Transcrição completa de James Sunshine TALKS ‘Hell’s Kitchen’, ‘Big Brother 18’ & ‘Killing Mary Sue’ | JTWJE Podcast #372

always have some like big 36 00:02:18.479 --> 00:02:21.360 grand story of like, oh, I was I was ten 37 00:02:21.439 --> 00:02:23.560 years old and I saw Star Wars, or I was 38 00:02:23.599 --> 00:02:25.479 this age and I saw this movie and I knew 39 00:02:25.520 --> 00:02:27.840 from that point forward that I was gonna do that 40 00:02:27.960 --> 00:02:30.680 and that type of thing, and like, my story is 41 00:02:30.800 --> 00:02:36.479 so boring, it's really how really, as far back as 42 00:02:36.520 --> 00:02:39.919 I can remember, to my youngest years, like three four 43 00:02:40.000 --> 00:02:42.199 years old, I just remember sitting in front of the 44 00:02:42.280 --> 00:02:45.879 TV watching TV, watching movies and just thinking to myself, Yeah, 45 00:02:45.879 --> 00:02:48.599 I'll be doing that. You know. There was no like 46 00:02:48.879 --> 00:02:51.680 Spark or Genesis or anything like that, like you hear 47 00:02:51.719 --> 00:02:54.439 a lot of filmmakers or actors talk about. It was 48 00:02:54.560 --> 00:02:57.199 kind of just like, literally as far back as I 49 00:02:57.199 --> 00:03:00.000 can remember, it's it's just been like a foregone conclusion 50 00:03:00.159 --> 00:03:01.360 that I would be doing this work. 51 00:03:01.520 --> 00:03:05.120 You know, I gotta say this, James, you and mirror 52 00:03:05.280 --> 00:03:08.280 in the same boat because the things when I was watched, 53 00:03:08.840 --> 00:03:11.479 it's like my parents were able to let me watch 54 00:03:11.599 --> 00:03:14.039 like Live with Regis and Kathy Lee and later Live 55 00:03:14.039 --> 00:03:16.919 with Regis and Kelly and the Rosie O'donnalds Show, and 56 00:03:17.639 --> 00:03:22.039 also Oprah. It was the same thing. In fact, my 57 00:03:22.360 --> 00:03:25.360 when I was three, my folks made a TV box 58 00:03:25.800 --> 00:03:28.400 and it was Donnie. On one side was Donnah Hugh, 59 00:03:28.520 --> 00:03:30.639 the second side was Sally Jesse, Raphael, on the third 60 00:03:30.639 --> 00:03:32.759 side was Oprah, and then the fourth side was me. 61 00:03:34.639 --> 00:03:38.639 That's great. Yeah, yeah. Sometimes sometimes I'll hear people's stories 62 00:03:38.639 --> 00:03:40.719 and they'll go, yeah, when I was when I was twelve, 63 00:03:40.719 --> 00:03:42.319 I saw such and such, and I knew I wanted 64 00:03:42.360 --> 00:03:44.560 to be a filmmaker, And my first thought is just like, wait, 65 00:03:44.560 --> 00:03:46.520 you didn't want to be a filmmaker before that? Why not? 66 00:03:46.759 --> 00:03:48.199 It's like the coolest thing ever, you. 67 00:03:48.120 --> 00:03:53.439 Know, awesome, awesome. So, as I alluded to in my introduction, 68 00:03:53.879 --> 00:03:56.960 you worked on several well known reality shows Who and 69 00:03:57.000 --> 00:03:59.879 I'm My Door Watching It? Then for you a bit 70 00:04:00.080 --> 00:04:02.639 and pieces of all time that you worked for a 71 00:04:02.680 --> 00:04:08.439 decade as a producer on Gordon Ramsey's infamous Hell Kitchen. 72 00:04:09.000 --> 00:04:12.000 What were some of your most memorable moments working on 73 00:04:12.159 --> 00:04:15.400 this set, Because in all honesty, I do not want 74 00:04:15.400 --> 00:04:17.240 to beat around Gordon Ramsey when he's angry. 75 00:04:18.319 --> 00:04:23.600 Yeah, I don't blame you, Chef. Rimsey is actually a 76 00:04:23.759 --> 00:04:26.480 very cool, very down to earth person, at least at 77 00:04:26.560 --> 00:04:29.360 least as far as to his his crew. You know, 78 00:04:29.600 --> 00:04:31.720 Like I can't, I can't attest to like talking to 79 00:04:31.800 --> 00:04:34.519 him just casually in person in the in the wild. 80 00:04:34.720 --> 00:04:37.839 But you know, he's such a veteran of this industry 81 00:04:37.879 --> 00:04:41.720 of TV. He kind of he knows, he knows he's 82 00:04:41.720 --> 00:04:44.480 got to treat his film crew, his his TV crew 83 00:04:44.480 --> 00:04:44.879 as well. 84 00:04:45.160 --> 00:04:45.439 You know. 85 00:04:45.920 --> 00:04:48.720 So I've had nothing but good experiences with the guy. 86 00:04:49.160 --> 00:04:51.720 But yeah, Hell's Kitchen has kind of been my my 87 00:04:51.759 --> 00:04:55.560 bread and butter of reality TV for over a decade. 88 00:04:55.560 --> 00:04:59.519 At this point, I've produced six seasons of it. Honestly, 89 00:04:59.560 --> 00:05:01.680 my favorite about working on that show is just the people. 90 00:05:02.439 --> 00:05:08.000 There's a very common group of producers executive producers, and 91 00:05:08.040 --> 00:05:09.720 a lot of them tend to come back season after 92 00:05:09.759 --> 00:05:12.680 season after season. So it's like I can almost compare 93 00:05:12.720 --> 00:05:15.439 it to like like summer camp or something. You know, 94 00:05:15.600 --> 00:05:17.240 when I was a kid, I would go to a 95 00:05:17.279 --> 00:05:19.279 sleep away summer camp and I would have all my 96 00:05:19.279 --> 00:05:21.959 friends there, and then we'd go away to school for 97 00:05:22.079 --> 00:05:23.879 the rest of the year and we kind of miss 98 00:05:23.879 --> 00:05:25.360 each other, and then we'd all get back together at 99 00:05:25.399 --> 00:05:28.040 summer camp the next year. And that's kind of what 100 00:05:28.079 --> 00:05:32.319 Hell's Kitchen is like in a certain way. I love 101 00:05:32.319 --> 00:05:34.759 seeing all the people there producing stuff together with them 102 00:05:35.399 --> 00:05:39.839 and yeah, I don't know, best experiences. One of the 103 00:05:39.839 --> 00:05:43.199 reasons that I love making Hell's Kitchen and Big Brother 104 00:05:43.279 --> 00:05:45.519 and shows like that is actually just because they have 105 00:05:45.680 --> 00:05:49.720 such a such a big fan base. One of my 106 00:05:49.720 --> 00:05:52.439 favorite things to do is when the seasons are airing, 107 00:05:52.800 --> 00:05:58.000 go on websites like Reddit and read the fan discussions 108 00:05:58.040 -->

00:06:01.560 in the forums for these episodes. That I've had such 109 00:06:01.560 --> 00:06:05.600 an integral part of making and see exactly how people 110 00:06:05.600 --> 00:06:09.480 are responding to it, you know, and it's just it's 111 00:06:09.519 --> 00:06:12.399 really satisfying. Sometimes you do small, smaller shows in the 112 00:06:12.439 --> 00:06:15.000 reality TV space which are so much fun to produce, 113 00:06:15.040 --> 00:06:17.560 but they don't have the fan base to where you 114 00:06:17.600 --> 00:06:19.480 can get kind of the satisfaction of like, how are 115 00:06:19.480 --> 00:06:21.160 people actually reacting to this? You know? 116 00:06:22.560 --> 00:06:25.600 I agree and speaking of one fan base in particular, 117 00:06:25.639 --> 00:06:29.120 and it's they're a very difficult group of people. I'm 118 00:06:29.160 --> 00:06:33.040 talking about the Big Brother fan base because next year 119 00:06:33.040 --> 00:06:37.240 remarks the tenth anniversary a Big Brother eighteen as the 120 00:06:37.319 --> 00:06:40.319 producer who reached some of the stories that starts some 121 00:06:40.360 --> 00:06:42.920 of the biggest things reality to the television and social media. 122 00:06:43.000 --> 00:06:47.920 I'm talking about Nicole friendzel Arroyo, think Oio, Jake's take, 123 00:06:48.000 --> 00:06:52.160 Fred Paul Abrahamion, one of my dear friends in Beloved 124 00:06:52.199 --> 00:06:57.839 Guest poly cal Fiury, Corey Brooks, Nalie, Nitta Grotti, Davon Rogers, 125 00:06:57.839 --> 00:07:01.079 and Jose Florides. So why do the season stand out 126 00:07:01.199 --> 00:07:02.800 so much in show history? 127 00:07:03.800 --> 00:07:06.639 You know what? I agree with you. I really think 128 00:07:06.680 --> 00:07:10.560 season eighteen was one of the better seasons excuse me, 129 00:07:10.879 --> 00:07:14.560 one of the better seasons in the history of Big Brother, 130 00:07:15.560 --> 00:07:17.600 and it doesn't get the credit that it deserves a lot. 131 00:07:17.720 --> 00:07:19.600 Usually when people talk about what are the best seasons, 132 00:07:19.639 --> 00:07:21.319 they'll go to some other ones, but I think I 133 00:07:21.319 --> 00:07:23.639 think eighteen deserves to be up there. Like you said, 134 00:07:23.680 --> 00:07:27.920 the cast is just great. The characters on that season, 135 00:07:28.920 --> 00:07:32.319 it's like just the right amount of pettiness and drama 136 00:07:32.439 --> 00:07:35.319 and all that, Like you can't have too much or 137 00:07:35.360 --> 00:07:37.399 else it actually becomes a struggle to watch. But you 138 00:07:37.399 --> 00:07:39.759 can't have none either, like you need to find that 139 00:07:39.839 --> 00:07:42.480 middle ground, you know. And then the thing that I 140 00:07:42.519 --> 00:07:45.000 think really stands out about season eighteen a Big Brother 141 00:07:46.120 --> 00:07:49.759 that sets it apart is there's two things that I 142 00:07:49.759 --> 00:07:53.000 think make a great season a Big Brother, and that 143 00:07:53.399 --> 00:08:02.600 is constantly shifting alliances and blind sides. And what I 144 00:08:02.639 --> 00:08:04.480 hate to see in a season of Big Brother. I mean, 145 00:08:05.160 --> 00:08:08.000 even Big Brother is like pizza, Like even a bad 146 00:08:08.000 --> 00:08:09.879 season of Big Brother is still pretty good, you know. 147 00:08:11.240 --> 00:08:14.000 But what you hate to see on a show like 148 00:08:14.079 --> 00:08:16.600 that is like just you get some big majority alliance 149 00:08:17.160 --> 00:08:19.319 and they stay in power every week and they pick 150 00:08:19.360 --> 00:08:21.519 people off one at a time, and the people who 151 00:08:21.519 --> 00:08:25.439 get evicted know their fate, they know it's coming. And 152 00:08:26.279 --> 00:08:30.360 what's great about eighteen is shifting alliances. Week to week. 153 00:08:30.439 --> 00:08:32.360 People would be in alliances with these people and then 154 00:08:32.360 --> 00:08:34.960 an alliances with those people. Week to week you'd have 155 00:08:35.039 --> 00:08:37.320 somebody who was on the block, and then the next 156 00:08:37.320 --> 00:08:39.919 week they'd be the hoh and it just shifts the 157 00:08:39.919 --> 00:08:43.720 whole power dynamic. And then from what I remember, most 158 00:08:43.759 --> 00:08:47.480 of the weeks, when somebody got evicted, their jaw was 159 00:08:47.519 --> 00:08:51.039 on the floor. They did not expect it, which twists 160 00:08:51.039 --> 00:08:54.679 and blind sides just made for fun TV. So I agree, 161 00:08:54.720 --> 00:08:57.240 I think season eighteen is like one of the best 162 00:08:57.279 --> 00:09:00.000 seasons of all time. But maybe I'm just maybe I'm 163 00:09:00.159 --> 00:09:02.120 just a little biased because I worked on it, you know. 164 00:09:03.200 --> 00:09:06.039 And the thing is, with that season alone, it's like 165 00:09:06.039 --> 00:09:08.639 like you said, like it's boring when you go into 166 00:09:08.720 --> 00:09:12.799 sixteen and when you have Derek and Cody and Frankie's alliance, 167 00:09:13.240 --> 00:09:15.720 then you have twenty where you have Level six, which 168 00:09:15.720 --> 00:09:19.799 is Tyler, Angela Casey with JC and Sam on the side. 169 00:09:20.320 --> 00:09:24.120 It's in like seeing and seeing having poor the Hive 170 00:09:24.759 --> 00:09:28.519 being wiped out one by one, yeah, and then not. 171 00:09:28.799 --> 00:09:32.039 But however, it avoids a toxicity of fifteen, nineteen and 172 00:09:32.080 --> 00:09:32.559 twenty one. 173 00:09:33.639 --> 00:09:36.279 Yeah. Yeah, And it's you know, on one hand, when 174 00:09:36.279 --> 00:09:38.240 you get those seasons with the big alliances that pick 175 00:09:38.320 --> 00:09:41.759 people off like it's admirable, you know, like you respect 176 00:09:41.759 --> 00:09:43.600 these people. It's like, oh my god, they're playing the 177 00:09:43.639 --> 00:09:45.279 game so well.

178 00:09:45.279 --> 00:09:48.120 Especially Derek when sixteen comes to mind. 179 00:09:48.559 --> 00:09:51.480 Yeah, you know, sometimes I think to myself, like, if 180 00:09:51.519 --> 00:09:54.200 I were to ever play Big Brother, like I would 181 00:09:54.279 --> 00:09:57.240 want to play a game like Derek or Cody. And 182 00:09:57.240 --> 00:09:59.720 then I think to myself, Man, my season would be gon, 183 00:10:00.120 --> 00:10:02.679 but it wouldn't really be too exciting, now, would it. 184 00:10:03.080 --> 00:10:05.000 So you have to have a Paul, you have to 185 00:10:05.000 --> 00:10:07.080 have a Vanessa, you have to have a Frankie. 186 00:10:07.480 --> 00:10:10.000 Yeah. That's the thing is you need you need chaotic 187 00:10:10.039 --> 00:10:13.039 players that are just willing to make moves and backstab 188 00:10:13.320 --> 00:10:17.240 and and get tied up emotionally and stuff. And you 189 00:10:17.279 --> 00:10:19.759 know that's that's not good for the people in the house, 190 00:10:19.799 --> 00:10:21.480 but it's good for the viewers at home, you know. 191 00:10:21.759 --> 00:10:24.559 Yeah. And but however, there are sometimes where like if 192 00:10:24.600 --> 00:10:27.399 you look at Big Brother twenty one with nicolete with 193 00:10:27.559 --> 00:10:30.840 the ov the Kemi to David of all the Nicole 194 00:10:30.919 --> 00:10:33.440 thing and all, not to mention the constant nineteen battles 195 00:10:33.480 --> 00:10:37.120 with Justin Cody versus Josh and Christmas and everything like that, 196 00:10:37.200 --> 00:10:40.480 and Paul's Paul that was those are like different things. 197 00:10:40.799 --> 00:10:43.240 Yeah, yeah, I agree, all. 198 00:10:43.240 --> 00:10:45.320 Right, So speak while we're we can. While I can 199 00:10:45.360 --> 00:10:47.840 talk to you about Big Brother all the time. We're 200 00:10:47.879 --> 00:10:50.360 not here to talk about Big Brother or any or 201 00:10:50.840 --> 00:10:53.960 the Chenbot or anything or o TeV. We're here to 202 00:10:53.960 --> 00:10:58.159 talk about you. So let's get start. Let's get back 203 00:10:58.159 --> 00:11:02.159 to our conversation and talk about your film career. So 204 00:11:02.240 --> 00:11:05.399 let's start with your debut, philm The Corona Virus Conspiracy, 205 00:11:05.720 --> 00:11:08.840 which was released during the height of the twenty twenty lockdown, 206 00:11:09.200 --> 00:11:11.960 and it was also the first Union approved independent field 207 00:11:12.360 --> 00:11:16.279 through shops in Los Angeles post lockdown. So how did 208 00:11:16.360 --> 00:11:20.480 you and your team overcome these obstacles delivered this film successfully? 209 00:11:22.200 --> 00:11:27.000 I mean just perseverance, you know, I mean that there's 210 00:11:27.080 --> 00:11:29.200 so much to that question, Like I could I could 211 00:11:29.279 --> 00:11:31.159 sit here and talk your ear off for thirty minutes 212 00:11:31.200 --> 00:11:32.840 about about all the things that we had to do, 213 00:11:33.039 --> 00:11:38.559 had time, you know, But yeah, I mean, the genesis 214 00:11:38.320 --> 00:11:43.039 of that film was in the beginning of twenty twenty 215 00:11:43.720 --> 00:11:45.759 there was a completely different film that I was going 216 00:11:45.799 --> 00:11:49.679 to shoot, and I got an investor lined up, and 217 00:11:51.240 --> 00:11:55.320 it was literally March of twenty twenty, and we were 218 00:11:55.360 --> 00:11:57.240 about a month or two away. We had a cast, 219 00:11:57.279 --> 00:11:59.960 we had locations, we had all this stuff, and then 220 00:12:00.080 --> 00:12:05.320 COVID hit and just like killed everything and we lost 221 00:12:05.360 --> 00:12:08.519 the funding and all this stuff. But I've always been 222 00:12:08.840 --> 00:12:13.559 like a glass half full kind of guy. And you know, 223 00:12:13.600 --> 00:12:15.639 when I said we had funding, that the funding was 224 00:12:15.679 --> 00:12:17.320 going to be we were going to be really really 225 00:12:17.320 --> 00:12:19.159 low budget, and I was going to put up half 226 00:12:19.159 --> 00:12:21.159 the funding myself, and then we had an investor to 227 00:12:21.159 --> 00:12:23.600 put up half the funding. And so, being being the 228 00:12:23.639 --> 00:12:25.559 glass half full type guy, I said, you know, well 229 00:12:25.639 --> 00:12:28.120 I still got the money I was going to put 230 00:12:28.120 --> 00:12:34.080 into it, you know. And and I looked around. Everybody 231 00:12:34.080 --> 00:12:36.080 was lamenting the fact that the industry was shut down, 232 00:12:36.080 --> 00:12:38.480 and I just kind of asked, well, that means nobody's filming. 233 00:12:39.200 --> 00:12:41.200 So what if what if I can be the only 234 00:12:41.200 --> 00:12:44.600 guy who's filming right now? You know? So I wrote 235 00:12:44.600 --> 00:12:50.480 a completely new script in Lockdown that was about people 236 00:12:50.759 --> 00:12:54.519 in lockdown during COVID. And the reason I liked this 237 00:12:54.679 --> 00:12:57.600 idea one of the reasons I liked it was because 238 00:12:57.600 --> 00:13:02.360 it gave story motivated reasons why we had to comply 239 00:13:03.000 --> 00:13:06.039 on camera with all of the restrictions. You know, no 240 00:13:06.159 --> 00:13:08.639 gatherings of more than ten people, you have to wear masks, 241 00:13:08.679 --> 00:13:12.960 you have to stand six feet apart, you know. And 242 00:13:13.039 --> 00:13:15.840 so we came up with this crazy idea and we 243 00:13:15.919 --> 00:13:17.639 pitched it to the studios because we wanted to work 244 00:13:17.639 --> 00:13:20.679 with union actors because SAG union actors are going to 245 00:13:20.679 --> 00:13:25.679 get you the best performances. And we got permission from 246 00:13:25.720 --> 00:13:30.080 SAG to film in August of twenty twenty, you know, 247 00:13:30.440 --> 00:13:32.000 because we talked to them. We said, yeah, they're going 248

00:13:32.000 --> 00:13:33.519 to stand six feet apart, We're going to do all 249 00:13:33.519 --> 00:13:36.080 these things. We even got sponsorship from a ppe company, 250 00:13:36.120 --> 00:13:38.480 which was which was a pretty a pretty cool move 251 00:13:38.519 --> 00:13:42.480 I think on our part to like assure the unions 252 00:13:42.519 --> 00:13:45.120 that hey, we're taking this seriously. You know, we got 253 00:13:45.120 --> 00:13:50.039 tested on set I think every other day. So yeah, 254 00:13:50.080 --> 00:13:54.279 the goal was really to like do whatever we can 255 00:13:54.519 --> 00:13:58.399 possible to be the people filming right now, because if 256 00:13:58.440 --> 00:14:02.120 we can have a product when nobody else does, you 257 00:14:02.200 --> 00:14:05.519 come out on the other end of this and you're 258 00:14:05.559 --> 00:14:07.360 the only person that has a film ready to go, 259 00:14:08.200 --> 00:14:13.559 Like that's got to count for something, you know, And yeah, yeah, 260 00:14:13.600 --> 00:14:14.080 and I'm. 261 00:14:14.120 --> 00:14:16.279 Very impressed that you were able to do that all 262 00:14:16.480 --> 00:14:20.279 that and with everything with people and like having the 263 00:14:20.320 --> 00:14:22.639 procedures because with a film set, with any film set 264 00:14:22.679 --> 00:14:25.879 intelligence set, like I've done like at least three top 265 00:14:26.000 --> 00:14:28.519 three days of a film like a week, like a 266 00:14:28.519 --> 00:14:31.759 two weeks of film like of a reality background. When 267 00:14:31.759 --> 00:14:34.000 The X Factor was in Kansas City and Denver, It's 268 00:14:34.039 --> 00:14:36.480 like there's so much procedures and play when you're dealing 269 00:14:36.519 --> 00:14:39.559 with people. But however, when the cod when coviding, and 270 00:14:39.639 --> 00:14:42.080 it's like you have to have that times one hundred. 271 00:14:43.039 --> 00:14:45.279 Yeah, And that's that's what I noticed that by the 272 00:14:45.360 --> 00:14:48.600 end of the summer of twenty twenty, there were two 273 00:14:48.759 --> 00:14:51.879 types of productions that were getting greenlit again, and that 274 00:14:52.080 --> 00:14:55.679 was either the productions that were two hundred million dollars 275 00:14:56.080 --> 00:14:58.759 and had the ability to test all these people and 276 00:14:58.799 --> 00:15:01.399 create zones. I don't if you remember the zone systems 277 00:15:01.440 --> 00:15:06.159 on a Zone B, Zone C all that, and little 278 00:15:06.240 --> 00:15:08.919 no budget productions that were so small that you didn't 279 00:15:09.000 --> 00:15:12.320 have to worry about the outbreaks as much. You know, 280 00:15:12.399 --> 00:15:16.399 I remember when we were shooting this film. The big 281 00:15:16.440 --> 00:15:19.440 thing in the news was that The Batman with Robert 282 00:15:19.440 --> 00:15:22.519 Pattinson had also been given the green light to start 283 00:15:22.519 -->

00:15:26.000 shooting again. And it was in the middle I think 284 00:15:26.039 --> 00:15:28.720 it was like our second or third production day. We 285 00:15:28.720 --> 00:15:31.440 were reading on deadline about how The Batman had been 286 00:15:31.440 --> 00:15:34.559 shut down again because somebody had COVID on their set. 287 00:15:35.919 --> 00:15:37.960 But yeah, we were able to keep it so small 288 00:15:38.320 --> 00:15:40.399 that we really didn't have those concerns. Like to give 289 00:15:40.399 --> 00:15:42.840 you an idea, we shot. We shot a feature length 290 00:15:42.879 --> 00:15:47.679 film in eight days with a casting crew of I 291 00:15:47.679 --> 00:15:50.480 think it was eight people. You know that we had 292 00:15:50.480 --> 00:15:56.000 our two lead actors. We had our director of photography, Jeremy. 293 00:15:57.200 --> 00:16:00.200 We had like a gaffer slash PA to help Jeremy out. 294 00:16:00.440 --> 00:16:03.159 We had a sound guy. We had my producer who 295 00:16:03.200 --> 00:16:05.559 was mostly just doing the paperwork and stuff on set. 296 00:16:05.799 --> 00:16:10.080 We had our our COVID safety officer right and then 297 00:16:10.159 --> 00:16:13.639 me doing everything else like I was. I was the director, 298 00:16:13.679 --> 00:16:15.759 I was the writer, I was the art director, I 299 00:16:15.919 --> 00:16:20.559 was the AD I was the script supervisor, like every 300 00:16:20.559 --> 00:16:24.559 other position I was filling. And it's because we were 301 00:16:24.600 --> 00:16:30.279 so small solo impact, you know, we just we weren't 302 00:16:30.279 --> 00:16:33.559 affected by the virus. You know, everybody, every everybody on 303 00:16:33.600 --> 00:16:36.919 our crew and cast was very careful in the month 304 00:16:37.000 --> 00:16:39.559 leading up to it to not expose themselves. So by 305 00:16:39.600 --> 00:16:41.080 the time it was time for us all to get 306 00:16:41.120 --> 00:16:43.639 together and shoot this thing, like, yeah, it was a 307 00:16:43.679 --> 00:16:45.480 foregone conclusion we were going to be able to do 308 00:16:45.519 --> 00:16:46.399 it safely, you know. 309 00:16:47.799 --> 00:16:50.360 And I'm thoughty for that because not a lot of 310 00:16:50.720 --> 00:16:53.399 not a lot of small productions were able to have 311 00:16:53.519 --> 00:16:55.639 the ability to have a Warner Brothers just going to 312 00:16:55.639 --> 00:17:00.000 rebacking them, or a Disney or a Comcast NBC Universal package. 313 00:17:00.480 --> 00:17:00.840 Yeah. 314 00:17:01.000 --> 00:17:05.200 Yeah, all right, so let's talk about Killing Mary Sue. 315 00:17:05.400 --> 00:17:08.680 I really enjoyed it. It was hysterical. 316 00:17:09.279 --> 00:17:09.720 Thank you. 317 00:17:09.799 --> 00:17:13.319 Please describe this film to my audience. 318 00:17:14.559 --> 00:17:18.279 Yeah, so you just the plot or what do. 319 00:17:18.240 --> 00:17:20.680 You think I think the plot would be good? 320 00:17:21.039 --> 00:17:25.920 Okay, cool? Yeah. So it's it's the story of a 321 00:17:26.079 --> 00:17:31.599 corrupt senator and his crazy, scandal ridden step daughter and 322 00:17:31.680 --> 00:17:35.079 he's running for reelection and she's all over the news 323 00:17:35.119 --> 00:17:37.759 with her partying and her hookups and all of her 324 00:17:37.759 --> 00:17:40.920 crazy stuff, and she's about to cost him his reelection 325 00:17:41.440 --> 00:17:45.319 and so the only avenue that he sees to secure 326 00:17:45.440 --> 00:17:49.640 victory is to hire assassins to have her killed. You know, 327 00:17:50.039 --> 00:17:53.519 he gets to eliminate her from the picture while also 328 00:17:53.680 --> 00:17:56.279 playing the sympathy card, going, oh my god, my poor 329 00:17:56.319 --> 00:17:59.400 little my poor little, sweet step daughter was taken from me, 330 00:17:59.799 --> 00:18:02.000 and so he gets to garner the sympathy vote, you know, 331 00:18:04.039 --> 00:18:06.960 but then obviously things go wrong. The film is called 332 00:18:07.039 --> 00:18:10.920 Killing mary Sue because it very intentionally plays into the 333 00:18:11.039 --> 00:18:16.119 tropes of mary Sue characters. You know, mary Sues are 334 00:18:16.240 --> 00:18:19.759 this thing, if you're not familiar with it, where it's 335 00:18:19.759 --> 00:18:22.799 often a criticism. You've seen it thrown around video games 336 00:18:22.799 --> 00:18:24.680 and film all the time. Oh this girl is a 337 00:18:24.720 --> 00:18:26.759 mary Sue, this character is a Mary Sue. And it's 338 00:18:26.759 --> 00:18:33.720 basically it's a criticism of writing, really for a character, 339 00:18:33.920 --> 00:18:36.519 usually a woman who is just good at everything for 340 00:18:36.599 --> 00:18:39.400 no reason at all. And sometimes when you hear those criticisms, 341 00:18:39.400 --> 00:18:42.000 they're right. Sometimes when you hear those criticisms, they're wrong. 342 00:18:42.759 --> 00:18:45.920 This film really isn't about adjudicating whether whether it's right 343 00:18:46.000 --> 00:18:48.400 or wrong. What this film was about was was I 344 00:18:48.480 --> 00:18:53.839 noticed a trend where mary Sues in film and story 345 00:18:53.839 --> 00:18:58.480 and TV always seem to happen by accident. You know, 346 00:18:58.559 --> 00:19:01.359 a writer intends to write character one way, and then 347 00:19:01.400 --> 00:19:05.279 they're perceived as a Mary Sue and it's used as 348 00:19:05.319 --> 00:19:09.160 a pejorative. And I said, how come nobody's ever written 349 00:19:09.160 --> 00:19:12.640 this type of character on purpose before? And how much 350 00:19:12.759 --> 00:19:16.599 fun could be had if a writer and a filmmaker 351 00:19:16.680 --> 00:19:19.079 was self aware that their character was a Mary Sue 352 00:19:19.079 --> 00:19:22.440 and it was done intentionally. So that's where the fun 353 00:19:22.480 --> 00:19:25.640 of the movie comes in. Is this guy is literally 354

00:19:25.680 --> 00:19:29.079 trying to kill a literal Mary Sue and it doesn't 355 00:19:29.119 --> 00:19:31.839 work because she's good at everything for no reason at all. 356 00:19:33.319 --> 00:19:35.880 And we'll talk about that in a second, but first 357 00:19:35.880 --> 00:19:37.400 we got to talk about the all star group of 358 00:19:37.480 --> 00:19:42.519 performers that you and your team assembled, including Sierra McCormick 359 00:19:42.559 --> 00:19:47.440 from American Horror Stories, Dormont Mullery from Chicago Fire, Sean 360 00:19:47.599 --> 00:19:51.599 Patrick Flannery from The Various Legend, Martin Cove from The 361 00:19:51.119 --> 00:19:55.440 Cobra Kai and more so, how did this cast assemble? 362 00:19:56.519 --> 00:20:00.960 This cast assembled at the literal last minute. I love 363 00:20:01.000 --> 00:20:05.359 our cast so much, such great faces, so much talent. 364 00:20:06.880 --> 00:20:09.119 What's interesting is, like we talked about my last movie, 365 00:20:09.119 --> 00:20:11.240 how we had the hurdles of the pandemic. This movie 366 00:20:11.319 --> 00:20:17.519 had the hurdles of the actors strike. We were in 367 00:20:17.599 --> 00:20:20.720 a soft development pre production at the beginning of twenty 368 00:20:20.759 --> 00:20:24.640 twenty three, and then I want to say, in like 369 00:20:25.200 --> 00:20:28.799 the beginning of May in twenty twenty three, we saw 370 00:20:28.839 --> 00:20:30.640 the writing on the wall that the actors were going 371 00:20:30.680 --> 00:20:33.839 to strike that summer, and me and my team and producers, 372 00:20:33.839 --> 00:20:35.839 we kind of just looked at each other and we said, Okay, 373 00:20:35.880 --> 00:20:38.880 either we filmed this next month or we don't film 374 00:20:38.920 --> 00:20:41.680 this until next year. And we were not ready to 375 00:20:41.720 --> 00:20:44.599 film next month, and we said, to hell with it. 376 00:20:44.880 --> 00:20:47.759 We like a challenge. So we threw together pre production 377 00:20:47.839 --> 00:20:50.759 in like three weeks and like we were going into 378 00:20:50.799 --> 00:20:54.359 shooting and like did not even have cast or locations 379 00:20:54.480 --> 00:20:57.319 or anything like days before going into it, and all 380 00:20:57.359 --> 00:20:59.880 came together at the last minute. And I like to say, like, 381 00:21:00.000 --> 00:21:02.279 there's no reason this film should have come together as 382 00:21:02.319 --> 00:21:04.680 well as it did. You know, it just won Best 383 00:21:04.680 --> 00:21:07.680 Picture at the Los Angeles Film Festival by IFS, So 384 00:21:07.720 --> 00:21:10.720 it's like we've gotten a great reaction to the film. 385 00:21:11.119 --> 00:21:15.480 But that like scattershot, last minute approach of putting the 386 00:21:15.519 --> 00:21:19.240 film together created a lot of hurdles, but it also 387 00:21:19.359 --> 00:21:23.640 created some some very unintentional silver linings, which was that

388 00:21:24.160 --> 00:21:27.240 we were able to get a great cast because all 389 00:21:27.319 --> 00:21:30.599 of these big name actors in Hollywood knew that they 390 00:21:30.599 --> 00:21:33.880 were about to not be working for six months. And 391 00:21:33.960 --> 00:21:37.799 so when a strike is looming in two weeks and 392 00:21:37.880 --> 00:21:40.200 somebody reaches out to you at the last minute and goes, hey, 393 00:21:40.200 --> 00:21:42.440 do you want to do two days on this film 394 00:21:42.519 --> 00:21:44.799 and pick up a paycheck real quick? A lot of 395 00:21:44.839 --> 00:21:47.000 them go, you know what, Yeah, that sounds pretty nice, 396 00:21:47.359 --> 00:21:50.400 you know. So, yeah, we were able to just get 397 00:21:50.400 --> 00:21:52.720 an all star cast kind of because of the crazy 398 00:21:52.759 --> 00:21:56.839 circumstances we were in, and we didn't even get a 399 00:21:56.839 --> 00:21:59.240 lot of rehearsal time. But the performances are so good. 400 00:21:59.279 --> 00:22:02.519 I think that I think speaks to how well written 401 00:22:02.519 --> 00:22:05.000 the script was. When you have a really well written 402 00:22:05.039 --> 00:22:10.000 script meeting really talented actors who know how to find 403 00:22:10.079 --> 00:22:12.960 that depth and nuance and the characters that they're performing, 404 00:22:13.359 --> 00:22:16.599 sometimes you don't even need, you know, days and weeks 405 00:22:16.599 --> 00:22:19.319 of rehearsals and discussions and things like that. 406 00:22:19.440 --> 00:22:24.079 You know, absolutely absolutely, so I gotta do this. I'm 407 00:22:24.119 --> 00:22:27.359 sorry all but spoilers are ahead. 408 00:22:28.359 --> 00:22:31.279 Spoiler alert. If you haven't seen it, turn off the interview, 409 00:22:31.279 --> 00:22:32.240 go see the movie. 410 00:22:33.079 --> 00:22:36.039 Thanks James, thank you, appreciate it, and come back to 411 00:22:36.119 --> 00:22:44.240 us later. All right, give everybody five seconds. Bye, two one. 412 00:22:44.559 --> 00:22:45.759 I think they're gone. 413 00:22:45.599 --> 00:22:49.759 So yeah, pause pause, let's pause really quick and unpause. 414 00:22:50.920 --> 00:22:54.480 All right. So Mary Sue is a very complicated character. 415 00:22:54.480 --> 00:22:56.000 When I was watching this and night, guys say, see, 416 00:22:56.000 --> 00:22:59.319 you're at a fabulous job and it's amazing. How do 417 00:22:59.400 --> 00:23:04.079 you transfer orbs into this problem wrecking person, into this 418 00:23:04.200 --> 00:23:08.200 insane assassin with everyy single thing being thrown at her 419 00:23:08.519 --> 00:23:11.519 from cable Henry all the way to the Steiner family, 420 00:23:11.720 --> 00:23:13.599 all the way to the Seiners, and not to mention 421 00:23:13.720 --> 00:23:14.880 that spinning. 422 00:23:14.519 --> 00:23:18.480 Oh my god, not to mention what sorry, the spinning. 423 00:23:19.440 --> 00:23:23.359 Oh yeah, that's a good trick.

Spinning is a good trick. Yeah. 424 00:23:23.720 --> 00:23:26.920 Yeah, So that was pretty amazing. So how did how 425 00:23:26.960 --> 00:23:30.119 did Sierra make sure that this it felt like Mary 426 00:23:30.160 --> 00:23:33.799 Sue is more Beatrice? Kiddo had chance a BERI just kiddo. 427 00:23:34.440 --> 00:23:38.559 Yeah, yeah, I mean. The the thing about Sierra is, 428 00:23:38.599 --> 00:23:41.839 like we said, we didn't really lock her in until 429 00:23:41.839 --> 00:23:48.000 about two days before filming began. I got she worked 430 00:23:48.160 --> 00:23:50.960 with a friend of mine, Pat Healy, who's who's one 431 00:23:51.000 --> 00:23:52.799 of the most talented actors that I know. They did 432 00:23:52.799 --> 00:23:55.480 a film together, and so we had a casting director 433 00:23:55.559 --> 00:23:58.799 kind of shortlist potential actresses for the role. She was 434 00:23:58.839 --> 00:24:00.880 on that list. I watched her. I thought she was good, 435 00:24:00.920 --> 00:24:02.359 and when I saw that she'd worked with a friend 436 00:24:02.400 --> 00:24:04.000 of mine, I reached out to him. I was like, Hey, 437 00:24:04.039 --> 00:24:07.000 this this girl, Sierra, what's she like? And he was like, Oh, 438 00:24:07.559 --> 00:24:09.799 she's a rock star. She's got a great sense of humor. 439 00:24:10.000 --> 00:24:12.319 She's easy to work with. And I was like, you know, 440 00:24:12.400 --> 00:24:15.240 that's that's all the endorsement that I need. I trust Pat. 441 00:24:16.279 --> 00:24:19.400 And but still I was nervous because, like I said, 442 00:24:19.400 --> 00:24:23.880 we didn't get any rehearsal time with her. And when 443 00:24:23.920 --> 00:24:26.640 we got on set the first day and I saw 444 00:24:26.680 --> 00:24:29.839 her start to perform those scenes as this character, I 445 00:24:29.880 --> 00:24:33.319 thought to myself, I was like, Oh, this feels like 446 00:24:33.359 --> 00:24:37.599 I wrote this character for her. Like it was. It was. 447 00:24:37.799 --> 00:24:41.440 It was a perfect match for the material to the actor, 448 00:24:42.039 --> 00:24:44.920 and and I couldn't have asked for anything better. But yeah, 449 00:24:44.920 --> 00:24:50.440 the way that she transforms from kind of a little 450 00:24:50.519 --> 00:24:52.720 ditsy girl who doesn't really know what's going on to 451 00:24:52.839 --> 00:24:56.640 kind of embracing her role as a badass was really 452 00:24:56.680 --> 00:24:57.519 really impressive. 453 00:24:57.799 --> 00:25:02.400 For sure, speaking then press it attack of that, Thurlott 454 00:25:02.480 --> 00:25:07.039 Mulroney's Bradley Wiener was very I gotta say this, he 455 00:25:07.119 --> 00:25:10.599 played the part excellent, one of the best villains to 456 00:25:10.640 --> 00:25:13.599 set me so far, And then got to say he's 457 00:25:13.720 --> 00:25:16.599 Lex Luthor and Lady Tremaine on steroids. 458 00:25:18.920 --> 00:25:21.920 Yeah. I loved working with Dermott too. He's such a 459 00:25:22.400 --> 00:25:24.720 veteran of this industry. And what I loved about this 460 00:25:24.880 --> 00:25:28.880 role is, as far as I'd seen, he doesn't really 461 00:25:28.920 --> 00:25:33.599 get to flex his comedy chops and a lot of 462 00:25:33.640 --> 00:25:38.000 the roles that he winds up in nowadays, even though 463 00:25:38.039 --> 00:25:43.720 he's hilarious, he has such great comedic instincts, and in 464 00:25:43.759 --> 00:25:46.720 the chemistry between him and Sierra, even though they hadn't 465 00:25:46.759 --> 00:25:49.680 met until the first day of filming, they had this 466 00:25:49.880 --> 00:25:53.720 really wonderful chemistry with each other. Yeah. I don't have 467 00:25:53.839 --> 00:25:56.359 enough good things to say about Dermott Moulroney in my 468 00:25:56.400 --> 00:25:59.519 time working with him. One of the things that I 469 00:25:59.640 --> 00:26:01.279 said to a lot of people as we were shooting 470 00:26:01.319 --> 00:26:04.480 this was even though I was written, even though I 471 00:26:04.480 --> 00:26:07.440 had written it and I was directing it, I had 472 00:26:07.559 --> 00:26:10.960 probably the least experience on a professional feature film set 473 00:26:11.240 --> 00:26:13.599 then most people, you know, all the way down to 474 00:26:13.720 --> 00:26:16.160 like the Gaffers and the acs, they had more experience 475 00:26:16.200 --> 00:26:18.599 on film sets than me, and so I was very 476 00:26:18.640 --> 00:26:20.680 transparent with people. I was like, I was like, I 477 00:26:20.720 --> 00:26:22.119 have a vision, I know what I want, but I 478 00:26:22.200 --> 00:26:24.920 also want to lean on you. If you have ideas 479 00:26:25.000 --> 00:26:27.319 or you have things, you want to throw things out there, 480 00:26:27.759 --> 00:26:30.640 like I am here to I'm here to learn from 481 00:26:30.680 --> 00:26:34.799 you just as much as I'm here to give direction, 482 00:26:35.200 --> 00:26:41.039 you know. And Dermott was an incredibly valuable wealth of 483 00:26:41.079 --> 00:26:42.839 knowledge on this set for sure. 484 00:26:44.039 --> 00:26:46.119 That's amazing to hear. And I love them. On the 485 00:26:46.160 --> 00:26:48.440 Inner monologues between the two of them, I'm like, oh 486 00:26:48.480 --> 00:26:52.599 my god, it always gets last broadsheet. This is insane. 487 00:26:52.680 --> 00:26:55.920 So where how did you guys? Like how I know 488 00:26:56.000 --> 00:26:59.039 it was like bias and everything, but like, why did 489 00:26:59.079 --> 00:27:01.119 you decide to include as in her La monogues because 490 00:27:01.160 --> 00:27:04.160 I don't think we've seen the thing in a lot. 491 00:27:07.000 --> 00:27:09.279 Yeah, I don't know. I wrote. I wrote the Inner 492 00:27:09.319 --> 00:27:12.880 Monologues just because I had gone through some drafts of 493 00:27:12.920 --> 00:27:19.400 the script where the character's desires just seemed a little soft. 494 00:27:20.359 -->

00:27:23.799 You know, there's an interesting thing in that. Usually usually 495 00:27:23.799 --> 00:27:27.200 a main character. A major character in a script has 496 00:27:27.200 --> 00:27:31.319 a very specific goal, and it's like do they either 497 00:27:31.359 --> 00:27:33.880 pass or they fail. They either get it or they don't. 498 00:27:34.319 --> 00:27:37.720 And the more clear and concrete and objective that goal is, 499 00:27:39.799 --> 00:27:42.640 the easier it is for your audience to invest in 500 00:27:42.720 --> 00:27:46.960 that character. And for Bradley, for Dermott's character, you know, 501 00:27:47.039 --> 00:27:49.759 that was very obvious, like he wants to kill her. 502 00:27:50.079 --> 00:27:52.960 He's either going to succeed or going to fail. Whereas 503 00:27:53.079 --> 00:27:58.519 the Mary Sue character, her goals were way more abstract, 504 00:27:58.920 --> 00:28:01.160 and I noticed in early drafts of the script that 505 00:28:01.200 --> 00:28:03.759 people had a really tough time figuring out what her 506 00:28:03.799 --> 00:28:07.240 desires were and what it meant when she would get 507 00:28:07.240 --> 00:28:10.880 it versus not, because her her goal was was the 508 00:28:10.960 --> 00:28:13.960 love of her stepfather, who was trying to kill her. 509 00:28:14.759 --> 00:28:17.880 And it's such a it's such an abstract idea, and 510 00:28:17.960 --> 00:28:23.119 you can't just have a character verbally articulate that, going, well, 511 00:28:23.279 --> 00:28:25.759 step Dad, I really just want you to love me. 512 00:28:25.880 --> 00:28:29.720 You know, that's lazy writing. But then you put it 513 00:28:29.720 --> 00:28:33.799 in the form of an inner monologue, you know, and 514 00:28:33.839 --> 00:28:35.559 all of a sudden it feels natural, and then you 515 00:28:35.599 --> 00:28:37.519 can have fun with those inner monologues. You can have 516 00:28:37.559 --> 00:28:39.920 two monologues from different characters and see the way that 517 00:28:39.920 --> 00:28:42.400 they contrast with each other. And now all of a sudden, 518 00:28:42.480 --> 00:28:45.920 something that is there purely to deliver exposition and could 519 00:28:45.960 --> 00:28:49.160 be seen as lazy in some context, is now like 520 00:28:49.200 --> 00:28:54.039 a pretty funny punch line, you know. So yeah, that 521 00:28:54.079 --> 00:28:55.759 was that was why that was written that way. 522 00:28:56.680 --> 00:28:59.599 Alrighty. One of the biggest whists in the film involves 523 00:28:59.680 --> 00:29:04.240 carrying McDonald. I was very surprised that this maid had 524 00:29:04.319 --> 00:29:13.799 dv's intentions, yes, yeah, and Space International TV's intentions. 525 00:29:14.240 --> 00:29:16.759 Yep. You know. I part of me was worried that 526 00:29:16.839 --> 00:29:21.119 I was playing my hand too heavy handed, because here 527 00:29:21.200 --> 00:29:23.359 she is, she's just the housekeeper. She has nothing to 528 00:29:23.400 --> 00:29:27.039 contribute to the plot, but she's always just there and 529 00:29:27.039 --> 00:29:29.680 and my I was really worried the audiences were going 530 00:29:29.720 --> 00:29:31.839 to be like, oh, there's something up with her. Just wait, 531 00:29:31.880 --> 00:29:34.359 something's up with her. And then the more I started 532 00:29:34.359 --> 00:29:36.799 to share the film with people and I would ask them, hey, 533 00:29:36.799 --> 00:29:40.119 did you see that coming, the more they would be like, no, 534 00:29:40.160 --> 00:29:42.119 I didn't see that coming. And I was like, Okay, 535 00:29:42.160 --> 00:29:44.599 I guess I guess I did something right. I put 536 00:29:44.599 --> 00:29:46.960 her just far enough in the background for people to 537 00:29:47.039 --> 00:29:48.480 kind of forget about her, you know. 538 00:29:50.000 --> 00:29:53.160 Oh yeah, And I gotta say that final battle was electrified, 539 00:29:53.640 --> 00:29:56.960 thank you, Like I was like saying, yeah, she didn't 540 00:29:57.359 --> 00:30:00.640 Mary's dude did not take the bait and not do 541 00:30:00.759 --> 00:30:02.640 that and then killed all of our enemies. 542 00:30:03.960 --> 00:30:07.039 Yeah. Yeah. We shot that whole final shootout in one day. 543 00:30:07.200 --> 00:30:09.119 It was one of the most RESTful to shoot days 544 00:30:09.640 --> 00:30:14.640 of my life. I'd never shot an action scene before 545 00:30:14.880 --> 00:30:19.200 doing this film, so it's kind of it's just a 546 00:30:19.200 --> 00:30:21.839 little miracle. I think that that came together as well 547 00:30:21.839 --> 00:30:24.680 as it did. And what I what I really like 548 00:30:24.720 --> 00:30:28.720 about that final shootout scene too, is you know, there's 549 00:30:28.759 --> 00:30:31.880 a lot of action scenes in the film before that, 550 00:30:32.839 --> 00:30:36.200 but they're always kind of presented in a way that 551 00:30:36.240 --> 00:30:40.799 they're like quirky or weird, even down to like the 552 00:30:40.920 --> 00:30:43.920 music choices. You know. I licensed a lot of music 553 00:30:43.960 --> 00:30:47.079 from from a guy named pop star Nima, who's who's 554 00:30:47.079 --> 00:30:53.960 a really really great viral internet uh musician artist, and 555 00:30:54.079 --> 00:30:57.400 his his songs are like very quirky, very weird. They're 556 00:30:57.400 --> 00:30:59.119 they're designed to make you turn your head and go, 557 00:30:59.240 --> 00:31:00.960 huh what was that? So what did he just say? 558 00:31:01.480 --> 00:31:03.440 And I put all of his music under a lot 559 00:31:03.480 --> 00:31:06.799 of the action sequences because your reaction to her kicking 560 00:31:06.839 --> 00:31:09.960 everybody's ass is supposed to be huh, how's she doing this? 561 00:31:10.279 --> 00:31:13.279 You know. But then for that final scene, we licensed 562 00:31:13.319 --> 00:31:16.480 like just a really really kick ass hard rock song 563 00:31:16.880 --> 00:31:18.759

because I was like, by the end of the film, 564 00:31:19.119 --> 00:31:22.440 she's reached the end of her journey, her metamorphosis from 565 00:31:22.799 --> 00:31:25.240 from ditsy girl who doesn't know what's going on to 566 00:31:25.880 --> 00:31:28.839 you know, immortal badass who's going to take down anybody. 567 00:31:29.160 --> 00:31:31.799 And I was like, Okay, it's finally time to do 568 00:31:31.839 --> 00:31:35.880 an action sequence that's not weird, but an action sequence 569 00:31:35.960 --> 00:31:40.039 that is just badass, you know. And it sounds like 570 00:31:40.079 --> 00:31:41.960 I hopefully I succeeded with that. 571 00:31:42.599 --> 00:31:45.119 You did. He did, And by the ways, dying out, 572 00:31:45.440 --> 00:31:49.599 I've been not recognized French Stewart. Oh yeah, he did 573 00:31:49.680 --> 00:31:54.079 not recognize friend Steward at all. Is that Russian Bob Boss? 574 00:31:54.359 --> 00:31:59.319 Yeah? He So what's interesting is French Stewart is actually 575 00:31:59.359 --> 00:32:03.079 part of my writer really, which is which is how 576 00:32:03.720 --> 00:32:09.160 I got that connection. And another friend of mine, Tracy Layman, 577 00:32:09.640 --> 00:32:12.400 was shooting a film pretty much at the same time 578 00:32:12.440 --> 00:32:15.759 as me. It's called Bob Trevino likes it. It's it's 579 00:32:15.759 --> 00:32:18.440 an amazing movie. It's complete opposite of my movie. It's 580 00:32:18.480 --> 00:32:22.240 a total indie drama tier jerker at one south By Southwest. 581 00:32:22.480 --> 00:32:24.079 And I know we're here to plug my movie, but 582 00:32:24.200 --> 00:32:27.200 anybody who's watching this go check out Tracy's movie too. 583 00:32:27.839 --> 00:32:31.400 Bob Travino likes it. It's very good. But she cast 584 00:32:31.440 --> 00:32:34.960 French Stewart in one of her leads, and when it 585 00:32:35.000 --> 00:32:39.039 was time to cast our role, you know, I reached 586 00:32:39.039 --> 00:32:41.519 out to French too because he was he was somebody 587 00:32:41.559 --> 00:32:43.440 that I knew, and he was like, hey, just so 588 00:32:43.559 --> 00:32:46.680 you know, I've got a go tee for Tracy's movie. 589 00:32:47.039 --> 00:32:49.359 Is that okay? And I was like, yeah, that's that's 590 00:32:49.359 --> 00:32:54.319 perfectly fine. And something that's really interesting is both in 591 00:32:54.400 --> 00:32:58.240 my film and in Tracy's film, a lot of people 592 00:32:58.319 --> 00:33:02.920 were going, wow, I didn't even recognize French Stewart. Uh, 593 00:33:03.440 --> 00:33:05.039 and yeah, it's one of those things. I don't know. 594 00:33:05.119 --> 00:33:08.480 It's like, uh, you know, it's like uh, Superman, how 595 00:33:08.519 --> 00:33:10.519 he puts on puts on the glasses and then nobody 596 00:33:10.519 --> 00:33:13.319 recognizes him anymore. I don't know. Maybe it's like French Stewart, 597 00:33:13.319 --> 00:33:15.880 he grows out the goatee and then nobody recognizes him anymore. 598 00:33:16.119 --> 00:33:19.039 But uh, I had a wonderful time working with French. 599 00:33:19.079 --> 00:33:21.960 He's he's so humble, so down to earth, so easy 600 00:33:22.000 --> 00:33:23.799 to work with. He came in at like the last 601 00:33:23.799 --> 00:33:27.079 minute to do this role, and he was he was 602 00:33:27.160 --> 00:33:27.880 just wonderful. 603 00:33:29.079 --> 00:33:32.720 It sounds this movie is amazing, James, and I'm very 604 00:33:32.799 --> 00:33:35.000 excited for and I look forward and I really hope 605 00:33:35.000 --> 00:33:37.680 other and I love people. I really hope Mary Sue 606 00:33:37.680 --> 00:33:39.559 goes far and I and I know there were some 607 00:33:39.599 --> 00:33:44.599 seeds of a sequel Planeted just a few, yeah, yeah, 608 00:33:44.799 --> 00:33:46.880 just a few. And we'll and I think, guys, well 609 00:33:46.920 --> 00:33:48.839 you'll find out. We're gonna en spoil and talk now 610 00:33:48.880 --> 00:33:50.400 and you got to watch the movie to find out 611 00:33:50.440 --> 00:33:51.640 what I'm talking what we're talking? 612 00:33:51.960 --> 00:33:53.920 Yes, yes, all right. 613 00:33:54.039 --> 00:33:57.240 So as we start writing down the interview, what are 614 00:33:57.279 --> 00:34:00.960 some kids? Where can my audience findin more about your 615 00:34:01.039 --> 00:34:03.440 work and also connect with you on social media? And 616 00:34:03.519 --> 00:34:06.799 by the way, find out where can they watch Killing 617 00:34:06.920 --> 00:34:07.680 Mary Sue? 618 00:34:08.320 --> 00:34:10.599 Yeah? So Killing Mary Sue is going to be on 619 00:34:10.639 --> 00:34:16.440 digital on June June thirteenth. The trailer actually just dropped 620 00:34:16.480 --> 00:34:18.400 within the last hour. I don't know what day this 621 00:34:18.480 --> 00:34:21.239 interview is gonna go up. But uh, the trailer is 622 00:34:21.280 --> 00:34:25.679 live on YouTube right now. And uh and yeah, to 623 00:34:25.719 --> 00:34:27.519 connect with me, find out more about me. I've got 624 00:34:27.519 --> 00:34:31.800 a website, James Sunshine dot com. I'm James K. Sunshine 625 00:34:31.840 --> 00:34:36.559 on Instagram. Yeah, totally open, people, reach out, Let's make connections. 626 00:34:37.280 --> 00:34:39.880 Alrighty and guys, if you missed an episode of the 627 00:34:39.960 --> 00:34:42.840 Jake's Sake with Jacob Lhr podcast, this is our channels 628 00:34:42.880 --> 00:34:47.199 on Amazon Music, Apple Podcasts, iHeartRadio, Spotify, and Spreaker. Jake's 629 00:34:47.199 --> 00:34:49.360 Sake with Jacob Ali shar j c O b e 630 00:34:49.400 --> 00:34:51.679 o y A c h a R. Are you on 631 00:34:51.719 --> 00:34:55.000 social media because I'm on social media to Facebook, Instagram, threads, 632 00:34:55.079 --> 00:34:57.280 Twitter and YouTube Jacob l A Shr j A c 633 00:34:57.360 --> 00:34:59.519 O b e o y A c h a R. 634 00:35:00.000 --> 00:35:02.039 I want to find out what my top one hundred 635 00:35:02.119 --> 00:35:04.599 agtps of all time. I want to find out my 636 00:35:04.639 --> 00:35:06.480 thoughts on new music. I want to find out my 637 00:35:06.519 --> 00:35:09.679 talks about interviews about movies. Head to the block. It's 638 00:35:09.679 --> 00:35:12.679 sorry and all, Jake Saidshake dot com. Let's get Jakeshake 639 00:35:12.760 --> 00:35:15.480 dot com. And I'm very excited to reveal that Jake's 640 00:35:15.480 --> 00:35:18.840 Take with Jacob Ally Jars and Fishley an American Business 641 00:35:18.920 --> 00:35:24.599 Award winning podcast. Thank you, thank you, James so thank 642 00:35:24.639 --> 00:35:27.360 you so much for all of the American the Stevie 643 00:35:27.360 --> 00:35:30.360 Awards and all the people the judges who voted. So 644 00:35:30.519 --> 00:35:32.519 thank you from my bottom of my heart. Thank you 645 00:35:32.559 --> 00:35:34.840 so much, guys. I appreciate it. James, you have a 646 00:35:34.880 --> 00:35:37.320 bright future ahead of you, my friend. Please come back 647 00:35:37.360 --> 00:35:39.440 and visit. I'd love to go out with your takes 648 00:35:39.440 --> 00:35:43.360 on everything so and I'm so excited to for killing 649 00:35:43.360 --> 00:35:44.000 Mary Sue. 650 00:35:44.480 --> 00:35:46.039 Thank you man, Thank you for having me. This was 651 00:35:46.039 --> 00:35:47.559 a great interview. I really appreciate it. 652 00:35:48.119 --> 00:35:50.719 You're so welcoming. Guys, thank you so much for watching. 653 00:35:50.760 --> 00:35:53.679 Thank you so much for listening. Until next time, have 654 00:35:53.760 --> 00:35:54.760 a great one, everybody. 655 00:35:54.960 --> 00:35:56.639 Good Bye,