1 00:00:00,040 --> 00:00:03,360 I'm Josh Safdie. And I'm Sean Baker, and I'm here 2 00:00:03,360 --> 00:00:07,960 to talk to Josh about the wonderful Marty Supreme. 3 00:00:08,080 --> 00:00:11,320 On the A 24 podcast. It's great to do this with you, 4 00:00:11,320 --> 00:00:13,840 man. I I love Marty so much. 5 00:00:14,520 --> 00:00:18,800 Truly. Truly, I'm so happy for you and 6 00:00:18,800 --> 00:00:21,600 the whole team. Congrats on all the accolades so 7 00:00:21,600 --> 00:00:23,040 far. I mean, you know what it means 8 00:00:23,040 --> 00:00:30,080 to me when, when I get your voice memos, I just luckily you 9 00:00:30,080 --> 00:00:32,920 saw the movie in person, so I got like the, you know, real 10 00:00:33,000 --> 00:00:35,280 live. Yeah, I've seen it three Times 11 00:00:35,280 --> 00:00:39,640 Now actually, and it keeps revealing new things each time. 12 00:00:39,840 --> 00:00:43,080 Well, more than more than me. My crazy respect for your taste 13 00:00:43,080 --> 00:00:45,880 in movies as filmmaker. You know what that means to me. 14 00:00:46,280 --> 00:00:48,360 Well, yeah. And I, I know that we love the 15 00:00:48,360 --> 00:00:50,520 same stuff. We have the same sensibility and 16 00:00:50,520 --> 00:00:51,440 I think. Most of the time. 17 00:00:51,520 --> 00:00:53,680 Most of the time, most of the time, sometimes, sometimes we 18 00:00:53,680 --> 00:00:56,080 disagree. But yes, it's true, I do leave 19 00:00:56,080 --> 00:00:59,160 you very long and annoying audio. 20 00:00:59,240 --> 00:01:00,720 I love them. It's actually like a little 21 00:01:00,720 --> 00:01:03,120 savior. I'll say, oh, wow, I gotta, then 22 00:01:03,120 --> 00:01:04,640 I'll bring them back. You're the only person I do it 23 00:01:04,640 --> 00:01:05,160 with. You know that? 24 00:01:05,160 --> 00:01:07,200 Oh, that's hilarious. And I like giving you a little 25 00:01:07,200 --> 00:01:09,520 audio doc documentaries, too. What I'm doing is I'm on the 26 00:01:09,520 --> 00:01:11,720 trains. Yeah, yeah, yeah, yeah, yeah. 27 00:01:11,720 --> 00:01:13,800 I hear New York behind you. You miss it. 28 00:01:14,440 --> 00:01:20,360 So I want to read a text that you actually texted me back in 29 00:01:20,360 --> 00:01:24,400 2020. I think I was right off of from 30 00:01:24,400 --> 00:01:26,920 what I can tell, this was October of 2020. 31 00:01:26,920 --> 00:01:30,800 So I was right off a Red Rocket. I think I was bemoaning 32 00:01:30,840 --> 00:01:33,000 something. I was, I was, I think I was 33 00:01:33,000 --> 00:01:38,680 talking about how hard it is to keep things small and and we 34 00:01:38,680 --> 00:01:40,200 were just talking about the size of you. 35 00:01:40,200 --> 00:01:42,720 Had just made Red Rocket. I think so and I was a little 36 00:01:42,720 --> 00:01:46,480 frustrated with with things the way they went, even though I 37 00:01:46,480 --> 00:01:48,080 love green outcome. Oh, thank you. 38 00:01:48,440 --> 00:01:49,880 But I. Simon Rex. 39 00:01:49,920 --> 00:01:53,720 Unbelievable. Another anti hero like your film 40 00:01:54,080 --> 00:01:55,640 but. They're not anti heroes to you. 41 00:01:57,520 --> 00:02:01,200 No, but I recognize. That audiences see. 42 00:02:01,360 --> 00:02:03,040 See them as anti heroes. Do you? 43 00:02:03,280 --> 00:02:06,440 Do you see arty as an anti hero? I mean I hear people say it 44 00:02:06,920 --> 00:02:10,120 don't I? Concept of anti heroes so like 45 00:02:10,120 --> 00:02:11,960 negative? I know that's very true. 46 00:02:12,080 --> 00:02:14,080 That's very heroes. I think they're human Yes, 47 00:02:14,080 --> 00:02:17,000 exactly flaws and OK, so I'm gonna read this to you. 48 00:02:17,120 --> 00:02:20,920 So I forgot I left you an audio text that vanished, but this is 49 00:02:20,920 --> 00:02:23,560 your response. I wish we again. 50 00:02:23,560 --> 00:02:26,800 I think it had something to do with with with trying to keep 51 00:02:27,680 --> 00:02:33,280 under the radar, you know, cuz our previous films definitely 52 00:02:33,280 --> 00:02:35,880 not Marty, but you know, I think there's been there was 53 00:02:36,400 --> 00:02:41,320 documentary techniques used where sometimes had just yes, 54 00:02:41,360 --> 00:02:44,360 yeah, exactly. So anyway, you wrote this, I 55 00:02:44,360 --> 00:02:47,360 think it's fun to swim in bigger lakes. 56 00:02:47,680 --> 00:02:50,320 And I think if you see the resource, if you use the 57 00:02:50,320 --> 00:02:53,680 resources right, the product can be super interesting. 58 00:02:53,800 --> 00:02:57,480 I'm falling more and more into maximalist territory. 59 00:02:57,680 --> 00:03:00,080 And when you, when you wrote that, I was like, what the hell 60 00:03:00,080 --> 00:03:04,080 is he talking about? But then five years later, I see 61 00:03:04,080 --> 00:03:06,680 Marty and I know exactly what you're talking about. 62 00:03:06,680 --> 00:03:09,120 Now you really, This is an epic film. 63 00:03:09,240 --> 00:03:12,800 The scale, the scope and scale just seems really big and it's 64 00:03:12,800 --> 00:03:14,680 so impressive. What? 65 00:03:14,720 --> 00:03:17,080 I think what I meant about I definitely what was the date on 66 00:03:17,080 --> 00:03:21,280 that 21? 20. 20 what like right, like oh 67 00:03:21,280 --> 00:03:23,520 so like pandemics, like still like raging. 68 00:03:24,080 --> 00:03:25,880 I had already been working on Marty. 69 00:03:25,960 --> 00:03:30,640 The I think what happened was is like as you and it's kind of 70 00:03:30,640 --> 00:03:34,240 similar to what was happening, I think with the direct cinema 71 00:03:34,240 --> 00:03:39,520 movement in a strange way, is I started to look at life as a 72 00:03:39,520 --> 00:03:43,920 construct and I started to realize like particularly with 73 00:03:43,920 --> 00:03:46,840 those those movies leading up to that heaven knows what being 74 00:03:46,840 --> 00:03:48,960 like kind of like the most 'cause I was like, that's a 75 00:03:48,960 --> 00:03:54,280 documentary essentially. And knowing that like life, if 76 00:03:54,280 --> 00:03:57,080 you look at life as like something that's built, there's 77 00:03:57,080 --> 00:03:59,520 a millions of decisions that go into it. 78 00:03:59,560 --> 00:04:04,840 You know, the higher power, whatever it is, is creating all 79 00:04:05,080 --> 00:04:08,120 everything like this table, this microphone, the color of the 80 00:04:08,120 --> 00:04:12,160 thing, the stand itself, the decision, someone's decision to 81 00:04:12,160 --> 00:04:14,440 light it this way. It's all there. 82 00:04:14,720 --> 00:04:18,519 And I started to kind of I think the only and I started to become 83 00:04:18,519 --> 00:04:21,279 obsessive about it, in particular with with gems, 84 00:04:21,279 --> 00:04:23,760 because it was this bigger movie and I was trying to still like 85 00:04:23,760 --> 00:04:27,280 steal life, recreate life. So then when you start to kind 86 00:04:27,280 --> 00:04:34,680 of break it down, like how can I create life and then access the 87 00:04:34,680 --> 00:04:36,840 way that I was making those movies? 88 00:04:36,840 --> 00:04:39,400 So like, how can I create life to have the feeling of going 89 00:04:39,400 --> 00:04:41,000 inside of it and stealing the movie? 90 00:04:41,280 --> 00:04:44,400 Because that is like the urgency of like getting something and 91 00:04:44,400 --> 00:04:46,720 getting out. And I think that that was where 92 00:04:46,720 --> 00:04:49,520 my head was at Lakes. I hate lakes. 93 00:04:50,040 --> 00:04:51,520 I don't like swimming in lakes. I. 94 00:04:52,120 --> 00:04:56,800 Like the ocean. But but I, I don't know, when I 95 00:04:56,800 --> 00:05:02,240 talk to you and a few other people, I can open up about that 96 00:05:02,240 --> 00:05:03,800 stuff. I don't think I would like send 97 00:05:03,800 --> 00:05:05,360 that text to anybody else but you. 98 00:05:05,760 --> 00:05:06,760 Oh, all right. OK. 99 00:05:06,760 --> 00:05:10,440 I'm honored. Yeah, so, but that because 100 00:05:10,520 --> 00:05:15,760 because because you know, like I texted you this when I was re 101 00:05:15,760 --> 00:05:20,760 watching Prince of Broadway when you did the restoration, you put 102 00:05:20,760 --> 00:05:22,680 it on film. It's it looks so amazing. 103 00:05:23,360 --> 00:05:25,920 It looks so cool. Nothing, nothing looks like it. 104 00:05:25,920 --> 00:05:27,880 I you know what I mean? That's one of my favorites of 105 00:05:27,880 --> 00:05:32,040 yours, but it's the sneeze. Bless you, motherfucker. 106 00:05:32,040 --> 00:05:34,320 Yeah, yeah, yeah, yeah 'cause it's amazing. 107 00:05:34,320 --> 00:05:36,960 Cause in that moment you're watching like 2 real people. 108 00:05:37,320 --> 00:05:39,120 A guy sneezes. That's the most real you can 109 00:05:39,120 --> 00:05:40,720 get, right? You know what I mean, right. 110 00:05:41,080 --> 00:05:44,920 And it's a decision for the guy to just remain like hard a 111 00:05:44,920 --> 00:05:45,920 little bit. Oh, yeah. 112 00:05:45,920 --> 00:05:47,400 He doesn't want to take. God bless you. 113 00:05:47,400 --> 00:05:48,880 He wants. Yeah, bless you, motherfucker. 114 00:05:48,920 --> 00:05:50,880 Yeah, yeah. And it's one of my favorite 115 00:05:50,880 --> 00:05:52,960 moments. And but like, you can only 116 00:05:52,960 --> 00:05:54,640 capture. And I love the jump cutting in 117 00:05:54,640 --> 00:05:55,960 that movie because normally I don't. 118 00:05:56,240 --> 00:06:00,480 And with the jump cutting in that film is like is is really 119 00:06:00,480 --> 00:06:03,480 awesome conceptually, just kind of just works really well. 120 00:06:03,560 --> 00:06:04,920 And you don't do any jump cutting. 121 00:06:04,920 --> 00:06:06,680 Never done a jump cutting. Never. 122 00:06:06,680 --> 00:06:08,920 No never. I always will like cut to 123 00:06:08,920 --> 00:06:12,440 something and then even though like, you know what a like 124 00:06:12,440 --> 00:06:16,840 incredible concept that like guitar invented, he's the first 125 00:06:16,840 --> 00:06:19,440 person to use it in narrative form, right in fiction, fiction 126 00:06:19,440 --> 00:06:22,280 form. It's got to be with breakfast, I 127 00:06:22,280 --> 00:06:23,560 think. So I think it was like the OR 128 00:06:23,560 --> 00:06:26,000 maybe popularized it. I I don't know. 129 00:06:26,000 --> 00:06:28,200 That's a crazy concept. I'm going to do something that 130 00:06:28,200 --> 00:06:31,640 like implies, right? That there is stuff to cut out 131 00:06:31,800 --> 00:06:33,680 and like, whatever. Anyway, and it is and it's 132 00:06:33,680 --> 00:06:38,600 something that I, I, it's, it's fallen a little out of fashion a 133 00:06:38,600 --> 00:06:42,600 little bit. I used it in one moment in in 134 00:06:42,600 --> 00:06:45,800 Anora when they're outside the strip club because I just rolled 135 00:06:45,800 --> 00:06:48,040 there in 10 minutes. In the beginning. 136 00:06:48,520 --> 00:06:52,400 Yes, yeah, I rolled 10 minutes for Mag and there's two of them 137 00:06:52,400 --> 00:06:56,200 talking and I was like, I don't have any other coverage, so I'm 138 00:06:56,600 --> 00:06:58,360 just jump cutting to the highlights. 139 00:06:58,360 --> 00:07:00,720 Yeah, but. It's a great way to set up. 140 00:07:00,720 --> 00:07:02,400 You know, when you do something like that at the beginning of a 141 00:07:02,400 --> 00:07:05,880 movie you're establishing, you're getting a lot of like. 142 00:07:06,160 --> 00:07:07,200 Info. Out there, yeah. 143 00:07:07,200 --> 00:07:11,960 And goodwill too, like, and that was like also when you like when 144 00:07:11,960 --> 00:07:13,720 I was thinking about that conceptually is like getting 145 00:07:13,720 --> 00:07:17,560 that crazy Dolly shot of Marty walking through the Lower East 146 00:07:17,560 --> 00:07:20,600 Side. The amount of like time and the. 147 00:07:20,760 --> 00:07:23,520 First one where he's coming, not when he's running later. 148 00:07:23,600 --> 00:07:25,520 No, no. When he's walking, when he's 149 00:07:25,520 --> 00:07:29,280 like bouncing, there's that kind of, I call it a slightly like 150 00:07:29,280 --> 00:07:32,200 Irish vibe of the score. And there's he's walking through 151 00:07:32,200 --> 00:07:35,440 and walking by people and he's just like, not a worry in his 152 00:07:35,440 --> 00:07:37,560 mind. Five hours late, but all those 153 00:07:37,560 --> 00:07:40,160 people. Everything feels so alive. 154 00:07:40,320 --> 00:07:42,800 And I was like shooting it, like I was stealing it. 155 00:07:42,800 --> 00:07:45,080 We had, of course, we had a crane and a Dolly. 156 00:07:45,120 --> 00:07:47,200 Oh, OK. But the vibe of it, the energy 157 00:07:47,200 --> 00:07:49,320 and pushing and directing all those extras. 158 00:07:49,520 --> 00:07:53,280 And there's the the the the woman in a white jacket. 159 00:07:53,280 --> 00:07:55,920 I like, I went up to her and I was like, you're not cooking 160 00:07:56,080 --> 00:07:58,920 your husband dinner out of protest that night. 161 00:07:59,200 --> 00:08:01,960 She's in her head. My AD team, they're all like 162 00:08:01,960 --> 00:08:04,400 going. And we had this Ken Jacobs film 163 00:08:04,680 --> 00:08:07,720 Orchard Street. That was that had just been 164 00:08:07,720 --> 00:08:09,480 restored. His son did Aza did it. 165 00:08:10,600 --> 00:08:12,720 And that was like a Bible for us. 166 00:08:12,720 --> 00:08:14,000 So we had this, that's wonderful. 167 00:08:14,000 --> 00:08:17,560 We had this real life document of what that street was like. 168 00:08:17,880 --> 00:08:20,400 So that was like the standard that was it was life. 169 00:08:20,560 --> 00:08:22,800 That's great. And but when you do that in the 170 00:08:22,800 --> 00:08:26,720 beginning of a movie, you get this crazy production value and 171 00:08:26,720 --> 00:08:29,520 you set the stand like time travel and like, OK, I'm here in 172 00:08:29,520 --> 00:08:31,800 this world. The movie can go kind of 173 00:08:31,800 --> 00:08:33,360 anywhere because it feels that way. 174 00:08:33,360 --> 00:08:36,200 I wanted, I said the Jack Fisk who designed the movie. 175 00:08:36,520 --> 00:08:38,799 I said to him and Adam Willis, the set deck. 176 00:08:38,799 --> 00:08:42,280 I was like, I want to time travel because I want to tell 177 00:08:42,280 --> 00:08:45,280 the story presently as if I'm there because anyone who is 178 00:08:45,280 --> 00:08:48,400 around my great uncle or some other people who were in that 179 00:08:48,400 --> 00:08:51,120 scene, they tell the stories. I'm relating to them in present 180 00:08:51,120 --> 00:08:52,920 tense. I'm not relating to them in a 181 00:08:52,920 --> 00:08:54,160 period. You know what I mean? 182 00:08:54,160 --> 00:08:56,360 Did. You have to did you have to like 183 00:08:57,200 --> 00:08:58,880 see, I, I haven't done it period, please. 184 00:08:58,960 --> 00:09:00,960 I mean, my period piece was five years ago. 185 00:09:01,760 --> 00:09:04,320 So yeah. Same where Gems was 20/20/12. 186 00:09:04,800 --> 00:09:07,160 But it's like you, you every once in a while you go in, it's 187 00:09:07,160 --> 00:09:10,400 like, oh, we got to paint out that that's that Citi Bank, Citi 188 00:09:10,400 --> 00:09:14,160 Bike Bank, you know, did you? Paint a lot of stuff out. 189 00:09:14,560 --> 00:09:19,320 You know, that was crazy because I have no relationship with VFX 190 00:09:19,320 --> 00:09:23,000 going into the movie outside of the sequence through the the 191 00:09:23,360 --> 00:09:27,240 colon and the gem. Excuse me. 192 00:09:27,240 --> 00:09:29,960 Yeah, Yeah. Which was it was an incredible 193 00:09:29,960 --> 00:09:33,320 because I had to, you know, when you don't have something to base 194 00:09:33,320 --> 00:09:35,560 it on you, you know, you have to build it from scratch. 195 00:09:35,560 --> 00:09:40,000 And I, so I worked with the same, this guy Iran Denir, who 196 00:09:40,000 --> 00:09:44,880 is incredible and he thinks he like wrote a book about he 197 00:09:44,880 --> 00:09:47,520 actually his experience more like he did all the wolf of Wall 198 00:09:47,520 --> 00:09:48,720 Street effects and things like that. 199 00:09:48,720 --> 00:09:53,040 But but he's like, the way he thinks is he's a good guy, 200 00:09:53,040 --> 00:09:56,440 almost like a physicist and he plays table tennis and he's a 201 00:09:56,440 --> 00:09:58,240 simple, he plays that, he plays piano. 202 00:09:58,240 --> 00:10:01,760 He's and he loves like new age electronic music. 203 00:10:01,760 --> 00:10:03,880 So he was like a lot of he was perfect. 204 00:10:03,880 --> 00:10:06,920 And he is like AI called him the evil, evil, evil scientist. 205 00:10:06,920 --> 00:10:09,360 Whenever he was around. I was like, Oh no, what does he 206 00:10:09,360 --> 00:10:10,800 want to do? This is going to be evil. 207 00:10:11,080 --> 00:10:13,120 And the producer Katagis coming to me is like, well, I think we 208 00:10:13,120 --> 00:10:14,160 should paint that out over there. 209 00:10:14,160 --> 00:10:16,520 We can't afford to cover it. So it was a little bit of like 210 00:10:16,520 --> 00:10:19,880 that. And that's a thankless job for 211 00:10:19,880 --> 00:10:23,400 them because it's like hard work that no one you hope, no one 212 00:10:23,400 --> 00:10:26,280 ever notices, no one's noticed. So but the table tennis stuff 213 00:10:26,280 --> 00:10:28,400 had some visual effects in there as well. 214 00:10:28,400 --> 00:10:31,800 But the ball basically. But we didn't on that shot in 215 00:10:31,800 --> 00:10:33,480 the Orchard shoot. There's no V effects there. 216 00:10:33,640 --> 00:10:35,200 We were covering. There was 2 buildings that were 217 00:10:35,200 --> 00:10:39,240 built in 20/15/2020 that Jack had to build an entire new 218 00:10:39,240 --> 00:10:42,880 facade for like a complete like, and you plug them in and then 219 00:10:42,880 --> 00:10:45,720 when we did that crazy chase scene, you can, he would reuse 220 00:10:45,720 --> 00:10:47,560 pieces and just paint them differently. 221 00:10:47,880 --> 00:10:49,160 Amazing, He's amazing, he's amazing. 222 00:10:49,160 --> 00:10:50,840 He, you know, he in for Tree of life. 223 00:10:51,160 --> 00:10:53,760 That tree though, the, oh, there's an oak tree that Malik 224 00:10:53,760 --> 00:10:58,600 was like, it was spiritual and they saw it and like, we have to 225 00:10:58,600 --> 00:11:02,480 bring that tree to location. And the root ball was like 226 00:11:02,480 --> 00:11:06,480 apparently like 25 feet and, and in diameter. 227 00:11:06,960 --> 00:11:09,640 And it is a quote. They got the quote to move a 228 00:11:09,640 --> 00:11:12,400 tree like that and for it to survive is even crazier. 229 00:11:12,920 --> 00:11:16,080 I was like, insanely, I think it was like half $1,000,000 to move 230 00:11:16,080 --> 00:11:18,160 the tree. So Jack was like, I'm going to 231 00:11:18,160 --> 00:11:22,840 find local people and they like slowly dug up the root ball, 232 00:11:23,680 --> 00:11:26,760 dusted it out and then put it on to he found like a local guy to 233 00:11:26,760 --> 00:11:28,360 put it on flatbeds and they moved it. 234 00:11:28,600 --> 00:11:31,280 And his greatest, The thing is that the best, like the great 235 00:11:31,280 --> 00:11:32,880 triumph is that it's still thriving. 236 00:11:32,880 --> 00:11:34,840 It's alive. But he's like that. 237 00:11:35,120 --> 00:11:36,880 There was like an interview with him. 238 00:11:37,800 --> 00:11:42,680 He was chopping down a tree that got some invasive on it and he 239 00:11:42,680 --> 00:11:46,000 says to the he goes, I remember planting this tree 50 years ago 240 00:11:46,000 --> 00:11:48,360 and like the time and stuff like that. 241 00:11:48,680 --> 00:11:53,120 Did you, I mean, there's so much texture there seems to be you 242 00:11:53,120 --> 00:11:57,040 can almost smell everything on and then also just all the 243 00:11:57,040 --> 00:12:00,240 little details, especially in the in the in the shoe shop, in 244 00:12:00,240 --> 00:12:02,240 his in the shop. You know, when they were 245 00:12:02,240 --> 00:12:06,720 excavating that that was a real that was like it was on Orchard 246 00:12:06,720 --> 00:12:08,200 Tree. We wanted to shoot in New York, 247 00:12:08,280 --> 00:12:09,800 which everyone's like, it's too expensive. 248 00:12:09,800 --> 00:12:12,440 I was trying to tap into the soul of the city. 249 00:12:13,160 --> 00:12:15,160 Yeah, thank you. I mean, I I agree. 250 00:12:15,160 --> 00:12:16,840 I don't like cheating, you know what I mean? 251 00:12:16,840 --> 00:12:18,800 I think it's on some level you're cheating. 252 00:12:19,720 --> 00:12:24,440 And I, I had said to production and Jack, they're like, well, we 253 00:12:24,440 --> 00:12:26,640 can get more days if we do this here and do that there, we can 254 00:12:26,640 --> 00:12:29,200 cheat this. And and I really wanted to shoot 255 00:12:29,840 --> 00:12:31,880 this where these characters were from. 256 00:12:31,880 --> 00:12:34,240 I wanted to shoot it where they lived. 257 00:12:34,680 --> 00:12:39,920 And there was one shop on Orchard Street that, you know, 258 00:12:39,920 --> 00:12:44,280 you get lucky with some, you know, poorly managed buildings, 259 00:12:44,560 --> 00:12:47,320 you know, where they, they never took a deal and they never did 260 00:12:47,320 --> 00:12:48,520 this. And there's probably family 261 00:12:48,520 --> 00:12:51,280 disputes inside of it. And you can feel that dispute in 262 00:12:51,280 --> 00:12:53,640 this building. And it was just like you walk 263 00:12:53,640 --> 00:12:54,520 in. It's like, I don't even know 264 00:12:54,520 --> 00:12:56,720 where half of the clothing where it came from. 265 00:12:56,720 --> 00:13:00,360 It's like these, you know, when you see like proper, like the 266 00:13:00,360 --> 00:13:04,360 garment district, like there are a lot of garmentos who make 267 00:13:04,360 --> 00:13:05,840 clothing. Never heard of them. 268 00:13:06,200 --> 00:13:07,720 They make them for bigger brands. 269 00:13:07,720 --> 00:13:11,080 So you go in there and there's just this like slop, kind of 270 00:13:11,080 --> 00:13:13,680 like garmentos slop. But it's beautiful because it's 271 00:13:13,680 --> 00:13:15,600 kind of outsider. So you go in there and it's 272 00:13:15,600 --> 00:13:17,640 just, you can't even believe what you saw. 273 00:13:17,640 --> 00:13:21,520 It's just like underneath it all was the bones of this original 274 00:13:22,040 --> 00:13:25,080 kind of, you know, this clother clothing company. 275 00:13:25,480 --> 00:13:30,000 And when we excavated, we had to we had to completely clear it 276 00:13:30,000 --> 00:13:31,920 out. And we have the scene in the 277 00:13:31,920 --> 00:13:34,920 basement where him and I don't even know if it plays like a 278 00:13:34,920 --> 00:13:39,160 basement when when him and Odessa where the child, what his 279 00:13:39,160 --> 00:13:43,000 child is, could see that's in the basement because the in the 280 00:13:43,000 --> 00:13:45,720 script, it actually is like a pretty long tracking shot that 281 00:13:45,720 --> 00:13:48,440 brings him from switching the boxes out all the way up. 282 00:13:48,440 --> 00:13:53,160 And I just condensed to cut out piece of cut out the travel. 283 00:13:53,640 --> 00:13:56,680 But when we had to, because we had to shoot down there and then 284 00:13:56,680 --> 00:13:59,640 we ended up having to recreate the whole basement on a stage 285 00:13:59,640 --> 00:14:01,000 because we ran out of time, we had to do that. 286 00:14:01,000 --> 00:14:03,080 Twice we did some stage stuff. Yeah, the. 287 00:14:03,160 --> 00:14:05,320 Whole tenement, the whole tenement was on a stage. 288 00:14:05,320 --> 00:14:07,360 I wanted to shoot that on location because Jack is 289 00:14:07,360 --> 00:14:09,080 amazing. I was like, we have to shoot 290 00:14:09,080 --> 00:14:10,760 that on location. I don't want to cheat it. 291 00:14:11,040 --> 00:14:13,640 And then we went and like they were like Josh, we'd have to 292 00:14:13,640 --> 00:14:17,120 rent out every apartment because you're it's a tenement. 293 00:14:17,120 --> 00:14:22,920 There's one way up and down and and and so it was so we had to 294 00:14:22,920 --> 00:14:23,840 read. We had to build that. 295 00:14:23,840 --> 00:14:26,520 And Jack's like, trust me how you will not know when we're 296 00:14:26,520 --> 00:14:27,560 there. Incredible. 297 00:14:27,560 --> 00:14:31,640 But when we were excavating the basement, he sent the picture of 298 00:14:31,680 --> 00:14:34,760 a just a decomposed rat carcass. But, well, it's just the bones. 299 00:14:34,760 --> 00:14:37,560 And there's like, this big. And it was like something you'd 300 00:14:37,560 --> 00:14:38,840 see in the Natural History Museum. 301 00:14:38,840 --> 00:14:41,040 And I tried to preserve it. And then we threw that away. 302 00:14:41,560 --> 00:14:45,000 And then they found a bone. Yeah, that was too big. 303 00:14:46,000 --> 00:14:47,440 Looked like a collar. Oh no. 304 00:14:47,440 --> 00:14:51,520 And I was like, guys, I was like, they didn't send me a 305 00:14:51,520 --> 00:14:53,600 picture of that. It's like, I've got to report 306 00:14:53,600 --> 00:14:54,240 that. Yeah, we can. 307 00:14:54,800 --> 00:14:57,280 They're like, no, no, we think it was like a dog bone or 308 00:14:57,280 --> 00:14:58,760 something. I was like, I don't know, man. 309 00:14:58,760 --> 00:15:01,040 Lower East Side. Yeah, Yeah, right. 310 00:15:01,080 --> 00:15:03,560 Yeah. When you as a director, when 311 00:15:03,560 --> 00:15:07,160 you're shooting these scenes, you know, that have to, you 312 00:15:07,440 --> 00:15:10,240 know, time travel, the audience, I'm assuming, do you do 313 00:15:10,240 --> 00:15:11,320 playback? Do you watch? 314 00:15:11,320 --> 00:15:14,000 I have. I say no playback because it's 315 00:15:14,560 --> 00:15:17,720 another job on set and I think it's a crutch that people like 316 00:15:17,720 --> 00:15:19,560 to sit at. I hate the concept to video 317 00:15:19,560 --> 00:15:22,800 village, right. It's just a kind of a cancer on 318 00:15:22,800 --> 00:15:25,560 a set and everyone. So I never but there there had 319 00:15:25,560 --> 00:15:28,440 to be 1 on this, particularly for the table tennis thing. 320 00:15:28,720 --> 00:15:32,800 So we were carrying them and they're great, you know, and I 321 00:15:32,800 --> 00:15:35,000 never do playback. I never say let me see. 322 00:15:35,000 --> 00:15:37,280 That you are watching a monitor. I'm watching a monitor and I'm 323 00:15:37,280 --> 00:15:40,120 like, but I'm like, if the scene is here, I'm like, right there. 324 00:15:40,120 --> 00:15:42,480 I blew my knees out doing the movie because I would constantly 325 00:15:42,480 --> 00:15:44,200 throw myself into these little corners. 326 00:15:44,480 --> 00:15:48,240 And Ian Kincaid, my gaffer, it was like, and Darius too, was 327 00:15:48,240 --> 00:15:49,760 like sitting next to me on this Apple box. 328 00:15:49,760 --> 00:15:51,480 I was like no, no, no, I need to be right there. 329 00:15:51,680 --> 00:15:53,880 Get knee pads. Yeah, I'm gonna do that. 330 00:15:53,880 --> 00:15:55,680 Actually. I was like, I'm gonna look into 331 00:15:55,680 --> 00:15:56,760 getting knee pads. Yeah. 332 00:15:56,880 --> 00:16:00,120 Because all in in that mansion, all of the floors were like 333 00:16:00,120 --> 00:16:02,480 marble, hard, hard floors. And I. 334 00:16:02,520 --> 00:16:04,640 Was throwing. Yourself too, throwing my going 335 00:16:04,680 --> 00:16:06,360 down like knee. Pads. 336 00:16:06,560 --> 00:16:07,640 Knee pads? Did you have knee pads? 337 00:16:07,680 --> 00:16:09,400 I did, yeah. Amazon, him. 338 00:16:09,680 --> 00:16:12,960 Yeah, you've done that. So when you're looking at the 339 00:16:12,960 --> 00:16:17,080 monitor, is there like a the suspension of disbelief has to 340 00:16:17,080 --> 00:16:19,480 kick in for you as the director, right? 341 00:16:19,480 --> 00:16:21,320 Do you feel that happening in the moment? 342 00:16:21,320 --> 00:16:24,720 Do you lose yourself and like, oh, I'm back and seeing Marty in 343 00:16:24,720 --> 00:16:27,040 the 50s right now? Well, what's funny is I would. 344 00:16:27,120 --> 00:16:29,040 I took it for granted. Oh, OK. 345 00:16:29,040 --> 00:16:31,800 Because I was just there treating it as if it was real. 346 00:16:31,880 --> 00:16:33,720 Yes. Every once in a while I would 347 00:16:33,720 --> 00:16:40,320 say something like like Adam and Jack, the way they talk about in 348 00:16:40,320 --> 00:16:42,600 real life is they'll they won't say that's so 52. 349 00:16:42,600 --> 00:16:45,600 They would say that's so period. OK, yeah, they were like, oh, it 350 00:16:45,600 --> 00:16:47,440 has that's so period. They would show me something 351 00:16:47,440 --> 00:16:50,920 like how period this is. And I don't know if that's like 352 00:16:50,920 --> 00:16:53,720 lingo for people who do period pieces how they seek, but it to 353 00:16:53,720 --> 00:16:56,360 me it meant it had it took on a different meaning. 354 00:16:56,360 --> 00:17:00,120 It was like this timeless thing in front of us. 355 00:17:00,120 --> 00:17:02,880 It has a timeless quality as an aura like look at that look. 356 00:17:02,880 --> 00:17:05,400 That's so period and the way they said that. 357 00:17:05,400 --> 00:17:07,680 I don't know. I always really, it was very 358 00:17:07,680 --> 00:17:10,160 spiritual to me. The art department is especially 359 00:17:10,160 --> 00:17:12,800 on a film where you're going back in time and with Miyako, 360 00:17:12,800 --> 00:17:16,960 her costuming it is I mean she would go and do crazy thrifting 361 00:17:17,480 --> 00:17:21,960 and pulling and then so her costume department actually had 362 00:17:22,440 --> 00:17:26,599 thousands of of of pieces and she didn't use any of them. 363 00:17:26,599 --> 00:17:30,520 But it was more for me and her to go and look and characters in 364 00:17:30,520 --> 00:17:33,480 the movie Tyler to just go and look and then you build. 365 00:17:33,720 --> 00:17:35,200 So it's like, oh, this piece looks really nice. 366 00:17:35,200 --> 00:17:36,800 So let's build a piece like this. 367 00:17:37,160 --> 00:17:40,920 And so all of it is kind of like we're all and you know, 368 00:17:40,920 --> 00:17:44,400 obviously as everyone's inspiring each other, but I 369 00:17:44,400 --> 00:17:47,920 think Ericsson is the production designer on on McCabe and Mrs. 370 00:17:47,920 --> 00:17:51,320 Miller. OK yeah, I know he's Jacks like 371 00:17:51,440 --> 00:17:55,840 yes hero and he I'm McCabe and Mrs. Miller movie that I know 372 00:17:55,840 --> 00:18:01,520 you hate the fake snow and the. There was a, you know, it was 373 00:18:01,520 --> 00:18:03,800 probably the first time anyone was doing optical. 374 00:18:03,800 --> 00:18:06,520 Sure, sure. And it doesn't exactly hold up. 375 00:18:06,640 --> 00:18:09,000 In the beginning, well, when you see these restorations, maybe 376 00:18:09,000 --> 00:18:10,960 when you see like an organization. 377 00:18:10,960 --> 00:18:13,320 Like maybe I wish I just so. You know, just deprived. 378 00:18:13,320 --> 00:18:15,000 You've never seen the restoration. 379 00:18:15,000 --> 00:18:17,440 I've only seen the the old DVD. Well. 380 00:18:17,440 --> 00:18:19,320 It's a wonderful. Restoration, I'm sure. 381 00:18:19,640 --> 00:18:21,920 I mean, I remember reading a story that that Warren Beatty 382 00:18:21,920 --> 00:18:25,280 when he saw that movie, like, oh man, I was so psyched to show it 383 00:18:25,280 --> 00:18:28,680 to him. And he was like, and he's like, 384 00:18:28,680 --> 00:18:30,560 what do you think? He goes, I couldn't fucking hear 385 00:18:30,560 --> 00:18:33,160 one word that I said, what did you do to the movie? 386 00:18:33,520 --> 00:18:35,600 And he's like, isn't that amazing? 387 00:18:35,920 --> 00:18:39,160 And Warren, maybe he's like, no, it's not amazing at all. 388 00:18:39,560 --> 00:18:41,080 But it because it was conceptual. 389 00:18:41,680 --> 00:18:44,840 But but the production designer would go into town and go to the 390 00:18:44,840 --> 00:18:48,720 bars and get the drunks who were there and bring them to the set 391 00:18:48,720 --> 00:18:49,960 or the people who built the sets. 392 00:18:49,960 --> 00:18:53,200 He'd put them in the scenes. So those that's why they feel so 393 00:18:53,200 --> 00:18:57,120 alive. And I would start to, I went 394 00:18:57,120 --> 00:19:00,640 nuts casting a lot of these extras and faces. 395 00:19:00,640 --> 00:19:04,280 So I would populate and Jack felt like I built these sets, 396 00:19:04,280 --> 00:19:06,560 but they're not alive until Josh, you put these people in 397 00:19:06,560 --> 00:19:08,600 them. And that was when I would start 398 00:19:08,600 --> 00:19:09,920 to, that's when I had this suspension. 399 00:19:09,920 --> 00:19:12,640 Disbelief really comes alive to me is when I'm like the bowling 400 00:19:12,640 --> 00:19:15,760 alley, when you just have all these people that you that have 401 00:19:15,760 --> 00:19:18,840 these anachronistic to no, not timeless faces, not 402 00:19:18,840 --> 00:19:22,240 anachronistic. And they're just in perfect 403 00:19:22,240 --> 00:19:25,120 costume with perfect hair. Kay Georgia, my hair person, I 404 00:19:25,120 --> 00:19:27,800 gave her carte blanche. I was like, if the hair isn't 405 00:19:27,800 --> 00:19:29,720 perfect or right, get rid of them. 406 00:19:29,800 --> 00:19:32,400 So then they had extras, people like, hey, Kay is releasing 407 00:19:32,400 --> 00:19:34,800 these three extras like good, you know, And I was like, send 408 00:19:34,840 --> 00:19:36,640 me pictures. Like she was right because she 409 00:19:36,640 --> 00:19:40,320 was looking at the faces only. My God, what you and Jennifer 410 00:19:40,320 --> 00:19:44,520 found with me, I mean, every scene is just populated with 411 00:19:44,520 --> 00:19:48,280 just incredibly unique looking, beautiful people. 412 00:19:48,280 --> 00:19:49,520 Yeah, Beautiful people, Yeah, because. 413 00:19:49,520 --> 00:19:52,440 Jen's like a humanist and I'm lucky she's like, she's a 414 00:19:52,440 --> 00:19:56,160 documentarian in her movie. Billy the Kid is a testament to 415 00:19:56,560 --> 00:19:59,320 amazing movie. That was How I Met her. 416 00:19:59,600 --> 00:20:04,280 I was playing pool and I was, I was on a roll. 417 00:20:04,280 --> 00:20:07,960 I was feeling sharkish, You know, I was if I can lock in and 418 00:20:07,960 --> 00:20:10,760 focus, my problem is, is focus. Sometimes I can. 419 00:20:11,360 --> 00:20:13,160 I believe when I was a kid, I was like, can I focus on 420 00:20:13,160 --> 00:20:14,800 something? I can do anything that was in my 421 00:20:14,800 --> 00:20:17,200 mind. My, my, my dad instilled that 422 00:20:17,200 --> 00:20:19,800 into me. But so I was playing pool and 423 00:20:19,800 --> 00:20:21,240 she came up to me. She tried to like cast me. 424 00:20:21,240 --> 00:20:24,000 She was doing a lot of unusual casting. 425 00:20:24,040 --> 00:20:26,960 Yeah. Unusual casting for fashion 426 00:20:26,960 --> 00:20:30,560 spreads. And then she, I think the first, 427 00:20:30,560 --> 00:20:33,240 like, time she was. And then like, I think maybe 428 00:20:33,240 --> 00:20:35,880 Spike Jones reach out to her to find the kid and Where the wild 429 00:20:35,880 --> 00:20:39,840 Things are, she came up to me to be like, hey, you know, good 430 00:20:39,840 --> 00:20:41,560 pays really good money, you know, you should. 431 00:20:41,560 --> 00:20:43,120 And I was like, I don't know. I'm not. 432 00:20:43,120 --> 00:20:45,120 I don't want to do that. Even though I was acting in my 433 00:20:45,120 --> 00:20:47,560 early stuff, Like I don't want to do this just for me. 434 00:20:47,560 --> 00:20:49,880 I'm trying to learn for myself. I don't want to do it for 435 00:20:49,880 --> 00:20:52,320 someone else. And so I met her that way. 436 00:20:52,320 --> 00:20:54,800 And then I went to see Billy the Kid and I cried watching that 437 00:20:54,800 --> 00:20:56,640 film. And I went up to her and I was 438 00:20:56,640 --> 00:20:59,320 like, what a beautiful movie. So what you're seeing in the 439 00:20:59,320 --> 00:21:01,800 film is like, I'm meeting people on the street. 440 00:21:01,880 --> 00:21:04,240 I'm sending them to Jen. She's finding people on the 441 00:21:04,240 --> 00:21:06,320 street herself. She has a team of people who go 442 00:21:06,320 --> 00:21:09,960 into the real world. She's looking at real, you know, 443 00:21:10,560 --> 00:21:13,000 the fabric of SAG and real people. 444 00:21:13,000 --> 00:21:17,560 And, and she looks at actors as real people and as you should. 445 00:21:17,560 --> 00:21:20,920 And sometimes they're famous and they, you know, they make a 446 00:21:20,920 --> 00:21:23,440 studio happy. And sometimes they're someone 447 00:21:23,440 --> 00:21:25,320 who's just been working for a long time and no one's giving 448 00:21:25,320 --> 00:21:28,680 them kind of their due. And so she's looking at everyone 449 00:21:28,680 --> 00:21:30,320 the same way. But what's happening with these, 450 00:21:30,320 --> 00:21:34,680 some of these first timers, and you know, as I'm, you can feel 451 00:21:34,680 --> 00:21:38,120 it in your movies, is that they, and it's part of the job as a 452 00:21:38,120 --> 00:21:41,280 director is instilling a certain sort of confidence and ease. 453 00:21:41,280 --> 00:21:44,280 Like you have the agency to do whatever you want. 454 00:21:44,640 --> 00:21:49,200 And that because whatever you decide to do is great because 455 00:21:49,200 --> 00:21:51,160 you're deciding to do it on some level. 456 00:21:51,160 --> 00:21:53,720 And then you, you know, you steer them and I don't like the 457 00:21:53,960 --> 00:21:57,360 word manipulate, but you, you push them into areas so that 458 00:21:57,360 --> 00:22:01,880 they can do their thing. And then, but so Jen's style is 459 00:22:02,120 --> 00:22:04,840 she'll like do an interview with these, with these people. 460 00:22:05,000 --> 00:22:07,360 Again, it doesn't matter if they're a known person or 461 00:22:07,360 --> 00:22:09,840 unknown person and she'll send the 20 minute interview. 462 00:22:09,840 --> 00:22:13,600 And her interviews are amazing. There's like deep dives virtual, 463 00:22:13,880 --> 00:22:16,080 and then you learn something from them and then you go back 464 00:22:16,080 --> 00:22:18,920 and like, I want to put this piece into the character so 465 00:22:18,920 --> 00:22:21,080 you're rewriting. Sometimes you use a piece of 466 00:22:21,080 --> 00:22:21,760 their OH. Yeah. 467 00:22:21,760 --> 00:22:23,520 And then they see that and they're like, wow, you saw 468 00:22:23,520 --> 00:22:24,440 something in me. Yeah. 469 00:22:24,640 --> 00:22:26,040 Yeah. And then she does. 470 00:22:26,160 --> 00:22:27,840 I consider it's like acting school. 471 00:22:28,040 --> 00:22:31,240 So then in her little windowless room, I'll give a character 472 00:22:31,240 --> 00:22:34,080 description and a scenario. And I want to see how these 473 00:22:34,080 --> 00:22:38,440 people improvise, and then she'll work with them, and then 474 00:22:38,680 --> 00:22:41,000 we'll do it again. And then you introduce dialogue 475 00:22:41,000 --> 00:22:43,200 and see how they can do it with structured scenes. 476 00:22:43,200 --> 00:22:46,000 Yes, yeah, cuz you don't have much improv in this film. 477 00:22:46,040 --> 00:22:49,040 In this one, No. I mean, I would go. 478 00:22:49,240 --> 00:22:52,000 I was so afraid of the script. Yeah, even though we spent six 479 00:22:52,000 --> 00:22:54,560 years on it. I'm so afraid of it, this thing. 480 00:22:54,680 --> 00:22:58,360 You know what I mean? And I I I I. 481 00:22:58,400 --> 00:23:03,120 Do I, I sometimes it just feels like it's, it might be too 482 00:23:03,120 --> 00:23:05,120 structured. It might be too or I've been 483 00:23:05,120 --> 00:23:08,360 living with it too long and it no longer feels fresh and I want 484 00:23:08,360 --> 00:23:11,800 to mix it up on set And so therefore I just say like. 485 00:23:13,280 --> 00:23:15,880 We'll do a. Couple takes with what I've 486 00:23:15,880 --> 00:23:19,920 written and then if we feel so inspired to take it in another 487 00:23:19,920 --> 00:23:22,320 place, using this as a launching pad. 488 00:23:22,600 --> 00:23:23,840 Yeah. And that's what I've been doing 489 00:23:23,840 --> 00:23:26,680 for the last few films because I've had to flesh out my 490 00:23:26,680 --> 00:23:28,480 screenplays to full length screenplays. 491 00:23:28,480 --> 00:23:30,920 Whereas the film you mentioned earlier, Prince of Broadway, Oh 492 00:23:30,920 --> 00:23:34,800 my God, that was like a treatment showing up every day 493 00:23:34,840 --> 00:23:37,120 and just seeing like, let's see what happens. 494 00:23:37,520 --> 00:23:39,400 It's hard to do it on bigger budgets. 495 00:23:39,680 --> 00:23:42,440 And also it's impossible to do what with what you did, which 496 00:23:42,520 --> 00:23:45,920 is, you know, a period of peace and obviously very structured 497 00:23:45,920 --> 00:23:49,840 and, and you know, I. I, I can totally write for a 498 00:23:49,840 --> 00:23:51,880 long time. I was, I remember I wrote a 499 00:23:51,880 --> 00:23:58,400 screenplay and I remember like this one, this like one group of 500 00:23:58,400 --> 00:24:08,320 people were who I met through this strange woman and she was 501 00:24:08,320 --> 00:24:10,600 like, it was this movie that ended up turning into daddy 502 00:24:10,600 --> 00:24:12,200 longlings, but it was a structured script. 503 00:24:12,640 --> 00:24:16,040 It was like about this kind of the same and that morphed into 504 00:24:16,040 --> 00:24:19,240 daddy longlings in some way. It's about like the same family 505 00:24:19,240 --> 00:24:22,920 going to a beach and that they, the whenever the kid gets lost 506 00:24:22,920 --> 00:24:28,720 on the beach and, and it's a crazy movie, but I was because I 507 00:24:28,720 --> 00:24:30,400 couldn't get that made. And I remember I was sitting 508 00:24:30,400 --> 00:24:32,520 there within this like this, like they were lawyers that 509 00:24:32,520 --> 00:24:34,560 people who were going to give us the money we're asking for like 510 00:24:34,560 --> 00:24:38,000 100 grand. And we read they were like, 511 00:24:38,000 --> 00:24:40,040 we're going to bring in someone who knows the industry. 512 00:24:40,040 --> 00:24:44,040 So they brought in like, I don't remember some an actress that I 513 00:24:44,040 --> 00:24:47,080 didn't recognize from Footloose, like AI think I'd like a small 514 00:24:47,280 --> 00:24:49,320 part in Footloose. She wanted the feet. 515 00:24:49,440 --> 00:24:51,480 In the opening credits, yeah. So I was like I. 516 00:24:52,120 --> 00:24:54,440 Was like they were like, this is she's I'm like a whole pleasure 517 00:24:54,440 --> 00:24:56,120 to meet you. And then we read the whole 518 00:24:56,120 --> 00:25:02,400 script in this conference room, and I remember they said, well, 519 00:25:02,400 --> 00:25:04,400 can you include 911 in it somehow? 520 00:25:04,400 --> 00:25:06,360 I'm like, this movie takes place on a beach. 521 00:25:06,360 --> 00:25:08,560 What are you talking about? Well, like, well, this movie 522 00:25:08,560 --> 00:25:11,920 feels very nostalgic. And it would be interesting to 523 00:25:12,080 --> 00:25:14,440 kind of at least evoke the Twin Towers. 524 00:25:15,120 --> 00:25:18,320 And I was like, but it doesn't take place in 2000 And yeah, 525 00:25:18,400 --> 00:25:21,720 whatever 1990s or 2000. Think it would be good for us 526 00:25:22,120 --> 00:25:27,280 and be jokingly like pitched the most ridiculous thing and they 527 00:25:27,280 --> 00:25:29,400 were like, that's a great idea. I don't want to see what it was, 528 00:25:29,640 --> 00:25:31,280 but sometimes you have to appease. 529 00:25:31,280 --> 00:25:32,520 But so. But my point is like I. 530 00:25:32,520 --> 00:25:35,360 Never wanted to. I got afraid of the script and 531 00:25:35,360 --> 00:25:40,080 then I just wrote treatments and Daddy Long Legs was just 40 532 00:25:40,080 --> 00:25:43,200 pages of just prose and I was like, I'll get these kids to 533 00:25:43,520 --> 00:25:45,560 Ronnie to say the words as he wants to say. 534 00:25:45,560 --> 00:25:49,480 Then there was some dialogue, but it was all ideas and and on 535 00:25:49,480 --> 00:25:53,680 this, and I'm sure you I mean, look, Anora's very structured 536 00:25:54,080 --> 00:25:59,320 and and and that's and I think that you I think we've discussed 537 00:26:00,000 --> 00:26:05,000 about other films and other film makers, this feeling of maybe 538 00:26:05,000 --> 00:26:08,480 it's I don't know where maybe you like get really into, I 539 00:26:08,480 --> 00:26:13,280 don't know, these these realist films that you start to have 540 00:26:13,280 --> 00:26:20,680 this kind of thirst for story and you know, the story becomes, 541 00:26:22,680 --> 00:26:25,680 I don't know, paramount. So you mean like starting off? 542 00:26:25,680 --> 00:26:28,920 Early in your career, yeah. Where you just like to. 543 00:26:29,200 --> 00:26:30,640 I just want to 1. Century. 544 00:26:30,640 --> 00:26:33,320 Yeah, you have an idea. Of a movie, right, and you have 545 00:26:33,440 --> 00:26:35,960 a very general structure and the goal is more. 546 00:26:35,960 --> 00:26:42,000 About maybe craft and trying to like recreate reality and and 547 00:26:42,000 --> 00:26:46,120 then as we've moved on, we actually have been our stories 548 00:26:46,120 --> 00:26:48,680 have been more complicated more. Complicated a little. 549 00:26:48,680 --> 00:26:50,840 More a little more traditional in a way. 550 00:26:50,840 --> 00:26:52,560 People hate that middle and. End maybe? 551 00:26:52,640 --> 00:26:57,360 People hate that, but. I I think they're I I like to 552 00:26:57,360 --> 00:26:58,400 see ideas. Yeah. 553 00:26:58,400 --> 00:27:00,200 We like stories, yes. We like stories. 554 00:27:00,200 --> 00:27:03,160 Exactly. Yes, 100% the Cavemen around 555 00:27:03,160 --> 00:27:05,560 the. Fire and the hearing a a final 556 00:27:05,560 --> 00:27:06,520 and end. Do you talk? 557 00:27:06,520 --> 00:27:08,760 Do you tell? Or, or do you or write the story 558 00:27:08,760 --> 00:27:11,520 to somebody before you? Oh, Oh yeah, it's helpful 'cause 559 00:27:11,520 --> 00:27:13,360 you know, immediately when someone's like, yeah, where's 560 00:27:13,360 --> 00:27:15,040 this going? I'm just about, I mean. 561 00:27:15,040 --> 00:27:18,920 I'm I'm about to get into that right now because I'm I'm I'm I 562 00:27:18,920 --> 00:27:22,080 have it all here and it's about to be vomited out on on to who 563 00:27:22,080 --> 00:27:25,680 do you do that with? Samantha and Alex Coco amazing 564 00:27:26,160 --> 00:27:31,320 my 2 fellow producers and it's it's about me going guys come 565 00:27:31,320 --> 00:27:33,720 over, sit down. I'm about I'm going to take two 566 00:27:33,720 --> 00:27:36,120 edibles and I'm going to just amazing. 567 00:27:36,920 --> 00:27:39,400 I know that about you. How many people know about you? 568 00:27:41,360 --> 00:27:42,960 Were you on edibles at the Oscars? 569 00:27:43,920 --> 00:27:46,400 I. I time it so that so that you're 570 00:27:46,400 --> 00:27:48,240 coming down so. That I'm not too. 571 00:27:48,240 --> 00:27:49,680 High up on stage, it's unbelievable. 572 00:27:50,880 --> 00:27:52,640 I can't. We're not. 573 00:27:52,720 --> 00:27:53,320 Yeah. Yeah. 574 00:27:53,520 --> 00:27:56,440 It's always timed perfectly. So that it's really hitting just 575 00:27:56,440 --> 00:27:57,880 as I'm exiting. I love that I you. 576 00:27:58,160 --> 00:28:00,160 Know that sounds like it's such a nightmare for me. 577 00:28:00,160 --> 00:28:03,960 I am when I I can't do it anymore. 578 00:28:03,960 --> 00:28:05,680 And I used to smoke weed. It was a punishment. 579 00:28:06,280 --> 00:28:08,800 I would sit, I would do it. I'd be alone. 580 00:28:08,800 --> 00:28:11,880 If I had an interaction with someone, Oh my God, that's bad 581 00:28:11,880 --> 00:28:15,320 news. And I would criticize myself and 582 00:28:15,320 --> 00:28:18,800 I'd write them down and I have these nasty things about myself. 583 00:28:18,880 --> 00:28:21,240 And then I would, it was horrible. 584 00:28:21,240 --> 00:28:23,600 That's a horrible experience, but I thought that I needed it 585 00:28:24,040 --> 00:28:27,640 to understand, you know, ideas and myself. 586 00:28:27,880 --> 00:28:31,120 And then I'd be sober and I'd come to and I'd read these 587 00:28:31,120 --> 00:28:33,120 things like, OK, that's through the lens of this. 588 00:28:33,320 --> 00:28:36,520 So I admire that you could, because these things are, I 589 00:28:36,520 --> 00:28:39,040 mean, it's amazing that you're able to, you were able to, well, 590 00:28:39,040 --> 00:28:42,440 I think I've become. It was actually something I I 591 00:28:42,440 --> 00:28:45,640 avoided because I had a bad experience making a student film 592 00:28:45,640 --> 00:28:46,600 once. Oh really? 593 00:28:46,640 --> 00:28:48,440 I was too high. And like, I'm never doing that 594 00:28:48,440 --> 00:28:50,000 again. And to tell you the truth, I 595 00:28:50,000 --> 00:28:52,600 don't when I'm directing. No way it could be lucid. 596 00:28:52,600 --> 00:28:55,600 No, no, no. But I do use it in writing and 597 00:28:55,600 --> 00:28:58,720 in post and and I edit high. Wow. 598 00:28:58,880 --> 00:29:03,440 And maybe I shouldn't be in. We can delete that. 100% and 599 00:29:03,440 --> 00:29:05,040 Nora. I even give in. 600 00:29:05,200 --> 00:29:09,320 It was both Red Rock and in Nora that I edited literally 100%. 601 00:29:09,320 --> 00:29:11,240 I don't think I edited. We'll keep doing that. 602 00:29:11,640 --> 00:29:15,920 And in the end credits I thank my dispensary. 603 00:29:18,440 --> 00:29:21,880 But anyway, I love that. But actually let me that brings 604 00:29:21,880 --> 00:29:25,240 us to editing. You Co edit with Ronnie. 605 00:29:25,240 --> 00:29:27,600 That's right, and that's the first time I've edited. 606 00:29:27,600 --> 00:29:32,080 Since my early films, yeah. And I and I because I was, you 607 00:29:32,080 --> 00:29:34,720 know, I'm involved, I'm so involved in the edit. 608 00:29:35,040 --> 00:29:38,680 And what I was is for a long time I would get, I have 609 00:29:38,680 --> 00:29:43,400 anxiety, like bad anxiety. And the, the process of editing 610 00:29:44,680 --> 00:29:48,520 is anxiety inducing in the sense that like, OK, I know this, I 611 00:29:48,520 --> 00:29:50,880 want to do this. I know these pieces, but it's 612 00:29:50,880 --> 00:29:53,680 the it's it's. And every time I'm in the micro 613 00:29:53,680 --> 00:29:56,680 of the making the specific cut, Yeah, I'm fine. 614 00:29:57,080 --> 00:29:59,480 It's then when I have them all and I have to just having a 615 00:29:59,480 --> 00:30:02,640 timeline where you have to move, make a cut and you have to like 616 00:30:02,680 --> 00:30:05,280 make sure you get all the that. I know it's such a simple thing 617 00:30:05,280 --> 00:30:08,200 that just feeling of moving a timeline. 618 00:30:08,200 --> 00:30:09,720 It could be just a 4 minute scene. 619 00:30:10,360 --> 00:30:12,880 It gives me so much anxiety that I can't. 620 00:30:13,280 --> 00:30:16,200 I couldn't do it, so I had to get over that and imagine doing 621 00:30:16,200 --> 00:30:17,520 that on a Steam. Back Yeah. 622 00:30:17,520 --> 00:30:18,280 Oh my God. I. 623 00:30:18,320 --> 00:30:21,640 I cut, you cut probably on that when you lose 1 frame and you're 624 00:30:21,640 --> 00:30:23,520 in the bin and you're like, where's that one frame? 625 00:30:23,520 --> 00:30:25,880 I made the wrong cut. So that kind of trains you to be 626 00:30:25,880 --> 00:30:28,440 a little more orthodox and strict with the cutting. 627 00:30:29,080 --> 00:30:30,880 So I have that background a little bit. 628 00:30:31,000 --> 00:30:32,360 Yeah, that's the greatest thing about the. 629 00:30:32,360 --> 00:30:35,120 Digital revolution, by the way, is what it did for post. 630 00:30:35,200 --> 00:30:37,400 Oh my God, that's in my opinion, the greatest thing about 631 00:30:37,600 --> 00:30:39,840 digital. So do you and Ronnie, how do 632 00:30:40,200 --> 00:30:41,080 you? OK, so let it up. 633 00:30:41,120 --> 00:30:43,320 And are either. One of you editing during 634 00:30:43,320 --> 00:30:45,160 production? No, no, no, no, no. 635 00:30:45,200 --> 00:30:46,720 During so no, not even a little bit. 636 00:30:46,960 --> 00:30:50,640 So writing is the scariest part because it could be go on 637 00:30:50,640 --> 00:30:51,640 forever. Of course it could go on 638 00:30:51,640 --> 00:30:53,360 forever. And the idea, the hardest part, 639 00:30:53,360 --> 00:30:56,000 it's the hardest part 100%. People don't like to really say 640 00:30:56,000 --> 00:30:58,280 that, which is not fair to the writers. 641 00:30:58,280 --> 00:31:00,000 It's the hardest part. It's the ideas, it's the 642 00:31:00,000 --> 00:31:04,000 bedrock, it's the foundation. The actual hardest part is 643 00:31:04,000 --> 00:31:06,720 direction. But because it's just war and 644 00:31:06,720 --> 00:31:09,120 the world doesn't want your movie to exist and there's a 645 00:31:09,120 --> 00:31:11,520 million problems. There's time management, it's 646 00:31:11,760 --> 00:31:13,760 performances. So you have to like constantly 647 00:31:13,760 --> 00:31:16,440 be blind to different parts of yourself so that this stress 648 00:31:16,440 --> 00:31:18,800 doesn't exist for this person. And then you're in this space 649 00:31:18,800 --> 00:31:20,720 and you're with life. All of a sudden you're doing 650 00:31:20,720 --> 00:31:22,360 their takes. But it's finite. 651 00:31:22,800 --> 00:31:27,520 It's over in 46 days, it's over. You know, with writing it, you 652 00:31:27,520 --> 00:31:29,880 could go on forever. Who knows when an idea will come 653 00:31:30,400 --> 00:31:34,760 and then the edit you have this, it's done so and and when we're 654 00:31:34,880 --> 00:31:36,880 when we're shooting, I don't have time to watch dailies, 655 00:31:36,880 --> 00:31:38,640 don't have time to watch dailies button learn edit. 656 00:31:38,640 --> 00:31:43,440 I know I had a great editing team like who were looking at 657 00:31:43,440 --> 00:31:44,960 stuff just to make sure everything. 658 00:31:45,400 --> 00:31:47,040 Focused. Yeah, exactly which there was. 659 00:31:47,040 --> 00:31:49,760 A lot of focus problems on this because shooting films shooting. 660 00:31:49,760 --> 00:31:52,960 Film with these. Old lenses, low light scenarios, 661 00:31:52,960 --> 00:31:56,440 Darius, Prince of Darkness, he's shooting things and I'm no 662 00:31:56,440 --> 00:31:58,480 marks, you know what I mean? So I'm letting people and 663 00:31:58,480 --> 00:32:01,040 sometimes he'll be like, Josh, the actor has to go right here. 664 00:32:01,040 --> 00:32:02,720 I've lit for this area. I was like, we'll see what they 665 00:32:02,720 --> 00:32:04,800 do. And he's like, no, just tell 666 00:32:04,800 --> 00:32:06,800 them to go here. I was like, can't do that. 667 00:32:06,800 --> 00:32:10,080 Darius Timmy with some like, you know, some of the more like 668 00:32:10,320 --> 00:32:13,600 veteran actors, they can do it. And even like the veteran 669 00:32:13,600 --> 00:32:14,840 actors, you don't put narcs down. 670 00:32:15,080 --> 00:32:17,760 You're encouraging this freedom. Like you're saying earlier, you 671 00:32:17,760 --> 00:32:20,280 have this these takes, you do them that are kind of tied to 672 00:32:20,280 --> 00:32:22,320 the script. Then you then you go into these 673 00:32:22,320 --> 00:32:25,080 unknown territories, these uncharted territories and you 674 00:32:25,080 --> 00:32:27,560 kind of find your way back to the script a little bit looking 675 00:32:27,560 --> 00:32:31,240 for these feeling, this feeling. And you end up using pieces of 676 00:32:31,240 --> 00:32:35,440 just improvisation in some way or improvisation emotionally, 677 00:32:35,440 --> 00:32:37,840 you know what I mean? Doing little things, moving 678 00:32:37,840 --> 00:32:39,760 different places. But I would say to Darius, if 679 00:32:39,760 --> 00:32:42,880 they don't hit that light pool, and then maybe over here, it's 680 00:32:42,920 --> 00:32:45,840 almost more interesting because there's an imperfection there. 681 00:32:45,840 --> 00:32:48,040 And like, someone might not land in a pool of light. 682 00:32:48,040 --> 00:32:52,000 They might be slightly underlit. And Dr. Darius crazy, but he 683 00:32:52,000 --> 00:32:55,280 started to understand, like, OK, yeah, people became not just 684 00:32:55,320 --> 00:32:57,680 things you can push around, they became these real life things, 685 00:32:57,880 --> 00:32:59,560 which is like a documentary in some way. 686 00:32:59,880 --> 00:33:03,080 But you know, that's why I'm like, even I remember on Heaven 687 00:33:03,080 --> 00:33:05,000 Knows what I like Stretched touched out the credits because 688 00:33:05,000 --> 00:33:07,360 I wanted to look like it was like a real production, but it 689 00:33:07,360 --> 00:33:09,360 was like 5 people making a documentary. 690 00:33:09,680 --> 00:33:13,240 So that's, I try to bring that feeling a little bit to, to, to 691 00:33:13,240 --> 00:33:15,880 this. But it's going back to the 692 00:33:15,960 --> 00:33:18,880 editing, the dailies. Like I remember reading these 693 00:33:18,880 --> 00:33:21,480 stories about Altman daily watching parties. 694 00:33:22,040 --> 00:33:23,480 How does he have the time to do that? 695 00:33:23,800 --> 00:33:26,000 It was beautiful because I imagine it would be. 696 00:33:26,000 --> 00:33:28,720 I do that in prep. You get all the crew members, 697 00:33:28,720 --> 00:33:30,600 all the department heads together and you watch all the 698 00:33:30,600 --> 00:33:32,160 camera tests and things like that. 699 00:33:32,200 --> 00:33:36,000 And I'm playing music and I'm putting creating the vibe. 700 00:33:36,120 --> 00:33:39,200 And also the 80s music was part of that from the very beginning. 701 00:33:39,640 --> 00:33:41,640 Really all of those tracks. It was written into the script. 702 00:33:41,640 --> 00:33:43,880 Yeah, the you can tell. You can tell. 703 00:33:44,040 --> 00:33:49,000 Because you're it's, it feels so deliberately cut to the music as 704 00:33:49,000 --> 00:33:50,800 well. It seems like you've, you've, 705 00:33:50,960 --> 00:33:52,640 you've even storyboarded. I don't know if you're 706 00:33:52,640 --> 00:33:54,760 storyboarded like 25. Percent of the movie. 707 00:33:54,800 --> 00:33:57,560 Oh yeah, interesting because you have to for some of these bigger 708 00:33:57,560 --> 00:34:00,240 set pieces like the stunts, people need to know the effects 709 00:34:00,240 --> 00:34:04,040 people need to know shot list like crazy the the film. 710 00:34:04,040 --> 00:34:06,640 And what's crazy is I ask for statistics at the end of a movie 711 00:34:06,640 --> 00:34:09,520 from the camera department. So I like know my own stats and 712 00:34:09,520 --> 00:34:11,000 be like, yeah, how many takes do I do? 713 00:34:11,000 --> 00:34:13,360 How much film do I shoot on the setups too like. 714 00:34:13,360 --> 00:34:15,000 On the setups, how much? Do I shoot? 715 00:34:15,120 --> 00:34:16,480 On the wide, how much do I shoot? 716 00:34:16,480 --> 00:34:17,920 Oh yeah, close-ups. Oh yeah, cool, I mean. 717 00:34:18,120 --> 00:34:21,280 I I usually shoot the wides kind of and after all the close-ups, 718 00:34:21,280 --> 00:34:23,880 right, which drives the big gaffers and all them crazy 719 00:34:23,880 --> 00:34:26,440 because the wide is always lit differently. 720 00:34:26,560 --> 00:34:31,800 Yeah, Normally you go in, I like to establish what they're doing 721 00:34:31,800 --> 00:34:33,960 on close up and then you move out to a lot, do you? 722 00:34:34,800 --> 00:34:36,560 Do that I. Mix it up. 723 00:34:36,960 --> 00:34:41,960 It really depends on the scene and sometimes I start with, 724 00:34:42,080 --> 00:34:43,920 yeah, that's not a sign. Yeah. 725 00:34:44,040 --> 00:34:48,440 I I I try not to actually stick to the same thing every time. 726 00:34:48,840 --> 00:34:49,800 It's interesting though, because. 727 00:34:49,800 --> 00:34:53,360 People don't realize that there's a, that's the order of 728 00:34:53,360 --> 00:34:57,320 which you're shooting a scene is for the actors, you know what I 729 00:34:57,320 --> 00:34:58,560 mean? It's the beginning of the 730 00:34:58,560 --> 00:35:00,120 direction. We're going to start here and 731 00:35:00,120 --> 00:35:03,760 then we're going to go there. And that's why if you let an AD 732 00:35:03,840 --> 00:35:06,120 decide what you're doing, we're going to do this first, do that 733 00:35:06,120 --> 00:35:07,800 first. And all of a sudden it's being, 734 00:35:08,280 --> 00:35:10,960 this is all due respect to the AD department, but that's not 735 00:35:11,160 --> 00:35:13,640 their job, you know what I mean? And you're right. 736 00:35:13,640 --> 00:35:17,480 So it is tailored to each scene and two performers. 737 00:35:17,480 --> 00:35:22,680 And then you have who do you, when you known actors sometimes 738 00:35:22,960 --> 00:35:25,080 who wants to get shot 1st and things like that. 739 00:35:25,080 --> 00:35:27,120 So you have to play that game and sometimes. 740 00:35:27,120 --> 00:35:29,120 Something happens, then you have to go back. 741 00:35:29,600 --> 00:35:31,280 Yeah. If you don't. 742 00:35:31,840 --> 00:35:34,040 There have been a few times where I'm just like, why didn't 743 00:35:34,040 --> 00:35:37,840 I just turn, you know, spin the camera and take that extra 20 744 00:35:37,840 --> 00:35:40,520 minutes and shoot? Yeah, additional coverage. 745 00:35:40,520 --> 00:35:43,560 Well, I'll bring in the second. Camera for that oh OK yeah I'll. 746 00:35:43,560 --> 00:35:45,800 Just bring the second. Camera OK, so you had. 747 00:35:45,880 --> 00:35:48,640 You had multiple cameras shooting and yeah, OK, and I 748 00:35:48,640 --> 00:35:51,640 would have that. For allowing the director, the 749 00:35:51,640 --> 00:35:54,280 actors, like for example, the scene between Kevin and and 750 00:35:54,280 --> 00:35:56,560 Timmy in the Paris scene, that was a second day of shooting and 751 00:35:56,560 --> 00:35:59,160 I really didn't want to do that. There's a huge scene in the 752 00:35:59,160 --> 00:36:01,880 middle of the movie. Unfortunately, it has lots of 753 00:36:01,880 --> 00:36:05,760 narrative information in it and those are the hardest scenes to 754 00:36:05,760 --> 00:36:08,600 shoot just from a, from a directing standpoint, 'cause 755 00:36:08,600 --> 00:36:11,240 you're just like, they have to say information that's important 756 00:36:11,240 --> 00:36:13,680 to the movie and you feel bogged down by that sometimes. 757 00:36:14,080 --> 00:36:17,280 But I had two cameras at once and if that drives Darius crazy 758 00:36:17,280 --> 00:36:19,840 and I never try to do that where you're doing this. 759 00:36:19,840 --> 00:36:22,920 Yes, the I said, I told Darius I'll never do it. 760 00:36:22,920 --> 00:36:25,960 If the shots are compromised and the subjectivity is not there, 761 00:36:26,440 --> 00:36:28,800 we're able to frame it up, use long enough lenses and things 762 00:36:28,800 --> 00:36:30,800 like that, which I like, like anyway. 763 00:36:30,800 --> 00:36:35,600 So it's like. 75 or 36360 you're far away. 764 00:36:35,720 --> 00:36:38,120 Wait, what? Scene was the. 360 I've used 765 00:36:38,160 --> 00:36:39,040 360. A lot. 766 00:36:39,040 --> 00:36:42,080 That's like the most beautiful Jewel C series Panavision lens. 767 00:36:42,080 --> 00:36:43,120 Yeah. You know what? 768 00:36:43,160 --> 00:36:47,960 I discovered that lens because it was used on Rossi's Moment of 769 00:36:48,000 --> 00:36:51,280 truth, the bull fighting, beautiful bull fighting, which 770 00:36:51,280 --> 00:36:53,120 was a hybrid film as well, right. 771 00:36:53,520 --> 00:36:56,840 On the bull stuff. He used the 360, but it was, I 772 00:36:56,840 --> 00:37:00,400 think spherical. So it was, but it was, no, I 773 00:37:00,400 --> 00:37:02,160 think it was Wow, he was holding. 774 00:37:02,360 --> 00:37:04,040 Wonderful. Focus on all that stuff. 775 00:37:04,120 --> 00:37:06,320 I mean, you have like daylight. So it was like, why a pretty 776 00:37:06,320 --> 00:37:10,800 high, it was like probably F16 or whatever and you you didn't 777 00:37:10,800 --> 00:37:12,920 do much. Handheld in this film, I mean, 778 00:37:12,920 --> 00:37:15,240 every time we were every. Time we were in the tenement 779 00:37:15,360 --> 00:37:18,240 every time was handheld. OK, but that was like a rule. 780 00:37:18,360 --> 00:37:20,320 It was actually really steady handheld. 781 00:37:20,320 --> 00:37:22,840 Yes, well, I have like. Colin Anderson, my camera 782 00:37:22,840 --> 00:37:26,240 operator, who does all of PTA's films. 783 00:37:26,600 --> 00:37:28,960 Yeah. And like a lot of Bob, Bob 784 00:37:28,960 --> 00:37:33,160 Richardson movies, he's like a human, sticks human. 785 00:37:33,280 --> 00:37:35,360 I mean, he's the greatest Steadicam operator ever. 786 00:37:35,360 --> 00:37:37,160 He's like a Dolly. It's unbelievable. 787 00:37:37,160 --> 00:37:38,720 And I had a lot of Steadicam in this. 788 00:37:38,720 --> 00:37:40,720 And I told him, I begged him. I tried. 789 00:37:41,080 --> 00:37:45,200 I begged him to do the movie. And he amazing. 790 00:37:45,200 --> 00:37:48,800 Your operator becomes, you know, that's your eyes. 791 00:37:48,800 --> 00:37:50,640 You know what I mean? And Darius operated once or 792 00:37:50,640 --> 00:37:54,000 twice on the film, but he he's more of a lighting cameraman. 793 00:37:54,120 --> 00:37:57,800 Darius is expressing himself through light in a very poetic 794 00:37:57,800 --> 00:38:03,280 way and was doing period lighting in a way like the color 795 00:38:03,280 --> 00:38:05,720 temperatures and whatnot. Probably a lot of tungsten. 796 00:38:05,760 --> 00:38:08,800 Yes, they brought a lot of. Tungsten, yeah, You know, modern 797 00:38:08,800 --> 00:38:10,240 day, there's the difference there's. 798 00:38:10,240 --> 00:38:12,120 Definitely a different modern day lighting. 799 00:38:12,760 --> 00:38:16,480 They would pull in those sky panels or something, right? 800 00:38:16,480 --> 00:38:18,120 Yeah, yeah, they. Would use those and. 801 00:38:18,120 --> 00:38:21,480 They would key in, they would, they would like use more Kelvin 802 00:38:21,480 --> 00:38:23,920 as their reference. They would test, Ian would test 803 00:38:23,920 --> 00:38:26,800 the Kelvin of like a period light and then try to match it 804 00:38:27,360 --> 00:38:30,040 on these sky panels and stuff. It's just gorgeous. 805 00:38:30,120 --> 00:38:31,800 I mean, it really is and it's amazing. 806 00:38:31,800 --> 00:38:33,760 And did were you? You told me that maybe there 807 00:38:33,760 --> 00:38:37,920 were some lenses that were actually created for the sound. 808 00:38:37,920 --> 00:38:39,960 Rehoused. So rehoused my wife. 809 00:38:39,960 --> 00:38:44,400 Was a producer on the movie. I was, there's a movie that's 810 00:38:44,400 --> 00:38:47,880 not very good called, I think it's called The Woman's World. 811 00:38:48,400 --> 00:38:53,160 And it was the, one of the first anamorphic pictures made Really. 812 00:38:53,520 --> 00:38:56,360 OK, there's the rope, the rope, not rope, right. 813 00:38:57,440 --> 00:39:00,240 And there was this film, A Woman's World, I'm pretty sure 814 00:39:00,240 --> 00:39:05,080 it was called, and Laura Mccall's in it and beautiful in 815 00:39:05,080 --> 00:39:07,320 it. And it's it's not a great movie, 816 00:39:07,720 --> 00:39:13,080 but there's anamorphic. But it she found it because we 817 00:39:13,080 --> 00:39:16,240 were looking for footage of anamorphic footage, in 818 00:39:16,240 --> 00:39:18,760 particular of New York City in the time period. 819 00:39:18,760 --> 00:39:23,760 Because beginning I was thinking I was going to mix kind of real 820 00:39:23,760 --> 00:39:25,800 footage in with the film. Oh, yeah, Yeah. 821 00:39:25,800 --> 00:39:29,800 And she found this movie that was one year after our period, 822 00:39:30,360 --> 00:39:32,400 and it was all shot in New York. So I was like, I want the 823 00:39:32,400 --> 00:39:33,280 dailies. Yeah. 824 00:39:33,440 --> 00:39:36,200 So we went and the studio Fox kept all that. 825 00:39:36,200 --> 00:39:38,600 So we found the dailies because I want to do this driving shot 826 00:39:38,600 --> 00:39:43,040 where I wanted to create projection of the real city 827 00:39:43,360 --> 00:39:46,400 using anamorphic footage. And again, that that's 828 00:39:46,400 --> 00:39:48,280 conceptually cool, but we didn't end up doing it. 829 00:39:48,520 --> 00:39:51,480 But what I saw was I was like, what are these lenses? 830 00:39:52,080 --> 00:39:56,400 Period lenses with anamorphic? So Fox bought Bausch and Lomb 831 00:39:57,360 --> 00:40:00,120 and created these lenses called Cinemascopes. 832 00:40:00,680 --> 00:40:03,560 And there are two sets in the world. 833 00:40:04,040 --> 00:40:08,320 And we found TCS in New York. Do you know Oliver and TCS in 834 00:40:08,320 --> 00:40:09,360 New York? I do, yeah. 835 00:40:09,360 --> 00:40:11,320 He's amazing. And he's like a lens hunter. 836 00:40:11,320 --> 00:40:15,200 He helped me find this NASA Vivitar lens that's opened up to 837 00:40:15,200 --> 00:40:16,760 .8. Amazing. 838 00:40:16,760 --> 00:40:18,240 I didn't. I had it on set. 839 00:40:18,240 --> 00:40:19,400 It's spherical. Yeah. 840 00:40:19,640 --> 00:40:20,480 Yeah. And I was going. 841 00:40:20,480 --> 00:40:22,840 To say that these old lenses probably didn't open up past 842 00:40:22,840 --> 00:40:26,240 four, I think Kubrick. Had one for Maryland in Atlanta 843 00:40:26,240 --> 00:40:28,360 or something like that. Yeah, but they're NASA. 844 00:40:28,360 --> 00:40:31,160 They're designed for outer space with no light. 845 00:40:32,240 --> 00:40:35,240 So I found them with Oliver. They were, I think in Sweden, 846 00:40:35,240 --> 00:40:37,520 but they were old. So he rehoused them and we 847 00:40:37,520 --> 00:40:39,400 brought them. We started testing them and they 848 00:40:39,400 --> 00:40:41,480 were beasts. They were like this big and they 849 00:40:41,520 --> 00:40:45,080 weighed like 80 lbs. And we used them a little bit 850 00:40:45,080 --> 00:40:46,880 where they had a lot of technical problems. 851 00:40:47,240 --> 00:40:49,520 So we didn't use them very much, but they're in the movie here 852 00:40:49,520 --> 00:40:51,720 and there. There was a lot of stuff on 853 00:40:51,720 --> 00:40:54,920 Orchard Street that we cut that was all shot exclusively with 854 00:40:54,920 --> 00:40:58,080 them and and it seems like you. Had it seems like you always 855 00:40:58,080 --> 00:41:01,480 have a kind of a loose head on the Oh yeah, you're locked down. 856 00:41:01,560 --> 00:41:04,000 Yes, you're on sticks always. It's always loose. 857 00:41:04,040 --> 00:41:05,000 Absolutely. I always tell. 858 00:41:05,480 --> 00:41:08,280 You do not ever lock that off every once in a while, because I 859 00:41:08,320 --> 00:41:11,040 just want to be able to be where the camera could go and give 860 00:41:11,040 --> 00:41:13,640 Timmy the freedom, give all the actors the freedom. 861 00:41:13,680 --> 00:41:15,520 Yeah. Sometimes they go off the set, 862 00:41:15,560 --> 00:41:18,680 yeah, but it feels. It keeps it alive without going 863 00:41:18,680 --> 00:41:20,480 full handheld. It keeps it alive. 864 00:41:20,480 --> 00:41:22,520 There's an energy there, but the rule. 865 00:41:22,520 --> 00:41:24,160 Definitely was. Every time we were in the 866 00:41:24,160 --> 00:41:27,000 tenement, we were handheld. That's so interesting. 867 00:41:27,240 --> 00:41:29,520 How did Kevin O'Leary come to the project? 868 00:41:29,760 --> 00:41:32,480 So I. We wrote Ronnie and I wrote this 869 00:41:32,480 --> 00:41:34,160 character because he's a corporate. 870 00:41:34,160 --> 00:41:35,840 I love him by. The way he's a corporate 871 00:41:35,840 --> 00:41:38,600 colonialist. Or the first of its kind kind of 872 00:41:38,600 --> 00:41:41,560 post war carpetbagger eternal power. 873 00:41:41,640 --> 00:41:44,600 You know what I mean? Scary, timeless power that's 874 00:41:44,600 --> 00:41:47,320 been around for as much as long long as capitalism has been 875 00:41:47,320 --> 00:41:50,200 around. So I was looking at actors. 876 00:41:50,200 --> 00:41:53,320 I met with a few. They just were never going to 877 00:41:53,320 --> 00:41:55,760 bring what was needed. You know, I'm again, I'm chasing 878 00:41:55,880 --> 00:41:56,760 life. Yes. 879 00:41:56,760 --> 00:42:00,280 And so then I went back to the drawing board and I started, I 880 00:42:00,360 --> 00:42:04,120 pulled up Forbes top like 50 richest people in the world and, 881 00:42:04,200 --> 00:42:05,440 and I just went through each one. 882 00:42:05,440 --> 00:42:09,880 And then you watch interviews with them and you know, they 883 00:42:09,880 --> 00:42:11,600 don't have it. They're not cinematic, they 884 00:42:11,600 --> 00:42:13,880 don't have a, they're not great looking, some of them. 885 00:42:14,200 --> 00:42:17,000 And then I was like, OK, let me think of entertain, entertaining 886 00:42:17,000 --> 00:42:18,680 businessmen. And there's a lot of them. 887 00:42:20,000 --> 00:42:23,880 And I started going through and naturally I got to the Great 888 00:42:23,880 --> 00:42:27,680 American dream show Shark Tank. And I, Ronnie and I were talking 889 00:42:27,680 --> 00:42:29,200 a lot about this characters. We wrote it. 890 00:42:29,200 --> 00:42:31,200 So I called Ronnie and I was like, what about Shark Tank? 891 00:42:31,200 --> 00:42:32,880 Like Cuban, he goes Mr. Wonderful. 892 00:42:33,320 --> 00:42:35,880 He's I was like, Oh my God, yes, Mr. One of he goes, that's the 893 00:42:35,880 --> 00:42:38,880 only guy we can use off that show because he is an asshole. 894 00:42:38,880 --> 00:42:42,040 He's a known asshole. He has he anchors the show. 895 00:42:42,440 --> 00:42:45,080 And you know, I've watched a lot of Shark Tank. 896 00:42:45,080 --> 00:42:47,280 Ronnie's watched probably every episode of Shark Tank. 897 00:42:47,720 --> 00:42:49,720 He'll hit me up and be like, you got to watch this one. 898 00:42:49,920 --> 00:42:52,520 But I love the show. What I like is I like the 899 00:42:52,520 --> 00:42:54,320 portraiture of the people who come on. 900 00:42:54,960 --> 00:42:56,960 I love business. I like watching people make 901 00:42:56,960 --> 00:43:01,280 deals and and looking up what the businesses go on to do. 902 00:43:01,680 --> 00:43:04,560 So I met with him and like these people like this a lot. 903 00:43:04,560 --> 00:43:06,760 They have no a lot of money. He's no reason he's going to 904 00:43:06,760 --> 00:43:09,600 lose money making this. There's no reason for him to do 905 00:43:09,600 --> 00:43:13,040 it right. So I went on to a zoom with him 906 00:43:13,120 --> 00:43:16,400 and I had to pitch him and it was frightening because it was I 907 00:43:16,400 --> 00:43:17,840 was on Shark Tank. You're basically doing. 908 00:43:17,840 --> 00:43:18,840 I was. On Shark Tank. 909 00:43:18,960 --> 00:43:22,280 And I was that moment like he, he said something about Uncut 910 00:43:22,280 --> 00:43:26,040 Gems that was illuminating because he looks at life like 911 00:43:26,040 --> 00:43:30,200 product and he saw that. He's an artist, though he 912 00:43:30,200 --> 00:43:33,160 started off as an artist. He edits his own material. 913 00:43:33,440 --> 00:43:36,160 He has beautiful cameras that he likes. 914 00:43:36,160 --> 00:43:38,280 He loves lenses. He plays the guitar. 915 00:43:38,640 --> 00:43:42,440 Very unique, interesting person and unique point of view on 916 00:43:42,440 --> 00:43:44,600 life. And I just knew the second I was 917 00:43:44,600 --> 00:43:46,760 talking to him, I said to Ryan, he's like, he agreed. 918 00:43:46,760 --> 00:43:48,960 He was like, I really like this. What's next immediately? 919 00:43:49,120 --> 00:43:52,040 Yeah, I was like, well, next is we meet and we go through the 920 00:43:52,040 --> 00:43:54,880 script and wait, what was? What was what did he have to say 921 00:43:54,880 --> 00:43:56,440 about uncut? He said. 922 00:43:58,000 --> 00:44:01,280 Things don't exist for everybody. 923 00:44:01,280 --> 00:44:05,520 And you had a thing basically like there was a thing there. 924 00:44:05,840 --> 00:44:08,440 And he was Speaking of the way he used the word thing was just, 925 00:44:09,240 --> 00:44:11,320 it was conceptual. And I was like, oh wow, it was 926 00:44:11,400 --> 00:44:12,840 it was. So he's talking about like the. 927 00:44:12,840 --> 00:44:14,880 Value of the. Yeah, just like. 928 00:44:14,920 --> 00:44:17,560 Not just the fact that, you know, he obviously it connected 929 00:44:17,560 --> 00:44:19,520 with audiences. So maybe he's talking about that 930 00:44:19,520 --> 00:44:22,560 on a pure business level. But he was also talking. 931 00:44:22,560 --> 00:44:25,480 About from conceptually it was this thing. 932 00:44:25,480 --> 00:44:30,360 It was a complete product without being cruel about it. 933 00:44:30,400 --> 00:44:32,560 And he loved it and he loved how dark it was. 934 00:44:32,920 --> 00:44:36,120 He wishes Marty was much darker. He wanted a fucked up ending for 935 00:44:36,120 --> 00:44:37,960 the movie. He kept pushing it. 936 00:44:38,120 --> 00:44:40,280 He wanted Rachel to die. Oh no. 937 00:44:40,280 --> 00:44:41,640 And I was like. What's wrong with you this? 938 00:44:41,760 --> 00:44:44,400 Is why you are who you are, man. What's wrong with these? 939 00:44:44,520 --> 00:44:46,960 What is wrong? Something is wrong with it. 940 00:44:46,960 --> 00:44:49,760 Well, he probably wanted to. You know, he, he liked uncut. 941 00:44:49,760 --> 00:44:52,200 Well, he he, yeah, he just like wanted Marty. 942 00:44:52,200 --> 00:44:53,960 He. Was so the character, he didn't 943 00:44:53,960 --> 00:44:56,680 like that he got dueled. He didn't like that he lost the 944 00:44:56,680 --> 00:44:58,280 duel and he wanted Marty to suffer. 945 00:44:58,400 --> 00:45:01,920 So so then I was like, next step is is, you know, we meet, we go 946 00:45:01,920 --> 00:45:03,760 through the scenes, I want to hear your voice. 947 00:45:03,760 --> 00:45:05,840 I want to adapt it, see if it works, you know? 948 00:45:05,840 --> 00:45:07,680 And he's like, well, I'm not coming in New York. 949 00:45:07,680 --> 00:45:09,320 I was like, well, I don't want to do this over Zoom. 950 00:45:09,320 --> 00:45:13,200 He's like, I'll fly you, I'll fly you and Ronnie and to 951 00:45:13,200 --> 00:45:15,360 wherever I am. So he put us on a tiny little 952 00:45:15,360 --> 00:45:16,640 plane. Just frightening. 953 00:45:17,080 --> 00:45:20,040 And then we went and we met with him over the course of a day. 954 00:45:20,320 --> 00:45:22,920 He had the script in his living room and he had some houseguests 955 00:45:22,920 --> 00:45:26,200 who had read it twice already. And he was like a probably 956 00:45:26,200 --> 00:45:29,040 businessman or something. And he, that guy loved it. 957 00:45:29,040 --> 00:45:32,440 And Kevin loved the script. And then when I met with him, he 958 00:45:32,440 --> 00:45:35,920 came up with that vampire line. He came up with it because we 959 00:45:35,920 --> 00:45:38,360 were meeting with him and we were trying to figure out how 960 00:45:38,360 --> 00:45:42,360 would Kevin O'Leary react to this kid saying to him that 961 00:45:42,360 --> 00:45:44,680 money doesn't matter to him, there are other things that are 962 00:45:44,680 --> 00:45:47,040 more important. This is fate in in front of him. 963 00:45:47,520 --> 00:45:49,480 And he was I would never do anything that could ever 964 00:45:49,480 --> 00:45:52,680 implicate me in any other way. So I would use the dark arts. 965 00:45:53,320 --> 00:45:55,280 And I was like, oh, man. Like how? 966 00:45:55,720 --> 00:45:57,920 And he just said, like, I would look to him, I'd say Marty, I 967 00:45:57,920 --> 00:45:59,920 was born in 1601. I'm a vampire. 968 00:46:00,480 --> 00:46:03,320 Look at Ronnie. And we're like, yeah, I 969 00:46:03,320 --> 00:46:05,600 actually. What a line I've been. 970 00:46:05,600 --> 00:46:08,160 Seeing stuff. Online and people have been 971 00:46:08,280 --> 00:46:10,200 seeing this film as a vampire film. 972 00:46:10,200 --> 00:46:13,320 I don't know if that was I, I, we had an idea. 973 00:46:13,320 --> 00:46:16,800 Yeah, at one point, which is kind of speaks to the the music 974 00:46:16,800 --> 00:46:18,640 in the film. The music in the movie is this 975 00:46:19,120 --> 00:46:21,600 is this built in feeling of first of all, the timelessness 976 00:46:21,600 --> 00:46:24,160 of it. What anachronism does the past 977 00:46:24,160 --> 00:46:25,960 hunting the future. The future hunting the past 978 00:46:26,280 --> 00:46:30,880 ontology. But the movie originally you saw 979 00:46:30,920 --> 00:46:33,840 his life go pass. Yeah. 980 00:46:33,840 --> 00:46:37,640 From having the baby all the way up to 87 attitudes for Pierce 981 00:46:37,640 --> 00:46:40,120 concert where he's with his granddaughter. 982 00:46:40,120 --> 00:46:42,320 So that was the in. The original draft, the first 983 00:46:42,320 --> 00:46:43,800 draft, yeah. And you saw everything. 984 00:46:43,800 --> 00:46:46,120 Where the 80s? Music came from Yeah. 985 00:46:46,120 --> 00:46:47,040 And you saw. Well, there was. 986 00:46:47,320 --> 00:46:49,840 I actually had the idea before I had that idea. 987 00:46:50,200 --> 00:46:52,720 The idea from the very beginning I saw I wanted to see what the 988 00:46:53,360 --> 00:46:57,040 what this world looked like in 1949 and I was just I was 989 00:46:57,040 --> 00:46:59,880 listening to Peter Gabriel's. I have the touch time I like is 990 00:46:59,880 --> 00:47:02,240 the rush hour. Yeah, I like the rush, yeah. 991 00:47:02,280 --> 00:47:04,080 Pushing the people. I like it all so much. 992 00:47:04,440 --> 00:47:07,920 And it just felt right yes. And I also like kind of allergic 993 00:47:07,920 --> 00:47:10,440 to the feeling of a period piece, the nostalgia of it. 994 00:47:11,200 --> 00:47:12,680 So you want to. Contaminate it a little bit. 995 00:47:12,680 --> 00:47:14,920 Yeah, exactly. And also the 80s were very 996 00:47:14,920 --> 00:47:17,440 interesting time, the beginning of post modernism. 997 00:47:17,440 --> 00:47:20,800 They were revisiting the populace and prosperity of the 998 00:47:20,800 --> 00:47:23,320 50s. Culture was back to the future. 999 00:47:23,480 --> 00:47:25,480 Was literally the 80s going back to the 50s, right? 1000 00:47:25,760 --> 00:47:27,000 Right. So that was where it started. 1001 00:47:27,000 --> 00:47:28,320 And then you start building to it. 1002 00:47:28,320 --> 00:47:30,160 I'm like, this could tie it all together. 1003 00:47:30,600 --> 00:47:32,600 But you saw him. I can't. 1004 00:47:32,600 --> 00:47:34,560 I'm saying this. You would see him go through. 1005 00:47:35,160 --> 00:47:38,280 He comes in as you imagine he's an amazing salesman. 1006 00:47:38,280 --> 00:47:41,920 He turns that shop into the most successful shop on Orchard St. 1007 00:47:42,320 --> 00:47:43,640 He changes. It to Marty's. 1008 00:47:43,640 --> 00:47:45,800 Smiles her shoes. Marty smiles her shoes. 1009 00:47:46,280 --> 00:47:48,640 Franchises. Franchises again. 1010 00:47:48,640 --> 00:47:51,080 Leaves New York State. Very rich man. 1011 00:47:51,320 --> 00:47:53,080 All the metrics of success are there. 1012 00:47:53,280 --> 00:47:55,080 His family grows. He leaves the city, has this 1013 00:47:55,120 --> 00:47:58,280 beautiful house, and it ends with him at a concert, which is 1014 00:47:58,280 --> 00:48:02,120 really his granddaughter. They're great seats up front and 1015 00:48:02,120 --> 00:48:04,360 he's watching it and he's thinking about everybody wants 1016 00:48:04,360 --> 00:48:06,760 to rule the world and youth and what does it mean? 1017 00:48:06,840 --> 00:48:09,080 And he has the success, but he's not doing the thing that he 1018 00:48:09,080 --> 00:48:10,600 believed he was born on planet to do. 1019 00:48:10,880 --> 00:48:12,200 He has all this great stuff around. 1020 00:48:12,200 --> 00:48:16,880 He has these great things around him and you're on his eyes. 1021 00:48:16,920 --> 00:48:18,840 We built the prosthetics for Timmy and everything. 1022 00:48:19,200 --> 00:48:22,600 And Mr. Wonderful shows up behind him and takes a bite out 1023 00:48:22,600 --> 00:48:24,040 of his neck. And that was the last movie. 1024 00:48:25,760 --> 00:48:28,080 And he hasn't aged. Wow, OK. 1025 00:48:28,080 --> 00:48:30,600 And I remember aged 24 and everyone were like this is a 1026 00:48:30,600 --> 00:48:31,800 mistake, right? Yeah. 1027 00:48:31,800 --> 00:48:34,640 Oh my God, you might think trolling us. 1028 00:48:34,880 --> 00:48:37,400 No, I, I, I like that idea a lot. 1029 00:48:37,640 --> 00:48:40,480 But I'm obviously very happy with what you did. 1030 00:48:40,600 --> 00:48:43,680 And I love the structure now of like concept, you know, 1031 00:48:43,680 --> 00:48:46,640 conception, birth. And I don't think I've seen that 1032 00:48:46,640 --> 00:48:48,720 before. Yeah, which is, which is crazy. 1033 00:48:48,960 --> 00:48:51,040 It's even I feel like I've seen it before. 1034 00:48:51,080 --> 00:48:52,720 Yeah, and. One last thing. 1035 00:48:52,960 --> 00:48:56,920 Odessa, Yeah, she is incredible. Like really great. 1036 00:48:56,920 --> 00:49:00,560 When when when I in the beginning rewatching, I've seen 1037 00:49:00,560 --> 00:49:03,320 the film three times. So the second and third time I'm 1038 00:49:03,320 --> 00:49:07,440 just really appreciating that opening scene because I didn't I 1039 00:49:07,440 --> 00:49:12,320 didn't pick up on how blatantly they're lying and I pretending 1040 00:49:12,320 --> 00:49:14,760 not to know each other. But it's so obvious in the 1041 00:49:14,760 --> 00:49:17,440 second and third viewing. It's like that was her first you 1042 00:49:17,440 --> 00:49:18,640 schedule. As you know, while shooting 1043 00:49:18,640 --> 00:49:21,360 Schedule a movie, you want the first scene that they shoot to 1044 00:49:21,360 --> 00:49:24,120 have importance with Gwyneth, the first thing we shot with 1045 00:49:24,120 --> 00:49:27,120 her, with her return to the stage with Odessa, she was doing 1046 00:49:27,120 --> 00:49:29,720 a horror film. So I has the first thing we're 1047 00:49:29,720 --> 00:49:31,400 going to do is her first scene in the movie. 1048 00:49:32,000 --> 00:49:34,960 And I was really. I kept saying I don't believe 1049 00:49:34,960 --> 00:49:35,680 it. I don't believe it. 1050 00:49:35,680 --> 00:49:37,480 I don't buy it. The hustle's not working. 1051 00:49:37,480 --> 00:49:41,280 The hustle's not working. And I was like, the scene is not 1052 00:49:41,280 --> 00:49:43,960 you doing the hustle. The scene is you forgot your 1053 00:49:43,960 --> 00:49:45,160 shoes. Yes. 1054 00:49:45,280 --> 00:49:48,480 And the scene is you want to look at them and you want to 1055 00:49:48,480 --> 00:49:51,400 find these shoes. Yeah, so once she realized like, 1056 00:49:51,400 --> 00:49:53,200 oh, that's the scene. The scene isn't me playing the 1057 00:49:53,200 --> 00:49:55,960 scene is this. Then she locked in and she was 1058 00:49:55,960 --> 00:49:59,040 so good. And and and my metric was all 1059 00:49:59,040 --> 00:50:01,200 the extras because there's all these people I put into the 1060 00:50:01,200 --> 00:50:03,560 scene, real people. I know this, this. 1061 00:50:04,600 --> 00:50:06,680 He's got Mordecai Rubenstein. He's got Morty, who's like 1062 00:50:06,680 --> 00:50:09,960 obsessed with fashion. He knows forties, 50s fashion. 1063 00:50:09,960 --> 00:50:12,480 So he was a great salesman. He is a great salesman selling 1064 00:50:12,480 --> 00:50:14,000 shoes. All these people are in the 1065 00:50:14,000 --> 00:50:15,560 thing. The store is super alive. 1066 00:50:15,800 --> 00:50:19,160 Screwed me a little bit with sound and I would ask Morty. 1067 00:50:19,160 --> 00:50:20,880 I was like, what do you think is going on in the scene? 1068 00:50:20,880 --> 00:50:22,600 He goes, it's the beginning of a romance. 1069 00:50:23,120 --> 00:50:25,280 I was like, perfect, you know, yeah, once you heard that, 1070 00:50:25,280 --> 00:50:26,920 you're like, oh, they're. It's working. 1071 00:50:26,920 --> 00:50:28,600 Yeah. So none of the extras had any 1072 00:50:28,600 --> 00:50:30,480 idea really that they knew each other. 1073 00:50:30,480 --> 00:50:31,840 Right. So that was kind of the 1074 00:50:31,840 --> 00:50:35,160 barometers like if they buy it. Yeah, I'm happy that Yeah. 1075 00:50:35,160 --> 00:50:36,160 And then. And then when he. 1076 00:50:36,160 --> 00:50:39,040 Returns eight months later and he sees her and they have that 1077 00:50:39,040 --> 00:50:42,320 moment where he's saying, like, does does Ira pull out? 1078 00:50:42,440 --> 00:50:45,960 And she goes, you really want me to answer that question? 1079 00:50:45,960 --> 00:50:48,720 Starts to tear up. That was the moment where I'm 1080 00:50:48,720 --> 00:50:51,640 just like, Odessa's a star, like she's a *. 1081 00:50:52,080 --> 00:50:53,720 Yeah, she was so prepared. So great. 1082 00:50:53,760 --> 00:50:56,200 Jen was the second she read it. She's like, this is the actor. 1083 00:50:56,200 --> 00:50:58,600 Yeah, yeah, I'm. So I'm so happy for her. 1084 00:50:59,240 --> 00:51:02,320 Your entire yeah ensemble cast. You can't have a weak link. 1085 00:51:02,320 --> 00:51:04,480 You don't have a weak link. No one person ruins. 1086 00:51:04,480 --> 00:51:06,480 No, no. Yes, that's very true. 1087 00:51:06,480 --> 00:51:09,920 That's very true. OK, well, honestly, sure. 1088 00:51:10,400 --> 00:51:12,000 I wish I could ask you more questions. 1089 00:51:12,000 --> 00:51:14,960 I know this was structured as talking about my movie, but 1090 00:51:14,960 --> 00:51:15,560 we're. Talking about. 1091 00:51:15,560 --> 00:51:17,600 Marty. And but I you know. 1092 00:51:17,880 --> 00:51:20,440 Love you and love all of your work, so Oh well. 1093 00:51:20,440 --> 00:51:22,160 And I feel kinship. Yeah. 1094 00:51:22,160 --> 00:51:24,840 That's why when you responded to this movie, I. 1095 00:51:24,840 --> 00:51:27,560 Believe this is a small. Film my producer came up to me 1096 00:51:27,560 --> 00:51:29,920 goes it's you're like making like a $50,000 movie. 1097 00:51:29,920 --> 00:51:32,480 Yes, really. And goes yeah, yeah. 1098 00:51:32,480 --> 00:51:34,640 And I was like, I'm trying to steal this movie. 1099 00:51:34,920 --> 00:51:37,800 Well, so that's why when you saw it, I'm happy that that that 1100 00:51:37,800 --> 00:51:39,800 that resonated with you. And I hope you make a period 1101 00:51:39,800 --> 00:51:41,960 film to see how you do it. Yeah, I wonder. 1102 00:51:41,960 --> 00:51:44,040 How far I'll go back? I don't know if I will go to the 1103 00:51:44,040 --> 00:51:46,880 50s. Maybe the research part is hard. 1104 00:51:46,960 --> 00:51:49,360 The research part is hard, so you can go back to the 80s, yes. 1105 00:51:49,400 --> 00:51:54,040 Yeah, because I live. That but but I just find Marty 1106 00:51:54,040 --> 00:51:57,680 to be so inspiring because, you know, again, I see all of your 1107 00:51:57,680 --> 00:52:00,400 trademarks, I see all, I see your signature all over it. 1108 00:52:00,400 --> 00:52:03,200 But it's so different from your other stuff in terms of what you 1109 00:52:03,240 --> 00:52:06,960 it's so structured, it's so controlled you, but you have all 1110 00:52:06,960 --> 00:52:09,400 that energy, all the spontaneity, all of the 1111 00:52:09,520 --> 00:52:12,360 everything that makes it just feel like you're capturing real 1112 00:52:12,360 --> 00:52:14,320 life. But I know you didn't capture it 1113 00:52:14,400 --> 00:52:17,520 for I mean, you have every moment of this had to be 1114 00:52:17,520 --> 00:52:21,240 calculated. So I find that so impressive and 1115 00:52:21,240 --> 00:52:23,600 I just want to really commend you and your entire team. 1116 00:52:23,680 --> 00:52:25,440 See him on it. There's a lot from you, yeah. 1117 00:52:25,480 --> 00:52:28,120 Yeah, awesome man. Good luck with everything.