> 00:26:18.203
A feminist lit?
00:26:18.365 --> 00:26:19.486
A feminist lit theory class.
00:26:19.617 --> 00:26:20.078
What is it?
00:26:20.578 --> 00:26:24.505
So it just goes into literature theory, you know, a lot of the feminist writers.
00:26:24.565 --> 00:26:29.392
So like Simone de Beauvoir, Virginia Woolf, Sylvia Plath, Edna St.
00:26:29.412 --> 00:26:31.355
Vincent Millay, a lot of female writers.
00:26:31.375 --> 00:26:32.016
I need a list.
00:26:32.415 --> 00:26:34.019
Yes, yes, I love.
00:26:34.138 --> 00:26:34.900
I'm a huge reader.
00:26:34.920 --> 00:26:35.800
I love literature.
00:26:36.301 --> 00:26:40.067
But I think also those voices have influenced my work as well.
00:26:40.086 --> 00:26:41.670
I, you know...
00:26:42.337 --> 00:26:43.278
I
00:26:43.419 --> 00:26:50.567
hear a lot of female voices because even the directors you mentioned, most of them, except the Sofia Coppola, are male directors.
00:26:50.948 --> 00:26:53.250
So you pretty much represent...
00:26:53.991 --> 00:26:55.513
There aren't a lot, yeah.
00:26:55.653 --> 00:26:57.135
It's really funny.
00:26:57.155 --> 00:27:01.540
Okay, give me three top world famous movies directed by female.
00:27:03.022 --> 00:27:05.425
Virgin Suicides is one of my all-time favorite films.
00:27:05.746 --> 00:27:07.067
I'm a huge Virgin Suicides fan.
00:27:07.127 --> 00:27:08.670
The Piano by Jane Campion.
00:27:09.089 --> 00:27:14.438
was a film that I watched the whole thing, and then I was like, rewind, I just watched it over and over.
00:27:15.038 --> 00:27:16.441
Also one of my top films.
00:27:17.201 --> 00:27:17.363
Was
00:27:17.823 --> 00:27:20.106
American Psycho also directed by a female?
00:27:20.207 --> 00:27:20.968
Yes, American Psycho.
00:27:20.988 --> 00:27:21.669
That's the only one I know.
00:27:21.689 --> 00:27:23.171
That's another one of my favorites, actually.
00:27:23.191 --> 00:27:24.133
I love American Psycho.
00:27:24.173 --> 00:27:24.393
Cannot
00:27:24.413 --> 00:27:24.874
beat that.
00:27:25.355 --> 00:27:26.135
Yeah, yeah.
00:27:26.236 --> 00:27:27.577
I know, I can't believe they're doing the remake.
00:27:28.578 --> 00:27:34.028
But to me, honestly, it feels like most of the times when a female is directing, it always comes out a little weird.
00:27:34.868 --> 00:27:35.549
I don't know why.
00:27:35.769 --> 00:27:37.973
Well, and I think sometimes...
00:27:38.657 --> 00:27:41.682
There's been a push for female directors, but we're still placing...
00:27:41.981 --> 00:27:49.150
But especially if they're not writing, sometimes it feels like placing the female director still in the construct of the male gaze.
00:27:49.931 --> 00:27:52.094
My story is very much the female gaze.
00:27:52.134 --> 00:27:54.056
It's very much a female voice.
00:27:54.096 --> 00:28:00.002
It's not just having a female direct an action movie so we can say, you know, we dotted our I's and crossed our T's.
00:28:00.623 --> 00:28:04.387
But I think women in general want to hear women's stories.
00:28:04.488 --> 00:28:05.108
Absolutely.
00:28:05.308 --> 00:28:06.089
And the way...
00:28:06.433 --> 00:28:10.660
women experience and see and touch and live and breathe and die.
00:28:10.700 --> 00:28:16.729
And that is, I think, how feminist literature has influenced me.
00:28:16.749 --> 00:28:21.816
You know, the yellow wallpaper, famous short story, Virginia Woolf.
00:28:21.836 --> 00:28:22.497
What is it about?
00:28:22.817 --> 00:28:23.798
The yellow wallpaper.
00:28:23.818 --> 00:28:25.501
It's really interesting.
00:28:25.541 --> 00:28:30.388
It's about a young woman who is being treated in a very...
00:28:31.650 --> 00:28:40.077
animalistic way for mental health issues but she's being treated like a lesser person and it goes I believe I actually is
00:28:40.117 --> 00:28:40.499
it also from
00:28:40.538 --> 00:28:41.078
the 60s?
00:28:41.380 --> 00:28:47.204
I think it was written in the 60s yeah I think I haven't read that since college but it was definitely like a story that stuck with
00:28:47.285 --> 00:28:47.526
me
00:28:48.747 --> 00:28:53.451
but you know female stories are also human stories I also love male writers like John Keats and
00:28:55.252 --> 00:28:57.915
I just want to see more badass women right?
00:28:57.935 --> 00:29:07.714
in film too represented because I feel There's more emotional depth in the stories, but we're still lacking the drama, the speed, you know, the action.
00:29:07.734 --> 00:29:15.244
And it's really hard, I feel like, for female directors to bring those elements, but still have the female voice, you know, her.
00:29:15.744 --> 00:29:15.865
Yeah.
00:29:16.246 --> 00:29:20.731
Honestly, Sofia Coppola was one that really, I thought she did such a fantastic job.
00:29:22.093 --> 00:29:25.577
Virgin Suicides, again, one of my favorite films, I think, is a really...
00:29:26.498 --> 00:29:29.823
Beautiful bit of storytelling by a woman lost in translation.
00:29:29.883 --> 00:29:30.844
It feels so real.
00:29:30.884 --> 00:29:34.869
And like I said, it feels female gay, like the feminine gaze.
00:29:36.673 --> 00:29:41.820
So I feel, you know, I can't even help but write from the feminine gaze.
00:29:41.840 --> 00:29:43.824
Like I said, I'm a very feminine person.
00:29:45.205 --> 00:29:46.627
So it just naturally comes out.
00:29:46.728 --> 00:29:48.611
I have, you know, I have a sister.
00:29:48.651 --> 00:29:50.153
I'm very close with my mom.
00:29:50.192 --> 00:29:51.736
Most of my friends are women.
00:29:51.776 --> 00:29:55.821
Most of the people I surround myself with are women.
00:29:56.417 --> 00:29:58.160
you know, most of my characters.
00:29:58.259 --> 00:30:07.250
If you look at this, it's like, oh, it's literally all women because that's who I understand and know how to write and be in a sense for film.
00:30:07.471 --> 00:30:09.634
Well, we definitely will be looking forward for that.
00:30:11.175 --> 00:30:12.337
When is it going to premiere?
00:30:12.397 --> 00:30:14.599
We're hoping festival season 2026.
00:30:14.700 --> 00:30:14.921
Wow.
00:30:14.941 --> 00:30:16.082
Okay.
00:30:16.142 --> 00:30:17.183
Well, fingers crossed.
00:30:17.344 --> 00:30:17.663
Yeah.
00:30:17.844 --> 00:30:18.505
Looking forward.
00:30:18.565 --> 00:30:27.304
So being as a director, what are the differences between shooting, directing, let's say a commercial or a fashion film or a feature film?
00:30:28.444 --> 00:30:31.970
Well, so, you know, fashion, I always like to tell some sort of story.
00:30:32.009 --> 00:30:38.317
With a fashion film, it's very visual and, you know, sometimes moody or things like that.
00:30:38.357 --> 00:30:39.659
It depends on the concept.
00:30:40.180 --> 00:30:48.230
But you're playing a lot with colors and temperature and movement and minimal dialogue or almost no dialogue.
00:30:48.546 --> 00:30:50.147
Commercials, you're working with a brand.
00:30:50.228 --> 00:30:59.099
I actually love commercials and prefer them over music videos because I feel with commercials, you can think of a really smart way to sell a product.
00:30:59.380 --> 00:31:00.040
In 30 seconds.
00:31:00.260 --> 00:31:00.902
Yes, exactly.
00:31:00.942 --> 00:31:02.084
You can tell a story.
00:31:02.124 --> 00:31:04.145
You can get someone's emotions.
00:31:05.146 --> 00:31:06.829
I actually, well, I can't.
00:31:06.869 --> 00:31:08.171
Yeah, that commercial hasn't come out.
00:31:08.230 --> 00:31:10.074
I recently did a Chinese laundry commercial.
00:31:10.094 --> 00:31:11.875
I know, I know.
00:31:11.915 --> 00:31:16.201
That was one of my favorite commercials to pitch because it's very much a human story.
00:31:16.738 --> 00:31:20.482
Even though it's a commercial, so you watch it and it feels like a short film almost.
00:31:20.824 --> 00:31:22.767
Even though it's short, a very short film.
00:31:23.567 --> 00:31:26.932
Even though it's selling a pair of shoes, but you wouldn't have guessed that at the end.
00:31:26.992 --> 00:31:29.476
And I think that's a really cool thing to do with commercials.
00:31:30.257 --> 00:31:33.000
But feature films, it's like that's where it's at.
00:31:33.040 --> 00:31:35.565
That's the great American novel, you know?
00:31:35.585 --> 00:31:39.570
It's telling a full story, telling a character's whole journey.
00:31:40.471 --> 00:31:43.135
How would
00:31:43.155 --> 00:31:44.498
you compare a full...
00:31:44.865 --> 00:31:47.329
A full feature to, let's say, a TV show.
00:31:47.871 --> 00:31:51.135
Would you like to one day direct a TV show?
00:31:51.155 --> 00:31:56.243
Or are you more, you know, the fine art form of the cinema?
00:31:56.464 --> 00:31:57.165
I'm
00:31:57.205 --> 00:31:58.647
a little bit of a commitment-phobe.
00:31:58.969 --> 00:32:01.833
So I think television shows seem daunting.
00:32:02.615 --> 00:32:04.758
Because it's like, okay, when is it going to end?
00:32:04.817 --> 00:32:05.940
Are we still on this topic?
00:32:06.180 --> 00:32:06.601
Some of them are
00:32:06.621 --> 00:32:07.883
really great, like The Penguin.
00:32:07.903 --> 00:32:07.923
I
00:32:08.163 --> 00:32:09.125
like to watch...
00:32:09.857 --> 00:32:10.439
It's so funny.
00:32:10.519 --> 00:32:13.844
I actually worked on the early stages of development on the Penguin.
00:32:13.983 --> 00:32:14.305
You did?
00:32:14.325 --> 00:32:14.505
Oh my God,
00:32:14.605 --> 00:32:15.185
such a great
00:32:15.246 --> 00:32:15.406
show.
00:32:15.487 --> 00:32:16.648
Television development.
00:32:16.669 --> 00:32:17.750
I loved it.
00:32:18.171 --> 00:32:30.549
But yeah, so with films, you know, for me, it seems like every, well, this is the first, but even like my second film, like I have the beginning pieces of that and it's a whole different chapter of my life.
00:32:31.131 --> 00:32:38.122
You know, still very feminine gays and female gays and feminine characters, but a different chapter of my life.
00:32:38.594 --> 00:32:40.557
Whereas this one is about this chapter.
00:32:41.097 --> 00:32:45.865
So I feel like with narrative features, you have an opportunity to discover different parts of yourself.
00:32:47.287 --> 00:32:51.011
Where I would guess, you know, I worked in television development when I was at Warner Brothers.
00:32:51.031 --> 00:32:54.537
It's just longer and a different type of storytelling.
00:32:54.576 --> 00:32:55.479
I'm not.
00:32:55.519 --> 00:32:56.460
It's
00:32:56.500 --> 00:32:56.861
interesting.
00:32:56.901 --> 00:33:01.948
You said that it's in a sense, like you said, a therapy for your introspective.
00:33:02.008 --> 00:33:05.753
So it's not just you are telling a story, kind of giving a little piece of you.
00:33:06.273 --> 00:33:07.296
Which is really interesting.
00:33:07.336 --> 00:33:09.960
It's not like some project you've been hired to do, right?
00:33:10.079 --> 00:33:11.162
No, it's totally different.
00:33:11.682 --> 00:33:14.547
That's why I have such a cathartic release with it.
00:33:14.587 --> 00:33:20.778
It just has the coolest feeling because it feels like it's literally a child.
00:33:21.057 --> 00:33:22.160
Especially you worked on
00:33:22.240 --> 00:33:24.022
it for more than five, almost
00:33:24.083 --> 00:33:24.963
five years.
00:33:24.983 --> 00:33:26.046
Yeah, exactly.
00:33:26.105 --> 00:33:33.137
And I remember an old friend of mine, we had seen, I think it was like Goodfellas or something, some Scorsese film.
00:33:33.569 --> 00:33:36.673
And after we saw the film, we were talking about it.
00:33:37.855 --> 00:33:42.701
And we were talking about how, you know, he took a part of himself to make that his life.
00:33:42.800 --> 00:33:52.432
Like, you know, it was probably, you know, people in that film might have been like characters in his life and just like the parallels there.
00:33:52.452 --> 00:34:02.526
And how a director and writer, you know, takes part of himself out or herself to make this story like Paul Schrader's story.
00:34:02.978 --> 00:34:05.760
how he talks about taxi driver and that's what he was going through.
00:34:05.780 --> 00:34:08.804
He was just driving around and going through these similar feelings.
00:34:08.885 --> 00:34:14.431
It's like you create these characters, not everyone, but a lot of these auteur directors, which I consider myself an auteur director.
00:34:14.672 --> 00:34:15.333
Which director?
00:34:15.594 --> 00:34:15.974
Auteur.
00:34:16.313 --> 00:34:23.583
So more like a more poetic, more emotional, poetic type of a director, more of a singular voice.
00:34:25.865 --> 00:34:28.809
You know, it's sort of how you can say that's a Tarantino film.
00:34:29.186 --> 00:34:29.485
It's
00:34:29.947 --> 00:34:31.248
specific voice and style.
00:34:31.288 --> 00:34:34.431
So what is one word you can say that defines your style?
00:34:35.271 --> 00:34:36.273
Oh, that's a good question.
00:34:36.634 --> 00:34:37.353
Sparkle.
00:34:37.414 --> 00:34:37.954
Sparkle.
00:34:39.396 --> 00:34:41.518
I'd say something connected.
00:34:41.619 --> 00:34:44.942
Like, you know, I will give this a little
00:34:44.961 --> 00:34:45.143
bit.
00:34:45.782 --> 00:34:55.974
In all of my short films, and maybe the future, who knows, I have a similar theme of characters having to confront their fantasies, their dream life.
00:34:56.673 --> 00:34:58.757
And realize what the truth is.
00:34:59.277 --> 00:35:03.144
Like we all have our idealisms, romanticisms, things like that.
00:35:03.184 --> 00:35:09.835
And I seem to consistently show a character's inner dream world or idea of life.
00:35:10.536 --> 00:35:13.081
And yet they have to confront reality in a sense.
00:35:13.601 --> 00:35:15.244
So that's, I don't know if that's...
00:35:15.423 --> 00:35:15.965
When I've seen
00:35:16.005 --> 00:35:18.387
your short films, they're to me very ethereal.
00:35:18.427 --> 00:35:20.429
Ethereal is a good word.
00:35:20.489 --> 00:35:22.052
Dreamy, ethereal.
00:35:22.152 --> 00:35:22.492
I love that.
00:35:22.532 --> 00:35:23.313
Very sensual.
00:35:23.574 --> 00:35:24.635
Yeah, very sensual.
00:35:24.675 --> 00:35:25.235
I love that.
00:35:25.255 --> 00:35:26.157
Vintage-y.
00:35:26.358 --> 00:35:27.699
Yeah, yeah.
00:35:27.759 --> 00:35:28.300
I love that.
00:35:28.320 --> 00:35:29.320
Yeah, you definitely have...
00:35:29.461 --> 00:35:30.322
I love all those words.
00:35:30.402 --> 00:35:35.128
You have definitely a defined style and we need more of that.
00:35:35.168 --> 00:35:45.577
We need more female voices showcased because, I mean, tell me from your perspective since you worked in corporate Hollywood, What is the stance right now for female directors?
00:35:45.637 --> 00:35:54.327
Is it something just for them to put a tick and saying, OK, we just need more female directors or they're genuinely interested in exploring female perspective?
00:35:54.768 --> 00:35:55.528
I think it's both.
00:35:55.829 --> 00:36:01.695
And like, I think obviously you're going to have the people working the nine to five life.
00:36:01.797 --> 00:36:08.324
And this isn't everyone, but people working the nine to five life that want to fit a quota and say and then go home and have dinner with their family.
00:36:08.403 --> 00:36:09.485
And that is that.
00:36:09.686 --> 00:36:12.989
And then you have people who are hungry to work.
00:36:13.186 --> 00:36:22.719
hear and see female stories and are hungry to feel like they're being spoken to and they're hungry for these universal stories that females tell.
00:36:23.501 --> 00:36:25.603
So I think we have both.
00:36:25.704 --> 00:36:35.416
We have the people who aren't really that emotionally involved with it, just want to do the work, show that, yes, we're representing females and that's that.
00:36:35.918 --> 00:36:38.702
But then you have the people who are like, no, but we want the real stories.
00:36:38.742 --> 00:36:41.465
We don't want to just place a female director in a male construct.
00:36:41.985 --> 00:36:44.710
We want to show the story and have
00:36:50.302 --> 00:37:01.342
them be specific female experiences.
00:37:03.425 --> 00:37:05.731
That's where you're supposed to pay attention to it.
00:37:05.751 --> 00:37:07.635
I just want the art to speak for itself.
00:37:07.735 --> 00:37:11.822
I also want to be known as a great director, not just a great female director.
00:37:11.902 --> 00:37:22.666
I don't want to be a quota, but I also do have a decent amount of confidence in myself that I've had some comments from male directors specifically.
00:37:23.074 --> 00:37:25.717
who are like, oh, that's just happening because you're a girl.
00:37:25.797 --> 00:37:30.884
And I'm like, okay, you know, all right, you can think that, but I know that's not true.
00:37:31.125 --> 00:37:32.445
Success is the best revenge.
00:37:32.726 --> 00:37:33.206
Exactly.
00:37:33.228 --> 00:37:33.268
Oh,
00:37:33.588 --> 00:37:33.867
yes.
00:37:35.289 --> 00:37:35.490
Love
00:37:35.710 --> 00:37:36.351
a good success.
00:37:36.512 --> 00:37:37.572
Yeah, you're definitely, I mean,
00:37:37.612 --> 00:37:43.001
you're already living the dream, especially without having huge experience, right?
00:37:43.061 --> 00:37:45.463
You're just kind of putting your foot down.
00:37:45.503 --> 00:37:46.704
It's
00:37:46.724 --> 00:37:47.487
very exciting.
00:37:47.567 --> 00:37:48.867
I feel definitely supported.
00:37:48.907 --> 00:37:49.949
So it's really incredible.
00:37:50.498 --> 00:37:51.920
Well, congratulations again.
00:37:51.960 --> 00:37:52.621
Thank you.
00:37:52.800 --> 00:38:02.273
So tell me a little bit more about your, let's say, I wouldn't say final, but your ultimate dream in filmmaking.
00:38:03.114 --> 00:38:05.898
How do you see your stardom moment?
00:38:07.119 --> 00:38:12.126
And you, after that moment, you'd be like, okay, you know, I'm happy.
00:38:12.405 --> 00:38:16.010
I can just go retire for like five years in the Bahamas.
00:38:16.190 --> 00:38:16.371
Until
00:38:16.391 --> 00:38:17.373
I make another one.
00:38:17.833 --> 00:38:18.034
Yeah.
00:38:18.465 --> 00:38:28.639
You know, it's so funny because even with this film that I'm so excited and working on, I have my like second film in mind that I'm excited and also, you know what I mean?
00:38:29.041 --> 00:38:32.626
So it's like I want to make one film and then the next and then the next.
00:38:32.885 --> 00:38:35.690
I feel just so excited to work.
00:38:35.750 --> 00:38:36.471
I love working.
00:38:36.490 --> 00:38:39.215
So I don't necessarily imagine retirement.
00:38:39.335 --> 00:38:42.199
But what would make me feel beyond fulfilled?
00:38:42.219 --> 00:39:30.869
There's a famous story about this director who decided i think he was like in paris or something and he decided he saw a showing of one of his movies and he decided to go in and see it and when he walked out this young girl went up to him and said oh you're the director and he said yeah and she said you know that movie made me realize i had a soul and i saw that and my you know oh i i heard i didn't see that i heard that And I thought that would make me so fulfilled for young women, young men, old women, old men, people in general, for people when they watch the film to have this realization or that they're reminded of their potential, that they have a soul.
00:39:30.889 --> 00:39:38.121
You know, it's so funny when I was at Cannes last year pitching my film, my opening line would be, I want to show...
00:39:39.041 --> 00:39:45.469
I want to show people that young, beautiful, objectified young women ask themselves the same questions that Dostoevsky did.
00:39:46.552 --> 00:39:53.000
You know, I want to show we place, we compartmentalize people into different groups all the time.
00:39:53.019 --> 00:40:04.034
And I think there's a universalism in real human thoughts and real human aches and shared human feelings and emotion.
00:40:04.673 --> 00:40:13.047
And for someone to watch a film of mine and feel heard and feel understood and connected and to think, holy shit, I have a soul.
00:40:13.086 --> 00:40:14.570
There's so much potential in me.
00:40:14.610 --> 00:40:16.713
I'm capable of so much.
00:40:16.753 --> 00:40:19.077
That's my fulfillment.
00:40:19.777 --> 00:40:20.619
I'll go to the Bahamas.
00:40:21.300 --> 00:40:21.641
But
00:40:22.641 --> 00:40:24.865
probably once you get to that point.
00:40:25.474 --> 00:40:29.679
it's not worth living anymore because you want to keep going writing.
00:40:29.719 --> 00:40:31.141
You know, and it's so funny.
00:40:31.181 --> 00:40:35.507
One of my all-time favorite novels is John Steinbeck's East of Eden.
00:40:35.527 --> 00:40:42.778
And another thing I read about his writing was that, you know, East of Eden was, I believe, his last or one of his last novels.
00:40:43.338 --> 00:40:47.465
And he said that every other book he wrote was in preparation for East of Eden.
00:40:47.525 --> 00:40:49.407
He was trying to figure out how to write East of Eden.
00:40:49.447 --> 00:40:53.373
And he wrote Grapes of Wrath, Of Mice and Men, like these famous pieces of literature.
00:40:53.858 --> 00:41:03.289
And he said, oh, I was just preparing to write what I felt like my life, what my life should be, which is East of Eden, which is what that book says.
00:41:03.489 --> 00:41:05.690
Can you give us a one-liner what that book is about?
00:41:06.152 --> 00:41:06.672
East of Eden?
00:41:06.711 --> 00:41:06.952
Yeah.
00:41:07.793 --> 00:41:12.099
It's about two men who sort of fit the archetypes of Cain and Abel.
00:41:13.099 --> 00:41:15.362
You know, in the Bible, Cain killed his brother Abel.
00:41:15.702 --> 00:41:18.445
So one of the brothers, Adam, is...
00:41:18.818 --> 00:41:48.945
sort of like the good guy that everything goes well and he's good and he's soft and he's shy and kind and then you have the Kane character who James Dean played in the Ilya Kazan film who feels like his soul that there's something wrong with him and a really beautiful thing at the end of the novel is they go over in the Bible when God casts Kane out of when he casts him away they go over the Hebrew of what that meant.
00:41:49.164 --> 00:41:57.333
And in Steinbeck's East of Eden, it's this word timshel, which translates to only you have the power to overcome yourself.
00:41:57.954 --> 00:42:06.744
So the book is this conversation of fate and character and who decides which if people have success stories or if they don't, or if people are good or bad or whatever.
00:42:06.784 --> 00:42:12.295
And the book ends on this incredible note that really changed my life, which is Who cares?
00:42:12.394 --> 00:42:14.838
Because only you have the power to overcome yourself.
00:42:15.039 --> 00:42:16.981
Only you have the power to be who you want to be.
00:42:17.021 --> 00:42:20.005
And I have goosebumps.
00:42:20.106 --> 00:42:20.447
Yes.
00:42:20.907 --> 00:42:27.496
And you see Steinbeck's previous novels, The Grapes of Wrath, people in terrible situations who had dreams and ideas of their life.
00:42:27.538 --> 00:42:31.302
And they're all gone because here they're in the Dust Bowl and it's the Great Depression.
00:42:31.322 --> 00:42:35.869
And still, he says, only you have the power to overcome yourself, you know.
00:42:36.289 --> 00:42:38.672
And I think that is a beautiful story.
00:42:38.711 --> 00:42:43.737
And for him, I think once he felt like he got that out in an appropriate way, he was fulfilled.
00:42:44.338 --> 00:42:47.641
And I think for me, I'm not telling that story.
00:42:47.661 --> 00:42:48.882
I'm telling my own story.
00:42:48.902 --> 00:42:54.788
I think with so many directors, they're telling the same story over and over and over again, just in different disguises.
00:42:54.807 --> 00:43:04.378
And I think this feature is going to be my first attempt at the disguise of telling a certain story, that if I do it correctly, I would feel a great sense of fulfillment.
00:43:05.121 --> 00:43:09.766
Would you ever sell your soul for the commercial project if you would be open?
00:43:09.806 --> 00:43:12.070
But let's say personally, you wouldn't be connected to it?
00:43:12.891 --> 00:43:14.231
It's impossible for me.
00:43:14.273 --> 00:43:15.052
Are
00:43:15.092 --> 00:43:15.773
you sure?
00:43:16.114 --> 00:43:17.275
Actually, funny story.
00:43:17.295 --> 00:43:24.143
I had someone approach me before this who said, I want you, you can direct a thriller.
00:43:24.184 --> 00:43:25.666
We'll get you a big actor.
00:43:25.686 --> 00:43:32.653
You know, it's so much easier to sell a first-time director on something that's more gimmicky, risk-averse.
00:43:33.697 --> 00:43:37.724
And I said, I remember I was in Vegas with my aunt because that's where my aunt and uncle live.
00:43:38.246 --> 00:43:39.728
And my hand was shaking.
00:43:39.768 --> 00:43:43.916
And I said, no, I have to do Pretty Babies.
00:43:44.175 --> 00:43:48.304
You should have agreed, bought a car, sold that car.
00:43:49.184 --> 00:43:50.688
I'm just selling cars left and right.
00:43:51.429 --> 00:43:52.891
Put into your passion project.
00:43:52.972 --> 00:43:53.472
Exactly.
00:43:53.512 --> 00:43:54.074
But it's, you know.
00:43:54.338 --> 00:43:58.164
I think it's integral for the director to be connected to the material.
00:43:58.844 --> 00:44:01.608
And I feel like I'm not living.
00:44:01.628 --> 00:44:02.730
I'm not living.
00:44:02.750 --> 00:44:14.027
And, you know, my mom once she called me actually pretty recently and she said, you know, you've been in some bad situations since you moved to L.A., like not having money, no car and things like that.
00:44:14.628 --> 00:44:19.474
And she said, not once have you said, I wish I never moved here.
00:44:19.494 --> 00:44:21.498
I wish I wasn't going after this career.
00:44:22.273 --> 00:44:24.599
She was like, so you're certainly not going after money.
00:44:24.639 --> 00:44:25.702
And I was like, no, I'm not.
00:44:25.782 --> 00:44:28.088
It made you stronger, right?
00:44:28.108 --> 00:44:29.911
Also made you realize what you don't want to do.
00:44:30.072 --> 00:44:35.847
And the whole thing was to make a good movie that's going after constantly to tell the story that I want to tell.
00:44:35.867 --> 00:44:40.416
So I can't have spent 10 years going after telling the story I want to tell.
00:44:40.994 --> 00:44:43.478
To only say, oh, I'm not connected to that story.
00:44:43.538 --> 00:44:44.418
I don't really like it.
00:44:44.478 --> 00:44:46.101
Sure, because send me a paycheck, you know.
00:44:46.121 --> 00:44:48.565
Because that's what most of the directors do if you think about it.
00:44:48.724 --> 00:44:49.547
Yeah, I can't.
00:44:49.567 --> 00:44:53.492
Get a paycheck, you know, make a blockbuster, make another franchise.
00:44:53.612 --> 00:44:53.932
Yeah,
00:44:54.072 --> 00:44:56.416
I'm, you know, I can't remember.
00:44:56.436 --> 00:44:57.798
I think it's called The Moveable Feast.
00:44:58.239 --> 00:45:03.807
Hemingway wrote about, like, he was so poor and his stomach was, like, his stomach was in pain.
00:45:03.847 --> 00:45:04.869
He could not afford food.
00:45:04.909 --> 00:45:07.974
And in his, like, diary journal, whatever, he was like, well...
00:45:08.577 --> 00:45:10.420
you know, at least I can write.
00:45:10.440 --> 00:45:11.960
I still have my ink.
00:45:12.021 --> 00:45:13.041
I still have my paper.
00:45:13.101 --> 00:45:23.893
At least I can write, you know, and I'm just like walking around Paris and I'm so hungry and I can't afford anything and my stomach hurts because I can't afford anything, but at least I can write and I'm not selling out.
00:45:24.733 --> 00:45:26.155
And don't worry, I can eat.
00:45:26.175 --> 00:45:31.760
I have food, you know, but I can't ever sell out because it's like the art is the thing.
00:45:31.800 --> 00:45:32.862
It's not fame.
00:45:32.882 --> 00:45:33.282
Well, I think the
00:45:33.422 --> 00:45:34.864
hunger drives creativity.
00:45:34.884 --> 00:45:41.855
I feel once you have that starvation in a sense that it's pushing you to break the limits, right?
00:45:41.894 --> 00:45:42.456
To create.
00:45:42.996 --> 00:45:46.483
It's like I was thinking about the example of Leonardo DiCaprio.
00:45:46.503 --> 00:45:49.949
He's such an amazing actor, but he never got an Oscar throughout his career.
00:45:50.009 --> 00:45:59.264
And then once he finally, and I was like, oh my God, please don't let him to receive the Oscar because after once you get the hugest accolade, you kind of like relax.
00:45:59.606 --> 00:46:03.864
You stop hustling, you stop grinding, you stop you know, creating.
00:46:04.003 --> 00:46:17.501
And I feel once you have always that almost like a carrot in front of you, which may be your goal or your dreams or any kind of objection you have, you can be more creative rather than when you have everything, you know, at the tip of your fingers.
00:46:17.742 --> 00:46:18.061
Yeah.
00:46:18.101 --> 00:46:23.548
And I feel for me, like, unless life stops happening, the art can't stop.
00:46:23.568 --> 00:46:29.231
Because like I said, I have like 10 legal pads, notebooks with like This is what happened to me.
00:46:29.291 --> 00:46:30.994
And I write in my diary a lot.
00:46:31.034 --> 00:46:31.835
I write everything.
00:46:31.894 --> 00:46:32.795
Yeah, I usually write.
00:46:32.876 --> 00:46:34.338
And then I take it all to the laptop.
00:46:34.759 --> 00:46:38.603
But I write so much and, you know, so many moments and things.
00:46:38.684 --> 00:46:39.585
That's what directing is.
00:46:39.626 --> 00:46:42.509
It's like all these different moments and things that you go through.
00:46:42.530 --> 00:46:44.692
So many.
00:46:44.733 --> 00:46:53.083
So as long as those are still happening to me, you know, I think I can still be making things because it inspires and that's when you want to create.
00:46:53.644 --> 00:46:53.945
So what
00:46:53.965 --> 00:46:57.530
can you tell to people who say, I don't watch TV?
00:46:57.762 --> 00:47:00.525
Like, I don't care about the movies.
00:47:00.606 --> 00:47:01.286
I don't watch TV.
00:47:01.367 --> 00:47:07.054
And then you speak with such passion about the craft and you're so excited about what you do.
00:47:07.134 --> 00:47:12.601
And the story told me that it changes people's perception of life.
00:47:12.641 --> 00:47:14.623
They're finding their soul watching certain movie.
00:47:14.923 --> 00:47:18.027
What can you tell to these people who say, I don't watch TV?
00:47:18.668 --> 00:47:24.331
I think even if you don't watch TV or movies or whatever, somehow it'll find you.
00:47:24.351 --> 00:47:25.313
I believe that.
00:47:25.353 --> 00:47:33.222
I think in my darkest, difficult situations, I'll like, you know, be crying in bed, whatever.
00:47:33.242 --> 00:47:37.387
And then I'll think, what's playing at the AMC?
00:47:37.527 --> 00:47:38.869
What's playing at the Arrow?
00:47:38.909 --> 00:47:41.213
It's like that hunger, that need.
00:47:41.233 --> 00:47:48.001
And people go to, you know, maybe they play golf or they play, I don't know, something or do some sport or whatever.
00:47:48.061 --> 00:47:55.181
But I think There's always that little itch of wanting to hear another human story, wanting to hear or see something else.
00:47:55.742 --> 00:47:57.284
And maybe it's just my experience.
00:47:57.364 --> 00:48:10.199
But yeah, I feel like no matter what, no matter how busy I get, there's that desire to connect to another human through art, whether that was literature, poetry, you know, even TV shows, films.
00:48:10.659 --> 00:48:17.268
But there is something so romantic and beautiful about like a rainy day and then going to a theater.
00:48:17.407 --> 00:48:18.750
I remember it's so funny.
00:48:19.137 --> 00:48:23.164
When I first moved to LA, the Arrow Theater would do like director weekends.
00:48:23.985 --> 00:48:26.010
And I had baby cinema knowledge.
00:48:26.590 --> 00:48:29.815
And I remember one weekend, it was like the Tarkovsky weekend.
00:48:30.356 --> 00:48:32.320
And most of his films are like three and a half hours.
00:48:32.501 --> 00:48:37.789
And I went to the beginning and I got all these like canned roses and put them in my bag.
00:48:38.010 --> 00:48:39.733
And I just saw people going in and out.
00:48:39.793 --> 00:48:42.117
And there's this older man who was like in his 70s.
00:48:42.465 --> 00:49:14.619
rose across and we just like made eye contact because we were there the whole time which was like all day to like two days connected and I was like movies are my friends movies are my friends littered books are my novels are my friends like these are my best friends sometimes I feel so disconnected to people I would go you know I was a 21 year old in LA and my friend would be like oh there's this crazy cool pool party come blah blah blah blah And I would bring my book, my, you know, something like that in my bag.
00:49:14.699 --> 00:49:19.485
And I remember like sitting by the bathroom and reading because it's like, I want those thoughts.
00:49:19.545 --> 00:49:21.027
I want to be talking about those things.
00:49:21.047 --> 00:49:25.893
I want to be talking about Brothers Karamakov, like not just, hey, where'd you get your dress?
00:49:26.135 --> 00:49:26.635
Cool.
00:49:26.715 --> 00:49:27.295
What do you know?
00:49:27.376 --> 00:49:28.398
Blah, blah, blah, blah, blah, blah.
00:49:28.737 --> 00:49:30.000
I'm not good at small talk either.
00:49:30.079 --> 00:49:36.396
But, you know, I would bring those books and things because it brought me life and connection and It just felt so necessary.
00:49:36.416 --> 00:49:36.436
I
00:49:36.775 --> 00:49:38.639
feel nowadays reading is luxury.
00:49:38.679 --> 00:49:39.400
Yeah, I know.
00:49:39.559 --> 00:49:44.025
It's always on the phone before it was a necessity or a leisure.
00:49:44.065 --> 00:49:45.387
It's just how you spend your time.
00:49:45.447 --> 00:49:49.534
Nowadays, to me, if I'm taking a book, wow, I have so much extra free time.
00:49:49.554 --> 00:49:51.496
I have peace in my mind.
00:49:51.516 --> 00:49:52.297
I have silence.
00:49:52.378 --> 00:49:54.501
Then I can actually flip the pages and read the book.
00:49:54.800 --> 00:49:55.922
Do you read a lot still?
00:49:56.182 --> 00:49:56.864
Yeah, yeah.
00:49:56.903 --> 00:49:59.788
Well, right now, obviously, I'm in prep for the film.
00:49:59.847 --> 00:50:03.634
But is it a year and a half ago, actually?
00:50:03.938 --> 00:50:05.179
I started a book club.
00:50:05.940 --> 00:50:08.324
It's actually, it was called Feminine Mystique.
00:50:08.563 --> 00:50:14.692
It's like a little feminist book club, but we just read female stories and it's all women.
00:50:15.793 --> 00:50:18.237
And that book club changed my life.
00:50:18.396 --> 00:50:21.240
Again, another thing, because it's so special to you.
00:50:21.320 --> 00:50:29.112
And we were reading so many different things like Truman Capote's Unanswered Prayers when the Swans of Fifth Avenue came out.
00:50:29.132 --> 00:50:29.672
Wait, hold on.
00:50:29.713 --> 00:50:29.992
You just
00:50:30.052 --> 00:50:35.920
come into some area club, you pick up a book, And one person starts reading it out?
00:50:35.980 --> 00:50:36.300
Well, no.
00:50:36.320 --> 00:50:39.503
So we basically pick a book at the beginning of the month.
00:50:39.563 --> 00:50:42.347
So say February is Unanswered Prayers by Chuma Kapodi.
00:50:42.387 --> 00:50:45.409
So we read separately in our homes.
00:50:45.530 --> 00:50:46.891
And then we come at the end of the month.
00:50:46.952 --> 00:50:49.293
And then I would have, for example, for the swans.
00:50:49.313 --> 00:50:49.735
So you discuss it.
00:50:49.855 --> 00:50:52.476
We would all dress up like the swans of Fifth Avenue.
00:50:53.137 --> 00:50:54.460
And we would have themed foods.
00:50:54.500 --> 00:50:55.920
And we would discuss the book.
00:50:55.981 --> 00:50:56.961
And we did it with so many.
00:50:57.001 --> 00:51:00.425
We did it with Gertrude Stein's Paris, France.
00:51:00.525 --> 00:51:02.128
And a lot of modern books.
00:51:02.168 --> 00:51:04.010
A lot of classics.
00:51:04.449 --> 00:51:05.891
Um, but it was really cool.
00:51:05.931 --> 00:51:09.197
Cause then, you know, you begin, you know, for
00:51:09.237 --> 00:51:10.579
the opportunity to dress up.
00:51:10.880 --> 00:51:11.420
Yes, I know.
00:51:11.922 --> 00:51:12.862
We have so many themes.
00:51:12.882 --> 00:51:18.612
Um, but it was so fun and it was like, I think our group is like, do you still have this?
00:51:18.731 --> 00:51:19.373
I saw this group.
00:51:19.413 --> 00:51:24.722
I haven't read the last two books cause I've been working on this film, but I told them, I said, September 15th.
00:51:24.994 --> 00:51:26.034
I'll be back.
00:51:26.195 --> 00:51:26.755
I'll be reading.
00:51:26.896 --> 00:51:28.838
So how can women or is it just
00:51:28.998 --> 00:51:30.661
a female women's club?
00:51:31.001 --> 00:51:31.682
It's at my house.
00:51:31.762 --> 00:51:33.724
It's like a very intimate like group of
00:51:33.744 --> 00:51:34.025
10.
00:51:34.226 --> 00:51:36.608
So what's the casting process to be part of
00:51:36.648 --> 00:51:37.951
the secret book club?
00:51:37.971 --> 00:51:39.572
You just say you talk to me.
00:51:39.612 --> 00:51:40.855
You slide
00:51:40.875 --> 00:51:41.054
into
00:51:41.074 --> 00:51:41.976
your DMs.
00:51:42.016 --> 00:51:43.157
You just slide into my DMs.
00:51:43.177 --> 00:51:44.259
You get in the book club.
00:51:44.579 --> 00:51:46.501
I also follow a lot of book clubs online.
00:51:46.521 --> 00:52:00.427
I think people having book clubs is so important and so great because I think You know, we have so many things that are supposed to better our careers, our relationships, you know, our health.
00:52:00.748 --> 00:52:02.610
But what about our interior lives?
00:52:02.690 --> 00:52:04.974
What about our minds and things like that?
00:52:05.074 --> 00:52:07.237
And I think reading does that, you know.
00:52:07.277 --> 00:52:08.177
Food for thought.
00:52:08.237 --> 00:52:08.898
Food for thought.
00:52:09.059 --> 00:52:16.570
Yeah, it deepens us as people, connects us to other people, allows us to understand their experiences and thoughts.
00:52:17.010 --> 00:52:17.911
It's so powerful.
00:52:17.931 --> 00:52:26.114
So having my little women's club just, you know, moves me to read more and connect with others.
00:52:26.233 --> 00:52:26.713
It's really fun.
00:52:26.733 --> 00:52:26.795
You
00:52:26.815 --> 00:52:28.876
make it almost like an immersive experience.
00:52:28.956 --> 00:52:29.197
It is.
00:52:29.257 --> 00:52:32.021
In a sense, it's reading, but also you make it fun.
00:52:32.121 --> 00:52:33.081
It's always the outfits.
00:52:33.443 --> 00:52:42.614
So what is three books you would recommend anyone to read who want to be a director?
00:52:44.315 --> 00:52:45.237
Ooh, that's a good one.
00:52:45.858 --> 00:52:48.862
I would say Hitchcock Truffaut.
00:52:49.217 --> 00:52:49.458
Which
00:52:49.557 --> 00:52:49.639
one?
00:52:50.079 --> 00:52:50.920
Hitchcock Truffaut.
00:52:51.201 --> 00:52:53.664
That's what it's called, Hitchcock slash Truffaut.
00:52:54.244 --> 00:52:59.713
It's when Francois Truffaut interviewed Alfred Hitchcock about every single one of his films.
00:53:00.233 --> 00:53:02.416
And it's their dialogue back and forth about every film.
00:53:02.556 --> 00:53:04.239
And it's very, it's technical.
00:53:04.338 --> 00:53:08.605
And it's just, you know, Hitchcock's the master of suspense, one of the greatest directors.
00:53:08.646 --> 00:53:14.534
And then you have Francois Truffaut, who's one of the greatest directors of French new wave cinema.
00:53:15.175 --> 00:53:16.275
And they're just talking about film.
00:53:16.315 --> 00:53:17.338
And it's this big, thick book.
00:53:17.601 --> 00:53:21.507
And it's in my suitcase, and I hope it doesn't make my suitcase too big right now.
00:53:21.786 --> 00:53:22.688
It's your Bible, huh?
00:53:22.728 --> 00:53:23.329
It's my Bible.
00:53:23.409 --> 00:53:23.969
It's my Bible.
00:53:24.030 --> 00:53:25.931
So that one is one of my favorites.
00:53:26.253 --> 00:53:27.534
Ilya Kazan's book.
00:53:27.614 --> 00:53:29.936
He directed Streetcar Named Desire, East of Eden.
00:53:30.418 --> 00:53:33.802
He was Arthur Miller and Tennessee Williams' key director.
00:53:33.822 --> 00:53:35.304
Is it a biography or what is it?
00:53:35.324 --> 00:53:39.168
It's his diary, basically, his journal about directing.
00:53:39.588 --> 00:53:40.811
So he talks about each character.
00:53:40.851 --> 00:53:46.538
He talks about building the character of Blanche Dubois with the actress opening on Broadway.
00:53:47.010 --> 00:53:51.096
So yeah, Elie Kazan's book changed me with directing.
00:53:51.115 --> 00:53:51.757
It was so good.
00:53:52.297 --> 00:53:57.425
And then Bergman's Images, which is Imar Bergman, his journal, in a sense.
00:53:57.465 --> 00:53:59.248
So it's kind of like our director's journals.
00:53:59.268 --> 00:53:59.648
So you kind of like
00:53:59.688 --> 00:54:02.152
more read on the internal thoughts and their perspective.
00:54:02.351 --> 00:54:02.733
Yeah.
00:54:03.032 --> 00:54:05.476
You know, Bergman, I love his thoughts on cinema.
00:54:05.496 --> 00:54:09.101
And then, you know, he talks about getting sick after every production.
00:54:09.141 --> 00:54:11.686
And I'm like, I feel that because you're just exerting so much energy.
00:54:11.706 --> 00:54:12.005
Because I guess
00:54:12.025 --> 00:54:12.786
emotionally you
00:54:12.827 --> 00:54:13.228
drain,
00:54:13.307 --> 00:54:13.648
right?
00:54:13.668 --> 00:54:14.610
Totally, totally.
00:54:14.650 --> 00:54:14.750
Yeah.
00:54:15.041 --> 00:54:24.431
So I'd say those Bergman's images, Francois Truffaut, Hitchcock, that book, and Ilya Kazan's, I think it's called On Directing.
00:54:25.952 --> 00:54:26.253
But yeah.
00:54:26.574 --> 00:54:26.773
Very
00:54:26.813 --> 00:54:27.313
good list.
00:54:27.494 --> 00:54:27.934
Thank you.
00:54:28.215 --> 00:54:28.835
Of course, yeah.
00:54:29.056 --> 00:54:39.987
And so you picked such a profession that to me always sounded like an elitist profession because directors, like the conductors in the orchestra, right?
00:54:40.047 --> 00:54:42.750
They manage every little detail, right?
00:54:43.010 --> 00:54:54.327
And it's, of course, you have a competition amongst the actors and the production designers and the costume designers, but directors, you can count them probably by hand, how many there are directors.
00:54:54.967 --> 00:55:00.094
So do you ever see yourself being like, what is it called, starstrike?
00:55:00.516 --> 00:55:12.373
When you get super famous, super popular, your movie's going to be in every single cinema, do you feel like you're going to really kind of get bougie and lose your sense of passion, I guess?
00:55:12.706 --> 00:55:14.047
The rawness that's about you?
00:55:14.447 --> 00:55:15.588
I don't think so.
00:55:17.190 --> 00:55:18.893
You know, it's so funny.
00:55:20.534 --> 00:55:29.164
When I was little, like elementary school, my mom worked two jobs to send me to this very almost elitist private school, very expensive private school.
00:55:29.204 --> 00:55:31.525
And my parents did not have money.
00:55:31.585 --> 00:55:32.586
We drove a van.
00:55:32.646 --> 00:55:36.731
My sister's disabled, so we had this van that they got for her wheelchair.
00:55:37.072 --> 00:55:40.195
But we called it the Scooby-Doo van because it was constantly breaking down.
00:55:40.215 --> 00:55:41.777
It was a piece of shit.
00:55:42.657 --> 00:55:49.849
And my mom was working a full-time job in marketing and selling Avon door-to-door to pay on the side for me to go to this private school.
00:55:50.670 --> 00:55:55.277
And I saw so many kids from really well-off families and money being a thing.
00:55:55.317 --> 00:55:57.740
And I saw a lot of pain there.
00:55:57.760 --> 00:56:02.809
I saw a lot of money doesn't solve everything.
00:56:02.889 --> 00:56:07.795
It doesn't automatically depress us, but it doesn't solve anything or everything.
00:56:07.836 --> 00:56:22.128
So I think having that growing up and Realizing, you know, having a sister with health issues, you realize what's really important in life, what matters, and that's love and relationships, passion, creation, film.
00:56:23.230 --> 00:56:26.074
So I think, you know, and I'm not looking into the future.
00:56:26.114 --> 00:56:28.800
I have no idea what's going to happen, you know, tomorrow or anything.
00:56:28.840 --> 00:56:34.389
But I don't think I will ever let go of this desire to tell beautiful, real stories.
00:56:34.429 --> 00:56:35.751
It's so much a part of me.
00:56:35.791 --> 00:56:35.871
Yeah.
00:56:37.186 --> 00:56:42.112
Even, you know, the Bahamas theme, like Bahamas sound fun, but oh my God, let me tell you about the second feature.
00:56:42.172 --> 00:56:43.994
You know, that's what excites me.
00:56:44.014 --> 00:56:45.657
So, yeah.
00:56:46.978 --> 00:56:49.382
And a little more like a technical question.
00:56:49.422 --> 00:56:58.333
So directors who are working on the short films, do you think it's a good advice for them to submit their films to film festivals?
00:56:58.994 --> 00:57:04.382
Or I guess what's the route they should take to get noticed once they film the project?
00:57:04.641 --> 00:57:10.148
To be honest, I think the best reason to make a short film is for the act of directing.
00:57:10.728 --> 00:57:12.489
To be directing, to learn your style.
00:57:12.570 --> 00:57:16.733
Like, I made mistakes on earlier films, as I should because I was an early director.
00:57:16.753 --> 00:57:19.597
And I think even, you know, it's so funny.
00:57:20.378 --> 00:57:25.762
When I was working at Warner Brothers, I, again, moved here with not a lot to my name.
00:57:25.882 --> 00:57:27.164
I didn't have a laptop at home.
00:57:27.184 --> 00:57:32.329
And I would reach out to actors on Instagram, film them with my phone.
00:57:32.673 --> 00:57:35.416
And then I worked nine to six at Warner Brothers and I didn't have a laptop at home.
00:57:35.496 --> 00:57:36.277
So I would edit.
00:57:36.398 --> 00:57:38.260
I don't know if they know that I was doing this.
00:57:38.661 --> 00:57:43.065
I was editing on my work laptop from six to like 11 p.m.
00:57:43.126 --> 00:57:46.628
and then going home because I wanted to experiment with these clips.
00:57:46.670 --> 00:57:49.132
And I wasn't like getting big equipment.
00:57:49.211 --> 00:57:50.514
I wasn't getting anything like that.
00:57:50.653 --> 00:57:59.202
I hope those never see the light of day, you know, but it was me learning my voice and learning what I liked and learning what moved me and how the scenes work.
00:57:59.724 --> 00:58:10.237
So I think, you know, If you are passionate and have a story to tell, and if you have a script that's ready to be told, I don't think my script was ready to be told back in 2021.
00:58:10.358 --> 00:58:12.722
I don't think it was ready to be told back then.
00:58:12.762 --> 00:58:17.648
I think when it's ready to be told, you're going to meet your match, it's all going to happen.
00:58:18.009 --> 00:58:29.545
But in the meantime, the act of directing, the act of storytelling, whether you're using your phone or an old Hi8 camera, or you're using your work laptop when you're technically not supposed to be there, so you have to dim all the lights.
00:58:29.985 --> 00:58:35.893
No matter what, just to always be doing and practicing and, you know, working at it.
00:58:36.534 --> 00:58:37.476
That's a great advice.
00:58:37.976 --> 00:58:38.157
Thank you.
00:58:38.177 --> 00:58:46.347
Did you have any freaky accidents on some of your sets or something that was extraordinary?
00:58:48.490 --> 00:58:49.813
I don't know if I could share this, but I will.
00:58:50.353 --> 00:58:54.840
I rented a Pure Space set for this big party scene.
00:58:54.880 --> 00:58:55.840
I was so excited.
00:58:55.860 --> 00:58:58.324
I was trying to make it like Valley of the Dolls, like really cool.
00:58:59.146 --> 00:58:59.306
And...
00:58:59.746 --> 00:59:30.030
the whoever shot there right before didn't clean it up and i'm pretty sure it was a porn video because there were these condoms and like weird things and my producer of that uh like short film was like hold on actors we're gonna say let's leave it part of the set make it natural it was just so funny because you know that's a funny thing i'm trying to think if there's like any accidents um I mean, knock on wood, wherever there's one that I know of.
00:59:30.210 --> 00:59:31.512
Anything weird with the model?
00:59:31.592 --> 00:59:33.255
I mean, with the actors or actresses?
00:59:34.237 --> 00:59:38.023
No, I really, I consider myself an actor's director.
00:59:38.523 --> 00:59:47.137
I spent a lot of time, I'm being mentored by a great teacher, Harrison James, who taught rehearsal method to directors and things like that.
00:59:47.237 --> 00:59:56.289
She was a great mentor of mine and really taught me about that relationship between director and actor and that it's a collaboration.
00:59:56.389 --> 01:00:04.398
And she introduced me to, you know, Stella Adler and Larry Moss and Nancy Banks and these great teachers.
01:00:04.418 --> 01:00:19.572
I think one of the greatest acting, some of the greatest acting teachers, you know, and even like the Ilya Kazan, that type of director was, you know, running the actor's studio, which Paul Newman and Monroe and he discovered James Dean and Marlon Brando and all these actors.
01:00:20.052 --> 01:00:24.097
So I think that relationship between actor and director, it's almost poetic.
01:00:24.318 --> 01:00:30.067
It's like not just saying the lines and performing, it's having this deeper understanding of why you're doing this.
01:00:30.166 --> 01:00:31.548
I'm always thinking about why.
01:00:31.588 --> 01:00:35.594
Like, I have zero desire to fulfill a quota.
01:00:35.614 --> 01:00:39.681
I have zero desire to be like, ooh, shiny thing, look at what I have here.
01:00:39.701 --> 01:00:43.365
I really want to make a difference or make an impact on someone.
01:00:43.967 --> 01:00:46.110
So I need the actor to understand that.
01:00:46.561 --> 01:00:52.291
And while we have some glitz and glamour and it's fun, it's always that relationship between director and actor of that deeper understanding.
01:00:53.693 --> 01:00:57.137
Yeah, just in my mind, I was thinking, how would you actually bond?
01:00:57.179 --> 01:01:00.083
So apparently I have already a script of a movie.
01:01:00.123 --> 01:01:03.507
How would you bond with your lead, you know, shooting a movie?
01:01:03.909 --> 01:01:11.199
Is it some kind of technique you have, how you as a director would bond with your lead, actor, actress?
01:01:11.420 --> 01:01:12.983
It really is like a deep friendship.
01:01:13.043 --> 01:01:14.244
I love doing lookbooks.
01:01:14.364 --> 01:01:14.726
I love...
01:01:15.074 --> 01:01:18.099
Mm-hmm.
01:01:37.505 --> 01:01:40.550
Of course, there's like classical acting techniques I like.
01:01:40.630 --> 01:01:43.574
I lean more towards Stella Adler, Larry Moss, like I said.
01:01:43.896 --> 01:01:45.759
So what acting technique is that?
01:01:46.380 --> 01:01:52.208
Lots of different ones, like different rehearsal techniques and things like that.
01:01:52.228 --> 01:01:57.275
More specific like animal work and words of the world and things like that.
01:01:57.336 --> 01:01:57.896
Animal work?
01:01:58.398 --> 01:01:59.159
What is animal work?
01:01:59.320 --> 01:02:03.246
So animal work, a great example of animal work is Streetcar Named Desire.
01:02:03.713 --> 01:02:08.579
You have Vivian Leigh playing Blanche DuBois and Marlon Brando playing Stanley Kowalski.
01:02:09.760 --> 01:02:10.961
Ilya Kazan taught animal work.
01:02:11.161 --> 01:02:16.527
And if you see it, Vivian Leigh has the rhythm and movement of a hummingbird.
01:02:17.349 --> 01:02:18.590
She's constantly flighty.
01:02:18.650 --> 01:02:19.771
She's very fragile.
01:02:19.831 --> 01:02:22.275
Her breathing is very quick.
01:02:22.856 --> 01:02:26.619
And Stanley Kowalski's streetcar named Desire, Marlon Brando, gorilla.
01:02:26.739 --> 01:02:27.880
He wants to smash things.
01:02:27.920 --> 01:02:29.302
He comes in with this rugged things.
01:02:29.663 --> 01:02:36.032
So sometimes when an actor feels like they are hitting a wall regarding the character or a scene.
01:02:36.092 --> 01:02:37.954
It's like, what is your character's animal?
01:02:37.974 --> 01:02:44.021
And when you physically emulate that, you feel a physicality of the character.
01:02:44.101 --> 01:02:47.503
Like some people behave or feel or have the rhythm of a gorilla.
01:02:47.523 --> 01:02:49.525
Some people have the rhythm of a leopard.
01:02:49.885 --> 01:02:51.268
Some people have it of a hummingbird.
01:02:51.668 --> 01:02:55.552
So it's a way to understand and translate a character's movement.
01:02:55.831 --> 01:02:57.052
And it's used a lot in theater.
01:02:57.092 --> 01:02:59.074
Little things like that.
01:02:59.094 --> 01:02:59.594
Never
01:02:59.655 --> 01:03:00.916
think that way.
01:03:00.936 --> 01:03:02.038
Yeah, it's a fun one.
01:03:02.369 --> 01:03:04.355
So if you were an actress, who would you be?
01:03:04.375 --> 01:03:06.760
If I was an actress?
01:03:07.764 --> 01:03:07.903
What
01:03:08.806 --> 01:03:08.927
animal?
01:03:09.268 --> 01:03:09.728
What animal?
01:03:09.768 --> 01:03:11.072
I would be a leopard.
01:03:11.092 --> 01:03:12.074
I would be a leopard.
01:03:12.094 --> 01:03:12.516
Of course.
01:03:15.137 --> 01:03:17.702
I'm a huge cat fan.
01:03:18.603 --> 01:03:22.309
There's something very, like you said, sensual, ethereal about leopards.
01:03:22.429 --> 01:03:23.630
And you're very graceful.
01:03:23.791 --> 01:03:24.210
Thank you.
01:03:24.791 --> 01:03:25.172
Definitely.
01:03:25.193 --> 01:03:26.655
But I'm a huge cat person.
01:03:26.695 --> 01:03:30.039
So at least one of the cats, but leopards are my favorite.
01:03:30.059 --> 01:03:31.242
I have my favorite necklace.
01:03:31.362 --> 01:03:31.862
Maybe Lynx.
01:03:32.222 --> 01:03:35.467
That Ty gave me actually is a little leopard, little gold leopard necklace.
01:03:35.507 --> 01:03:36.548
I can see that.
01:03:36.730 --> 01:03:37.670
That's my spirit animal.
01:03:38.032 --> 01:03:38.713
Wow, interesting.
01:03:39.172 --> 01:03:54.563
And then to wrap it up, what advice would you give to filmmakers who are just starting off and they need to pick maybe just one route, which route you would recommend them to take on the way to success?
01:03:55.184 --> 01:03:59.150
I would say finding your storytelling voice is like the biggest thing.
01:03:59.190 --> 01:04:09.666
Writing, practice it over and over, get more personal, get, you know, Tarantino talks about it, the nakedness one should feel when their writing is on the page.
01:04:10.050 --> 01:04:14.577
It should feel like exposure, like, oh, gosh, this is all out there now.
01:04:17.202 --> 01:04:20.626
They should have that feeling, I think, regarding style and voice.
01:04:20.686 --> 01:04:34.771
And then just, you know, surrounding yourself with like-minded people, whether it's being on set and working as a PA or working at Warner Brothers or working with a production company or knocking down doors, you know, with a smile.
01:04:35.612 --> 01:04:36.753
But just always going after it.
01:04:37.025 --> 01:04:57.630
Always believing in yourself, always believing that you have a worthy voice, that your story should be heard, and then realizing the work that it takes, the exposure, the, you know, don't say no to watching something because it has subtitles, you know, which several people have said, but like, watch it anyways, you know.
01:04:57.922 --> 01:05:03.128
Find yourself alone drinking rosé wine, watching a weekend of Tarkovsky.
01:05:03.248 --> 01:05:03.909
With a grandpa.
01:05:04.070 --> 01:05:04.911
With a grandpa, yes.
01:05:05.291 --> 01:05:06.614
You know, your life will change.
01:05:06.653 --> 01:05:08.996
Take a weekend watching Bergman, your life will change.
01:05:09.016 --> 01:05:11.519
Take a weekend watching Sofia Coppola, your life will change.
01:05:12.021 --> 01:05:18.730
And whether you make a movie now or in 10 years, you as a person will change because that's what cinema does and that's what's so powerful about it.
01:05:19.329 --> 01:05:20.614
Well, great words.
01:05:20.735 --> 01:05:23.784
And I would like to wrap up this great advice.
01:05:23.804 --> 01:05:26.072
Thank you so much for this conversation.
01:05:26.092 --> 01:05:28.019
Thank you for being on The Basic Show.
01:05:28.079 --> 01:05:29.525
We had Tyler Marie Evans.
01:05:29.885 --> 01:05:31.893
Look out for her new movie.
01:05:32.226 --> 01:05:34.608
Pretty babies coming out soon.
01:05:34.668 --> 01:05:35.228
Next year.
01:05:35.268 --> 01:05:35.909
Next year.
01:05:35.989 --> 01:05:36.710
I mean, soon.
01:05:36.731 --> 01:05:37.612
Yeah.
01:05:37.911 --> 01:05:38.271
Almost.
01:05:38.371 --> 01:05:39.052
Almost.
01:05:39.233 --> 01:05:40.775
Make sure you follow her on socials.
01:05:41.074 --> 01:05:42.757
What is your Instagram where people can find you?
01:05:43.097 --> 01:05:44.298
Living with freckles.
01:05:44.579 --> 01:05:44.838
Since I
01:05:44.878 --> 01:05:47.001
was 16 years old, living with freckles.
01:05:47.041 --> 01:05:48.322
Sparkling freckles.
01:05:49.023 --> 01:05:49.344
I know.
01:05:49.664 --> 01:05:50.344
That's the next one.
01:05:50.684 --> 01:05:51.485
Well, thank you so much.
01:05:51.565 --> 01:05:53.949
And have a good luck and safe travels on your trip tomorrow.
01:05:54.108 --> 01:05:54.809
Thank you so much.
01:05:54.909 --> 01:05:55.349
Thank you.
01:05:55.389 --> 01:05:56.030
Bye.
01:05:56.451 --> 01:05:58.974
Bye.
01:05:59.650 --> 01:06:07.038
so