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Rick Ives | The Christian Reeve Podcast #208 · The Christian Reeve Podcast

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  Hello and welcome to another episode of the Christian brief
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  podcast. Today's guest is a film editor
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  and much more hailing, all the way from Atlanta Georgia in the
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  United States. His name is Rick Ives.
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  Welcome to the show Hayden. I hate Christian you go.
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  A Christian right, that's me, thank you.
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  Thank you for having me. It's going to be so much fun.
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  I'm excited to talk to you, nice, I love it man.
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  I'm a struggling actor, trying to get into the industry.
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  So as soon as someone reaches out and the film industry for
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  me, that's like I don't know, I just there's so much we can talk
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  about About. I bet I think like if nothing
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  else it's like fun to talk to someone else in the industry
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  that's like got the same sort of level of passion and stuff.
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  Yeah. And well in my opinion we're all
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  struggling actors. So don't sell yourself short,
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  everyone's trying to make their own way.
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  Good. What will makes you special
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  powers? Let's just start the beginning
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  of your career. Walk us through how you got into
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  film editing like how that all started?
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  Oh yeah. So, so man, I was a teenager
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  when Blockbuster Video was still big and Hollywood Video.
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  I don't know if you had Hollywood.
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  Did you have those kind of stores in the UK?
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  We have Blockbuster. I don't think we had Hollywood
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  Video, but my older viewers can challenge me on that.
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  Yeah, we definitely have Blockbuster that was huge.
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  Yeah, okay. I mean, there's, there's little
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  video stores to buy the way by Pleasure.
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  Making a comeback in California. Did you like that?
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  No. Yeah, they're opening for
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  stores. LA and San Diego.
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  Is that crazy or what? How can it really work in this
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  day and age? Okay, let's go on a tangent for
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  Blockbuster movie, first engine. Here we go.
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  Let's go like, how can it really work in this day and age?
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  Like obviously there's this stole juror that's got to be
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  it's got to be it. Like here in Manchester, for
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  example, there's a bar that opened up.
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  I kid you not, and it's a mansion.
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  Sorry, a blockbuster themed bar that you go in.
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  And there's actually live video tapes on there and there's even
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  look alike, dodgy mature section everything, like, you, You is
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  it's really cool. Blockbuster did not have those I
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  remember but now they didn't. The smaller ones did.
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  That's so funny though. Yeah, I don't know, because I
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  mean red box is still pretty big here.
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  So people do care about physical media at some point.
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  She Lon You know, it's just a trade-off like yeah, it's great
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  being able to click two buttons and watch anything you want.
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  But what happens when that that title disappears from the
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  platform of choice, you know, like there's still there's
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  movies out there that you can't really find anywhere unless you
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  own a DVD, but you can still go to Amazon and get a copy.
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  I still do Netflix DVDs because sometimes I'm moving comes up.
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  I'm like, dang, I can't find this anywhere.
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  Netflix DVD has it. Maybe there is still a thing.
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  Oh yeah. Oh yeah.
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  I still get a. Wow, I'm old school.
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  That's cool. I just didn't know that was
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  still a thing because obviously for those who don't know,
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  Netflix began its journey into the world as a subscription
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  service where you would get the physical Media email Dale, you.
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  Yeah, get that mail to your right so I can't affect by
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  pressing against any big but a couple stores where it's popular
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  enough to just visit. Be surprised that is over.
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  People don't seem to be very happy with Netflix.
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  X, which is kind of mind-blowing because when it as you may
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  recall in the very beginning, Blockbuster laughter Netflix but
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  by yeah yeah yeah. The uh The Story Goes and I've
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  told this on the show before a long time ago but will tell
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  again here sometime when he blocked the bus that had its
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  Mega Empire you know the so I think is that the mid-2000s
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  Netflix actually came over to but Buster and pitched this idea
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  that they had? Yeah.
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  But like, wasn't streaming at the time.
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  It was mail mail service, right? Yeah.
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  But they pitched this idea and Blockbuster laughed at them and
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  there might be as if we would need that.
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  And but the thing is like, but busted were basically living off
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  the like, the late fees as which is a business concept, is kind
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  of crazy like you're relying on essentially, your customers
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  won't know, it used to cast like four or five dollars to rent a
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  new release right for one night. Do you have to go to the store?
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  And then you had to go to the store the next day and if you
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  didn't then what you're saying, you get dinged with that late
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  fee. When always a kid, it was so
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  exciting to go to Blockbuster right on like a Friday, Saturday
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  night and Pi. I wasn't a big into game.
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  So I would get like movies. But I do also get like games
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  went games trading. I didn't, I didn't PlayStation 1
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  games, and you could rent a whole systems for we can take
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  food down to run it in 64, and my sweets, and make a whole
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  night of it. Like, oh, and you don't always
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  know what movie you're going to. Because maybe the one you have
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  you wanted is out. Yeah.
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  And so you're just like perusing, you know, like at a
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  library like looking around, they will be good.
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  Should I go over the horse section?
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  So I see what's on the wall for the new releases all that stuff.
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  So that was a part of magic about it.
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  The is kind of lost with streaming services.
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  Because you know, when you're on a streaming service, the blurb
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  tells you everything you need to know, you can watch a clip.
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  You can watch all this stuff back in the day.
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  And, you know, if you go into these physical stores, all you
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  got to rely on is the cover and whatever's on the Back, that's
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  it. That's all you got to rely on.
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  It's not. There was a lot less compared to
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  today too, you know. So there was a higher barrier to
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  entry to make those kind of movies.
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  So you always know even if you're going to get something
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  you never heard of it's like going to have a certain level of
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  quality versus today. You can go on and yeah I did not
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  cooperate man. I came a Grilli.
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  Lot of crap back in the day. Yeah, I just love because I
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  would even compare the worst stuff from that time to better
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  than the the worst stuff. That I see today.
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  So, okay. All right.
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  Like, yeah, there is so much out there that hey, there is a lot
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  of bad stuff and like high budget as well, but still trash.
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  Yeah, that's the worst stuff. That's the stuff that makes me
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  the most mad. It's the big budget that no one
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  cared about what they bring it back to Netflix.
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  This is kind of where it's, I feel like they've kind of
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  started falling off a little bit because right, they become they
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  become their own enemy. Yeah, they've got all this money
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  that they're investing into their own Productions.
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  Don't get me wrong. There's a lot of big Productions
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  that are doing that are still excellent.
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  Sure. They've spent a lot of, its kind
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  of like a tier system. You've got like the mega stuf,
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  they they push like, stranger things, stuff like that.
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  There always is good quality and then the further down you go.
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  The less budgets the fewer budget speak English right now.
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  Yeah, the film's know exactly where with lower budgets that
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  still Netflix Productions. They aren't as good quality
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  necessarily as the higher production sub which you would
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  come to expect but you don't necessarily Sara, Lee.
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  And I know as a film where you can agree with me on this, you
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  don't have to have a massive budget to make a good film.
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  Yeah. Correct show.
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  You know, you just need a gun you L.
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  Yeah, good story and you need to have a passion for what it is
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  you're telling, you know not just show up and check the boxes
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  and I we got an actor and we got sort of cool idea.
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  We got some visual effects house that's going to do the stuff for
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  us and then you just crap out like whatever.
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  But you could tell that our heart isn't in it, you know.
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  You think it's just I'm just trying to just turn out as much
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  content as possible. Yes.
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  Yeah, that's exactly what Netflix do.
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  Yeah. Because they want as big an
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  audience as a camp. So they have reality TV and they
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  have, you know, like art driven movies that are going to go up
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  for the Oscars at the end of the year.
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  And they also have stranger things, horror movies.
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  And I mean, they have everything because they just want to hit
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  everyone, keep those people coming back, but if you watch
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  their marketing, they'll drop a movie with no kind of marketing
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  at all. And it's like, on the top 10 of
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  their list for the A week and then you never hear about it
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  again. Never You'll never see it.
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  And I think that's one of the complaints that filmmakers have
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  with the Netflix stuff, is there movie doesn't get out there.
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  I mean, it's available but they don't do anything to promote a
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  movie and it's just buried in a sea of other Netflix products.
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  If, you know, well, they I've never quite understood why they
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  do this constant rotation thing, where they'll take something
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  that's beloved off the platform and replace it with crap.
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  I don't understand. I mean, I get the whole license
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  these thing I, yeah. Do you take anything that's
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  their own ass? It will always be there.
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  Sure. That they do have licensed.
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  Yeah, they'll contract something for like three years or five
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  years based on. If you got something that's
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  popular, this always getting you good viewers and bringing people
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  back. Why the hell would you remove
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  it? Well, and that's what HBO Max is
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  doing. Which is that is crazy.
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  It's stuff that they own that they are removing and putting on
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  to be where you can watch for free.
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  So they've got like, what's the west-world?
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  Like super popular? First couple seasons are
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  Credible and they removed it from their platform, which is
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  paid and sent Their audience to another platform to watch this
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  again. Speaking of dreaming platforms.
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  I should, I just want to ask you about this because it's round if
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  we came to mind. Do you remember quippy?
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  That was out a few years but oh, I love the story of Quimby.
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  Come on, it's the best. We got launched and it was dead
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  with its six months. Was this six months?
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  Damn, I didn't know that. Yeah, okay, money works.
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  Listen, it was this for that. Was it a billion?
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  Was it a billion dollars or was a five billion?
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  Something huge. They put those all this content
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  except it's all like, under two minutes or under five minutes.
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  And the idea was that you have TV series that are a five-minute
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  episodes and keep coming back week to week, and they had a
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  list Talent, directors, actors, everybody, and then nobody
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  signed up for it so much. Why do you think that was?
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  Because it was stupid. Why are you gonna have five
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  minute episodes of something nobody cared, like, And you
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  you're gonna watch all the problem was it was only on your
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  phone so you couldn't watch it anywhere else.
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  You know, when people want to watch Cinema or they want to
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  watch like okay, Amir TV, you want to watch it on your TV, you
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  want to watch it on, at least your laptop.
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  But right here, this is, it is the only place Playing devil's
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  advocate for a second. A lot of popular content out
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  there say on apps, like, Tick Tock and stuff is all short
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  form, the smaller the better. So In a way certain apps and
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  certain websites are better off being phone only, you know
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  because that's mostly are going to be consumed.
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  So by that mentality, could they have not maybe targeted that
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  audience? Maybe they went after the wrong.
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  I think that's what they wanted to do but all the stuff you're
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  describing is not really story-driven sure no I get that
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  a difference but that's the difference.
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  But here's the thing you go on and act like Tick-Tock and you
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  see all the different types of content on that, there is
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  definitely an audience for it. The Joy is double what we will
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  be interested in will be 5 to 10 seconds of just nonsense.
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  But there is Je like I see. This is crazy.
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  I see people uploading entire movies in like, I don't know.
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  Little chunks. Yeah.
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  Like a hundred parts and people won't people will be that are
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  please upload part 67, like it. That's crazy.
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  I've never seen that. He's mad.
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  But people will do that. So this is definitely a market
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  for it. Anyways, they said Maybe.
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  Yeah, there may be people who are going to watch it, but I
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  just don't think it's as big of an audience to Warrant.
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  You know, how much money they spent on all that stuff and to
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  launch it from scratch. Just crazy.
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  Anyways, the best thing that came out of kwibi was this
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  software where you could be watching it, horizontal View,
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  and then you could turn your phone and it would automatically
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  adjust to Vertical view which I think Facebook bought that
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  because I think that's what their videos do now.
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  Old news, you could that's just pretty cool right mode on your
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  phone. That's not.
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  It is, it is, but it's that it wasn't just a turned.
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  It was like, you could turn your phone around and oh and it stays
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  still it fixed. But yeah, it would know.
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  Yeah. It would know what you're doing
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  so it's super seamless which was cool to see like the first
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  couple times. Oh well that's fancy.
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  But now it's just old hat you know?
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  Wow it's heavy. Wow.
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  Now I'm big horse but now I'm I mean, okay, hmm.
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  So that's what anyways, to answer your question Christian,
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  I love to Blockbuster I read all those DVDs.
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  As you know, our family would rent DVDs, every weekend or
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  every two weekends. And I would sit there the next
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  morning and watch every special feature on every DVD that we
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  got, because I cared about the behind-the-scenes.
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  I like to gag reels. I liked all the production
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  photography. I like, even the little
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  production notes, they would write little paragraphs on that
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  you would click through and read about how they made the movie.
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  I was just fascinated by all of So from the beginning, I just
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  knew I wanted to work in movies. As soon as I found out you could
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  go to college to do that kind of thing.
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  I was like, my calling is right there in front of me.
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  I know that's what I want to do. That's how I got it.
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  Why specifically film editing though?
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  So I got into editing what we were making movies and stuff in,
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  you know, teenagers. I was always the one sitting at
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  the computer putting it together and in college they sort of I
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  mean, you're working in a group and it was trading roles and
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  stuff. But I always ended up being the
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  Editor's because I like sitting at the computer and piecing it
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  together that way and I don't know what it is.
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  I like video games. I think it's kind of the same
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  kind of mindset where you're sitting down looking at a screen
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  and moving forward with this thing and when you're done
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  unlike a video game you have something that you can put show
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  the world. So that's what's fun about it.
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  But yeah I just gravitated toward post-production and
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  that's what I'm doing still so big fan of it.
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  That was one time. I was watching an interview with
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  Quentin Tarantino and he remarked about editing.
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  He said that when you get to the editing room, that's when the
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  movie is really made. Yeah.
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  What are your thoughts on that? I very often hear that the
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  movies written three times, so you write it once as a script.
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  You write at once, while you're shooting it, and then you write
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  it the third time. In the edit, a good director
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  will understand all those pieces and know what needs to go into a
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  good script. To be able to shoot what they
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  need. And then when they're on set,
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  they know what needs to be done to capture what they need.
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  And then in the editing room, they need to understand how a
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  movie comes together and create the best product that you can't.
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  So that's what the editors job is.
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  It's weird, it's sort of a position where half of it is a
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  technical role, like, you just need to know the software and
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  sit and know what button to push and work around quickly.
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  So you're not wasting time. But also you have to have this
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  understanding of story and pacing, and be able to look at
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  it. Like the first time every time,
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  even though you're watching it hundreds, if not thousands times
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  its going to say, does that? No met, you just sick of sick of
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  it. By the end you must.
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  It's a, it's a really strange for me, for me because I've
• 14:51
  added a four or five independent features and then I work, we
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  haven't talked about this yet, but I worked as an assistant
• 14:57
  editor, you know, professionally on the bigger stuff.
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  So for me, when I'm editing, I put it together and I think this
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  is going to win an Oscar, it's the best Thing ever, I'm so
• 15:08
  proud of this. And in the more you watch it,
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  the more you watch it. You just think, oh no, this is
• 15:13
  terrible. Nobody's ever going to see this.
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  That was and then you go through another phase where I actually.
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  This is pretty good. It actually, this is really
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  good. I can't believe that we did this
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  and then you go back. It's constantly a pendulum
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  swing. Oh no, this is terrible.
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  No, never gonna watch it. No one's ever going to get me
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  another job because they're going to see what I did here and
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  know that it's junk and that people like it.
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  And I'm like, oh actually, I guess it's okay.
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  So, So it's kind of hard to keep, you know, separated enough
• 15:39
  that you don't take it too personally, but also you have to
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  take it seriously and want to be passionate about our also will
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  be good. So it's weird.
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  What do you think some of the most important edits that you've
• 15:49
  made or maybe decisions you've made in the editing room, are
• 15:53
  that have sort of later impacted a movie that you've edited on.
• 15:57
  Oh shoot, that's a good question.
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  Most important ones, I don't know if there's a single like
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  single most important thing. It really just comes down to
• 16:09
  Getting a feel for like the momentum of a scene and how
• 16:12
  people talk and where you should be looking at what point.
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  So, when I sit down to edit a seeing, if it's one that I'm
• 16:18
  working on, I imagine myself as like a third person in that room
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  or the person in that room. And I'm just watching and I
• 16:26
  think, okay, who am I looking at right now?
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  Am I looking at the person speaking or am I looking at the
• 16:32
  person, receiving the information, or am I looking at
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  the watch to see what time it is?
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  Or am I looking at the picture that they're looking at or you
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  know, what is it? That's most important.
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  And so I want to be on that thing at that moment and then
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  usually have a couple different camera angles that you can
• 16:48
  choose like okay. So do I want to do this moving
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  shot of this person or do I want the static one from this angle
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  or you know whatever it is. So not a lot of sorry.
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  So a lot of times it in in low budget or independent movies, I
• 17:02
  could see that they don't really have that figured out yet and it
• 17:05
  feels awkward like you're hanging on too long.
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  Somebody or you're not getting enough of them and you can just
• 17:11
  feel that it doesn't really flow so well anymore.
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  If you only watch big-budget movies you're kind of spoiled
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  because the editing so good. I mean, even if it's not a great
• 17:18
  movie, the editing still going to be good and it doesn't take
• 17:21
  you out of it too much less, it's like Catwoman or something
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  like that word. It's so fast.
• 17:26
  Hold on. What's Happening Here?
• 17:29
  But yeah, check. Check out some independent
• 17:33
  low-budget movies. And you'll start to notice that
• 17:35
  like, I seen will go on too long or like Well, how did we get
• 17:38
  here? You know, you're missing
• 17:39
  something to get there and that's really what it is.
• 17:41
  Is finding a good balance between moving quick, but not
• 17:43
  too quick and looking at the right thing to make it feel
• 17:47
  intuitive, you know. Yeah, that's right.
• 17:50
  There is really intriguing. What you just said, like, taking
• 17:53
  a moment to look at it and say, what is, what in this scene in
• 17:57
  my most drawn to. So with that, in mind, how do
• 18:00
  you kind of go about but I have two phrases.
• 18:03
  Exactly, not making a scene boring or Can get more
• 18:08
  interesting. Let's say it's a just a heavy
• 18:10
  dialogue scene. It's pretty low, but it's
• 18:12
  important to the plot, right? Yeah.
• 18:14
  How do you go about making that more interesting?
• 18:18
  Well, that's all encompassing a film because there's so many
• 18:20
  things that can make it interesting.
• 18:22
  The dialogue can be interesting, but that's the writing the
• 18:25
  characters. And, you know, how they got here
• 18:28
  and what are the stakes? Make it interesting because
• 18:30
  that's all writing, right? I mean, you can watch a movie
• 18:33
  that's all talking but it can be super interesting if you care
• 18:37
  about. What they care about and you
• 18:39
  realize what they're discussing has a lot of impact has a lot of
• 18:42
  weight. You know, then you will be drawn
• 18:44
  into it and that keeps it interesting even if it's just
• 18:46
  talking shop a lot to that for one second.
• 18:48
  So one thing that you have access to is say, multiple
• 18:53
  different shots of the same scene or multiple different
• 18:56
  angle stuff like that. So like if it was like a
• 18:58
  dialogue scene and maybe the way to make it more interesting,
• 19:05
  would be to focus on a specific character's reaction to the
• 19:07
  dialogue, something like that. Like how would you go about
• 19:10
  figuring out that? Yeah.
• 19:15
  I mean I get it. It's everything that goes into
• 19:17
  it it could be a shot. That's moving is always more
• 19:20
  interesting. Then I share that static.
• 19:23
  Personally, I try to keep it as a rule that when I was
• 19:27
  directing. Either the camera is moving or
• 19:30
  something in frame as many as if that makes sense.
• 19:33
  Who's of a person sitting still, then the camera should be going
• 19:36
  if the cameras tilt and the person should be moving, it
• 19:39
  could be both to and anytime Everything is static, you better
• 19:44
  be sure you have a reason for that, you know, like you're
• 19:47
  bringing people in on this moment right now and if it's
• 19:50
  still, then they should be like sucked in track your beam, you
• 19:53
  know, completely because of its still and nothing's happening,
• 19:56
  then that's going to be boring. The other thing you do is look
• 19:59
  for things that are being repeated, like if someone's
• 20:01
  saying the same thing over and over and over again, you gotta
• 20:04
  cut that stuff and that even comes back to the script level.
• 20:07
  Sometimes that you could leave that in knowing that, you'll cut
• 20:09
  it, but if someone's repeating, you know, the same Mmmmm.
• 20:14
  Point or concept man. That's the stuff.
• 20:17
  The editor needs to look out for is like this is repetitive are
• 20:20
  going to lose this. You don't want to have too much
• 20:23
  dead air. I mean you working not cast,
• 20:25
  right? So you do that is you don't want
• 20:27
  to just have quiet time. And that goes for movies too.
• 20:31
  Yeah. Unless you have a big moment
• 20:33
  where like you're having some super introspective realization
• 20:38
  of some kind, someone needs to be talking or they need to be
• 20:40
  music playing. Or there needs to be information
• 20:42
  being revealed to you. Visually of some sort or needs
• 20:46
  to be beautiful to look at. You can't just have dead time.
• 20:50
  So the editors looking for that too, you know, so yeah, kind of
• 20:53
  apply all those things to a scene as even like dialogue, you
• 20:56
  gotta make sure you're focused on the interesting.
• 20:59
  You know, words that are being said if it's a joke or if it's,
• 21:02
  you know something. Like a concept that you haven't
• 21:08
  heard phrase this way before or something like a character
• 21:10
  moment, they're coming to a realization of something or it
• 21:13
  is a reveal like a plot reveal you know.
• 21:16
  That's important to know. You're also working with the
• 21:19
  actors performances, right? So you said you've got a bunch
• 21:23
  of different angles and takes they did it 15 times.
• 21:26
  So what's the one that's the most authentic and doesn't feel
• 21:29
  like they're acting, doesn't feel like they're just reading
• 21:31
  dialog or, you know, regurgitating.
• 21:34
  Dialogue that they have memorized once the one that
• 21:36
  feels like real, you know, that's the moment you want, is
• 21:40
  it's not them acting. It's like you in the moment with
• 21:43
  this person, going through this thing.
• 21:45
  So you're just looking for all that kind of stuff in my
• 21:47
  opinion. That's what I think.
• 21:49
  Have you ever seen reviews of any of the big movies that
• 21:52
  you've worked or just movies in general?
• 21:54
  And you've seen maybe criticisms of the way, it's been edited.
• 21:59
  And did that make you did it bother you?
• 22:01
  Did it make you rethink things for future projects?
• 22:04
  You ever see anything like that? I've never good question.
• 22:11
  I don't think I've ever seen - editing reviews anything.
• 22:14
  I've edited. Thankfully actually it's other
• 22:18
  problems with. I have seen, you know, for the
• 22:24
  movie I was here to talk to you about today, the one I just
• 22:26
  released, I did see a couple reviews that really like the
• 22:28
  editing. So that's kind of encouraging.
• 22:30
  The thing about editing is it's a, it's an art form that is
• 22:33
  invisible. So if you're doing a good thing,
• 22:36
  no one knows. People only know and it's bad.
• 22:39
  And there are big budget movies out there that are poorly
• 22:42
  edited, anything pin the editing.
• 22:43
  So like, who did this times? It comes from the director if
• 22:47
  you can notice. You know, even though that
• 22:49
  director has different editors, their movies are all kind of the
• 22:51
  same style. That means that they're yeah,
• 22:53
  controlling that but most of the time, if you have a note on
• 22:58
  editing, it's because it's bad. If it's good, it just sweeps,
• 23:01
  you away. You're just totally sucked in.
• 23:03
  I was talking recently about the new Avatar movie that came out.
• 23:07
  I don't know if you saw that it was in it and it was fine.
• 23:11
  And I mean, it was one of the best five movies of the year,
• 23:16
  but I don't know if it was worth like the 10-year.
• 23:19
  Wait, and when you set up next to, what did you say?
• 23:22
  Like, okay when someone says something is fine, I feel like
• 23:26
  that's worse than saying, it's terrible because it's like a
• 23:28
  pathetic. Do you know David as I do?
• 23:31
  And I don't know if I saw anything in that movie that I
• 23:34
  haven't seen, you know, in it. Another movie in the last 5
• 23:37
  years, that's the thing. But when you set up next to
• 23:39
  Titanic which came out, almost thirty one, thirty years ago, I
• 23:43
  can't. When, and I'm not even the demo
• 23:45
  for Titanic, you know, that came out when I was a teenager, was
• 23:49
  like a teenage, girl crazy, but it's so good.
• 23:52
  That even if it's like shows up on TV like in a hotel room, I'm
• 23:57
  like oh man, just get sucked in because it just flows so well
• 24:01
  for me and I think that's a sign of good editing.
• 24:04
  You know when you sit Sit and watch a 90-minute movie and
• 24:08
  you're bored out of your mind was edited poorly.
• 24:10
  Maybe there's other things that went wrong but it could be the
• 24:13
  editing. But you've also watched three
• 24:15
  our movies that feel like they go by in a snap, you know,
• 24:19
  because you just get sucked into the momentum of it.
• 24:21
  And a lot of that is just because of the pacing.
• 24:24
  I mean, there's not that there's other things, you know, it's
• 24:26
  costumes, it's acting its music, it's all those things.
• 24:30
  But we just because speaking of which, because I like, Doing the
• 24:35
  old Dam, segues right there in the back behind.
• 24:41
  You is a Marvel picture from a movie.
• 24:45
  I think that's is a Infinity war.
• 24:47
  Was, I think that one, that one's thinking that was endgame?
• 24:50
  Yeah, so I think was Infinity, what I think that was the first
• 24:55
  production that was of the oldest of the there was going to
• 24:58
  be like at least three hours or something, right?
• 25:00
  Remember correctly. Yeah I want to say that letters
• 25:03
  to was like Two and a half hours maybe.
• 25:06
  Yeah. Okay.
• 25:07
  So when they started getting to that level, like as an editor
• 25:10
  that what did you make of that? Were you just like this is way
• 25:13
  too long, all you like, let's do it.
• 25:15
  Let's try and make it happen. So on that movie in all those
• 25:19
  movies, I was working in dailies.
• 25:20
  I'm not even the in editorial. At that point.
• 25:22
  I'm an assistant manager now still, but it's tough, because
• 25:27
  I'm a fan of the Marvel stuff anyways.
• 25:29
  Right, pitch myself, I get to work on this stuff all the time.
• 25:33
  I was excited for it being What a throw.
• 25:35
  What? I hear a movie I'm excited about
• 25:37
  is going to be three hours long. I'm like yeah, great beside me
• 25:41
  up because I think it's going to be fantastic and I'm ready, you
• 25:44
  know, for the event. Yeah.
• 25:46
  And I don't have a problem with a three hour movie.
• 25:48
  I love the Lord of the Rings extended edition, man.
• 25:51
  That's the only one I watch because it's because it's good.
• 25:54
  You know, when you hear a movie is going to be three hours long
• 25:58
  and it's something you've never heard of, it's like, okay,
• 26:01
  starting to feel like home work, it better be really special. you
• 26:04
  know, I'll give you the chance, I'll sit down and watch it, but
• 26:08
  You know, it's kind of a dice roll, it could be, if it's just
• 26:13
  not there. So, there was another three hour
• 26:16
  movie that came out in a Word season this year.
• 26:19
  That did not do very well. It was about Hollywood in the
• 26:24
  1920s. You see that movie?
• 26:26
  I didn't know, sounds like a really fascinating movie,
• 26:30
  though, I'm surprised. Yeah, then here, Babylon, Damien
• 26:32
  chazelle. Bad marketing, I guess very
• 26:39
  polarizing. I think that was one of that you
• 26:41
  hear stories. People are walking out of in the
• 26:43
  interest for Meredith has a circuit.
• 26:46
  I wasn't a fan and it was super long and it just it did feel
• 26:52
  like homework to me and I'm not gonna crap on other people's
• 26:56
  movies but it didn't work for me.
• 26:57
  So that was but that was just an example of one that didn't feel
• 27:00
  like That it flowed very well. And okay let's let's put a
• 27:04
  positive slant on it. What do you think?
• 27:06
  They could have done better to improve the editing process of
• 27:09
  that movie and make it may be a better viewing experience.
• 27:13
  You know what? I don't think it was the
• 27:14
  editing, in her case, I think editing could have Helped if it
• 27:20
  was just shorter stop by there's somebody's going distant just
• 27:23
  less disappointed. I was like yeah yeah and that
• 27:27
  was just really angry and okay no I got from original you know
• 27:33
  like the script is all the page so it took a swing.
• 27:38
  I respect him for that. Speaking of big movies, one of
• 27:41
  the big movies that came out is to, he's swept up loads of
• 27:44
  Awards in the Oscars recently. Everything everywhere all at
• 27:47
  once. Let's get our thoughts on that.
• 27:49
  That are sought twice. In fact, I watched it the first
• 27:52
  time over the summer, you know, back when it was released and
• 27:56
  couldn't stop thinking about it for weeks.
• 27:59
  Man, it's just so great. It's if anyone has you've seen
• 28:02
  that? Oh yeah, no, I love it.
• 28:04
  It wasn't real seen it. It's like it's like a drama Kung
• 28:08
  Fu sci-fi comedy but there's no genre.
• 28:13
  You could put it into and it's just fantastic.
• 28:16
  I don't know if you've seen those other guys movies.
• 28:19
  Yes. Swiss army man was the other
• 28:21
  like pretty popular one. Yeah.
• 28:23
  But I think the elite the lead actress I think.
• 28:25
  Wasn't she in? Well, she wasn't crashing Tiger
• 28:28
  Tiger Hidden Dragon. Yeah, that's that's why I
• 28:30
  remember biggest movie for but she's been a bit.
• 28:32
  I mean, a directors, they did a book called Swiss army, man,
• 28:35
  that has Daniel Radcliffe and it you should check it out.
• 28:37
  It's very funny. It had about four weird super
• 28:39
  weird, that movie was so good. I tried to convince my wife like
• 28:44
  hey that's weird one that I wonder if you'd be interested in
• 28:48
  watching this like a Sci-Fi Kung Fu.
• 28:51
  It's like funny and set like a baby cry and laugh and it had
• 28:55
  everything in it. It is like Ben has a like it's
• 28:59
  for me. All right.
• 29:00
  I'm not gonna push her to watch something.
• 29:01
  She doesn't want to because I don't have a few of those you
• 29:04
  know a month that she's gonna entertain me but they don't want
• 29:09
  best picture. I was like, I think I'm gonna
• 29:11
  ask you one more time. Do you want to watch this one
• 29:13
  best picture? And when all the best actor
• 29:14
  Awards and I think you should give it a shot and she's like,
• 29:17
  okay, and she dug it because it's weird.
• 29:21
  And we had the same experience where she's like, why can't you
• 29:24
  just tell me what this is about? I don't even know how to explain
• 29:27
  what it's about. And she felt the exact same way.
• 29:29
  It was over because it is about so much, you know, it's like
• 29:33
  parent-child, relationships and husband-wife, relationships.
• 29:36
  And man, just so many things and also, you know, like, weird
• 29:42
  song, references, and cartoons and rocks, talking to each
• 29:46
  other. You're never going to see this
• 29:48
  anywhere else. That's crazy, that it did so
• 29:49
  well. I think it's like, one of the
• 29:52
  first times I've seen, like, the Oscars where I actually agreed,
• 29:56
  like, yeah, this genuinely was the best movie that came out
• 29:58
  like, in the last year, like, for real, like, it had a bit of
• 30:01
  everything. It was very ambitious, it was
• 30:03
  out. There is a totally crazy scenes,
• 30:05
  but somehow it was captivating and it was also, I think,
• 30:09
  despite all the craziness, the story was still really well
• 30:15
  done. Yeah.
• 30:16
  And so Universal, even though it's like time travel or
• 30:19
  Universe hopping It's still something you can relate to,
• 30:23
  because I know, because you think about what, how would my
• 30:25
  life be different if I made different choices?
• 30:28
  And can I make those choices? Now?
• 30:30
  Can I salvaged it? Do I even want to, you know,
• 30:34
  it's just, it was just great. I loved it.
• 30:37
  Bring it back to mobile for a second.
• 30:38
  I feel like that's one the Marvel movies, a lot.
• 30:41
  The time we were really good and also the Standalone like
• 30:44
  superhero movies because say what you want about the new
• 30:47
  criticize and all they want but like At the end of the day,
• 30:51
  you're still dealing with that people and they all have flaws.
• 30:54
  And you know like I think like for instance Civil War was a
• 30:57
  really good example of that like right now.
• 30:59
  Yeah, you can just disagree philosophically with friends
• 31:02
  about something and how kind of devastating that can be in the
• 31:06
  consequences of that and everything, it just, it was for
• 31:09
  me, it was a pivotal point in that whole series and it kind of
• 31:13
  blew my mind, cut me, but there was a famous director, maybe
• 31:17
  Scorsese someone that said that sort of Sized likely park rides,
• 31:21
  right? And I get where he's coming
• 31:23
  from, but at the same time, I was like, damn, that's harsh.
• 31:25
  Like, I feel like there's a lot of ambitious elements to,
• 31:28
  especially with a story like, I do.
• 31:31
  To be honest, I special effects the fact that it's never really
• 31:34
  bothered me like yeah, it's always about, you know, how it's
• 31:37
  constructed. So editing, how its put together
• 31:40
  and then the story and like that that to me is maybe it's just
• 31:44
  because I'm an actor. So like I love the storytelling
• 31:47
  aspect of things but like yeah. Yeah, I couldn't believe that
• 31:50
  criticism mean Everyone's entitled to their opinion, but I
• 31:52
  just like nah, I'd the screw well, you know, when you look at
• 31:56
  the trailers and you look at box office numbers and you look at
• 31:58
  the fans from the outside. It's easy to see how it is.
• 32:02
  Just a theme park ride, you know, because people having fun
• 32:07
  and laughing and do their fan memes online and it says it's
• 32:12
  different. But when you are invested, you
• 32:14
  know, I've got friends who were on the outside and what thought
• 32:18
  the same thing. And then at one point, maybe
• 32:21
  during covid or something, they decided I'm going to start these
• 32:23
  at the beginning and just see and by the time you get to
• 32:27
  Infinity war and game, you know, the end of that phase.
• 32:30
  It's like wow, what you're saying there really is something
• 32:33
  here. Like there's characters, you
• 32:34
  care about and you you know what, everyone's ideals are, and
• 32:37
  what they're fighting for, and it's very relatable, even though
• 32:41
  it's super heroes and they're fighting, you know, a purple
• 32:44
  alien whose what's a snappin, delete half the universe, that's
• 32:48
  still like Something that, you know, it's like a question that
• 32:52
  we deal with like what is overpopulation and what's going
• 32:55
  to happen and how are we going to, you know, manage this in the
• 32:58
  future and he has a solution for it and might be good intentions
• 33:02
  but the wrong means and all of a sudden you're discussing
• 33:05
  something that is like really relevant to today in the context
• 33:09
  of punch punch kick kick, no II. Totally agree.
• 33:13
  And I think like, if you take the current phase that were in
• 33:16
  with Marvel, There's been some hits and misses, I don't know,
• 33:21
  like I would surely a big fan. I didn't like what they did with
• 33:25
  She-Hulk I was sick. I didn't mind kind of like the
• 33:30
  had the way they constructed it how they decided to kind of like
• 33:33
  have fun with fans and stuff, runs fourth wall.
• 33:35
  Yeah, I was, it's great, whatever.
• 33:37
  But that ending, I felt like that was a disservice to the
• 33:41
  fact that I was a giant middle finger to the fans.
• 33:43
  I hated it because it felt, you know why?
• 33:48
  Because it felt lazy See, because they teased to giving
• 33:51
  you an actual ending, and then they just skip forward, and just
• 33:54
  gave you this unscathed description.
• 33:57
  Shitty shit, sandwich ending like, oh, yeah.
• 34:00
  She says that everything's great.
• 34:01
  It's like, no, no, no, you've brought forward this intriguing
• 34:06
  story of, oh, gosh. What was his name?
• 34:09
  The Abomination. And how, you know, he's
• 34:12
  supposedly this transformed the formula character.
• 34:15
  And then you've got like this jealous boyfriend out, who's
• 34:17
  become a superhero. Bye.
• 34:20
  You know his own means like there was all these like
• 34:23
  interesting directions. They were going with it and then
• 34:25
  they just do this. Yeah, I don't know.
• 34:28
  I don't know. I felt it to me.
• 34:29
  It felt like they were just Pat themselves on the back that.
• 34:31
  Yeah. Well done, guys were brilliant.
• 34:32
  So funny. So I can see the criticism
• 34:35
  because you're right, they spent that seemed like discussing what
• 34:37
  the, what the climax should be, but you never see it.
• 34:41
  It's like ass. Yeah, yeah, it's over.
• 34:44
  Yeah. So I could have dealt with that
• 34:45
  because, you know what? It's ambitious is something
• 34:47
  different, right? But then They don't give you the
• 34:50
  ending right back. So I'd like to I'd like the I
• 34:54
  like the whole better aspect of it and discussing what it needed
• 34:57
  to be and what it could be and what they wanted it to be and
• 34:59
  what it should be, you know, all that stuff.
• 35:01
  But you're right. They did skip over though.
• 35:02
  So what actually isn't like that, I think that that's a
• 35:06
  valid criticism. I thought everything else was
• 35:08
  fine. You know, I didn't really
• 35:09
  understand all the hey, I think some people just like for
• 35:12
  instance I saw a lot of people focus on the fact that like She
• 35:14
  Hulk was more powerful than the original Hulk and the like, hmm.
• 35:17
  How is this possible? I hope Spin them, like a man,
• 35:21
  like a superhero movies. It doesn't matter.
• 35:24
  Like I didn't understand that curses.
• 35:26
  I was like, whatever, man. I thought it was different.
• 35:29
  I liked, I liked the character. I thought they did a good job
• 35:33
  with that, but then yeah, that, that ending was for me though.
• 35:36
  You know. There's another, there's a
• 35:38
  famous movie that did kind of the same thing is called Old
• 35:40
  Country for no men or that one to be.
• 35:42
  I've not seen it but I need to go see that.
• 35:44
  So that's the Coen brothers at Sac on Brothers movie yet really
• 35:47
  good. It's like a modern-day Western.
• 35:49
  Real slow quiet and thoughtful and at times super violent and
• 35:54
  scary. But there's no climax to that
• 35:57
  movie. They literally intentionally
• 36:00
  withhold it from you and kind of make you think.
• 36:03
  Now, why is that? But that's the whole point of
• 36:05
  it. Well, hold on, hold on, hold on.
• 36:07
  So, because there's a difference there, because when you say
• 36:11
  similar was She-Hulk, it's like they, they gave they gave an
• 36:16
  ending. It just was a crappy lazy one.
• 36:19
  That didn't go well what I dress you wear is what you're talking
• 36:22
  about. It's different.
• 36:23
  You're talking about like a sudden ending where it's like,
• 36:25
  hmm, kind of like a cliffhanger but not it's not even that no
• 36:29
  because I climax does happen but you don't see what it is.
• 36:33
  And then you could come here after it.
• 36:35
  Nope, it just doesn't happen. You just withheld from it.
• 36:39
  So what happens somewhere else and then you find out, oh, it
• 36:42
  happened and you weren't there to see it.
• 36:46
  So, it's interesting in just like, I wonder what your
• 36:49
  thoughts would be on that if you would feel the same way, like
• 36:51
  slighted by know, I do your building to this thing and then
• 36:55
  you like specifically didn't and then you kind of rub it in my
• 36:57
  face that I didn't see it. It's always eat.
• 37:00
  Like, two two characters talking?
• 37:02
  About what happened? I think.
• 37:04
  If I recall yet, something like that.
• 37:06
  I love that best, but it's not a comedy, if it's supposed to be
• 37:10
  funny. Yeah, that would be one thing
• 37:12
  because, you know, you claim that joke but it's not a comedy
• 37:14
  at all. That's very sweet, but I always
• 37:16
  felt that could work if the two characters are talking about
• 37:19
  something like really traumatic event and they're like real, you
• 37:23
  know, maybe maybe like if two characters had been at War for
• 37:27
  example, and they were detailing, the aspects of that
• 37:30
  and it was really intense scene and they're like that Emotional
• 37:33
  and stuff. I think that could work.
• 37:35
  Mmm well. And then that reminds me of
• 37:37
  another one that was shoot. What's it called?
• 37:42
  It's got your a nightly in it and James McAvoy it's like a
• 37:46
  World War Two movie. Which this, What's this called?
• 37:49
  I read the book even Oh gosh, I don't know.
• 37:53
  Not to admit it. Do you edit this podcast?
• 37:56
  Aw, no, hey. Hey, I mean, I do have have to
• 37:59
  be there for me, vamp vampires. I got to, I got to look this up
• 38:04
  that fee. Okay, I'm just gonna talk random
• 38:06
  nonsense into the microphone, but for have a long, it takes
• 38:09
  you to do your Google search. Who did I say was in this here
• 38:15
  in nightly and James McAvoy. Yeah, which is an intriguing
• 38:19
  cast, it's a World War to move. Be it takes place.
• 38:23
  It's sort of a strange. I was called a tone man.
• 38:26
  That's what it is. So I think I would I haven't,
• 38:28
  but I've heard. Okay, you gotta check that one
• 38:29
  out. Its kind of told nonlinearly
• 38:32
  like something happened, right? Then they go back in time and
• 38:35
  you see the other perspective of it and then that happens again,
• 38:38
  I think this is this right now. So that movie again, though, the
• 38:42
  third Act of that movie, is that there's no climax, it's just a
• 38:46
  person, like literally sitting at the screen for 30 minutes
• 38:50
  telling you what happened. And it's so crazy man.
• 38:54
  That would be so good though. It for me, that one really works
• 38:57
  all of these different things. You've explained it to me.
• 38:59
  These are different types of Storytelling.
• 39:01
  Like the thing that annoys me with like knocking, not giving a
• 39:04
  good ending, has nothing to do with like the execution of it in
• 39:09
  terms of how you go about it. So, like, even showing a
• 39:13
  devastating thing or, as you said, like, having a situation
• 39:15
  where the characters are talking about the scenario, or whatever.
• 39:18
  What I have an issue with is when You do something super lazy
• 39:24
  by what that I've said this a million times on the show before
• 39:26
  but what they did was Game of Thrones easy, mmm.
• 39:30
  Robert. No foreboding.
• 39:32
  No warning, just lazy crappy writing.
• 39:36
  Hmm. And we know that that was lazy,
• 39:38
  we know what happened thereafter with that, but I felt like the
• 39:42
  same was kind of true as She-Hulk a little bit.
• 39:46
  They tried something ambitious but they missed out a vital
• 39:50
  ingredient. They needed to include I feel
• 39:52
  with with a lot of these examples that you give in here.
• 39:57
  You can I think you can make the other like a intentional, right
• 40:01
  with examples that you've given sort of proceeding that you
• 40:06
  could make the argument that all we would have been better to
• 40:09
  just actually see the events. I think that's a fair criticism,
• 40:12
  but the same time, it's the whole point of story making or
• 40:15
  storytelling. And filmmaking is to try to be
• 40:17
  ambitious, try different things. Like no always just do the
• 40:20
  direct Ray formula aside from that perspective, I get it.
• 40:24
  Interesting, well, you gotta go check those two out and let me
• 40:27
  know what you think. Well, no color, those were both
• 40:30
  like Best Picture nominees to. So they're really good.
• 40:34
  But I can't remember how we got onto that.
• 40:36
  What were you, what were you? Glad what about the current
• 40:40
  phase of Marvel like being relevant to today and okay, so
• 40:45
  care about the characters with the current face that with the.
• 40:48
  We going through, there's been a lot of criticisms about, but
• 40:52
  they just feel like it, sweet compared to the Is phases.
• 40:54
  I personally look at it. Like I think something massive
• 40:58
  is coming and I think that it's purposefully been written in a
• 41:03
  kind of a calm, way to prepare you for what's to come.
• 41:07
  That's my sort of person, right? And I'm right there with you.
• 41:10
  That's what I think too. And I do, I work on some of
• 41:12
  these things and I don't, I don't know, like what's coming
• 41:15
  up? Oh, do they keep it as greedy?
• 41:17
  Oh yeah, yeah, yeah, only really know what you're working on and
• 41:20
  that's it. So, I must make you some right
• 41:24
  there with you. I think, didn't I think we hit
• 41:26
  this. I think we hit this peak and
• 41:28
  then we gotta bring it back down, and then we can start to
• 41:31
  build again, you know, and a lot of the complaints are, it's not
• 41:36
  tied in together and their characters, we don't care about,
• 41:39
  but you could make the same argument about the early.
• 41:42
  Marvel stuff is they're not characters we know about and
• 41:44
  they're not tied in together, but you need to set that
• 41:47
  groundwork so that you can you can do that stuff.
• 41:51
  You know, one argument. I've seen, which I do think is
• 41:53
  valid, is they're saying, if there is a new Avengers movie
• 41:58
  down the line, which I think there is actually there.
• 41:59
  Yeah, they've announced to write with the current group of
• 42:03
  characters that we have in Phase 4.
• 42:07
  That's not an Avengers team right there.
• 42:09
  That's like, the, this just isn't like, yeah.
• 42:12
  I mean, and that's a major criticism that I think you could
• 42:15
  agree with because when you compare it to the previous
• 42:17
  phases, that was those were teams that could work together.
• 42:22
  And right, defeat whatever enemy is coming.
• 42:24
  You know, I think with this current phase, you need even
• 42:28
  more characters or some help with some Heavy Hitters, you
• 42:33
  know. Yeah, a little Heavy Hitters
• 42:35
  people, you really care. Even either that or the if
• 42:37
  you're gonna do what the current characters that you've got
• 42:39
  available, then they need access to Powers beyond their
• 42:43
  comprehension or something because like let's let's run it
• 42:45
  down. You've got She-Hulk.
• 42:47
  So you've got strength there, you've got Captain Marvel and
• 42:50
  obviously Captain Marvel is kind of Indestructible whatever.
• 42:53
  So those are like to power characters And then you've got
• 42:56
  Loki who is somewhat powerful but it's more.
• 43:00
  His thing is more like being mischievous being clever.
• 43:04
  You know it's more kind of his Arc situation now we've got like
• 43:07
  a scenario where he's going from bad to good.
• 43:09
  So it's going to be interesting seeing if like, I feel like
• 43:14
  we've got a betrayal coming. That's what I feel.
• 43:16
  But yeah, I don't know, maybe that's just me.
• 43:18
  So what's the most professional wrestling and why they?
• 43:20
  So I'm expecting a heel turn, but yeah, but then the rest of
• 43:24
  the characters, you know, You've got Hawkeye's Apprentice yeah
• 43:30
  K-O-K. Yeah and and then also named
• 43:33
  that was in the Black Widow, I cut my brother.
• 43:36
  Alright. Your Lena Yelena, you know?
• 43:39
  So you've got characters that are very well skilled, but could
• 43:42
  quite easily be defeated potentially by like an
• 43:45
  overpowered character. And to be fair, we had those in
• 43:48
  the original phase, as well. Sure.
• 43:50
  So you need those characters to, you've got Spider-Man but I feel
• 43:54
  like with Spider-Man Doing something totally different.
• 43:57
  Like it seems like they're going at that one.
• 43:59
  I don't know what's in store because that's a Sony property.
• 44:02
  So it just depends on what they had contracted.
• 44:04
  That's an interesting scenario right there that whole
• 44:08
  Spider-Man deal because I feel like there's a lot of missed
• 44:11
  opportunities there. Like one thing I've been
• 44:14
  clamoring for is a Spider-Man Spider-Man Amazing Spider-Man 3
• 44:20
  but with the current Venom Tom Hardy's Venom as the villain.
• 44:24
  I feel like that's just a natural.
• 44:25
  Natural. Film to make right there.
• 44:29
  I don't know. I just, maybe it's just me, but
• 44:31
  I saw a lot of people after. I think I'd be cool.
• 44:33
  I don't know, like who knows man who does with them cooking, I
• 44:37
  don't think they've announced anything like that other than
• 44:39
  there is. No, I don't at all, especially
• 44:41
  because that's a different Studio.
• 44:42
  Okay? I know, they have like they have
• 44:44
  bad guy. Movies coming out.
• 44:45
  Like, there's a craven movie coming out and like, there's one
• 44:49
  more that they already announced.
• 44:51
  I can't remember. Okay, so with no way home, that
• 44:54
  was obviously a joint destroying production.
• 44:56
  Is it not like Q, right? So, what's with Marvel Studios
• 44:59
  as well, right? So what do you do you know much
• 45:03
  about the agreement work? An agreement there.
• 45:05
  Like, how that works. I don't know what it is right
• 45:08
  now. I can't tell you how it happened
• 45:10
  was originally. Sony released Spider-Man to do
• 45:14
  five or six movies that took place in the MCU.
• 45:17
  The first Spider-Man movie was produced by Marvel Studios and
• 45:22
  released by Sony. And then after that, that kind
• 45:25
  of like showed them the ropes, Like this is how we do it and
• 45:29
  then after that, they handed it over to Sony and so Sony
• 45:32
  produced it. Although they still used a lot
• 45:34
  of the same Marvel Studios staff, but they kind of oversaw
• 45:38
  it. And then there were three movies
• 45:40
  and then Spiderman showed up in three movies, which was Civil
• 45:44
  War, Infinity war and game. And then, yeah.
• 45:48
  So they went for Standalone Spider-Man movies.
• 45:50
  It was to like, granted appearances, essentially, right?
• 45:53
  Yeah, exactly. Exactly interested and Where we
• 45:57
  are now? No.
• 45:58
  But I don't I don't even know. Like, if they've re-upped a
• 46:00
  contract or a house, they have. I mean, because I'm, I believe
• 46:04
  that they still like it. I have deals working, but I
• 46:06
  don't know what the let's go say.
• 46:08
  I hope so, because right now, we're arguably the most
• 46:10
  important point in the story. Like there's so much, so many
• 46:14
  possibilities, you know, there's hinted fact that Ned might
• 46:20
  become a villain. There's the obviously, the
• 46:25
  potential of him fight Venom which again, I don't know that.
• 46:29
  It might be fun at some point, but like I said and done.
• 46:34
  Well, I mean, no, we haven't had a proper Spider-Man vs.
• 46:38
  Venom because like we got the one in Spider-Man 3 with Tobey
• 46:41
  Maguire. But that was such a weak version
• 46:43
  of Venom, and it wasn't their fault because those movies were
• 46:47
  supposed to be much, more kind of tongue-in-cheek, fun, but
• 46:49
  when you compared all the villains, No, they did a very
• 46:53
  catchy though. They did a very good job of the
• 46:55
  villain such when I look back, like, with the Green Goblin and
• 46:59
  Doc, Ock, you know, they did a really good job of those two,
• 47:01
  but then in the third movie, I mean the main criticism I've
• 47:07
  seen is just too many villains at once.
• 47:10
  Yeah, yeah. Yeah, baby.
• 47:11
  Yeah. But like when you look at the
• 47:14
  way venom has been presented, now it looks like much more of a
• 47:19
  menacing Force. So I thought that would would be
• 47:22
  a much more devastating situation for Spider-Man that I
• 47:27
  feel like. Okay, this is just me playing
• 47:29
  like looking for a second. Like just I think that thick go
• 47:32
  for it, what they've already hinted Miles Morales, existing
• 47:37
  inspired. I think, they've even named
• 47:39
  dropped him at one point. Oh, I don't remember that, but
• 47:42
  maybe you could be right. Yeah, I don't know which, which
• 47:44
  film it was. But I think they said my head
• 47:47
  that, is that his first name or they?
• 47:49
  They, they either said his first name or they hinted at a
• 47:52
  character that basically exactly fits his description.
• 47:55
  Okay? So if the goal is to bring him
• 47:58
  in, I feel like the natural conclusion then is to kill the
• 48:02
  current Spider-Man with say Vellum, but replace them with
• 48:07
  our new Mi, not straight away. No, you take time with it.
• 48:11
  Oh yeah. People, you know people you get
• 48:13
  because otherwise they'll be a backlash.
• 48:14
  People will hate it. So A kind of Chinese.
• 48:17
  It makes sense to kind of all you.
• 48:20
  I suppose you could pull the trigger.
• 48:21
  If, if you do it because they kind of did that with the
• 48:23
  computer game, they have like an apprentice type situation, which
• 48:26
  kind of work, but I feel like if they've already done that there,
• 48:28
  they've really explored that. Let's do something different in
• 48:30
  the movies. Like, yeah, I don't know, but
• 48:33
  that I feel like would be quite an interesting concept.
• 48:36
  You wouldn't necessarily see it coming?
• 48:40
  If it like that you did you saw coming?
• 48:44
  Well, I just felt that Tom's already done so much.
• 48:46
  What's with the character? I feel like it heal naturally
• 48:48
  want to move on and do other. Yeah, it's now you're right.
• 48:51
  Sir. So it kind of feels like a
• 48:53
  natural sort of direction to move.
• 48:57
  Anyways, point being, I don't know, we'll see what happens.
• 49:00
  I think that there's enough characters here, to build an
• 49:02
  Avengers team. I think they're both okay,
• 49:05
  underpowered right now, but, you know, room to grow and we'll
• 49:10
  see, I don't know how old you are.
• 49:11
  But when the first Iron Man came out, everyone was like, I've
• 49:16
  been really super hero. You make a big a movie about
• 49:19
  come on. Nobody knows Iron Man's crazy
• 49:22
  about that was like a classic but was like a third-tier
• 49:26
  superhero from Marvel the waves so well done.
• 49:29
  Then we're like Zion Spider-Man, Fantastic Four.
• 49:33
  That's it that's the only interesting Marvel Super Heroes
• 49:36
  at all and the Hulk maybe although those had failed movies
• 49:39
  already. Anyways.
• 49:41
  But Iron Man was so good and it immediately like, you know, it's
• 49:46
  stuck was climbing super fast, why do you think the Hulk
• 49:49
  failed? Those movies are just weird,
• 49:52
  Man. Angley's Hulk is like strange,
• 49:55
  okay? Forget angrily.
• 49:56
  Because I get white that I loved it personally.
• 49:58
  But I get why people say it's weird because it is a bit
• 50:00
  different Severus about out there.
• 50:02
  It's a bit more of an art. Think piece like, yeah, exactly.
• 50:05
  Exactly the Incredible Hulk. The one without knowing.
• 50:10
  Okay, so there's a lot behind that movie, right?
• 50:15
  Because that movie takes place in the MCU, it's same.
• 50:17
  Character is played by a different actor.
• 50:21
  From what I hear is Edward Norton.
• 50:23
  Wanted that movie to be much longer like a two and a half
• 50:27
  three hour movie, because there was a lot more character
• 50:30
  building before we got to the Hulk and the studio saw it
• 50:32
  differently. And if you watch close the
• 50:34
  opening, like, 10 minutes of that movie are really fast.
• 50:37
  Even the credits are like telling a story, and I think
• 50:40
  that's part of the movie that was supposed to be for 30
• 50:44
  minutes, 40 minutes set up, and they just squeeze it in 10
• 50:47
  minutes to get, get to the good stuff, and Norton wasn't happy
• 50:50
  with it. Studio wasn't happy with it, so
• 50:52
  they just text him out and we're going to go our own way with it.
• 50:55
  Now, that's another interesting one because Disney does not have
• 50:58
  rights to the Hulk either that's Universal.
• 51:01
  That would explain why they've not done another movie since
• 51:03
  then. Yeah.
• 51:04
  So they're allowed to use him in Team Up movies, but they cannot
• 51:08
  have a solo Hulk movie. He tried.
• 51:10
  He did you say Universal owns it, right?
• 51:12
  Right. Right.
• 51:13
  Okay. So that's why you kind of get a
• 51:15
  Hulk story throughout Avengers movies, instead of anywhere else
• 51:20
  and other and one Thor. Because in the next situation
• 51:24
  that they're moving with, with the Hulk is, was it Planet Hulk
• 51:28
  or something? Something like that.
• 51:29
  I can't remember what the storyline is, plenty to do with
• 51:31
  the Hulk in space. I think it's not.
• 51:33
  Remember if they're doing another Hulk movie over there,
• 51:36
  just going to do She-Hulk step, you know, what did you say?
• 51:39
  I don't think they'll probably do a Hulk movie, but they'll do,
• 51:42
  that's the next story. You tell the Incredible Hulk has
• 51:44
  him in space and then cut. They've kind of told a little
• 51:46
  bit with it, but She-Hulk just that he's randomly got spoilers
• 51:50
  is randomly. Got a Son with you.
• 51:52
  Right, right, right. I know that.
• 51:56
  It's like this madness and okay, what will come, will come back
• 52:00
  to the projects that you've worked on because there's a lot
• 52:03
  of different things we could talk about their but I want to
• 52:05
  talk about your film for a second because I think there's a
• 52:08
  lot of interesting stuff here. So your films called Solid Rock,
• 52:13
  Trust? Yeah, that's right.
• 52:15
  You see the poster in the background there?
• 52:16
  And also, what's interesting about this is you've taken on a
• 52:19
  slightly different role with this.
• 52:20
  So, normally you do film editing, you've also worked as a
• 52:24
  stereo correction specialist in The past as well.
• 52:27
  But on this you're working as a producer director like a bit of
• 52:31
  everything. Yeah.
• 52:32
  So this was my baby, you know, in the, my free time as an
• 52:35
  assistant editor and dailies operator, that's the guys who do
• 52:38
  that, develop film at night, all the big movies, you know, I'll
• 52:41
  have like, a couple months off during a year, you know, just
• 52:45
  because of scheduling. And so, I started editing
• 52:48
  low-budget movies because I want to be an editor.
• 52:50
  So I've cut like 45, low-budget Indies for this company out in
• 52:54
  California and Eventually you just get that bug you like man I
• 52:59
  could do what they're doing. So I wrote a script, I pitch it
• 53:01
  to him. They liked it.
• 53:02
  We said, let's do it. And here, we are a couple years
• 53:05
  later in the movies, done and available to watch.
• 53:07
  But yeah, so that was it. And we produced it, casted, it,
• 53:13
  direct it. I edited, it did a lot of visual
• 53:17
  effects. Just did pretty much everything
• 53:19
  that I've been learning over the last 10-15 years, in film, to do
• 53:23
  it myself, even that you had kind of Of full Reigns over
• 53:26
  this. Like, this is your project.
• 53:29
  How did you approach editing it? Differently to how you would
• 53:32
  produce sort of approach that on other Productions?
• 53:36
  It was a lot quicker because I knew what I wanted.
• 53:39
  I don't have to go through rounds of notes stuff, like I
• 53:41
  usually do, you know? Usually I said, it headed
• 53:43
  something. Send it to the director and they
• 53:44
  say, this is crap start over Nomad basically do it.
• 53:48
  Nah, I'm just kidding. It's not that bad.
• 53:49
  But, you know, they said you notes back and they're like,
• 53:51
  okay a little more like this little less like this and you go
• 53:54
  through some rounds of changes. And a five-minute movie is easy,
• 53:58
  you know if you're doing a short because you can like do all the
• 54:00
  changes in a couple hours but when you're doing a feature
• 54:03
  length film that's like a lot to go through.
• 54:04
  So show you spend six to eight weeks just doing a first cut and
• 54:09
  then you spend six to eight weeks like doing another
• 54:13
  version. I'm just getting through all the
• 54:14
  stuff that they want. And then even another month, or
• 54:17
  two may be doing another round of notes, so it's like kind of a
• 54:21
  slow process especially when it's low budget, you know,
• 54:24
  because you can't get it. Fast if you want it cheap.
• 54:27
  And that's what I am, you know, the site.
• 54:29
  So they understand they're working around my schedule and
• 54:33
  so this one was a lot quicker because I shot it, you know,
• 54:36
  very specifically to be edited in certain ways and the edit was
• 54:41
  pretty quick. I spent a lot of time doing
• 54:42
  visual effects because this is kind of a hacker element to this
• 54:45
  movie. So I should tell you real quick,
• 54:47
  or for everyone listening like a bank, heist movie.
• 54:49
  But it takes place in a single room and that room is not in a
• 54:52
  bank and the girl, who's the main character is pretty much a
• 54:55
  one-woman show. She's like, got a whole bunch of
• 54:57
  cellphones. She's a bunch of accents because
• 54:59
  bunch of languages. She's pretending to be different
• 55:01
  people depending on which phone she's using and who she is.
• 55:03
  Continue. And she can hack into the bank,
• 55:05
  do all this stuff and the people in the bank are her hands,
• 55:09
  right? So she's directing them around
• 55:11
  to do everything. So there's an acting hacking
• 55:14
  element to it and she has bunch of different computers.
• 55:16
  She's doing things and I had to make all those screens as visual
• 55:19
  effects, you know? So it turned into like this big
• 55:22
  production where I spent jute just two months like one shot at
• 55:26
  him times go through the whole movie and but in what I needed
• 55:28
  to but yeah that's how it was different, I guess, but in a lot
• 55:33
  of ways, The same, you know you have footage and like I
• 55:35
  explained to you like where do I want to be in the scene and make
• 55:39
  it as exciting as you can? And that's it man.
• 55:42
  Now we have a end product. So this is one of the fan
• 55:46
  questions I had sent in regarding this project.
• 55:49
  It's a sink as you mentioned, a single location project.
• 55:53
  How did you manage to keep the pot?
• 55:55
  Interesting. And the atmosphere tense given
• 55:58
  that you know? Because and so don't get me
• 55:59
  wrong, some movies have done this, I think sure we're going
• 56:02
  just a good example. No, not color coin.
• 56:04
  Just want a good luck Tarantino movie, Reservoir Dogs, I think
• 56:09
  yep. For a large portion of that
• 56:12
  single scene, saws first. A smoothie, same thing basically
• 56:17
  room. Yeah.
• 56:18
  So like how did you kind of approach that and managed to
• 56:21
  kind of keep people invested in them?
• 56:26
  I took a lot of inspiration from those kind of movies.
• 56:28
  There's another one called buried.
• 56:30
  That's Ryan. Reynolds the whole movies him in
• 56:31
  a coffin and there's another one called the lock, the whole
• 56:34
  movies him in a car, talking on the phone.
• 56:37
  So it can be done. Part of it is just having a
• 56:39
  really great performance, so someone interesting to watch,
• 56:42
  but yeah, it's a tough sell to say.
• 56:45
  I'm going to do a whole movie of someone talking on the phone.
• 56:47
  I mean, it's not visually interesting, so I was just
• 56:51
  constantly trying to cram things in that would keep it exciting.
• 56:55
  There's a clock on her desk that she has to keep resetting
• 56:58
  because none of her phone calls can be longer than two minutes.
• 57:01
  So I was kind of an exercise in writing.
• 57:02
  Okay. None of these things are going
• 57:03
  to be are going to two minutes even though it's almost a real
• 57:06
  time movie and we never really break.
• 57:09
  We are going to feel like Scenes are changing and she's moving on
• 57:14
  and I'm trying to throw in, you know, plot twist every 10 to 15
• 57:18
  minutes. I have like a turn in the
• 57:19
  script. Try to take us a direction where
• 57:21
  you weren't predicting, there's character reveals.
• 57:24
  There's there's secrets that we don't know and if you go back
• 57:30
  and watch later, you know, there's more to find there and
• 57:34
  people show up, you aren't expecting, people change, who
• 57:36
  they are, who you weren't expecting.
• 57:38
  So I just tried to put, you know, a lot of stuff in, that's
• 57:41
  basically In the script script stage.
• 57:43
  You know a story that's interesting to watch and you
• 57:46
  never really know where it's going and it starts to feel like
• 57:48
  a roller coaster. I'll show emotionally, we want
• 57:52
  to try to hit a whole range so there's crying.
• 57:54
  There's laughing, there's anger, there's, you know, a real good
• 57:58
  performance for whoever it is that we hire to to do like we
• 58:01
  want to showcase them in their abilities.
• 58:05
  Have a really great score, we found a guy to do a really great
• 58:08
  music the cinematography, even though this is low-budget, I
• 58:11
  wanted to put all as much money as I could into making it look
• 58:15
  like any other movie. So we can get away with more
• 58:18
  because we don't have company moves and we don't have big
• 58:20
  fight scenes, most of its implied because you just hear it
• 58:23
  and there's just little tricks along the way to like, make it
• 58:27
  look more visually. Interesting and story-wise
• 58:31
  interesting. And the performance is
• 58:32
  fantastic, just watching her, do all these different accents and
• 58:36
  languages is incredible. And so, I just think that
• 58:39
  there's enough there to keep you Coming back, like it's never
• 58:44
  gets boring and try to move as fast as we can, and just pull
• 58:48
  people along for the ride. So, while since you've got an
• 58:51
  actress, this doing all these different accents and stuff like
• 58:54
  that, I how did you go about finding the right person for the
• 58:57
  role? I am in the car.
• 58:58
  So we just did a casting call and one of the things I was
• 59:00
  asking for was people who are trained in that kind of thing
• 59:03
  and we found her and she speaks like three or four languages
• 59:06
  cocoa. And she has all these accents
• 59:09
  because she's just interested in linguistics and white.
• 59:12
  You know how people talk. And so, she's like, constantly
• 59:14
  practicing that lives in a bunch of countries and stuff, she's
• 59:16
  American. So she has like a neutral
• 59:19
  American accent. I think she's from like New York
• 59:21
  area. So maybe a little bit of that,
• 59:22
  but, it's just fun to watch. I don't know if you ever looked
• 59:26
  at videos on YouTube of people teaching accidents, or you ever
• 59:29
  see a big actor who you always thought was American and then
• 59:32
  you get them out of character. You like about a second, that's
• 59:35
  a different person. Love it, love it.
• 59:38
  I love that feeling. It gets you.
• 59:40
  It's like somebody else. Even though You see right in
• 59:42
  front of you. It's the same person.
• 59:43
  You know, I wanted to work that into the script, it's part of
• 59:46
  the fun. So when you see her change
• 59:47
  accents and she changes characters with the accents, you
• 59:50
  know, like she plays a different part on over yeah with who she's
• 59:54
  being because it depends on who she's talking to.
• 59:57
  It's fun to like just watch that performance almost like a stage
• 1:00:00
  play. You know, like a one-woman show
• 1:00:01
  where you're sitting in the room watching her.
• 1:00:04
  Give this thing that she's rehearsed and practiced and put
• 1:00:06
  her heart into and it comes off as really authentic and you know
• 1:00:09
  kind of vulnerable Was there anything in production of this
• 1:00:15
  movie, that kind of came as a surprise to you?
• 1:00:18
  Like I know you've had a long career but like, was there
• 1:00:21
  anything that you just took you by surprise, or was like a big
• 1:00:25
  lesson for you? In filmmaking, the big surprise
• 1:00:28
  for me was what happens after the movies done?
• 1:00:31
  I always thought it was like 80%, make a good movie, 20% get
• 1:00:35
  it out there and the rest will can take care of itself, but
• 1:00:37
  that's not the case at all. You can have a terrible movie.
• 1:00:40
  And great marketing and do gangbusters.
• 1:00:43
  You can also have a fantastic movie and to very little
• 1:00:46
  marketing, and no one will ever ever see it.
• 1:00:48
  So to me, I'm kind of understanding, maybe it's more
• 1:00:51
  50/50 or even like 40%, good movies, 60% getting it out there
• 1:00:57
  because we have really great reviews.
• 1:00:58
  You know, we're like hundred percent on Rotten Tomatoes and
• 1:01:01
  very good 85 or 8.5 on IMDb so people really respond to it
• 1:01:05
  well. But man, it's just so hard to
• 1:01:07
  get it out there. I've told this story on another
• 1:01:10
  show but In Marvel, they have their own marketing department,
• 1:01:14
  they know to send it off to a third party which a lot of other
• 1:01:17
  Studios do. So they're always asking for a
• 1:01:20
  like, hey, we need this for a Sizzle reel or trailer or
• 1:01:23
  whatever it is, and I always was just like a silly marketing
• 1:01:27
  department, you guys were the real artists over here.
• 1:01:29
  You do your thing, I'll play your corner.
• 1:01:33
  And now I have this new respect for them because it's so hard to
• 1:01:36
  do what they do. Like figure out what is gonna
• 1:01:39
  connect with people in a very short form to make them want to
• 1:01:41
  come back and see the whole thing and how much money do you
• 1:01:44
  spend in the right ways? You know, get in front of the
• 1:01:48
  right people and they make so much content to just convince
• 1:01:52
  people, you know, and my movie you can watch for free.
• 1:01:55
  You don't have to pay for it. You can just watch it but it's
• 1:01:58
  so difficult to just get that 90 minutes from people.
• 1:02:02
  To convince them that it's worth their time so that's not mine.
• 1:02:06
  That's been my education. That's the tricky part by
• 1:02:09
  independent filmmaker. I feel like it.
• 1:02:10
  We're getting better with it though.
• 1:02:12
  People are getting more invested in independent films now because
• 1:02:15
  they're recognizing that the quality is there.
• 1:02:17
  And that just because you have a lower budget, doesn't mean that
• 1:02:20
  it re any, it can be done. It can be done really well.
• 1:02:23
  A lot of it's not but it can be. And if you're looking for
• 1:02:25
  something that isn't in theaters, you know, like the
• 1:02:28
  Marvel template or Sports movies.
• 1:02:32
  Template or rom-com, you know if you're looking for something
• 1:02:34
  that kind of is a little more experimental or unique at takes
• 1:02:38
  a little bit more of a risk, that's where you're going to
• 1:02:40
  find. It is the independent World
• 1:02:43
  completely agree. I was always the case.
• 1:02:45
  But this go back to the, the major Productions that you've
• 1:02:50
  been on because I can't not ask about this.
• 1:02:52
  All right. Yeah, go for it.
• 1:02:55
  You worked on the Mandalorian. I am a huge Mandalorian fan.
• 1:03:00
  Me and my house today, I've been watching the latest season and I
• 1:03:04
  think it's arguably the best so far.
• 1:03:06
  It's been absolutely brilliant. What have been your kind of take
• 1:03:12
  aways from working on the Mandalorian, like good, the bad?
• 1:03:15
  The ugly, man, I wish I could tell you some great stories
• 1:03:19
  about Mandalorian, but I only worked on that show for like, Or
• 1:03:25
  five hours. Okay, they were using our
• 1:03:30
  equipment. When I was doing dailies, they
• 1:03:32
  use our equipment to do dailies, and it was our company that did
• 1:03:35
  it for them out in the lake, you know, because they use the LED
• 1:03:38
  walls, they weren't shooting in Georgia, so I packed it all up
• 1:03:41
  for him. I shipped it out.
• 1:03:42
  I was their Technical Support over while they were shooting
• 1:03:45
  which was a couple phone calls and it came back and at one
• 1:03:48
  point, they needed like a clip off of that computer which I
• 1:03:52
  pulled for them and that was it. It Like I saw baby Yoda or I saw
• 1:03:57
  grow goof. Before it was released.
• 1:04:00
  And I was like, what is this? But it looks cool and I did tell
• 1:04:04
  anybody because I still had it at the A and that show came out
• 1:04:07
  and I'm a huge Star Wars fan. Always have it.
• 1:04:09
  That's like my franchise watched it.
• 1:04:12
  Watch the credits for my friends names and hold on a second.
• 1:04:16
  I'm in the credits. How did I get my credits?
• 1:04:19
  I started texting him. Why am I the credits on this?
• 1:04:21
  Oh yeah, you're welcome. That was a favor for a bus.
• 1:04:24
  Holy crap. I can't believe no one Star
• 1:04:26
  Wars. Thank you, thank you so much.
• 1:04:29
  And that's that. So I'm a I'm just a fan.
• 1:04:31
  I don't even work on those really just so I'm just like,
• 1:04:34
  you've just love it along for the ride like everyone else and
• 1:04:38
  that must have been so mind-blowing, but to just see
• 1:04:40
  your name there or it is. Yeah.
• 1:04:42
  Totally. Because you're expecting it.
• 1:04:44
  When it's something you work on and your family's.
• 1:04:46
  Like are you gonna be in the credits?
• 1:04:47
  Your people find out, you know, you work in moves.
• 1:04:49
  Are you in the credits? Yeah, I mean, the cars for all
• 1:04:51
  that stuff but then when you see one, you weren't expecting.
• 1:04:54
  It's like, whoa! Holy cow!
• 1:04:56
  That's the next thing for me is getting my my name on the It's
• 1:04:59
  on a major production, like, I've been in major Productions
• 1:05:02
  stuck in a very low capacity, but to be featured in a major
• 1:05:06
  production and have your name there and right of your screen
• 1:05:09
  like, oh, that's what a dream that be.
• 1:05:11
  So you've done smaller ones. I'm sure.
• 1:05:14
  So what I basically, what I've done with feature, Phil, I've
• 1:05:17
  been in Four five feature films. But like two of them, I was just
• 1:05:27
  an extra right? Or two or three of them was just
• 1:05:30
  an extra and then the other two, I am sorry for them.
• 1:05:35
  I was an extra one of them. I had actual dialogue, and oh,
• 1:05:39
  but you can get a credit for that.
• 1:05:41
  Wow, we're still getting you're getting there.
• 1:05:44
  So one of them was tenant, didn't get credit for that
• 1:05:47
  shoot, yeah, what were you intended?
• 1:05:49
  I'll tell me just in the beginning.
• 1:05:52
  You wouldn't this? That blink, and you'll miss it.
• 1:05:54
  It. You have a line in that one.
• 1:05:56
  Or your next door. Not just an echo.
• 1:05:58
  Yeah, yeah. And there's a few others, where
• 1:06:00
  that's the kind. That's, that's a nice thing that
• 1:06:02
  always bugs me is I get a lot of questions.
• 1:06:04
  Like, what have you been in anything?
• 1:06:05
  I would know the standard questions.
• 1:06:07
  Yeah, I've been in a lot of Productions.
• 1:06:09
  Mostly voice acting voice overs, but I have done on screen stuff
• 1:06:14
  as well and I'm constantly working at it.
• 1:06:17
  I've been into feature films this this year alone and it's
• 1:06:20
  we're getting there. Yeah.
• 1:06:21
  Oh, it's slowly getting there getting opportunities but Like
• 1:06:25
  anything else in the film industry.
• 1:06:27
  It's a slog and you get periods of nothing periods of luck.
• 1:06:31
  You know, it's, you know, it is. You just keep trying keep spend
• 1:06:34
  a lot of time waiting because you're putting auditions and
• 1:06:37
  you're waiting to hear back or you acted in something, but
• 1:06:40
  you're waiting for it to come out and it takes, it takes a
• 1:06:42
  long time. Yeah, I'm right now I'm just in
• 1:06:44
  the process of just trying to find a day job again because I
• 1:06:47
  haven't heard anything come in a while and it's just back to the
• 1:06:50
  drawing board back to walk. Keep at it.
• 1:06:52
  I'm not an actor. I don't, I can't do.
• 1:06:54
  What'd you guys do? I think it's incredible and
• 1:06:57
  scary and I'm fascinated by it, but if I had advice, it would be
• 1:07:02
  nobody, you don't have to wait for somebody to make your own to
• 1:07:05
  make your content. You know.
• 1:07:07
  Like you need to be the person making you the lead role.
• 1:07:11
  You know what I mean? Oh, I completely agree.
• 1:07:14
  So there was a girl named Brit Marling to remember her concerts
• 1:07:18
  and she was in the OE, is the main character in The OE on
• 1:07:21
  Netflix and she had a couple in Indie movies.
• 1:07:25
  There was like sound of my voice and what was the one about the
• 1:07:31
  there was another Earth that showed up it was called another
• 1:07:34
  Earth-like showed up in our Sky, there's like a parallel Earth.
• 1:07:39
  Sounds fascinating I'm MJ. Anyways, yeah she she was an
• 1:07:43
  actress and got tired of doing auditions and she was like, I'm
• 1:07:47
  just gonna start writing roles for myself and she teamed up
• 1:07:49
  with somebody who was going to direct and they started making
• 1:07:51
  these low-budget, Indie movies and she's fantastic.
• 1:07:55
  The movies are like crazy, kind of mind-bending like real unique
• 1:08:00
  ideas, but simple to shoot like the idea of another Earth
• 1:08:05
  showing up in our sky and there's a Another version of you
• 1:08:09
  on that Earth and like, just coming to terms with that idea
• 1:08:14
  and it's basically an indie movie, you know, there's no,
• 1:08:16
  like, big-budget sci-fi special effects or anything.
• 1:08:19
  It's like a drama with this idea.
• 1:08:21
  And they just came up with ideas like that, and it was great
• 1:08:24
  because all of a sudden, she's starring in these movies that
• 1:08:26
  she produced herself, that's getting all this attention and
• 1:08:29
  there's no reason anyone can't do that, you know, if you're as
• 1:08:33
  talented as an actor as I'm sure you are, then write the part
• 1:08:37
  that you want people. All to see and start producing
• 1:08:41
  yourself. You know, really great advice,
• 1:08:44
  man. Thank you for sharing.
• 1:08:45
  Don't stop doing auditions. Keep doing it.
• 1:08:47
  Keep doing that stuff. And keep being another girl's to
• 1:08:50
  don't quit that. But yeah, that's one of the
• 1:08:53
  things that I guess. That's a second answer to your
• 1:08:55
  question is, what was the surprising thing is?
• 1:08:58
  You don't have to wait for someone to give you your chance,
• 1:09:00
  like make your chance happen for you.
• 1:09:02
  Just do it. There's no one holding you back.
• 1:09:05
  And in many cases nobody's going to give you that chance at all.
• 1:09:10
  You know, you just have to make it happen.
• 1:09:13
  So there you go. That's coming from Atlanta,
• 1:09:16
  Georgia, your advice for today. Thank you, sir, appreciate it.
• 1:09:21
  Let's keep it rolling. Some of the production's you've
• 1:09:23
  been on. I'm just going to run through
• 1:09:25
  all of them and you just tell me what stands out for you.
• 1:09:29
  Good Bad. And the Ugly, and we'll, we'll
• 1:09:31
  go one by one and then we'll move on.
• 1:09:34
  All right. Miss Marple.
• 1:09:36
  Oh yeah, super fun. Director of sorry.
• 1:09:40
  The editor on that at least the earlier on.
• 1:09:42
  That was from Doctor Strange. She done a bunch of big movies.
• 1:09:45
  You did like shoot, she edited. Sky, Captain World of Tomorrow,
• 1:09:51
  dr. Strangemoon remember, dr.
• 1:09:53
  Strange, the like mirror world that they go into?
• 1:09:57
  It's kind of like a kaleidoscope.
• 1:09:59
  They didn't know what that was going to look like at this
• 1:10:01
  editor. Came up with that she because
• 1:10:03
  they were in the editing room, like discussing, what is this
• 1:10:05
  going to be like? And she was at home, one day.
• 1:10:07
  She looked through a kaleidoscope that was on her
• 1:10:09
  desk and was like I wonder if this is it.
• 1:10:11
  She brought that Kaleidoscope in showed it to the director and it
• 1:10:14
  was like a light bulb for everybody in the room at the
• 1:10:17
  same time. Oh, this is what the mirror
• 1:10:19
  world. Like let's like this.
• 1:10:21
  And now it's on its at the movies.
• 1:10:24
  Like it's like not just in the movie, but it is dr.
• 1:10:27
  Strange, you know, it's the whole vibe of the thing.
• 1:10:31
  So that's an example of an editor.
• 1:10:32
  Do it like way more than they were hired to do come up with
• 1:10:35
  the whole visual style, something Miss.
• 1:10:38
  Morrow was super fun. I have a special place in my
• 1:10:41
  heart for that one because it's like first Muslim superhero,
• 1:10:45
  right? Like teenage girl, she's got a
• 1:10:48
  really sweet family. And that movie, or if that show
• 1:10:52
  a lot of reshoots on that one. And I think it was delayed a
• 1:10:57
  long time, working out. But every time because of the
• 1:10:59
  pandemic was that just other reasons.
• 1:11:03
  Yeah. I was picked a girl.
• 1:11:04
  Yeah, yeah. Hawkeye, okay.
• 1:11:09
  So I only did the rishi's for hot guy but it covered a lot of
• 1:11:12
  the show because but that was a fun one.
• 1:11:17
  And what can I say about that one?
• 1:11:20
  I like the down to earth Marvel stuff more than the magic and
• 1:11:24
  like Thor, same space stuff. So I like Captain America type,
• 1:11:29
  the action movie type stuff. So that was a good one to work
• 1:11:32
  on and hopefully we can see Jeremy Renner and apart again.
• 1:11:36
  He's not doing too well. Yeah, I had that recently a
• 1:11:39
  little he may be walking again, but he's a snowmobile accident.
• 1:11:44
  No wolf. Well guy rest rest easy man.
• 1:11:49
  Well we mentioned this earlier but yeah, same question.
• 1:11:53
  So Avengers Infinity war and endgame.
• 1:11:56
  So, I was doing dailies for those working at nights and I
• 1:11:59
  wish they'd shot both of those movies.
• 1:12:02
  That's actually the movies that I moved to Georgia for
• 1:12:04
  California. It's a move to.
• 1:12:07
  Okay, let's back up yet to move to another state.
• 1:12:09
  While I was working for another, I was working for another
• 1:12:11
  company and Allah, I wasn't really happy there.
• 1:12:13
  I was looking for another gig and And what Atlanta was hiring
• 1:12:17
  to do dailies and I put my name in and they called me for some
• 1:12:22
  reason and I accepted the job and we moved out to Georgia and
• 1:12:26
  basically never went back because there's enough work out
• 1:12:28
  here keeping busy but um, yeah, and it's cheaper to live but
• 1:12:32
  they shot those movies back to back.
• 1:12:33
  So I was like a full year, maybe more, like, 14 months out of my
• 1:12:37
  life just working on those. And I was working on part two
• 1:12:41
  before part, one even came out, so I knew how part 2 ended
• 1:12:45
  Before a bar one was even released and everyone's like you
• 1:12:48
  know the anticipation was was real for those movies and I know
• 1:12:53
  how part 2 ended before part so it's crazy.
• 1:12:57
  I do like those get about that. I do who's gonna die?
• 1:13:00
  Who's gonna live? I knew all that stuff.
• 1:13:02
  And I had to keep it a secret for so so long.
• 1:13:05
  Let's speak to that. It must drive you mad.
• 1:13:07
  Like, I've heard you earlier, I assumed because I had signed
• 1:13:10
  them as well. You had to sign nda's and stuff.
• 1:13:14
  Couple of questions, what the consequences of if you would be
• 1:13:19
  caught leaking that fired, okay, the end and you will not be
• 1:13:24
  invited back on a marble show, but is there anything else?
• 1:13:28
  Like I don't know charged a fee because that would I imagine
• 1:13:30
  something like that. But for argument's sake let's
• 1:13:33
  say that you or someone else leaked stuff about this
• 1:13:36
  happening Avengers and ingame before if it is released would
• 1:13:41
  have just destroyed everything. So yeah.
• 1:13:43
  I never heard of anyone. Basic monetary like
• 1:13:48
  repercussions for something like that, maybe it happens, but I
• 1:13:51
  don't know. But imagine that side that we do
• 1:13:54
  so much money, you'd like to production would lose so much
• 1:13:58
  from something like that. Maybe, maybe, not, maybe it
• 1:14:01
  makes more Buzz, I don't really know.
• 1:14:03
  I don't know how you see, how you decide, how much money you
• 1:14:05
  lost from a leak, if you can even separate like that.
• 1:14:10
  So yeah, I would never do that. Anyways it's it could be hard to
• 1:14:13
  keep a secret but also you don't want to spoil it for anybody
• 1:14:15
  because I don't want it spoiled for me and I don't want to ruin
• 1:14:18
  it for somebody else and it boggles my mind that people
• 1:14:20
  would go out there and ruin it for her for so many people and
• 1:14:22
  like, dude, what are you doing? That's no fun.
• 1:14:25
  The fun is being there. The opening night and watching
• 1:14:28
  it and you know experiencing it for the first time with everyone
• 1:14:31
  what did you give him that you knew what was going to happen
• 1:14:34
  today and game. What did you make of everyone's
• 1:14:36
  reactions at the end of infinity walk?
• 1:14:39
  Oh man, I watched Infinity War at the Fox Theater in Atlanta.
• 1:14:43
  It's like a huge Live Theater. It seats like, 6,000, people,
• 1:14:47
  and huge screen they put up just for the for the premiere and all
• 1:14:52
  the cast crew are there. It was huge.
• 1:14:55
  And you know, those moments when everyone's dusting away, Not a
• 1:14:59
  single person in that dinner, you could hear them breathing.
• 1:15:02
  It was so quiet. It was just such an amazing
• 1:15:04
  experience that all be in that moment together.
• 1:15:07
  And that's my, that's my memory from watching that movie with
• 1:15:10
  everyone how great it was to just, it's like a sporting event
• 1:15:14
  because, you know, usually when you go to the movie theaters,
• 1:15:15
  it's like maybe a hundred people, but thousands of people
• 1:15:19
  watching it. Together was just incredible.
• 1:15:22
  Yeah, I remember when it happened.
• 1:15:23
  Everyone was just going like, oh, I can't believe that.
• 1:15:26
  They've just wiped off, like 200 million or whatever is a value
• 1:15:30
  of characters by getting rid of these characters and how they
• 1:15:33
  did it? Do they gay?
• 1:15:34
  Come on, a graphic of like every time someone would be fed or
• 1:15:41
  snapped the way in existence. That, yeah, really.
• 1:15:44
  And fifty million. And there to remember the
• 1:15:47
  feeling I'm leaving the theater and thinking you had to wait a
• 1:15:49
  year. I'll see what happens next.
• 1:15:51
  That's how. I feel like every time I finish
• 1:15:53
  any production like low-key finished.
• 1:15:55
  Brilliant. Yeah.
• 1:15:56
  You got white. Two years.
• 1:15:57
  What the heck? Come on?
• 1:15:59
  Yeah, yeah, it's me nuts. Sometimes a cliff hangers are so
• 1:16:03
  big that, man, it's crazy. Speaking of Cliffhangers and
• 1:16:07
  Loki. You worked on Loki.
• 1:16:10
  Tell us about that. So low-key was my first show as
• 1:16:14
  an assistant editor, that was after infinity war and game.
• 1:16:17
  I got moved over to that department, thankfully and That
• 1:16:23
  one was fun. They didn't have all the
• 1:16:24
  scripts. Released at the time we were
• 1:16:26
  shooting I'm just said. So I had read like pieces and
• 1:16:30
  then I said, stop treating them because I got busy with work and
• 1:16:33
  then we're shooting scenes, which I thought were the end of
• 1:16:37
  the show and turned out only to be the middle.
• 1:16:39
  So that one was really well written because it moves really
• 1:16:42
  quickly to directions. You didn't know it was going to
• 1:16:44
  go. Tom Hiddleston, right is okay,
• 1:16:52
  I'm heterosexual. But first time I saw that guy
• 1:16:56
  person not in Lucky costume, it he took my breath away.
• 1:17:00
  I like wow, that is an attractive English man, right
• 1:17:04
  there to see who thinks he's great.
• 1:17:08
  He's so talented, there's not there's stuff that's not in the
• 1:17:10
  show but He can cry on command like you have never seen before.
• 1:17:15
  There was one shot where he's sitting in that Library like
• 1:17:18
  reading a book and started off him just like opening the book
• 1:17:21
  and reading it and then the camera pushes it on him for like
• 1:17:24
  two minutes and by the end he's just weeping and he didn't even
• 1:17:28
  move his face. It just tears are pouring down
• 1:17:30
  his face. That's what makes a good actor
• 1:17:33
  to just go into a moment and be so vulnerable that it's
• 1:17:36
  authentic, man. That's crazy and only a very
• 1:17:39
  small percentage of people can do that, you know, that's why
• 1:17:41
  they Go so far in their careers, but that's crazy.
• 1:17:45
  That's a great show. That's a great shelter, worker.
• 1:17:48
  One thing I wanted to find out as well because I kind of
• 1:17:51
  assumed and this speaks to my ignorance about what you do for
• 1:17:55
  a living that much of your role would be sort of post
• 1:17:58
  production. So what is it that you do during
• 1:18:02
  production like how? Well, yeah, so I know that I
• 1:18:05
  actually only work on production right now.
• 1:18:09
  Okay, post-production so they edit while we're shooting
• 1:18:12
  because a lot of times I want the same cut before they tear
• 1:18:15
  the set down to know that they got what they needed, right?
• 1:18:17
  Or if Had that scene edited, you know, two days that set still
• 1:18:21
  standing. Oh shoot, we need to pick
• 1:18:23
  something up. So I can go back to it and
• 1:18:25
  capture it and not have to do reshoots six months down the
• 1:18:27
  line, my job, as a second assistant editor is to receive
• 1:18:32
  all the footage that they shot the previous day and I just
• 1:18:35
  literally go through everything, make sure nothing's missing.
• 1:18:38
  I'm Mark basically any time. The director says action, we put
• 1:18:41
  a little marker on that, so the editor can just jump down to the
• 1:18:43
  good stuff. Sometimes will do sound design,
• 1:18:46
  sometimes will do We time I shoot slow motion.
• 1:18:50
  We make it regular speed. So we have a slow motion version
• 1:18:53
  and a regular speed version. We do this thing called Script
• 1:18:55
  sink where you tie in the video to the actual text of the
• 1:19:02
  script. And then you can let you can
• 1:19:03
  check or select a line of dialogue and see the 20/20
• 1:19:08
  different versions that the actor said that in.
• 1:19:11
  So a year from now on the director and editor are working
• 1:19:13
  on it. But directors, like an ant
• 1:19:14
  really like that version. Can I see another take?
• 1:19:17
  Yeah. In fact, you All 20 here you
• 1:19:19
  push one button and you can just see them say that line, 20 times
• 1:19:22
  different angles and so that's kind of tedious to do, but it's
• 1:19:26
  super cool to watch what it's done and actually, kind of an
• 1:19:29
  education to see what an actor is doing.
• 1:19:32
  You know, when they do another take when you do another take
• 1:19:34
  when they do another take a can see all the different versions
• 1:19:37
  that they're doing with that character.
• 1:19:39
  That's basically my job. And that's that's the case, not
• 1:19:42
  even just for Marvel but that's what we doing, you know, no
• 1:19:45
  matter what production is. So these sunset I'm interested
• 1:19:48
  not just as a career to have like, well, it's fun, yeah,
• 1:19:54
  obviously you just shared that you had an experience of seeing
• 1:19:57
  Tom Hiddleston in action. Is there have been any other
• 1:20:00
  memorable instances where you got to see the cut, the costs in
• 1:20:05
  action that sort of stood out for you what I was doing before
• 1:20:09
  I came out. Georgia, I was overly, I was
• 1:20:12
  working with a device called n cam.
• 1:20:14
  It's sort of like a live previous tool that you attach it
• 1:20:17
  to the real camera. And then feed the information to
• 1:20:20
  the monitors and they can fill in the blue screen live or they
• 1:20:23
  can put a CG character into the room live so the kill, right?
• 1:20:28
  Can see it on the monitor. Well, it comes and like a are
• 1:20:31
  kind of thing or yeah. It's exactly like, yeah, it's a
• 1:20:33
  are except it's on Cinema cameras, so it's not just your
• 1:20:35
  iPhone. Anyways, I got trained up to do
• 1:20:39
  that thing and then I found out one week, hey, you're going out
• 1:20:42
  to a movie that they're using this on in New Mexico and like
• 1:20:47
  four days later. I was standing on the top of a
• 1:20:50
  pretend Hill indoors watching a spaceship land and I was
• 1:20:54
  standing next to Jeff, Goldblum and don't Bill Pullman.
• 1:20:58
  And like, this is so weird. Just watch them here at it was
• 1:21:04
  Independence. Day Resurgence was the movie.
• 1:21:07
  Yeah. So that was wild.
• 1:21:08
  All of a sudden. You're just like there and Jeff.
• 1:21:10
  Gordon was like standing in front of you like singing to
• 1:21:12
  you, Jeff Gould was amazing. He'll just walk around set and
• 1:21:14
  like sing sing songs in between takes to anybody's.
• 1:21:18
  Like, we'll listen that's awesome.
• 1:21:21
  And yeah, it was such a great experience, a great movie, not a
• 1:21:23
  great movie, but super fun to be on set and just see, you know,
• 1:21:28
  like how they do this and it's like crazy Sci-Fi Action, Movie
• 1:21:31
  and great actors that you grew up watching.
• 1:21:34
  And then that's the movie. I'm an extra in, by the way, I
• 1:21:36
  was like I love Independence Day.
• 1:21:38
  You gotta put me in this movie, got to be friends with the
• 1:21:39
  second assistant director, make me an extra and so yeah, I'm
• 1:21:43
  same thing, blink and you miss it kind of role but it was fun
• 1:21:47
  to be there. So, that was another good one
• 1:21:49
  with actors. Or Chris Hemsworth, touch my
• 1:21:54
  shoulder. Once we did one of those like
• 1:21:56
  walked around the corner and so sorry.
• 1:21:58
  Oh, couldn't figure out of my shoulder and I never showered
• 1:22:04
  since then keep that, I keep that shoulder dry bad.
• 1:22:09
  It's just yeah. Stuff like that.
• 1:22:11
  You know? It's cool.
• 1:22:13
  Okay. Anything you seem is it charged
• 1:22:17
  now for bury someone, anything unprofessional or maybe just you
• 1:22:24
  know you saw a particular actor just acting in a sort of.
• 1:22:29
  She try terrible way thing like that.
• 1:22:32
  I actually have not ever seen that, I've never seen anyone
• 1:22:35
  lose this kid crap on set Marvel.
• 1:22:39
  Especially, it seems like everyone really wants to be
• 1:22:42
  there. They really care about the work,
• 1:22:44
  it's not just a paycheck, you know.
• 1:22:45
  Yeah, part of that might be because they don't necessarily
• 1:22:49
  get tippy top A-list actors, you know, they want people who are
• 1:22:53
  interested in being a part of something not just making money,
• 1:22:57
  you know? Like build a brand.
• 1:22:59
  If you notice a lot of the people that they serve Select
• 1:23:02
  it's like up-and-comer types. I think I've ever seen anything
• 1:23:09
  bad. Do I hear stories about other
• 1:23:11
  people? But okay, share some stories.
• 1:23:13
  I'm not gonna say anything bad about someone and every event
• 1:23:18
  the stuff that is fun to hear it, maybe not fun.
• 1:23:21
  Like in a sick way is this when you hear things about people and
• 1:23:25
  then it comes out in the news, like, turned out.
• 1:23:28
  This person isn't so great after all like Ellen or something like
• 1:23:31
  that. You know that story. does that
• 1:23:32
  feel like, ah, I knew it, but that's all I've got.
• 1:23:39
  I'm there with you guys. I don't really know the truth or
• 1:23:41
  not. I just did this day.
• 1:23:43
  You play, you play Diplomat now and I know, I know why you did
• 1:23:47
  it and I respect, but but it is marble.
• 1:23:49
  I've never seen anyone be anything except so excited to be
• 1:23:53
  there on Marvel stuff. Sometimes there's like, egos
• 1:23:56
  like the day, they shot the all woman shot at the end of ending,
• 1:24:01
  that all those women were there which was super cool.
• 1:24:05
  But They all come with a hair person, a make, a person, a
• 1:24:08
  personal assistant and walking around said that day.
• 1:24:10
  Was crazy because you got like 20 ladies times for all of a
• 1:24:15
  sudden. The cast is like tripled in size
• 1:24:18
  or the crew is tripled in size because of all their you know
• 1:24:20
  help. And again that was a bad.
• 1:24:23
  It's like holy cow, is comes with a lot of work, like extra
• 1:24:27
  work just to take care of all those people and have food for
• 1:24:30
  all those people and places to stay.
• 1:24:31
  It's crazy. But yeah, like I said everyone
• 1:24:34
  who I've ever seen him. I was just so excited to be
• 1:24:36
  there to like cast and crew, and that's most of what I work on.
• 1:24:42
  So it's not like I have other bad projects, I could tell you,
• 1:24:46
  it was bad. So that was, I mean, I prefer to
• 1:24:49
  hear that if I'm honest, like obviously I have to also not
• 1:24:54
  upset that often, you know, because I work in
• 1:24:55
  post-production. So like go by for an hour or two
• 1:24:59
  at the most nowadays at not even at all because Cuz covid
• 1:25:02
  restrictions are so tight. So you really only see like,
• 1:25:06
  what's on camera. And I've never seen anyone but
• 1:25:08
  Mr. Cameron, I've been crazy. Yes.
• 1:25:11
  Because tell you, I'll tell you this one time when we were
• 1:25:13
  shooting the scene where I can ever remember, Scarlett,
• 1:25:18
  Johansson mascara, which now James, what's her, black widow,
• 1:25:21
  the scenes were there on the planet and fighting over who's
• 1:25:25
  gonna live and who's going to die.
• 1:25:26
  So, I was there for some of that upset and there's one take Guy
• 1:25:32
  standing, like, I don't know 30 feet away for her, 40 feet away
• 1:25:36
  from her, and they call Action. And she starts acting.
• 1:25:41
  And I realize, I'm just watching, you know, like
• 1:25:44
  watching the performance and I realize, I'm standing right
• 1:25:46
  behind camera, even though it's like a long ways away and she
• 1:25:49
  just locks eyes with me. And in that moment, I was like,
• 1:25:54
  I should not be here. I thought I was part of a way of
• 1:25:59
  just like, what guys take out of the way that boom of right in
• 1:26:01
  her eye line, I have friends that I thought that seed in the
• 1:26:04
  mandatory and I think season 2, and it's just like a random
• 1:26:08
  guys, like almond leg and shot. Yeah, like so many people
• 1:26:12
  started doing like cosplays of that at Comic-Con, but it just
• 1:26:19
  happens like the Starbucks cups and Game of Thrones like this.
• 1:26:25
  Yeah. That's so funny.
• 1:26:27
  Yeah. It's all right.
• 1:26:28
  Let's run through a few more of the projects you worked on
• 1:26:31
  Falcon in the Winter Soldier. Yeah so that was I left lucky
• 1:26:36
  halfway through after covid and got moved on to that job for the
• 1:26:41
  second half of what they were shooting.
• 1:26:42
  That one went through a lot of external factors that make sense
• 1:26:48
  shooting it. So there were supposed to shoot
• 1:26:50
  in South America, okay? Although all the foreign country
• 1:26:53
  stuff was supposed to be South America but there's an
• 1:26:55
  Earthquake. So wow.
• 1:26:57
  Cancel that like day of and then they went to Prague I think to
• 1:27:01
  shoot all that stuff that you know, but then covid happen.
• 1:27:04
  So that shut that down like two days in and then go back months
• 1:27:07
  and months later to finish it again.
• 1:27:09
  So that movie that show was just Hep like the world's against it.
• 1:27:13
  And again, that's the stuff. I like the most, the action,
• 1:27:17
  gooey stuff. And I tell you what, Andy McKee.
• 1:27:22
  And what's the other guy's name? We put Sebastian Stan.
• 1:27:25
  Yeah, those two together are so funny.
• 1:27:29
  I could hardly stand it and a lot of that stuff, didn't make
• 1:27:32
  it into the cut. I was like, the best buddy
• 1:27:35
  comedy I've seen in ages because together they're just constantly
• 1:27:39
  cracking each other out and laughing.
• 1:27:41
  And it is hilarious to watch. And I don't know if you know
• 1:27:44
  this, but at the end of every take, maybe Anthony Mackie.
• 1:27:49
  He'll sing about the check. Let's launch like this.
• 1:27:54
  He did so good. He's just like spreads that
• 1:27:58
  energy to everyone like that was Bob guys, we got it said the cat
• 1:28:02
  cut the check baby, I love being on set or not.
• 1:28:07
  That's I wasn't upset for that one, but I love that watching,
• 1:28:09
  all that stuff. He's so funny.
• 1:28:12
  That's good. When you see that they should
• 1:28:14
  be, it should be fun. - one thing I've learned about acting
• 1:28:17
  in my my career is that like if it's not fun there's just no
• 1:28:21
  point but you have to be able to have fun with everyone cast
• 1:28:23
  crew, that it's a group thing, you know, everyone comes to give
• 1:28:28
  it some to do this. Yeah.
• 1:28:30
  And I'm sure a lot of it has to do with the tone of the project.
• 1:28:32
  You know, I've never worked on a serious like drama where, you
• 1:28:39
  know, I've never worked on like a World War Two movie or like,
• 1:28:41
  Cos movie. That's got to be hard
• 1:28:43
  emotionally. Yeah.
• 1:28:46
  Because Marvel stuff is all light, even when it's serious
• 1:28:48
  it's kind of like fun. So yeah, it should be fun.
• 1:28:53
  Absolutely. Because Jenny to the Mysterious
• 1:28:57
  Island so that was not the first movie I ever got sent on right
• 1:29:02
  out of college doing 3D. Dailies and we went to Hawaii.
• 1:29:06
  I meant Michael Caine. I met the rock.
• 1:29:08
  I met Louis. What's the name, Louis?
• 1:29:13
  You've lost me? I don't know.
• 1:29:14
  Huh. Josh Hutcherson to the movie.
• 1:29:18
  There's a long people in that what's-her-name from Heaven.
• 1:29:20
  Huh? Nope.
• 1:29:21
  That's the Jumanji movies. Almost the same movie.
• 1:29:25
  Yeah, I just I know that they're all started.
• 1:29:28
  Same place. I'll sell the rock literally.
• 1:29:32
  Like the four different movies in the jungle.
• 1:29:36
  Sounds cool. Like paid trip to Hawaii for
• 1:29:39
  three months, loved it and you Go to all the, you know, the
• 1:29:43
  shoot, a ton of stuff out there like Jurassic Park.
• 1:29:45
  If this place called kualoa, Ranch, where they shoot all
• 1:29:47
  those movies, it's the big like Valley that you see in Jurassic
• 1:29:50
  Park with the ocean, in the background and you could take
• 1:29:56
  movie tours there. Like, so they have a huge
• 1:29:57
  Godzilla foot or they shot Godzilla and they shot like
• 1:30:00
  windtalkers out there and they shot.
• 1:30:01
  That's where the Jumanji movies are nowadays, and obviously
• 1:30:07
  Journey was their Jurassic Park. Was there just so much stuff and
• 1:30:10
  you go around all these different spots to see, like,
• 1:30:12
  The locations that they shot. It's cool.
• 1:30:14
  Hawaii's. Great.
• 1:30:15
  Speaking of dinosaurs you worked on one of my favorite
• 1:30:20
  Productions of all time. Very dear to, my heart Walking
• 1:30:24
  with Dinosaurs, tell us about your experience.
• 1:30:25
  Working on that. You're walking that day sirs,
• 1:30:27
  Dad, huh? Dude, I could, you got
• 1:30:29
  remembered I grew up with this show like this.
• 1:30:31
  I wasn't as big here United States.
• 1:30:33
  Oh, she huge in the UK. Oh my God, because I was a kid
• 1:30:37
  when it came out, that is the first.
• 1:30:41
  I mean, I know they picked up late.
• 1:30:42
  But like when they first came out and it was, it was akin to
• 1:30:46
  that that scene in Jurassic Park, when you see the, the
• 1:30:51
  Diplodocus and everything and the shot for the first time,
• 1:30:53
  it's a similar kind of Vibes. It was like, bringing this
• 1:30:55
  history to life, you know, is incredible.
• 1:30:58
  But yeah, it took us, your experiences working on that.
• 1:31:00
  They shot that movie like a live action movie, where they went to
• 1:31:04
  all these locations and shot real things, and then put CG
• 1:31:07
  dinosaurs in. And originally, it was supposed
• 1:31:09
  to be Dead Walking with Dinosaurs, you know where it is.
• 1:31:12
  Almost a documentary. Yeah, you know, except we'll see
• 1:31:15
  dinosaurs. It wasn't 3D at some point, they
• 1:31:18
  realized they'd spent so much money.
• 1:31:19
  They needed a bigger audience so that it's like started making a
• 1:31:22
  story and I don't have choices in that movie like, I don't
• 1:31:27
  know, to be honest they do and then they shot like a framing
• 1:31:30
  story where kids and their uncle or something our modern day or
• 1:31:36
  like uncovering dinosaurs and he tells him the story and then
• 1:31:38
  they come back to it at Scarborough Karl Urban.
• 1:31:40
  So that was the stuff I worked on was the live action.
• 1:31:42
  With the with the actors. And I just saw a lot of the
• 1:31:46
  visual effects coming through, is kind of cool.
• 1:31:48
  That's where I was learning 3D and health reading worked.
• 1:31:51
  So, Experiences working on Hugo. Okay.
• 1:31:55
  So that's the first movie I ever worked on that was released.
• 1:31:59
  So, Journey was the first one I worked on.
• 1:32:01
  And then I after that, I worked on Hugo and post-production, and
• 1:32:05
  then it came out before journey and do my first credit Academy
• 1:32:09
  Award winning movie. I was like, she, this is easy.
• 1:32:11
  This is easy to say where did this industry so hard like,
• 1:32:17
  Bells piece of cake? No, not that easy.
• 1:32:20
  I just happen to look into this job and It was super cool to be
• 1:32:23
  working on, never got to meet Scorsese, but it was fun to be a
• 1:32:27
  part of that movie and of that movies really held up.
• 1:32:31
  So well, write, it doesn't get talked about too much.
• 1:32:34
  I mean, it's Score says, he's Academy Award winning movie
• 1:32:36
  Oscar. Say, like I found here about
• 1:32:38
  that. Well, Some babies.
• 1:32:41
  I like that on. They like with their their of
• 1:32:43
  their time and Yeah, I don't know.
• 1:32:47
  I mean I've only ever heard good things about it to be fair.
• 1:32:50
  Oh yeah, it's great. But it's not.
• 1:32:53
  It's not like mind-blowing memorable, you know.
• 1:32:56
  It's just like a Christmas movie.
• 1:32:58
  That loves old movies. Well, I guess we'll guess
• 1:33:02
  there's a market for everything. Is this that certain movies?
• 1:33:04
  Just they're all their time. Like I remember a while ago,
• 1:33:07
  someone said to me oh, that was it the remake of Planet of the
• 1:33:15
  Apes, the 2001 with what's-his-name over Mark
• 1:33:20
  Wahlberg. Yeah.
• 1:33:21
  And they still, they described it to me Burton movie.
• 1:33:23
  They described it as being like a weekend Blockbuster and that's
• 1:33:26
  it. And I was like damn bass true.
• 1:33:29
  Like it had a lot of Buzz at the time, it was very ambitious,
• 1:33:31
  some intense scenes in there and then never spoken about again,
• 1:33:35
  just got a done. Actually, I remember being so
• 1:33:39
  excited for that movie, and then I saw that movie theaters, with
• 1:33:43
  my parents and it was remembered NG at, not great.
• 1:33:46
  The new planets movies are incredible, right?
• 1:33:49
  Yeah, but that one was like, I might have been the downfall of
• 1:33:54
  Tim Burton like that was the period where I was the period.
• 1:33:57
  Where you're like, wait Tim Burton's, amazing.
• 1:34:00
  What are you? What are you doing?
• 1:34:02
  I see it yourself, but you don't think that?
• 1:34:04
  Yeah, I don't think it deserves as much hate as it got.
• 1:34:08
  I think they tried some different stuff with it.
• 1:34:10
  I don't, I think it is one of those instances where it's very
• 1:34:13
  hard to compare to the original. No, even though the original was
• 1:34:16
  like, you know, 60s, yeah, low 25, it was still incredible
• 1:34:23
  story and then the newer ones are closer to capturing that
• 1:34:28
  kind of in. But then but then you got the
• 1:34:30
  classic sees that you've got the bit where he you know he goes
• 1:34:32
  back to finish covered in. You know, it's changed.
• 1:34:36
  And now you know at the Abraham Lincoln stat greater a monkey.
• 1:34:39
  I hated that ahead of that. I thought it was brilliant.
• 1:34:41
  I love it. I do.
• 1:34:45
  It's like, no, no. Like it's intense, you know.
• 1:34:47
  Yeah, yeah. The thing about the plane of the
• 1:34:49
  Apes movies is not that. Not that later older ones
• 1:34:52
  because I did get into action movie territory horses, like
• 1:34:55
  silly. Yep, gods and stuff and buses on
• 1:34:57
  fire. But what's special about player?
• 1:35:00
  The Apes is it? It's a mirror of our own world
• 1:35:03
  and we can see like how broken the world of the Planet of the
• 1:35:07
  Apes is and also saying oh, shoot.
• 1:35:10
  But that's us too, you know? Hmm.
• 1:35:12
  And that's what makes that first one and the second one is so
• 1:35:15
  Good. And that's what makes the newer
• 1:35:16
  ones. So good is it's okay.
• 1:35:18
  Monkeys fighting humans. Sure but it's really like an
• 1:35:21
  allegory for what makes us different and what makes us the
• 1:35:24
  same and why are we fighting at all?
• 1:35:26
  You know, but I don't think that the Timber and one captured that
• 1:35:31
  it was just an action movie with monkeys.
• 1:35:34
  Apply man, why don't we have a random left-field question for
• 1:35:40
  you? But I was intrigued to kind of
• 1:35:41
  get your thoughts on this. What do you make of YouTube
• 1:35:45
  editors? Given that you work in the film
• 1:35:48
  industry. It's a very different meeting
• 1:35:50
  like so. Okay, so to give some context of
• 1:35:53
  the question. What I mean by this, obviously
• 1:35:55
  it's a very different thing entirely but there's a lot of
• 1:35:58
  kind of ambitiousness in the editing and it's changed a lot
• 1:36:03
  over the years as far as what people do with that YouTube
• 1:36:08
  videos. So in the early days it was
• 1:36:10
  just, you know, Basics that people didn't really videos.
• 1:36:13
  All right. But now it's evolved to this
• 1:36:15
  point where, you know, you can be watching some of your
• 1:36:17
  favorite YouTubers and sometimes it's the editing, the makes the
• 1:36:21
  videos like makes them entertaining draws that in the
• 1:36:24
  the various different demographics.
• 1:36:26
  I just wanted to kind of get your perspective on it, from a
• 1:36:30
  sort of a film editors perspective.
• 1:36:34
  I think that the business of YouTube is really interesting
• 1:36:37
  strange because you can make a lot of money there.
• 1:36:40
  A lot of people are, but there's also so many people who can't
• 1:36:44
  make a lot of money, right? You really have to find a way to
• 1:36:47
  build a huge fan base and it's more work than people realize.
• 1:36:52
  I don't know. You do.
• 1:36:54
  I mean, you have this at on YouTube?
• 1:36:55
  I don't know if you cry, but I always keep my editing.
• 1:36:58
  This is what me I keep it very Low end the video editing.
• 1:37:02
  I really do. I do quite a bit of editing on
• 1:37:05
  for this show. As far as like, gets making sure
• 1:37:08
  it's like cutting clips and stuff like that, I'd say the
• 1:37:12
  most editing I do that's creative is on my tip top, but
• 1:37:15
  that's like very yeah, it's very nice.
• 1:37:18
  You have an interview format, so it's not like you're doing
• 1:37:20
  anything flashy here, just right.
• 1:37:22
  Like but then you some sedation to people, to the point there is
• 1:37:25
  a lot people doing very flashy things and there's been a lot of
• 1:37:28
  different videos I've seen over the years.
• 1:37:30
  As with YouTube, specially more in the last five, to ten years
• 1:37:33
  that really do make the content, make it so much more engaging
• 1:37:38
  than it would have just been if it had just been a guy talking
• 1:37:40
  to the camera. Yeah, I guess I haven't watched
• 1:37:42
  that much of that. Okay, what I think I see is it's
• 1:37:46
  very difficult to build a huge fan base and it's more work than
• 1:37:50
  people realize when they start off down that road and you have
• 1:37:53
  to be so committed to doing that for years before you ever see
• 1:37:57
  anything from it. And It's tough to get stuff to
• 1:38:01
  pay people at that level. So you're either doing it
• 1:38:03
  yourself or you're paying somebody, but you're paying them
• 1:38:06
  so low, that it's not really sustainable, you know, they're
• 1:38:09
  going to get another job and then leave or Or they're going
• 1:38:13
  to, they just can't do it anymore and you're off looking
• 1:38:16
  for somebody else can. So a lot of the message boards,
• 1:38:19
  I see people hiring YouTube. Editors is like, hey, it's
• 1:38:22
  suffer any money yet? Or it's really low pay.
• 1:38:23
  And it's like, ridiculously will pay, you know, like, $5 a video.
• 1:38:28
  And the video is 20 minutes long like you're paying me like two
• 1:38:31
  cents an hour. That's Hayes that.
• 1:38:34
  I think that's the problem as well because like what they want
• 1:38:37
  versus what they're going to get.
• 1:38:38
  Yeah, that two different things. So, Our to the big channels, who
• 1:38:44
  can afford, you know, staff to do that.
• 1:38:45
  And it is a staff. It's not like the YouTube
• 1:38:47
  personality is like just doing all the stuff on himself because
• 1:38:50
  I guarantee they're not, it's a lot of not to make it look that
• 1:38:53
  good and to produce that much, you know, if they're doing
• 1:38:56
  something every couple days, or every week, even So yeah it's
• 1:39:01
  just a weird world, you know, I'm in a union.
• 1:39:03
  So we have protections on how many hours you can work in a day
• 1:39:07
  and a minimum pay scale that you're going to get.
• 1:39:09
  And You gonna get holiday pay and you have to get over time,
• 1:39:13
  you know, all that stuff. But in that world it's there's
• 1:39:15
  no protection like that. It's like the wild west.
• 1:39:17
  So I think you get a lot of up-and-comer editors who just
• 1:39:23
  want practice, which is great. And it's great like breeding
• 1:39:26
  ground for that but I think it the turnover is so quick.
• 1:39:28
  It's hard to sustain maybe that's why you don't see.
• 1:39:32
  As many really well-done channels, as there are people,
• 1:39:37
  you know, because it's just so hard to produce that stuff.
• 1:39:39
  Well, thank you. I know that wasn't really like
• 1:39:42
  that feel question if it was mine, but speaking of Left For
• 1:39:46
  questions, moving forward to the fan questions.
• 1:39:49
  Thank you Velma for sending these over.
• 1:39:54
  I asked a few of them already, but yeah, some of these are
• 1:39:56
  quite fun. Yes right.
• 1:40:02
  Do you always have to work with a director by your side for the
• 1:40:10
  majority of the Bigger Productions?
• 1:40:11
  Or do you have that kind of full creativity to organize and
• 1:40:15
  structure seen the bigger stuff? I'm never the, I've never the
• 1:40:18
  editor on the big stuff that's like a list.
• 1:40:20
  That's like the first baseman on a Major League team.
• 1:40:23
  Sorry that's a baseball reference for you.
• 1:40:25
  That's like a striker on a big, okay, black team and they have a
• 1:40:30
  whole support team behind them, you know.
• 1:40:32
  Oh like personal trainers and massage therapists, and that lay
• 1:40:37
  down therapy and I don't know whatever whatever goes into it.
• 1:40:40
  I'm just like the support team for the editor right now they do
• 1:40:44
  so with the director. Yeah, like pretty often.
• 1:40:46
  I know they'll cut like of their version of it while they're
• 1:40:49
  shooting and then months and months and months of sitting
• 1:40:52
  with the director to like, fine tune it to what they wanted it
• 1:40:55
  to be when I'm editing low-budget stuff.
• 1:40:57
  I work out of my house so they just send me footage and then I
• 1:41:00
  edit it and then I send them. Um, versions and then we'll do
• 1:41:03
  notes and then at some point in the process will get on a zoom
• 1:41:06
  call, like you and I are doing right now and they can see my
• 1:41:08
  screen and we'll just go through it, go through the whole movie
• 1:41:10
  that way. So it's kind of a mix both.
• 1:41:14
  How many years into your film editing career you now roughly.
• 1:41:19
  Oh, I don't know. How do you count that?
• 1:41:20
  I mean, I had my degree in 2010 and started working in the
• 1:41:25
  industry, but I've been editing since the 2013 independent
• 1:41:29
  stuff. So we say roughly about 10
• 1:41:31
  years, give or take Take 1015 you okay?
• 1:41:35
  So with that, in mind, how long before you sort of move to the
• 1:41:38
  next stage of full-on editor that would let talk about the
• 1:41:41
  timeline of that. Know, it's different for
• 1:41:43
  everybody. Some people will attach
• 1:41:45
  themselves to a director early on like rang coolers director
• 1:41:49
  edited hit their college movie and now he's editing, you know,
• 1:41:51
  Black Panther movies just crazy and he's probably my age that's
• 1:41:56
  damn good or you just luck into a job where they need a first
• 1:42:01
  assistant. There and you're, you know, of
• 1:42:04
  name they call and then that editor Bales halfway through and
• 1:42:07
  they just bump you up. That could happen.
• 1:42:10
  Some people stay a first assistant editor, their whole
• 1:42:12
  career, like that's a, that's a career position.
• 1:42:14
  And they just like, you know, the editing position comes with
• 1:42:18
  some pressures because you're working with a studio, and with
• 1:42:20
  the director directly is, could be stressful.
• 1:42:23
  It can be hard, but the first assistant is just like the
• 1:42:26
  technical role and you get paid really well and you get to work
• 1:42:31
  on a lot of great stuff. Tough.
• 1:42:32
  And some people are very happy in that role so it just depends
• 1:42:36
  man everyone's on their own path.
• 1:42:39
  But you how do you feel it's going D.
• 1:42:41
  Phil you're very close to the next level.
• 1:42:44
  Is that where you want to go? Like where do you actually want
• 1:42:46
  to go? What's Also, let's say five
• 1:42:47
  times looking like for you? Yeah, I don't know.
• 1:42:50
  I like I said, I have a couple months off every year that I'd
• 1:42:53
  like to keep shooting my own stuff for low budget because I
• 1:42:55
  really like doing that. And it doesn't cost me anything
• 1:43:00
  besides time, and I can release it and put it out there and In a
• 1:43:04
  way, it's like ongoing film school, because you're
• 1:43:06
  constantly learning new things. And, on the other hand, I'd
• 1:43:11
  still like to work my way up to be persistent and a main editor
• 1:43:15
  at some point. A lot of those editors are like
• 1:43:18
  50 60 s stock at years old, you know, so it's like you do that
• 1:43:21
  for a long time and I got a long way to go till I need to be in
• 1:43:26
  that role, but one day and just make it a year of time. 2 years
• 1:43:30
  at a time, you know, I've got like a script I want to shoot.
• 1:43:33
  Maybe at the end of this year. So hopefully, I'll have to
• 1:43:38
  movies soon that I can put my name on and then, I mean, since
• 1:43:44
  I worked up, I mean there's movies you don't even know.
• 1:43:46
  I've worked on yet for Marvel stuff, I'm not even want to say.
• 1:43:48
  So the next year, you'll see like more stuff come out.
• 1:43:52
  So it's just always like moving forward as long as I'm working
• 1:43:55
  on something and I've got like a couple things in the pipeline.
• 1:43:58
  I'm feeling pretty happy. You know, I'm paying my bills.
• 1:44:01
  I got a family I'm supporting and I'm also doing Doing some
• 1:44:04
  creativity on the side. So no complaints shook it off.
• 1:44:10
  So sad. So sad, keep an eye on it, keep
• 1:44:13
  an eye on my IMDb and well, they'll pop up periodically.
• 1:44:18
  Was there ever a film that you had to work on and you thought
• 1:44:21
  to yourself what piece of nonsense is this?
• 1:44:24
  Yeah definitely. This, the dirt trying to think
• 1:44:30
  of, I think of my miserable miserable experiences were and
• 1:44:36
  you putting me in a tough spot because I don't want bad talk,
• 1:44:39
  anybody. Let me preface this by saying,
• 1:44:42
  nobody sets out to make a bad movie.
• 1:44:43
  Everyone's heart is in it. You know, a lot of things can go
• 1:44:48
  wrong and even at that biggest scale.
• 1:44:52
  I mean, we just saw that with Shazam, it puts so much money
• 1:44:55
  that movie and it just completely bombs back Adams.
• 1:44:58
  I don't get it. But there's no reason why it
• 1:45:01
  just doesn't work and you can't, like, put fault on anybody, they
• 1:45:05
  just did their best and it just didn't work.
• 1:45:08
  That being said, I worked on it with cupped Palms.
• 1:45:10
  Eoms. It's about old ladies,
• 1:45:12
  cheerleading. Not my demo, not my demographic.
• 1:45:16
  That's all. I gotta say.
• 1:45:19
  Here's the thing. For every movie that you hate,
• 1:45:21
  what did you, what did you? How did you describe it piece of
• 1:45:24
  nonsense? Yeah, that's what this is.
• 1:45:27
  What Bill Miss question was way? Yeah, he's from every movie that
• 1:45:30
  you count as a piece of nonsense, there's somebody else
• 1:45:33
  out there who loves that movie, right?
• 1:45:36
  Let the route even even the sure.
• 1:45:38
  Yeah. Well, that might be a piece of
• 1:45:40
  nonsense. That's part of the fun of it is
• 1:45:41
  nonsense but it's so bad that it's good.
• 1:45:43
  That's kind of The stuff I work on that.
• 1:45:46
  I'm like this isn't for me, I'm not having fun doing this.
• 1:45:50
  I'd never want to watch this. I don't even know if I want to
• 1:45:52
  put my name on it. There's still a huge audience
• 1:45:56
  out there that loves. Loves it loves it.
• 1:46:00
  And who am I to judge? It's official.
• 1:46:04
  Do you like it? That's great.
• 1:46:06
  Okay. Well let's let's pivot.
• 1:46:07
  The question is slightly then, was there any particular
• 1:46:09
  experiences you mentioned? Like sometimes it's miserable
• 1:46:14
  Why, what why are there times when it's miserable?
• 1:46:17
  Is it because you hate the content so much?
• 1:46:19
  Or is there like other external factors that just make it really
• 1:46:22
  difficult for me? For me?
• 1:46:24
  A lot comes down in the content. Like I'm going to be proud to
• 1:46:27
  say that. I was a part of this thing or
• 1:46:28
  not and sometimes the quality is just so low that Okay, so I'm
• 1:46:33
  going to tell you, I worked at a studio, not going to say which
• 1:46:35
  studio was, but she'll produce a lot of content, and it's not my
• 1:46:40
  demographic and they shoot this stuff so fast.
• 1:46:45
  It's crazy. So we'll shoot a season of like,
• 1:46:47
  low-key took six months to shoot, right?
• 1:46:50
  And that's what six episodes. Yeah, I think so.
• 1:46:53
  I spent like a month on an episode or you know a lot of
• 1:46:56
  these big shows will shoot for you basically shoot 3 to 5
• 1:47:00
  minutes of screen time per day. Right.
• 1:47:04
  I worked at a studio that was shooting whole seasons of 24
• 1:47:07
  episodes in three weeks. What held on the episodes,
• 1:47:13
  roughly 20 minutes? 25 minutes or usual bed in
• 1:47:18
  there. You would shoot like a half that
• 1:47:20
  like 12-episode thing in the same amount of time, three
• 1:47:24
  weeks. And that's like an hour long and
• 1:47:28
  it's literally just setting three cameras up and letting the
• 1:47:30
  actors have one. Take and moving on to the next
• 1:47:32
  scene. Oh no.
• 1:47:35
  And this for me, it's just not fun to work on because it's like
• 1:47:40
  the writing is Fluffy and it was like not a lot of content.
• 1:47:44
  Even though it's an hour like 60 page script, there's like not a
• 1:47:47
  lot there, there's just empty dialogue and stuff and it's just
• 1:47:52
  like, you know what I'm looking for in a script is irony and
• 1:47:55
  tragedy and pain and You know, character Arc and right, and
• 1:48:01
  intensity that increases and decreases and takes you on an
• 1:48:04
  emotional ride. I've and all this.
• 1:48:06
  But you can't do that when you're, you know, a lot of those
• 1:48:08
  just don't have that. It's just like fluff.
• 1:48:11
  It's like fast food and for me it's not fun to work on because
• 1:48:16
  you're just like it's just like gonna go so fast, he looking to
• 1:48:19
  watch this once and then never think about it again.
• 1:48:20
  And just going to be lost lost, you know, there's not a lot feel
• 1:48:25
  like there's not a lot Harden is more like quantity.
• 1:48:28
  Quality. And that's the stuff that is
• 1:48:30
  hard to like, put a lot of hours into you think, man.
• 1:48:34
  I'm working so hard on this thing, but why it's okay, this
• 1:48:39
  next question, I'm going to add to it as well, so the question
• 1:48:44
  is, is working for Marvel Studios.
• 1:48:47
  As impressive as it sounds, what I'm going to add to that is from
• 1:48:52
  the industry standpoint is that considered like a big deal, you
• 1:48:57
  know, like, Okay, that's this clearly, if you work with this
• 1:48:59
  franchise, that means a lot or is it just kind of a bit?
• 1:49:03
  You know, depends who you're talking to?
• 1:49:06
  I think it, I think it is a big deal.
• 1:49:09
  Yeah. Yeah.
• 1:49:11
  It's easy to put on your resume, have worked on this kind of
• 1:49:14
  stuff. Or like, if you go check my
• 1:49:17
  IMDB, A lot of times go look at a first-time director or
• 1:49:21
  something and you look at their IMDb and it's like two or three
• 1:49:23
  projects ever. But when people go to mine or
• 1:49:26
  like, I have friends who You know, they working, I work in
• 1:49:29
  the film industry. Oh, that's cool.
• 1:49:31
  And then they'll check me out and say, oh, well, you didn't
• 1:49:33
  tell me that's what the kind of stuff you're working out, you
• 1:49:37
  know. So it doesn't sound drives me
• 1:49:39
  nuts as well, but it is cop with a little bit.
• 1:49:41
  It does come like a little bit of cloud.
• 1:49:43
  Like yeah. I've been on some big stuff and
• 1:49:45
  you can be humble about it. I mean, I think it's personally,
• 1:49:47
  I think it's cool because this is the kind of stuff I would
• 1:49:49
  want. Like when I was a kid watching
• 1:49:51
  all those DVDs. This is the stuff I wanted to
• 1:49:54
  work on, you know, that I would come home and be like, hey,
• 1:49:57
  everybody guess what I did today, I still feel that way.
• 1:50:01
  So I was just super proud of the kind of content that I had to
• 1:50:04
  get to be a part of it even though I'm a very small part of
• 1:50:06
  it. And then also proud that I have
• 1:50:09
  the opportunity to make my own the way I said I wanted to and
• 1:50:13
  proud of the content. You know, just the quality that
• 1:50:15
  we could turn out even with a low budget.
• 1:50:17
  So it's fun. It's kind of like that's just
• 1:50:20
  your career, like, you just gotta have a home.
• 1:50:22
  Bunch of different things and they all add up to something
• 1:50:26
  bigger. Hopefully, one thing I sometimes
• 1:50:28
  hear about with these major Productions is the People think,
• 1:50:34
  maybe the Carson and the wealth of the entire crew doesn't
• 1:50:37
  always necessarily get the recognition, it deserves for
• 1:50:40
  these major Productions. And particularly if you look at
• 1:50:42
  something like the Marvel movies and you consider how much work
• 1:50:46
  actually just goes into producing those movies and boom
• 1:50:48
  together from every different level, from your perspective, do
• 1:50:52
  you think that that recognition is there?
• 1:50:54
  Or do you think it needs to be better or your thoughts?
• 1:50:58
  I mean, it's always Each person has their own company.
• 1:51:03
  So there are always need to be hunting for the next job and I
• 1:51:05
  do the same thing. It's not like you just work on
• 1:51:08
  one of these and all of a sudden, your phone ringing off
• 1:51:10
  the hook for hey, work on mine. Hey, will you work on this?
• 1:51:12
  Hey, we were going at this, it's not quite that easy, but it a
• 1:51:17
  lot of ways that's why you have the union.
• 1:51:19
  I mean you're getting the credit by your unit protection.
• 1:51:22
  So I make a certain amount of money and I'm going to be
• 1:51:24
  guaranteed that because I know that once I'm done on this job
• 1:51:28
  done, like that's it, that's all I'm getting.
• 1:51:30
  Being from it, that's all I'm guaranteed so it's really up to
• 1:51:35
  you. Keep that momentum going and you
• 1:51:38
  know, use that leverage on the next gig and who you meet and
• 1:51:41
  what your network looks like and every day you show up are you
• 1:51:46
  the fun person to work with? Are you a pleasure to be around?
• 1:51:50
  Are you showed up on time? Are you getting the job done?
• 1:51:52
  Or are you someone that you're not going to get recommended?
• 1:51:55
  You know, ever again. So I think it's up to the
• 1:51:59
  individual What advice? Could you give to aspiring
• 1:52:03
  filmmakers? So film editors and filmmakers?
• 1:52:07
  Yeah, why don't ya in general, same with same thing.
• 1:52:11
  I said earlier, you don't have to wait for anybody.
• 1:52:13
  There's no reason especially today, with the accessibility of
• 1:52:17
  what it takes to make a project. You could be doing it yourself.
• 1:52:22
  If you want to be an editor, then you should be looking at
• 1:52:25
  YouTube channels and see, like, are they hiring an editor?
• 1:52:27
  Because even if it's cheap, you can get it.
• 1:52:30
  You know, experience doing it even if it's not first more than
• 1:52:33
  six months, or a year. The other thing I would do is, I
• 1:52:39
  don't know if it's as popular out there where you are, but
• 1:52:43
  Facebook has a lot of groups for filmmakers in certain cities.
• 1:52:47
  Like in Atlanta, we've got like five or six filmmaking
• 1:52:50
  communities independent film, Film Production post-production
• 1:52:54
  and you can get on those groups. And people are constantly
• 1:52:56
  growing up and looking for help. Sometimes it's for shorts or
• 1:53:00
  low-budget features and you might not get paid at all or you
• 1:53:03
  might get paid very little, but you can get on set and start
• 1:53:06
  understanding. And how this is supposed to work
• 1:53:09
  and then, you know, down the line, the people you are working
• 1:53:12
  with are going to move up and work on bigger stuff and you
• 1:53:14
  guys stay friends with them and then all of a sudden, you know,
• 1:53:17
  people who can get you hired or you're the person getting other
• 1:53:19
  people hired, you know. So just find a way to be a part
• 1:53:25
  of that kind of stuff that's it. Whether you're producing it
• 1:53:28
  yourself or you're doing it with friends.
• 1:53:31
  Eventually if you stick with it long enough, you will become as
• 1:53:34
  long as you're a good worker and a pleasure to be around, like,
• 1:53:36
  it's like a same. People will want to have you
• 1:53:38
  back. I agree with that.
• 1:53:41
  Yeah. How you compose yourself on.
• 1:53:42
  So this is one of the reasons as well while I asked you about The
• 1:53:45
  Good the Bad and the Ugly as far as working on set is concerned
• 1:53:49
  because I think that oh yeah, I've had people get a bad
• 1:53:52
  reputation, it starts to get around.
• 1:53:54
  I've had some experiences with certain people.
• 1:53:56
  I worked with in the industry where and I take there's a I
• 1:54:00
  always share the story but there was a guy that I had on my show
• 1:54:03
  a couple of years agos actor, career actor and he said to me I
• 1:54:07
  said to him like will give us some examples of If you know
• 1:54:11
  times when you work with unprofessional, people, and he
• 1:54:13
  said, I'll tell you what, I'll say.
• 1:54:14
  This is what I said to everyone. I never work with him again, so
• 1:54:18
  you never say anything negative about that person, but you never
• 1:54:21
  work with him again, right? And that's like, I had an
• 1:54:23
  instance, the other day where something happened on a
• 1:54:25
  production that I worked on and it was very surprising the
• 1:54:31
  response from this person that I had worked with.
• 1:54:33
  I was like, huh? Okay?
• 1:54:34
  That's unprofessional. And so, I then responded, just
• 1:54:39
  professional about it. Okay, obviously there's a
• 1:54:41
  misunderstanding here, just sell.
• 1:54:43
  This is move on. But in my head, I'm like, I
• 1:54:46
  never wanted this person ever again.
• 1:54:47
  Oh yeah. Yes, it started.
• 1:54:48
  That was, that was an acting role, right?
• 1:54:52
  Another capacity. It was, it was that if I can
• 1:54:57
  say, I was just going to say is boy.
• 1:55:01
  I swear it was Voice work. Okay, sure.
• 1:55:02
  So that's what it was. I just gonna say it's tougher.
• 1:55:05
  It's tougher for actors because when you're in that situation,
• 1:55:08
  it's like you got to disconnect from it and still do the part,
• 1:55:11
  but it has an actor, you're so vulnerable because it's you, you
• 1:55:15
  know, you're not can't just hide and say that you never worked on
• 1:55:19
  it. Because well, that's that's
• 1:55:21
  that's that's the way I, the way I look at it, right?
• 1:55:23
  Is its When you sign on to a film or production, you sign on
• 1:55:27
  and you see you it's all down to the contracts what you sign up
• 1:55:31
  for, you know. So like when you see and I know,
• 1:55:34
  you know this but for the people listening at home, like when you
• 1:55:36
  see an actor or a group of actors promoting a film, they
• 1:55:40
  finished working on that film probably like a year.
• 1:55:43
  Yeah. All that is ago.
• 1:55:45
  Yeah. But part of their obligations as
• 1:55:47
  part of their contract is that they have to go and promote that
• 1:55:49
  film. So that's why they sit for like,
• 1:55:50
  hundreds of interviews and they go to the premiere, they do all
• 1:55:53
  this stuff. They have to do that and if it
• 1:55:58
  was a bad experience that you know, that working on that film,
• 1:56:02
  it's not going to be great when they're promoting it and I'd
• 1:56:04
  sometimes you see her come across that I think you can kind
• 1:56:07
  of see it. We go back to Game of Thrones, I
• 1:56:10
  always look Lonesome them because if you look at some of
• 1:56:14
  the interviews with the cast for that final season, their
• 1:56:21
  response is a very telling, none of them say anything - because
• 1:56:24
  obviously, They're not allowed to sure.
• 1:56:26
  But their faces say it all their reactions say, oh, they were
• 1:56:29
  very creatively frustrated with that.
• 1:56:32
  Yeah. So, and maybe not all of them
• 1:56:35
  may be. Some of them just saw it as,
• 1:56:36
  like, whatever it's work, you know.
• 1:56:38
  I just do what I'm paid to do. And right, I generally like I
• 1:56:43
  take pride in what I do when it comes to acting, of course, but
• 1:56:47
  you know, whatever the director wants they want.
• 1:56:50
  But when the when the director is like unprofessional or
• 1:56:53
  difficult to work with especially when you're on the
• 1:56:57
  set or your you're doing things, it just ruins the whole.
• 1:57:02
  But see that's what's that's why it's tougher for actors.
• 1:57:05
  I think because someone could act like that to me and I'm
• 1:57:08
  still just going to go sit at this computer and like which
• 1:57:11
  buttons and I just Internalize it all and not but you still
• 1:57:14
  have to separate yourself from that and like be in a happy mood
• 1:57:20
  or whatever the scene calls for. And I don't, I can't do that.
• 1:57:23
  I can't, I don't know how you guys do it but it's me.
• 1:57:26
  It's made me understand certain scenarios now, like for example
• 1:57:32
  Christopher Eccleston decision not to work on Doctor Who again
• 1:57:36
  and the fans desperately want it.
• 1:57:38
  I know he's worked on audio stuff, but like I'm talking
• 1:57:40
  specifically, like, the on-screen stuff he's had
• 1:57:44
  opportunity after opportunity. They were always trying to get
• 1:57:45
  him back. He won't especially now because
• 1:57:49
  I think the producer or director Russell T, Davies has returned
• 1:57:51
  to it and that was the people. He fell out with and his
• 1:57:55
  reasoning. He's been quite transparent
• 1:57:57
  about why he won't be on it and I didn't used to get there but
• 1:58:01
  now I'm like, no, I Get it laughs, that was your
• 1:58:02
  experience. Why would you go back to that
• 1:58:04
  even if fans desperately want? It's like Yeah, the end of the
• 1:58:08
  day you're putting aside a certain amount of time of your
• 1:58:10
  life, do ya thing? Yeah.
• 1:58:12
  Why would you put yourself into another year of toxic
• 1:58:15
  relationships, right? When you could be paid the same,
• 1:58:19
  you could feel more fulfilled as a creative on another project.
• 1:58:23
  Like, dude, take the one that's going to make.
• 1:58:24
  You bring you happiness you know, couple of final questions
• 1:58:28
  for you because I know we've had you here for a long time so I
• 1:58:31
  really appreciate it. Thank you so much pores.
• 1:58:34
  Best advice you've ever received.
• 1:58:38
  Best advice I ever received goodness sakes?
• 1:58:41
  No one's ever asked me that boom.
• 1:58:44
  I think it was the same. Think it was the same thing.
• 1:58:46
  It was my my producing partner. On Solid Rock Trust who I had
• 1:58:54
  been editing for he lives out in California.
• 1:58:56
  He was like the toughest thing to do on making a movie is
• 1:59:00
  decide that you're going to do it and just make it happen you
• 1:59:03
  know and I was scared to make it happen.
• 1:59:06
  I wanted help along the way covid, hit which slowed
• 1:59:09
  everything else down and then my wife.
• 1:59:12
  Gave me the exact same advice, there's no reason.
• 1:59:14
  We can't do this in Georgia to, we'll just do it here and he can
• 1:59:16
  still help us from California. You know.
• 1:59:18
  Like but keeping it in that kind of support, but there's no
• 1:59:23
  reason we can't do it. Let's just decide to do it and
• 1:59:25
  it was the same advice you know, like just get off your butt and
• 1:59:29
  make it happen and that's the hardest thing just take a
• 1:59:33
  minute. So I'm thankful for that advice.
• 1:59:37
  Similar question but different direction was the biggest life
• 1:59:41
  lesson. You've learned so far.
• 1:59:47
  Hmm. It would vary be very easy to
• 1:59:49
  give that same answer, but I'm going to give you something
• 1:59:51
  different. I think the I think I did
• 1:59:57
  something that took me a while to come around to was it's okay
• 2:00:00
  to be yourself and do it the way you want to do it.
• 2:00:03
  And as long as you're being authentic, people will be
• 2:00:05
  attracted to that, you know? So you don't have to do it the
• 2:00:08
  way you think it's supposed to be done when I was the
• 2:00:11
  directing, I was like had a lot of energy and talk to everyone
• 2:00:16
  at be friendly. With everybody, but that's not
• 2:00:18
  how a lot of directors work, you know, especially when it gets
• 2:00:21
  bigger, it's like kind of closed off and separated, but you know
• 2:00:26
  what? I'm okay with being friends with
• 2:00:27
  everybody and get to know everyone's name and sit in that,
• 2:00:32
  eating lunch with the crew. That doesn't happen very often
• 2:00:34
  on the big stuff and You know, I'm not like, just nice and just
• 2:00:39
  like, in t-shirt, like everybody else.
• 2:00:40
  And we're just see all here to do this thing together.
• 2:00:43
  And same goes with afterwards, like, being willing to talk to
• 2:00:47
  people like you. And, you know what, if you don't
• 2:00:50
  like me, tough, you don't have to listen.
• 2:00:54
  I'm just going to keep being myself and put, put my stuff out
• 2:00:57
  there and hopefully you like it, but if not, then we'll move on.
• 2:01:00
  So, To draw things to a close for today.
• 2:01:04
  Next, next question, you have any final thoughts to share with
• 2:01:09
  us all upcoming projects you'd like to share.
• 2:01:12
  I can't really talk about anything else.
• 2:01:14
  That's coming out. I have a script written I'm
• 2:01:16
  going to like, I mention, I'm going to try to shoot this year
• 2:01:18
  and hopefully I can come back and talk to you about that as a
• 2:01:22
  Marvel stuff coming out in the next year or two.
• 2:01:27
  Please go watch Solid Rock Trust, it's available on.
• 2:01:31
  In the UK, it's on Amazon for rental.
• 2:01:35
  Or purchase everywhere else it's on to be for free.
• 2:01:40
  You can get on Google Play and YouTube movies, and then, as of
• 2:01:44
  June 1st, it's available everywhere in the world for free
• 2:01:47
  on YouTube. So you'll be able to watch it
• 2:01:48
  there. But check it out.
• 2:01:50
  Let me know what you think. Leave me a nice review or
• 2:01:51
  something on IMDb or Run tomatoes or letterboxd wherever
• 2:01:54
  you do your stuff and I think you'll have a good time at the
• 2:01:58
  roller coaster ride. It's been an absolute pleasure.
• 2:02:02
  Having you on the show? Thank you so much.
• 2:02:03
  Yeah, changing time stories is, yeah, I know my list is, will
• 2:02:08
  love this show as much as I have.
• 2:02:10
  So thank you, sweet. Well, good luck out there.
• 2:02:12
  Keep up the great work. Thank you, sir.
• 2:02:14
  And so, will the listeners of the Christian read podcast is
• 2:02:16
  always be safe. Be well, and I'll see you in the
• 2:02:19
  next one.