Latest / Bulletproof Screenwriting™ Podcast / BPS 382: The Way of the Creative Filmmaker with Jocelyn Jones

Transcript

BPS 382: The Way of the Creative Filmmaker with Jocelyn Jones · Bulletproof Screenwriting™ Podcast

• 0:03
  Speaker 1: You are listening to the IFAH podcast Network. For more
• 0:07
  Speaker 1: amazing filmmaking and screenwriting podcasts, just go to ifagpodcastnetwork dot com.
• 0:12
  Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, episode number three eighty two.
• 0:16
  Speaker 2: Start writing no matter what. The water does not flow
• 0:20
  Speaker 2: until the faucet is turned on.
• 0:22
  Speaker 1: Louis Lemore broadcasting from a dark, windowless room in Hollywood
• 0:27
  Speaker 1: when we really should be working on that next draft.
• 0:29
  Speaker 1: It's the Bulletproof Screenwriting Podcast, showing you the craft and
• 0:33
  Speaker 1: business of screenwriting while teaching you how to make your
• 0:36
  Speaker 1: screenplay bulletproof.
• 0:38
  Speaker 2: And here's your host, Alex Ferrari. Welcome, Welcome to another
• 0:43
  Speaker 2: episode of the Bulletproof Screenwriting Podcast. I am your humble
• 0:45
  Speaker 2: host Alex Ferrari. Now. Today's show is sponsored by Bulletproof
• 0:50
  Speaker 2: Script Coverage.
• 0:52
  Speaker 3: Now.
• 0:52
  Speaker 2: Unlike other script coverage services, Bulletproof Script Coverage actually focuses
• 0:57
  Speaker 2: on the kind of project you are in the goal
• 1:00
  Speaker 2: of the project you are, so we actually break it
• 1:02
  Speaker 2: down by three categories micro budget, indie film, market, and
• 1:06
  Speaker 2: studio film. There's no reason to get coverage from a
• 1:09
  Speaker 2: reader that's used to reading tempole movies when your movie
• 1:11
  Speaker 2: is going to be done for one hundred thousand dollars
• 1:14
  Speaker 2: and we wanted to focus on that. At Bulletproof Script Coverage,
• 1:17
  Speaker 2: our readers have worked with Marvel Studios, CIA, WME, NBC, HBO, Disney,
• 1:23
  Speaker 2: Scott Free, Warner Brothers, The Blacklist, and many many more.
• 1:26
  Speaker 2: So if you need your screenplay or TV script covered
• 1:30
  Speaker 2: by professional readers, head on over to covermiscreenplay dot Com. Well, guys,
• 1:36
  Speaker 2: Today on the show, we have author Jocelyn Jones and
• 1:41
  Speaker 2: her new book Artist Awaken. The Spirit Within is a
• 1:46
  Speaker 2: must read for filmmakers, screenwriters, and any creatives that want
• 1:52
  Speaker 2: to be able to tap into that kind of ether,
• 1:56
  Speaker 2: to tap into your muse and to be able to
• 2:00
  Speaker 2: find the creative spirit within you. And her techniques are
• 2:06
  Speaker 2: remarkable and she's been an acting coach now a legendary
• 2:09
  Speaker 2: acting coach for decades. She's worked with Clint Eastwood and god,
• 2:14
  Speaker 2: so many people is it's hard to keep track, But
• 2:17
  Speaker 2: Jocelyn and I had a fantastic, fantastic conversation about the
• 2:22
  Speaker 2: creative process, how to constantly be able to tap into
• 2:26
  Speaker 2: that creative flow that we hear so much about and
• 2:29
  Speaker 2: so much more so, without any further ado, please enjoy
• 2:33
  Speaker 2: my conversation with Joscelyn Jones. I like to welcome the
• 2:37
  Speaker 2: show Joscelyn johnes hey doing Jocelyn, I'm very good.
• 2:40
  Speaker 3: Thank you, it's lovely to be.
• 2:42
  Speaker 2: Thank you so much for coming on the show. I am.
• 2:45
  Speaker 2: I'm excited to talk to you. I think I think
• 2:46
  Speaker 2: we're going to have a conversation that's hopefully going to
• 2:49
  Speaker 2: help some some filmmakers, some screenwriters, anybody in the business
• 2:53
  Speaker 2: who wants to be creative and be an artist. And
• 2:55
  Speaker 2: I think it's something that a lot of the things
• 2:57
  Speaker 2: that you talk about in your book, your new book,
• 3:01
  Speaker 2: Artists Awaken the Spirit Within, is that it's things that
• 3:06
  Speaker 2: aren't talked about publicly very often, about mental health, about
• 3:10
  Speaker 2: negative talk about self talk, about beating yourself up, all
• 3:13
  Speaker 2: these kind of things. But before we get into all
• 3:15
  Speaker 2: of that, how did you get into this insane, insane business.
• 3:20
  Speaker 4: Well, you know, I was a little bit born into it.
• 3:24
  Speaker 4: I was raised on the Hudson Ripper in an artist community,
• 3:29
  Speaker 4: and so I was raised with extraordinary artists. My dad
• 3:33
  Speaker 4: was an actor, So the first wave of artists at
• 3:36
  Speaker 4: the dinner table were actors and they are a breath
• 3:40
  Speaker 4: unto themselves. And then my mother remarried, and the next
• 3:45
  Speaker 4: wave my stepfather wrote from the New Yorker, and the
• 3:48
  Speaker 4: next wave of artists at the table were Patriots. And
• 3:52
  Speaker 4: this was in the sixties, so you just go to
• 3:56
  Speaker 4: the top of that food chain.
• 3:58
  Speaker 3: You know, I don't drop a lot of names, but
• 4:01
  Speaker 3: they were these extraordinary painters. And then you know, there
• 4:06
  Speaker 3: were dancers at the top of the field. I mean,
• 4:08
  Speaker 3: everybody was at the top of their field. And I
• 4:11
  Speaker 3: was young, and I was impressionable, and I was studying them,
• 4:15
  Speaker 3: and I was very interested in you know, when they
• 4:18
  Speaker 3: were happy. We're going to talk about happy, because I
• 4:22
  Speaker 3: happened to watch you flip the script and be interviewed
• 4:26
  Speaker 3: by your friend Cbboto and talk about happiness, and I
• 4:31
  Speaker 3: was like, yes, you're onto something there anyway, And so
• 4:37
  Speaker 3: I was very interested when they were happy, they were working,
• 4:41
  Speaker 3: and when they weren't working. It wasn't just actors, who
• 4:44
  Speaker 3: when actors go out of work, you know, they should
• 4:46
  Speaker 3: really check into a hotel because they're very difficult to
• 4:49
  Speaker 3: be around. They get so concerned that they never work again.
• 4:53
  Speaker 3: But it was also painters, and so it was anyone
• 4:56
  Speaker 3: who like they're in the creative process and they are
• 5:00
  Speaker 3: lit from within, and because these guys were at the
• 5:04
  Speaker 3: top of their field, they were lit with inspiration and
• 5:07
  Speaker 3: something beyond themselves, which is kind of what the book
• 5:11
  Speaker 3: is trying to hook people up to, anybody up to.
• 5:15
  Speaker 3: But anyway, so there were all these actors and then
• 5:19
  Speaker 3: I left home at a very early age because I
• 5:22
  Speaker 3: lived right outside Manhattan. If you live near Manhattan, in
• 5:25
  Speaker 3: a breath away, you're like, I'm in the city, Bye bye,
• 5:28
  Speaker 3: I gotta go.
• 5:29
  Speaker 2: And you know, when I was the young on we
• 5:32
  Speaker 2: moved to Manhattan.
• 5:33
  Speaker 3: We still couldn't afford Manhattan, even sixties and seventies when
• 5:37
  Speaker 3: it was not the same city as it is now.
• 5:40
  Speaker 3: So we would live five girls in an apartment and
• 5:43
  Speaker 3: you know, work when I don't know how many second
• 5:46
  Speaker 3: avenue bars and wait tables, and go on auditions and
• 5:50
  Speaker 3: all of that. And at that time I was really young,
• 5:53
  Speaker 3: and I was discovered by Aileen Ford, who was a
• 5:57
  Speaker 3: very big model agent the time, and she saw something
• 6:02
  Speaker 3: in me and she sent me out for test shots.
• 6:05
  Speaker 3: They were called which were you know, photographers who were
• 6:09
  Speaker 3: trying to get laid, but they also wanted you know,
• 6:13
  Speaker 3: pictures and pre models and upcoming months whatever. They would
• 6:16
  Speaker 3: take your picture was during blow ups, so I don't
• 6:19
  Speaker 3: remember that movie, but you know they were all it
• 6:22
  Speaker 3: was a pretty wild time. And I would bring these
• 6:25
  Speaker 3: pictures back to I lean forward and she looked at
• 6:29
  Speaker 3: them and said, oh god, Johnstin, you know these are terrible.
• 6:34
  Speaker 3: He looks so sad and nobody calls me out and says,
• 6:37
  Speaker 3: I want the sad girl. Okay, you that's sad. So
• 6:40
  Speaker 3: she said you have to do something, and so I
• 6:44
  Speaker 3: started creating characters to be in front of a camera
• 6:47
  Speaker 3: because I was really had our time with the black Box,
• 6:53
  Speaker 3: and so did she. I brought those pictures, but she said, oh,
• 6:57
  Speaker 3: you're an actor. I said no, no, no, no, my
• 7:00
  Speaker 3: dad's an actor. One of those families lot and she
• 7:04
  Speaker 3: started sending me out on auditions. So she sent me out.
• 7:06
  Speaker 3: My first audition was for a heroin addict for Mayor
• 7:09
  Speaker 3: Lindsay's drug campaign and they were very real. They looked
• 7:14
  Speaker 3: like documentaries, and uh it won an award. I mean
• 7:18
  Speaker 3: I played the side it's perfect for the sad girl.
• 7:20
  Speaker 3: I was about to say perfect, yeah, yeah, good for
• 7:24
  Speaker 3: the segirl. So uh, you know that was that.
• 7:27
  Speaker 2: That was the start of.
• 7:29
  Speaker 3: My journey toward acting. And I did a number of
• 7:32
  Speaker 3: independent films. Uh, but in my you know, I never
• 7:36
  Speaker 3: loved acting. I mean, I love acting. I love the
• 7:40
  Speaker 3: part of acting and building life from nothing. I loved
• 7:45
  Speaker 3: that I understood structure, but I never you know. You
• 7:50
  Speaker 3: you talked about how you know you found the podcast.
• 7:55
  Speaker 3: It took you a while, but something you'd found home.
• 7:57
  Speaker 3: It was like a calling. Suddenly you happy? Right, I
• 8:00
  Speaker 3: was not happy as an actor. I'm a very private person.
• 8:05
  Speaker 3: I didn't like having to audition. I like control in
• 8:09
  Speaker 3: my life than putting my art in front of somebody
• 8:12
  Speaker 3: and having them say, yeah, I like it. No, I
• 8:14
  Speaker 3: don't you know. I'm from New York. I had a
• 8:16
  Speaker 3: little you know. But more than that, all of this
• 8:23
  Speaker 3: study of artists had settled in me. And I had
• 8:29
  Speaker 3: a certain kind of leadership growing up that came from
• 8:31
  Speaker 3: other things. And I thought teaching. You know, I got
• 8:36
  Speaker 3: pregnant and I have a baby, and being a mother
• 8:39
  Speaker 3: and baby teacher sort of went together. And you know,
• 8:41
  Speaker 3: when you do that thing you're meant to do, you
• 8:46
  Speaker 3: put one step on that path and things just start
• 8:51
  Speaker 3: flowing really well, which is part of knowing, oh, on
• 8:56
  Speaker 3: my path. So you know, really I was a teacher
• 8:59
  Speaker 3: for for many years, and teaching led to you know,
• 9:07
  Speaker 3: I worked with a lot of film stars on films
• 9:09
  Speaker 3: in private coaching, and that led to script doctoring and
• 9:13
  Speaker 3: all of that was very you know, confidatial, non disclosure agreements,
• 9:18
  Speaker 3: but a lot of fun, very interesting work. And then
• 9:23
  Speaker 3: all of that led to one day deciding, I think
• 9:27
  Speaker 3: it's time to leave something of my own because my
• 9:31
  Speaker 3: whole life has been helping artists and I love that
• 9:34
  Speaker 3: and it's right, but at some point you have to
• 9:36
  Speaker 3: look at yourself and say, am I avoiding you know,
• 9:41
  Speaker 3: my own thoughts. And so, you know, my mom died.
• 9:46
  Speaker 3: That's a whole evolution in a person's life. Everything stopped
• 9:50
  Speaker 3: so I could say good bye and then handle affairs,
• 9:54
  Speaker 3: and that's when I started writing the book. And you know, Alex,
• 9:57
  Speaker 3: I didn't want to write another acting book.
• 10:01
  Speaker 2: There's a lot, there's a couple. There's a couple. We'll
• 10:05
  Speaker 2: be right back after a word from our sponsor.
• 10:11
  Speaker 3: And now back to the show I started. You know,
• 10:19
  Speaker 3: I don't know this is part of in the hustle,
• 10:21
  Speaker 3: but you know, I'm quite spiritual, and so part of
• 10:24
  Speaker 3: what I had spotted with these artists was a kind
• 10:29
  Speaker 3: of a spiritual connection. Call it inspiration, call it the news,
• 10:35
  Speaker 3: call it spirit, call it whenever. But it's something beyond ego.
• 10:40
  Speaker 3: It's something beyond personality. It's something in the ethos that
• 10:45
  Speaker 3: great artists seem to tap into.
• 10:49
  Speaker 2: It's so funny you say that, because you know, as
• 10:52
  Speaker 2: you know on the show, I've had the pleasure of
• 10:54
  Speaker 2: talking to some amazing guests and some very high performing
• 10:59
  Speaker 2: you know, Oscar Winmy winners, Tony winners, really high performing artists,
• 11:04
  Speaker 2: and I always love asking that question. I always ask
• 11:07
  Speaker 2: the question, where does it come from? For you? And
• 11:12
  Speaker 2: the bigger the star, the bigger the artist, the more
• 11:15
  Speaker 2: humble they are about their craft. It's so funny because
• 11:20
  Speaker 2: I've met people who are so boastful about what they do,
• 11:25
  Speaker 2: and you can tell that they'll burn out soon enough
• 11:27
  Speaker 2: and they won't have any major legacy left behind. But
• 11:31
  Speaker 2: the bigger the Oscar winner, the more humble they are
• 11:34
  Speaker 2: because they are aware that in many ways, it's not them.
• 11:40
  Speaker 2: It's coming through them, but it's not them, it's coming
• 11:44
  Speaker 2: through their filter, if you will, so in many ways,
• 11:48
  Speaker 2: and not to get too woo woo, but like I'm talking,
• 11:51
  Speaker 2: I'm gonna drop a name, because I think it's important
• 11:54
  Speaker 2: to the conversation. When I was speaking to Eric Roth,
• 11:56
  Speaker 2: who's obviously the Oscar winning writer for a stump, and
• 11:59
  Speaker 2: he just wrote do it. He's doing okay for himself. Eric,
• 12:03
  Speaker 2: I asked him specifically, I go, how did you do
• 12:06
  Speaker 2: You ever just sit down and write and when you're
• 12:09
  Speaker 2: done writing, you look at it and go who wrote that?
• 12:13
  Speaker 2: Like it's not even you can't even recognize it as
• 12:15
  Speaker 2: your own. It just kind of flew through you. He's like, yes, oh,
• 12:21
  Speaker 2: and I search for that almost all the time, but
• 12:23
  Speaker 2: I don't always get it. But when I'm able to
• 12:25
  Speaker 2: tap in, it just flows through you. And it's a
• 12:30
  Speaker 2: magical thing. And I think any I mean, as I've
• 12:32
  Speaker 2: written my books, there's moments where I've written entire chapters
• 12:36
  Speaker 2: and then I go back to read it, I'm like,
• 12:38
  Speaker 2: who wrote this? Like it's almost like you're channeling something
• 12:43
  Speaker 2: as a great artist, and that goes for acting, writing, directing.
• 12:48
  Speaker 2: It's being in the flow. Athletes talk about it all
• 12:51
  Speaker 2: the time and being in that moment where you don't
• 12:54
  Speaker 2: think it just is and it just kind of goes
• 12:57
  Speaker 2: through you and you already understand the enough that that's
• 13:01
  Speaker 2: not a problem. Like, if you're gonna write, you have
• 13:04
  Speaker 2: to understand English, you have to understand basic grammar. But
• 13:07
  Speaker 2: once those basic foundations are laid out, everything else is
• 13:12
  Speaker 2: fairly magical. And that I always find that's so interesting
• 13:16
  Speaker 2: that they are all humbled. The biggest ones are the
• 13:19
  Speaker 2: most humble about their process. And this is one hundred
• 13:24
  Speaker 2: percent of the time I've asked this question. I don't
• 13:27
  Speaker 2: care who it is. Everyone has imposture syndrome. It's fascinating
• 13:33
  Speaker 2: to me. Yeah, yeah, yeah, everyone. I mean again, I'll
• 13:38
  Speaker 2: talk back. Go to Eric Roth's interview. He's like, oh, yeah, absolutely.
• 13:41
  Speaker 2: I'm like, but you're you're Eric Rot. You've won Oscars,
• 13:44
  Speaker 2: You've worked on the biggest movies with the biggest director
• 13:48
  Speaker 2: with I mean, and he's like, yeah, but I still
• 13:51
  Speaker 2: I still feel like at any moment, someone's gonna walk
• 13:54
  Speaker 2: in the door and go, what are you doing here?
• 13:56
  Speaker 2: You're not supposed to be here. So that's an artist thing.
• 13:58
  Speaker 2: I think I think most artists in general do that.
• 14:02
  Speaker 3: Do you agree, Well, yes, I mean, I think there's
• 14:07
  Speaker 3: an interesting explanation for it. First of all, I think
• 14:10
  Speaker 3: intention is such a really important thing. So when you're
• 14:15
  Speaker 3: talking of what you just said was so beautiful. When
• 14:19
  Speaker 3: you're really talking about structure, you're talking about technique which
• 14:23
  Speaker 3: builds structure, right, and when you when an artist and
• 14:27
  Speaker 3: those greats, and I've worked with a number of those huge,
• 14:30
  Speaker 3: huge stars, which I'm just facilitating them to this space
• 14:35
  Speaker 3: of inspiration because the more structure you have, the more
• 14:39
  Speaker 3: you can trust yourself. It's like building house. An actor
• 14:44
  Speaker 3: builds a life, builds a life out of nothing, so
• 14:47
  Speaker 3: you think of that as building house. You have to
• 14:49
  Speaker 3: put the structures together so you can live in it.
• 14:52
  Speaker 3: So people are always talking about living in the moment. Well,
• 14:55
  Speaker 3: living in the moment most actors think of as improvisational,
• 14:58
  Speaker 3: but it's not just in p You have to build
• 15:01
  Speaker 3: a house to build the moments. You are building moments
• 15:05
  Speaker 3: and then because of the structure of those moments, you
• 15:09
  Speaker 3: trust them and you can fly from one moment to
• 15:12
  Speaker 3: the next, which is the look I like into rock copying.
• 15:16
  Speaker 3: I don't know if you ever spent a time in
• 15:18
  Speaker 3: the country, but you know those big wonderful streams with
• 15:21
  Speaker 3: big rocks and them, they have a lot in the
• 15:24
  Speaker 3: woods and that'sim the valley. And my favorite thing to
• 15:27
  Speaker 3: do is leap from one rock to another. So I
• 15:30
  Speaker 3: spent years honing this concept from my students, which I
• 15:34
  Speaker 3: still think.
• 15:35
  Speaker 2: Is a little mad.
• 15:35
  Speaker 3: But about how those rocks are like the structure and
• 15:40
  Speaker 3: you can only have the freedom of the leap because
• 15:43
  Speaker 3: you built the rock. You created the rocks, and what
• 15:46
  Speaker 3: do those rocks come from? And then we go into
• 15:47
  Speaker 3: technique and such. So it is the intention to have
• 15:53
  Speaker 3: that connection to the muse, to something beyond yourself. So
• 16:02
  Speaker 3: then we have ego out of spirit. Now we got
• 16:07
  Speaker 3: to have ego. We can't be that's all point is,
• 16:11
  Speaker 3: like I'm going to be separate from you. I'm gonna
• 16:13
  Speaker 3: have this ego. You're going to have that ego. We're
• 16:15
  Speaker 3: energetic beings in bodies and have we identify. We identify
• 16:20
  Speaker 3: with ego, but we're really something much much, much bigger
• 16:24
  Speaker 3: than ego. But we have no education as to how
• 16:27
  Speaker 3: to connect to that at all. So these great artists
• 16:33
  Speaker 3: of inspiration recognize that they are beyond ego. You have
• 16:39
  Speaker 3: the actor who's all ego, it's all about being you know, admired.
• 16:44
  Speaker 3: And then you have the actor who sometimes accidentally trips
• 16:48
  Speaker 3: into this space where they've entered a character and they've
• 16:53
  Speaker 3: created this life before your very eyes and really entered,
• 16:57
  Speaker 3: really gone in there, and they are living in those
• 17:01
  Speaker 3: moments from the structure, you know, they're living in those
• 17:04
  Speaker 3: moments and they realize they're bigger, They're bigger than personality.
• 17:09
  Speaker 3: So then when somebody comes along and says, oh, you
• 17:11
  Speaker 3: all looks feel so great, they feel like an impost
• 17:14
  Speaker 3: because I'm.
• 17:15
  Speaker 2: Not that great explanation. It's fun, No, it's really it's
• 17:22
  Speaker 2: really interesting because that's a fantastic explanation of imposter syndrome.
• 17:26
  Speaker 2: Because you're absolutely right. And if you've noticed, you know,
• 17:29
  Speaker 2: with some actors over the course of their careers, you know,
• 17:33
  Speaker 2: the greats like a Meryl Streep can just walk in
• 17:36
  Speaker 2: and walk out and tap into that at will. Steven
• 17:39
  Speaker 2: Spielberg as a director can tap into it. The great
• 17:42
  Speaker 2: directors are great writers, are great artists. They just tap
• 17:45
  Speaker 2: in effort almost effortlessly, at least it seems effortlessly from
• 17:48
  Speaker 2: our point of view. And then there's I love the
• 17:50
  Speaker 2: way you say they trip into So sometimes you see
• 17:52
  Speaker 2: actors who trip into a performance and they just connect
• 17:57
  Speaker 2: with that character, but they're never able to get back
• 17:59
  Speaker 2: to that place in their career where they might even
• 18:01
  Speaker 2: go away and win an oscar or get a lot
• 18:04
  Speaker 2: of accolades. But it's whatever stops them from getting back there,
• 18:07
  Speaker 2: whether ego, whether it's outside sources. But it's really it
• 18:11
  Speaker 2: happens in all aspects of the business. From directors. Some
• 18:14
  Speaker 2: directors make the most amazing film ever, you know, one
• 18:17
  Speaker 2: of the most amazing, then they can't get back there,
• 18:20
  Speaker 2: you know. And writers, writers as well, novelists and writers.
• 18:25
  Speaker 3: Well, you know a lot of that's a lot of
• 18:28
  Speaker 3: what the book is about. It's not it's about its intention.
• 18:32
  Speaker 3: You have to intend it. So you have to kind
• 18:34
  Speaker 3: of recognize this is what Spielberg and you know, Meryl
• 18:38
  Speaker 3: Streep and all these greats that you mentioned, and like
• 18:41
  Speaker 3: going to the painters and Michelangelo. You know, they've recognized
• 18:46
  Speaker 3: some sort of technique for themselves. And what works for you,
• 18:49
  Speaker 3: doesn't work for me, doesn't work for him, doesn't. You
• 18:52
  Speaker 3: have to give artists a lot of different colors of
• 18:55
  Speaker 3: techniques and realize that each one is going to respond
• 18:58
  Speaker 3: differently and make their own toolkit. But once you have
• 19:02
  Speaker 3: that technique, you have to intend I want, I tend
• 19:06
  Speaker 3: to go want myself. And if once you've had that experience,
• 19:12
  Speaker 3: two things happen. You either intend to have that experience
• 19:15
  Speaker 3: again and chase what it was, what combination did I
• 19:18
  Speaker 3: put together that helped me do that? Or you get
• 19:21
  Speaker 3: lost in your own dramas. So now I'm going to
• 19:25
  Speaker 3: go to a really kind of woohoo word, which is vibration.
• 19:30
  Speaker 3: So you know, when you're around enthusiastic people, you're like, hey,
• 19:38
  Speaker 3: you know, we respond to We are energetic means and bodies,
• 19:43
  Speaker 3: and we respond to vibration. No matter how woo you
• 19:46
  Speaker 3: want to get about it, that's the deal. And so
• 19:50
  Speaker 3: we want to be around. The reason that audiences love
• 19:54
  Speaker 3: actors is because they're looking, you know, and they go
• 19:57
  Speaker 3: that guy's creating life. When they do it right and
• 20:01
  Speaker 3: you're in this theater, the audience releases from their own
• 20:06
  Speaker 3: life and enters this parallel universe, this parallel story.
• 20:14
  Speaker 2: We'll be right back after a word from our sponsor,
• 20:20
  Speaker 2: and now back to the show.
• 20:23
  Speaker 3: And then when they come back to their seats and
• 20:25
  Speaker 3: they walk out, it's either they go cheese. Fact way
• 20:27
  Speaker 3: I can create that much life out of thin air?
• 20:33
  Speaker 3: Maybe I could do a little better with my own.
• 20:36
  Speaker 3: They are inspired to take control of their own license somewhat.
• 20:40
  Speaker 2: They reconnom Isn't it fascinating? Because I've had the pleasure
• 20:45
  Speaker 2: of being in the room with some of the biggest
• 20:46
  Speaker 2: movie stars in the world. And when you're in the
• 20:49
  Speaker 2: room with them, you understand why they're movie stars. There's
• 20:55
  Speaker 2: just something about their energy in the room. And I've
• 20:59
  Speaker 2: met you know, I won't name drop, but I have
• 21:01
  Speaker 2: met some and I walk in and just and just
• 21:04
  Speaker 2: being around them, you just go, oh, oh, I get it.
• 21:08
  Speaker 2: I truly, I truly get it. And it's and you know,
• 21:12
  Speaker 2: when you want and talking about the wu wu aspect
• 21:15
  Speaker 2: of you know, energy and vibrations of people and stuff.
• 21:18
  Speaker 2: All you have to do is and I know everybody
• 21:19
  Speaker 2: listening has gone through this. You've met somebody in your
• 21:22
  Speaker 2: life that after you got done talking to them, you
• 21:24
  Speaker 2: wanted to take a shower because you feel slimy dirty.
• 21:29
  Speaker 2: It could be a salesman, it could be a customer,
• 21:31
  Speaker 2: a sales rep. It could be it could be a teacher,
• 21:34
  Speaker 2: it could be anybody you know, another just you just feel.
• 21:39
  Speaker 2: So whether you believe in the wool whetter do or not,
• 21:43
  Speaker 2: I think everyone's had that experience at one point or
• 21:46
  Speaker 2: in life. Another you've just met somebody who you just oh,
• 21:49
  Speaker 2: I just don't want to be around that person. And
• 21:51
  Speaker 2: then the vice versa. You meet somebody like, oh my god,
• 21:55
  Speaker 2: there's just so much fun to be around. There's so
• 21:57
  Speaker 2: much energy around them, and there's something about that conversation.
• 22:03
  Speaker 2: There's no question about it, whether again you want to
• 22:05
  Speaker 2: get into the woo wo aspect of it or not.
• 22:07
  Speaker 2: But I think everybody listening can't agree that they've had
• 22:10
  Speaker 2: that conversation. And if you ever do, anyone listening ever
• 22:14
  Speaker 2: does get to sit in a room and have a
• 22:15
  Speaker 2: meaningful conversation, and even through my show having conversations over zoom,
• 22:20
  Speaker 2: you can sense why they are who they are. Some
• 22:24
  Speaker 2: of these directors, some of these filmmakers I've had the
• 22:27
  Speaker 2: pleasure of talking to you just go wow, Okay, I
• 22:30
  Speaker 2: get it. I get it, you know. And I've had
• 22:33
  Speaker 2: the pleasure from the five thousand dollars first time filmmaker
• 22:37
  Speaker 2: made this feature, to Oscar winners and everyone in between.
• 22:40
  Speaker 2: You can sense where they're coming from. It's really interesting.
• 22:44
  Speaker 2: One thing in your book I wanted to talk to
• 22:46
  Speaker 2: you about is the stories that we tell ourselves and
• 22:49
  Speaker 2: as artists, you know, being an artist, and it took
• 22:52
  Speaker 2: me a long time to admit I was an artist.
• 22:54
  Speaker 2: By the way, that's another problem. A lot of times
• 22:56
  Speaker 2: like I'm not an artist. That's very pompous of you
• 22:59
  Speaker 2: to say you're an artist. No, you've got to admit
• 23:01
  Speaker 2: who you are. And once you admit that you are
• 23:03
  Speaker 2: an artist. I think artists specifically artists have a special
• 23:09
  Speaker 2: level of storytelling that they tell themselves because they are
• 23:12
  Speaker 2: especially people in the film industry and storytellers, because we're
• 23:15
  Speaker 2: so good at it. We're really good at beating ourselves
• 23:19
  Speaker 2: up with these negative stories about what we're capable of doing,
• 23:22
  Speaker 2: where we're going, what's up and beating yourself up when
• 23:25
  Speaker 2: you don't get the part, or don't get the job,
• 23:28
  Speaker 2: or don't get the financing or and it's these stories
• 23:31
  Speaker 2: we constantly tell ourselves. Can you dig in a little
• 23:33
  Speaker 2: bit about why we do it and what we can
• 23:35
  Speaker 2: do to kind of rewrite that story to help us
• 23:38
  Speaker 2: move forward on our path.
• 23:40
  Speaker 3: Oh, great question, great question.
• 23:42
  Speaker 2: Well, the why we do.
• 23:44
  Speaker 3: It is pretty pretty obvious. And when I say it,
• 23:48
  Speaker 3: I don't know people will get it or we'll get it.
• 23:50
  Speaker 3: But we like sensation, you know, as people like strong sensations,
• 23:58
  Speaker 3: So you know you have drama queens on drama queens. Okay,
• 24:03
  Speaker 3: people who stir negative emotion, it's like an addiction. They're
• 24:07
  Speaker 3: addicted to it. Why because of the sensations? Why do
• 24:11
  Speaker 3: people take drugs? Because of sensations? We like sensations. So
• 24:16
  Speaker 3: if you go you know, just going to keep doing
• 24:18
  Speaker 3: it and you'll keep bringing me back. But if you
• 24:20
  Speaker 3: go to this aspect that we are actually spiritual beings,
• 24:23
  Speaker 3: of course we like sensations. That's why we're here. We're
• 24:27
  Speaker 3: here to experiences. Otherwise we're out.
• 24:30
  Speaker 2: You know, we're all spirit We have no body, we
• 24:32
  Speaker 2: have no.
• 24:32
  Speaker 3: None of the fun tactile thing. So we're here for experience.
• 24:37
  Speaker 3: And I think we're evolving and sending even perhaps and
• 24:43
  Speaker 3: so we're going from just any old sensations to hey,
• 24:48
  Speaker 3: wait a minute, maybe I can control this a little better.
• 24:52
  Speaker 3: So some of the enthusiastic people you meet, they just
• 24:55
  Speaker 3: seem naturally enthusiastic. They were well loved as kids, or
• 25:00
  Speaker 3: they just most of the time they were well loved
• 25:02
  Speaker 3: as kids, and so they're settled in and they're confident
• 25:04
  Speaker 3: and they're able to have I just do more positive
• 25:09
  Speaker 3: outlook on life, and we'll have more fun and really
• 25:12
  Speaker 3: enjoy them, and so it prevails itself. But you can
• 25:18
  Speaker 3: intend decide that you want more of that.
• 25:21
  Speaker 2: You can.
• 25:22
  Speaker 3: Most of the people who are listening to your show
• 25:24
  Speaker 3: right now, my guess is they're of an age where
• 25:27
  Speaker 3: they have already let go of certain friends because they go,
• 25:30
  Speaker 3: I want to take a power after I'm with that person,
• 25:34
  Speaker 3: I can't do it anymore.
• 25:36
  Speaker 2: Man.
• 25:36
  Speaker 3: You know, they never ask you about yourself. They're all
• 25:40
  Speaker 3: complaint and the thing and most of being heard a lot.
• 25:44
  Speaker 2: Energy suckers. Energy suckers.
• 25:46
  Speaker 3: Yeah, they're energy suckers. But we can we can also
• 25:49
  Speaker 3: like not judge them and just say, okay, cool, you
• 25:53
  Speaker 3: want to go, but I'm not entering with that. I'm
• 25:57
  Speaker 3: not doing that because it's going to happen naturally in
• 26:01
  Speaker 3: your life. So I've discovered that most did you get
• 26:04
  Speaker 3: my age? Then the older people you start losing your mom,
• 26:08
  Speaker 3: you start losing your dad, and you start recognizing the
• 26:10
  Speaker 3: older people. Yet they will do this, They will kick
• 26:15
  Speaker 3: up a lot of dust and a lot of negativity
• 26:18
  Speaker 3: because it makes them feel alive. You know, my mother
• 26:21
  Speaker 3: could get apoplectic about butter. It was like, honey, just
• 26:26
  Speaker 3: make any name here, you know, can we just go.
• 26:29
  Speaker 3: She's very dramatic, and it was I would just so
• 26:32
  Speaker 3: you know, I'm I'm training myself. I'm training myself in meditation.
• 26:37
  Speaker 3: I'm treating myself in certain ways, and the biggest one
• 26:40
  Speaker 3: is to observe people without judgment and to just look
• 26:43
  Speaker 3: at what's going on and then you kind of expand
• 26:46
  Speaker 3: and you go, Okay, well this person is doing this
• 26:50
  Speaker 3: thing and it has nothing to do with me, and
• 26:53
  Speaker 3: I can actually be kind of it can have some
• 26:58
  Speaker 3: compassionate understanding work because I have done to see, we've
• 27:01
  Speaker 3: all done and everything. So did that answer? It does?
• 27:07
  Speaker 2: It does. It's It's fascinating because you know, we all
• 27:11
  Speaker 2: look in our business, we run into very unique characters,
• 27:16
  Speaker 2: to say the least.
• 27:17
  Speaker 3: Uh.
• 27:18
  Speaker 2: And I've had some of the most toxic human beings
• 27:20
  Speaker 2: I've ever met in my life. I've met in this
• 27:22
  Speaker 2: business and some of the most beautiful people have ever
• 27:24
  Speaker 2: met in my life. I've met in this business and
• 27:26
  Speaker 2: everyone in between. And I've gotten to a place in
• 27:30
  Speaker 2: my my elder years as I as I call I
• 27:37
  Speaker 2: have I have a little gray. I have a little gray.
• 27:39
  Speaker 2: I'm not I'm not a kid anymore, but but in
• 27:43
  Speaker 2: my years walking the earth I've I've realized that the
• 27:47
  Speaker 2: more times when someone is blowing up on you or
• 27:50
  Speaker 2: something like that, nine out of ten times has nothing
• 27:54
  Speaker 2: to do with you. When you have a business partner
• 27:59
  Speaker 2: or producer or on a project that is egocentric or
• 28:03
  Speaker 2: wants control, or wants this or that, or wants tension
• 28:07
  Speaker 2: or this has nothing to do with you. You know,
• 28:10
  Speaker 2: it's unfortunately because you're involved with them in a project
• 28:13
  Speaker 2: that is both of yours. So you have to figure
• 28:15
  Speaker 2: out how to maneuver that world. But it's not out
• 28:19
  Speaker 2: of ten times, it's not about you. And I've gotten
• 28:23
  Speaker 2: to the place where I feel almost empathetic for people
• 28:25
  Speaker 2: when they are acting that way. I'm like, what happened
• 28:27
  Speaker 2: to them that they feel that they need to act
• 28:29
  Speaker 2: that way? Because that doesn't just come up like that.
• 28:33
  Speaker 2: There's some if you start looking back, there's some deep
• 28:35
  Speaker 2: seated stuff when their children or in this business, like
• 28:39
  Speaker 2: this business can chew people up and spit them out
• 28:41
  Speaker 2: all day every day. It could destroy lives. It has.
• 28:45
  Speaker 2: I mean, if you go down to Hollywood Boulevard, it's
• 28:47
  Speaker 2: literally shattered with souls of broken dreams down there. It is,
• 28:53
  Speaker 2: so it's not I think it was David Chappelle. I
• 28:55
  Speaker 2: was watching David Schappelle the other day and he said,
• 28:58
  Speaker 2: I think he was in the Actors Studio interw you
• 29:00
  Speaker 2: uh with Lipton, and he's like, there are no weak
• 29:05
  Speaker 2: people in this business. If they're sitting on this stage
• 29:08
  Speaker 2: with you, they are not weak people. It takes a
• 29:12
  Speaker 2: special level of strength to make it in this industry,
• 29:16
  Speaker 2: at whatever level that is, and it doesn't have to
• 29:18
  Speaker 2: be Oscar winning. It could just be making a living.
• 29:22
  Speaker 2: He goes, there are no weak people in this business
• 29:25
  Speaker 2: that sustained themselves. And I thought that was such an
• 29:27
  Speaker 2: interesting and profound comment because you don't think of it
• 29:30
  Speaker 2: that way, but it's absolutely true. You know it, and
• 29:32
  Speaker 2: I know it. If you're if you've made it in
• 29:35
  Speaker 2: this business in any way you can, if you're making
• 29:37
  Speaker 2: a living in this industry, you're not weak.
• 29:40
  Speaker 3: Yeah. Yeah, Well it goes back to story, which that
• 29:45
  Speaker 3: was the part of the question we didn't quite answer,
• 29:47
  Speaker 3: is what's with the stories that we hold on too?
• 29:50
  Speaker 3: You know, nice the stories are there to you know,
• 29:54
  Speaker 3: stimulate all this negative emotion, to have these experiences, but
• 29:58
  Speaker 3: the stories are also hurt trapped pieces of self, you know,
• 30:05
  Speaker 3: where a trade you hurt my feelings, particularly if you're
• 30:08
  Speaker 3: from New York. It's like, I don't care. Ask me Eric,
• 30:13
  Speaker 3: I learned that very early.
• 30:16
  Speaker 2: We'll be right back after a word from our sponsor
• 30:23
  Speaker 2: and now back to the show.
• 30:25
  Speaker 3: But you do care, and that and artists care more
• 30:29
  Speaker 3: than anybody. They're highly highly sensitive. We'll get into that.
• 30:36
  Speaker 3: This is my definition of artists. If they're more sensitive
• 30:39
  Speaker 3: and so they can probably step out of the air.
• 30:42
  Speaker 3: But in that sensitivity, they push a lot of things down.
• 30:46
  Speaker 3: And then people have experiences that are also horrific, and
• 30:50
  Speaker 3: they push those things. They overcome them, but there are
• 30:54
  Speaker 3: pieces of lost soul, lost parts of themselves that they've
• 30:59
  Speaker 3: shoved down underneath. So people do therapy why to let
• 31:03
  Speaker 3: some of that out? And you know this, Shaman Cole,
• 31:07
  Speaker 3: it's so sol retrieval, where you just create a space
• 31:12
  Speaker 3: for a person to say, ow, this hurt, this is
• 31:17
  Speaker 3: what happened. Here are the tears, I didn't cry? You
• 31:22
  Speaker 3: know what Ian and is so doing when you just
• 31:25
  Speaker 3: can listen to a person, which is very rare in
• 31:29
  Speaker 3: this day and age. People haven't been taught how to listen.
• 31:32
  Speaker 3: You just listen to a paper person and intend to
• 31:35
  Speaker 3: create this space for that part of themselves to be released,
• 31:40
  Speaker 3: so to speak. You know, you create a home space
• 31:44
  Speaker 3: to grow and understand that. You know, you're more than
• 31:49
  Speaker 3: yourself when you're writing your book, Alecci, and it's that fluid,
• 31:52
  Speaker 3: it's you and you, it's you and your higher self.
• 31:55
  Speaker 2: That connection.
• 31:57
  Speaker 3: Wow. You know, I have trouble. I don't like to
• 32:00
  Speaker 3: call this my book, you know, I call it the
• 32:02
  Speaker 3: book because it's a little weird just my look. You know,
• 32:06
  Speaker 3: it's like I feel like, what is that wonderful movie
• 32:10
  Speaker 3: with the fish and the seagullings?
• 32:12
  Speaker 2: Mine Mine, Mine, Mine Mine mind finding demo?
• 32:15
  Speaker 3: Yeah, finding em mine mine by book. It's not these
• 32:19
  Speaker 3: are you know you want to help. That's a branding thing,
• 32:24
  Speaker 3: you know. S was asking where she brand where ship
• 32:26
  Speaker 3: Brandy went on two minutes. I loved it about I
• 32:29
  Speaker 3: was one of the two people listening. Now I was
• 32:31
  Speaker 3: one of them any people listening, because that's what we
• 32:34
  Speaker 3: all wanted to do. Well, we all want to continute
• 32:38
  Speaker 3: in our way, you know, Well that's the.
• 32:41
  Speaker 2: That's I feel, that's the goal of life is to
• 32:43
  Speaker 2: find out what that that thing that you were put
• 32:45
  Speaker 2: here to do and then do it. And we're so
• 32:48
  Speaker 2: afraid of walking that path, especially as artists. We're afraid
• 32:52
  Speaker 2: of walking that path because you know, there's been such
• 32:55
  Speaker 2: a a abuse of the artist over the course of
• 33:00
  Speaker 2: millennia that you know, the whole starving artist mythology, and
• 33:05
  Speaker 2: that you have to struggle to be a good artist
• 33:07
  Speaker 2: and you have to be broke, and all of these
• 33:09
  Speaker 2: kind of these stories that have been told over the
• 33:12
  Speaker 2: years and had I had an author on years ago
• 33:16
  Speaker 2: who said real artists don't starve, and it was and
• 33:19
  Speaker 2: he was to go back to like Michelangelo was extremely wealthy,
• 33:22
  Speaker 2: and in da Vinci was extremely like these were wealthy
• 33:25
  Speaker 2: artists of their time. So it's kind of like a
• 33:27
  Speaker 2: myth about that you have to be a starving artist
• 33:30
  Speaker 2: and so on and so forth. But we as artists
• 33:32
  Speaker 2: do do truly have a trouble walking that path. Like
• 33:38
  Speaker 2: I told you earlier today, earlier in this conversation, I
• 33:41
  Speaker 2: took me a while to figure out that I was
• 33:42
  Speaker 2: an artist, even though I was working in the business.
• 33:45
  Speaker 2: I'm like, no, no, I'm just a director. I don't
• 33:47
  Speaker 2: not an artist, you know, because I didn't want to
• 33:49
  Speaker 2: admit that to myself because there was a lot of
• 33:51
  Speaker 2: stories associated with being an artist. So once you accept
• 33:55
  Speaker 2: that you are an artist and you want to express yourself.
• 33:58
  Speaker 2: And another big problem I see in the business, and
• 34:02
  Speaker 2: something I struggled with for a long time, is that
• 34:05
  Speaker 2: so many artists believe that if they do not reach
• 34:09
  Speaker 2: the highest pinnacle of their craft, they have failed. And
• 34:13
  Speaker 2: that is such a horrible story to tell yourself. Like
• 34:17
  Speaker 2: I didn't direct my first feature until I was forty,
• 34:21
  Speaker 2: not because I didn't have the skill set or the
• 34:23
  Speaker 2: ability to do so, is because it had to be
• 34:27
  Speaker 2: reservoir dogs. It had to be pulp fiction, it had
• 34:30
  Speaker 2: to be clerks, it had to be El Mario. I
• 34:32
  Speaker 2: had to be a movie that exploded. And you know,
• 34:35
  Speaker 2: I've arrived kind of And I think every filmmaker goes
• 34:39
  Speaker 2: through that that you have to. If you haven't won
• 34:41
  Speaker 2: an Oscar, he really hasn't made it. And it took
• 34:44
  Speaker 2: me years to realize that, oh no, no, are you
• 34:46
  Speaker 2: making a living. What's the definition of success in your
• 34:49
  Speaker 2: and that's you have to define that for yourself, and
• 34:51
  Speaker 2: those those moments in your career where you, let's say,
• 34:54
  Speaker 2: win an Oscar, or win an award, or work with
• 34:57
  Speaker 2: a certain actor or work with a certain love full
• 35:00
  Speaker 2: of budget and so on and so forth. They're great,
• 35:02
  Speaker 2: but they're fleeting. They're you win the Oscar and then
• 35:05
  Speaker 2: now what and now you got to your back. You're
• 35:08
  Speaker 2: back to it Monday morning, you know. So it's about
• 35:11
  Speaker 2: that journey and about really defining what success is for
• 35:15
  Speaker 2: you as an artist. And that could be I use
• 35:18
  Speaker 2: the analogy that if you're living in Kansas making fifty
• 35:23
  Speaker 2: thousand dollars a year and that puts food on your table,
• 35:25
  Speaker 2: pays your mortgage, and supports your family. As a filmmaker,
• 35:29
  Speaker 2: I hate to tell you you are a raving success
• 35:34
  Speaker 2: rave because you're at the top pop actual lot of filmmakers.
• 35:38
  Speaker 3: Yeah, well, let's define artists, because you know that's the deity.
• 35:44
  Speaker 3: So we're very exclusive about what is an artist. We're
• 35:47
  Speaker 3: so exclusive about what is an artist. And you didn't
• 35:49
  Speaker 3: want to admit that you were an artist, right you
• 35:52
  Speaker 3: know you know, well, I don't know that's an artist.
• 35:55
  Speaker 3: That not You said it beautifully. The stories we tell
• 35:57
  Speaker 3: ourselves about what is an artist? An artist is I
• 36:00
  Speaker 3: wednesay Academy words. I don't think so. So you know,
• 36:03
  Speaker 3: in my teaching hour was always like I looked for
• 36:06
  Speaker 3: definitions and I love dictionaries, and I looked at a
• 36:09
  Speaker 3: lot of you know, looking for this quintessential definition of artists,
• 36:13
  Speaker 3: and I couldn't come up with it. So I came
• 36:15
  Speaker 3: up with my own, which is basically an artist, you
• 36:18
  Speaker 3: have to discover an artist. It's the expression of your
• 36:23
  Speaker 3: own discovery. So the artist, if he doesn't discover something,
• 36:27
  Speaker 3: he's going to express something that somebody else already discovered.
• 36:31
  Speaker 3: So it has to have happened to you. There has
• 36:34
  Speaker 3: to have been an aha moment, you know, if you
• 36:38
  Speaker 3: talk to painters. Painters are fantastic because they look at
• 36:41
  Speaker 3: things differently. They don't look at the tree, They look
• 36:43
  Speaker 3: at the space in between the branches.
• 36:46
  Speaker 2: They look at the space.
• 36:47
  Speaker 3: They look at the negative space, you know. So you
• 36:50
  Speaker 3: have to have discovery before you can express something or
• 36:55
  Speaker 3: it's going to be or you know, what is it
• 36:59
  Speaker 3: called When it's a copy, there's wonderful word that it can.
• 37:04
  Speaker 5: Not a representational but you know it's going to be
• 37:06
  Speaker 5: a clone of And there's nothing wrong with that. And
• 37:09
  Speaker 5: we kind of have to imitate things for a while
• 37:12
  Speaker 5: before we get on our own feet. But you want
• 37:14
  Speaker 5: to intend discovery. So all technique and my techniques usually
• 37:19
  Speaker 5: in the form of questions.
• 37:20
  Speaker 3: And where am I? What do I want? All those
• 37:23
  Speaker 3: questions the way to get in there a little deeper,
• 37:28
  Speaker 3: You're you're asking the same question, and most people stop
• 37:32
  Speaker 3: at the intellectual, clever answer because they think, oh, that'll
• 37:37
  Speaker 3: look good. So they're operating from their ego. Right, that'll
• 37:42
  Speaker 3: look good, that'll sound good, that'll sell you know, that'll
• 37:47
  Speaker 3: be this.
• 37:48
  Speaker 2: So you're telling me that there's ego in the film industry.
• 37:54
  Speaker 2: Stop it. Stop it.
• 37:56
  Speaker 3: Guys that we really admire. You're not going to get
• 38:01
  Speaker 3: rid of ego. We love our personalities, we spend our
• 38:05
  Speaker 3: lives on them, but there's something beyond it. So even
• 38:09
  Speaker 3: like I saw the the interview date with Ed Burns,
• 38:13
  Speaker 3: and you know, look at his love, look at the
• 38:17
  Speaker 3: size of his passion, and then look at the size
• 38:22
  Speaker 3: of you responding to his passion and talking about these cameras,
• 38:26
  Speaker 3: Oh you worked in this kind of camera, Oh you
• 38:27
  Speaker 3: worked on.
• 38:28
  Speaker 6: That and this.
• 38:28
  Speaker 3: You know the level of enthusiasm if you had, you know,
• 38:32
  Speaker 3: one of those Giger caundars, it was just charts. That
• 38:37
  Speaker 3: is beyond ego. You have elevated into joy, joy, and creativity.
• 38:44
  Speaker 3: Ego handed him. So what as an artist Okay. An
• 38:47
  Speaker 3: artist is someone who's discovered something and has the desire
• 38:50
  Speaker 3: to express it period now. And there's art in everyone.
• 38:58
  Speaker 3: This is not popular because we want have the artists club.
• 39:03
  Speaker 3: Here's the deal. We're not a club. You're in a body.
• 39:07
  Speaker 3: You're creating a life. You got here on the planet.
• 39:10
  Speaker 3: However you got here. You got here on the planet,
• 39:13
  Speaker 3: and now you're running a life. And that life is
• 39:16
  Speaker 3: either happening to you, you know, you're just going with
• 39:19
  Speaker 3: the flow of what's coming in, or you are beginning
• 39:23
  Speaker 3: to get the reins of your own life and say,
• 39:26
  Speaker 3: you know, i'd like it to go like this if
• 39:29
  Speaker 3: you look at that interview with Ed Burns, Yeah, I'd
• 39:32
  Speaker 3: like it to go like this. That's out ahead of yourself,
• 39:37
  Speaker 3: that is creating it yourself. That is the story of
• 39:41
  Speaker 3: the bait order. Word is manifestation. But that's a real deal.
• 39:45
  Speaker 3: And you manifest the best at the highest vibrations joy, enthusiasm,
• 39:52
  Speaker 3: joy and creative. And the guy who's not running his
• 39:55
  Speaker 3: life is the guy who's taking hits, you know, right,
• 39:58
  Speaker 3: left and center. Life is That's it's terrible. I hate it.
• 40:02
  Speaker 3: I guess it, but I'm so emotional. I hate you
• 40:04
  Speaker 3: all that's life happens to you.
• 40:07
  Speaker 2: It's it's fascinating that I agree with everything you've said.
• 40:11
  Speaker 2: But one thing I would add to the artist aspect
• 40:14
  Speaker 2: is to that definition of being an artist, we'll be
• 40:18
  Speaker 2: right back after a word from our sponsor, and now
• 40:25
  Speaker 2: back to the show, is the courage to walk the path.
• 40:30
  Speaker 2: And that is something that we as artists don't have.
• 40:33
  Speaker 2: You might identify as an artist, but to walk the
• 40:36
  Speaker 2: path of the artist is difficult to choose, and it
• 40:40
  Speaker 2: took me a long time. I did everything else around myself.
• 40:43
  Speaker 2: I was in the I was editing, I was doing
• 40:45
  Speaker 2: other things, but not walking the path that I wanted
• 40:48
  Speaker 2: to walk, which was being a director, being a filmmaker.
• 40:51
  Speaker 2: But I surrounded myself and was working in the in
• 40:54
  Speaker 2: the orbit of others following their path, and I was
• 41:00
  Speaker 2: helping them bring their art to life. And I thought
• 41:04
  Speaker 2: that that was enough for many years for me, until
• 41:07
  Speaker 2: I realized I was so unhappy doing that. It was
• 41:09
  Speaker 2: so very different. So it's finding the courage to walk
• 41:13
  Speaker 2: the path. And I'll go back to what you said
• 41:14
  Speaker 2: earlier that being an artist. I think every soul on
• 41:19
  Speaker 2: the planet is an artist because they are creating their
• 41:22
  Speaker 2: own lives. Now, I know that might be woul and
• 41:25
  Speaker 2: a lot of people are like, oh, what happens with life?
• 41:26
  Speaker 2: Happens to you and all that kind of stuff. I
• 41:28
  Speaker 2: get all of that. Look, we've all gone through stuff.
• 41:31
  Speaker 2: But I do truly believe that we create what we
• 41:34
  Speaker 2: want in our life, you know. And it's all about
• 41:37
  Speaker 2: It's just like Henry Ford says, if you believe you
• 41:40
  Speaker 2: can or you can't, you're right. And it's you know
• 41:43
  Speaker 2: it regardless. And we're not talking about the secret here
• 41:46
  Speaker 2: or anything like that. But whatever you believe, you achieve.
• 41:52
  Speaker 2: And it's if you're out of ego, if you're out
• 41:56
  Speaker 2: of ego, And that is something that it's so interesting
• 41:59
  Speaker 2: because because again having the pleasure of talking to all
• 42:02
  Speaker 2: these people, I asked these questions of them and and
• 42:05
  Speaker 2: I love listening to people's stories about how they made
• 42:08
  Speaker 2: it in the business and how and it's so random. Yeah,
• 42:13
  Speaker 2: it's so random. Now one story is like another I had,
• 42:19
  Speaker 2: uh and I'll drop her name, Eva Longoria on the
• 42:21
  Speaker 2: show a few a few a few months ago, and
• 42:24
  Speaker 2: her story was the most ridiculous story to get into
• 42:28
  Speaker 2: the business I have ever heard in my life. She again,
• 42:33
  Speaker 2: I walked, got into a beauty contest, which she didn't
• 42:36
  Speaker 2: want to do, but the first prize was books for school,
• 42:40
  Speaker 2: so she just got in. She won it, she got
• 42:43
  Speaker 2: the books, but because she wanted, she had to go
• 42:45
  Speaker 2: to like the state competition. And by the way, all
• 42:48
  Speaker 2: her all her life, she was called La Feyita, which
• 42:52
  Speaker 2: means the ugly one. Her her mother, that was her nickname,
• 42:56
  Speaker 2: the ugly one. So she was considered in her own story,
• 42:59
  Speaker 2: in her own mind that she was the ugly one
• 43:00
  Speaker 2: in the family, and the parents like, don't do the beauty.
• 43:04
  Speaker 2: Obviously that was a fluke, don't do So she goes
• 43:06
  Speaker 2: to the state when's this? When's the state finals? And
• 43:10
  Speaker 2: then the winning prize for that tripped La. So she
• 43:14
  Speaker 2: gets to La and she goes, hey, I like it here.
• 43:17
  Speaker 2: I'm going to stay. Knows nobody. I'm gonna stay. I'm
• 43:20
  Speaker 2: gonna try to be an actor. I think that'd be
• 43:22
  Speaker 2: kind of fun. Literally that's the And then she got
• 43:25
  Speaker 2: an apartment, got some roommates, hustled it out for a
• 43:28
  Speaker 2: handful of years, and then one day, at the end
• 43:31
  Speaker 2: of like a ten or fifteen audition day, she goes
• 43:35
  Speaker 2: in for Desperate Housewives she's still pissed off. She sew everything.
• 43:38
  Speaker 2: She's like, oh whatever, I'm not going to get this
• 43:39
  Speaker 2: part anyway. And because of that attitude, she gets the
• 43:42
  Speaker 2: part and her life changes. There's no logic to that,
• 43:46
  Speaker 2: but she did have intention and she did.
• 43:50
  Speaker 3: And very high vibration of very high. You know when
• 43:53
  Speaker 3: you say you meet these movie stars and there's something,
• 43:57
  Speaker 3: I mean, it is true. You meet different people. It's
• 44:00
  Speaker 3: like this one's been around longer, this one maybe is
• 44:03
  Speaker 3: brand new. I don't know how many lifetimes here. I
• 44:05
  Speaker 3: don't know. People are different, people are different, and those
• 44:10
  Speaker 3: people have there like you are you feel it?
• 44:15
  Speaker 2: You feel like are you struck by it?
• 44:17
  Speaker 3: I mean, you know it's science. We have a vibration
• 44:20
  Speaker 3: that extends about eight feet. There's eight I don't know,
• 44:23
  Speaker 3: four feet eight feet beyond our bodies, right, and those
• 44:27
  Speaker 3: people even more so, you know, even in a room
• 44:32
  Speaker 3: and you go like, oh, what's happening there? And it's
• 44:35
  Speaker 3: also different. That's tricky for them, having worked very intimately
• 44:41
  Speaker 3: with movie stars who have not trained, because generally they
• 44:45
  Speaker 3: come on the scene at a very young age, they
• 44:48
  Speaker 3: don't train. Now everybody's powdering their nose and blowing air
• 44:53
  Speaker 3: up their ass and they get a little lost. And
• 44:56
  Speaker 3: one of the reasons I was successful is because I
• 44:58
  Speaker 3: really because of all the people at the dining room table,
• 45:01
  Speaker 3: I really don't care who you are. I think in
• 45:04
  Speaker 3: my I only swooned over one guy, ever, which was
• 45:08
  Speaker 3: Carrie Grant.
• 45:09
  Speaker 7: I mean, come on, you know Grant, Carrie Grant a
• 45:12
  Speaker 7: really oh well, but you But these other guys, you know,
• 45:18
  Speaker 7: they're lost and they're getting powder puffs.
• 45:22
  Speaker 3: They have this big energy, but they get sucked up
• 45:26
  Speaker 3: into their own ego because everybody is treating them in
• 45:30
  Speaker 3: the in it, you know, in.
• 45:31
  Speaker 2: It, and you see and you see it again and again.
• 45:34
  Speaker 2: You see these stories of artists in every level, director, writer,
• 45:38
  Speaker 2: they just kind of fizz. They burnt out. A lot
• 45:40
  Speaker 2: of times, they'll just they're like a star, they'll burn out.
• 45:43
  Speaker 2: I mean, I mean a great example of it. It
• 45:46
  Speaker 2: was Lindsay Lohan, who was such an amazing actress, such
• 45:51
  Speaker 2: an amazing actress, and to see what happened to her
• 45:54
  Speaker 2: over the course of her career was tragic to watch.
• 45:58
  Speaker 2: But I mean you see some of her early work,
• 45:59
  Speaker 2: you just like she's a powerhouse, like, oh he could
• 46:03
  Speaker 2: have she could have Oh my god, the things that
• 46:06
  Speaker 2: she could have done. Tom Sizemore, Yeah, another one who
• 46:10
  Speaker 2: worked with every Spielberg's Mersese camera, like every big director
• 46:18
  Speaker 2: in the world, and he was an amazing actor. Burned out, Yeah.
• 46:24
  Speaker 3: What happened though? What was the burnout? The burnout was
• 46:26
  Speaker 3: like lost in ego?
• 46:29
  Speaker 2: Well, yeah, but that's what we that's what that's the
• 46:31
  Speaker 2: main problem that we have as artists, and I think
• 46:34
  Speaker 2: it's human beings, is we have to get get a
• 46:36
  Speaker 2: hold of our egos. We all have it, you know,
• 46:39
  Speaker 2: and and it's very I always say that we have
• 46:41
  Speaker 2: an MMA fighter on our shoulder and he's quiet there,
• 46:44
  Speaker 2: waiting for the moment of weakness. And that's when they
• 46:47
  Speaker 2: just pounds you because you're just like, you're like, I
• 46:50
  Speaker 2: got you in the patrol, I got you in the patrol,
• 46:52
  Speaker 2: I got you in the control. And some someone goes, hey,
• 46:54
  Speaker 2: you look really good today. I think you could be
• 46:56
  Speaker 2: the next this or that You're like hot what boom
• 46:58
  Speaker 2: there it comes out. It just comes to knox you,
• 47:03
  Speaker 2: Oh there, I got you now. So it just waits there,
• 47:06
  Speaker 2: it waits.
• 47:07
  Speaker 3: People tell my students that you know, and talk about
• 47:10
  Speaker 3: their talent, which you know, a kind of flip my stomach. Well,
• 47:13
  Speaker 3: if my talent is my talent, and well, I'm going
• 47:17
  Speaker 3: to tell you very unpopular here. I don't believe you
• 47:21
  Speaker 3: are your talent. I don't believe the actor's talent is
• 47:25
  Speaker 3: the actor's talent. I believe that artists are the most
• 47:30
  Speaker 3: sensitive people on the planet, and that level of sensitivity
• 47:34
  Speaker 3: allows them to connect or higher selves, allows the connect us,
• 47:38
  Speaker 3: allows them to connect. Inspiration allows them to connect to
• 47:41
  Speaker 3: the ethos and things floating around that need to be
• 47:44
  Speaker 3: expressed on the planet right now. But without acknowledging that.
• 47:50
  Speaker 3: When you do have that kind of inspiration taking on
• 47:53
  Speaker 3: the cdo and you don't acknowledge that, and you take
• 47:56
  Speaker 3: it all to yourself and say it's me, it's me.
• 48:04
  Speaker 3: Not good. It's like you're not acknowledging a very high conversation,
• 48:08
  Speaker 3: and a part of you knows that, and a part
• 48:11
  Speaker 3: of you will begin to destroy yourself because you are
• 48:14
  Speaker 3: well of the most important that you were given, which
• 48:19
  Speaker 3: is that connection.
• 48:20
  Speaker 2: It's that connection. It's so funny. I have a great story.
• 48:24
  Speaker 2: I don't know who told me this story, but it
• 48:26
  Speaker 2: was at Michael Jackson's story and that Michael, I think
• 48:28
  Speaker 2: it was either Michael or no, it's a print story.
• 48:31
  Speaker 2: Excuse me, it's a Prince story. And Prince called up
• 48:35
  Speaker 2: his You know, he obviously famously has recorded six thousand
• 48:40
  Speaker 2: songs that never got released. We will have a new
• 48:43
  Speaker 2: Prince album every year until the year three thousand. That's
• 48:46
  Speaker 2: how many songs are in his vault. He was a
• 48:51
  Speaker 2: The level of genius is beyond what he was able.
• 48:53
  Speaker 2: And I had the pleasure of working with some people
• 48:56
  Speaker 2: who were very close to him, and I heard all
• 48:58
  Speaker 2: these amazing stories. But one story I always stuck out
• 49:01
  Speaker 2: of my head was he would just call you at
• 49:03
  Speaker 2: three o'clock in the morning as a singer, a backup singer, Go, hey,
• 49:07
  Speaker 2: meet me at the at the studio. I have a
• 49:09
  Speaker 2: song to record, and like, but Prince can just wait
• 49:12
  Speaker 2: till six or eight in the morning. It's three o'clock
• 49:15
  Speaker 2: in the morning. He's like, no, we have to do
• 49:17
  Speaker 2: it now, because if I don't record it, it's gonna
• 49:20
  Speaker 2: go to Michael Jackson.
• 49:22
  Speaker 6: Yes, I know that the story. On several fronts they
• 49:28
  Speaker 6: talk about that. Yeah, He's like, if I don't, Spielberg
• 49:31
  Speaker 6: does it too. Spielberg has said this publicly at the interviews,
• 49:34
  Speaker 6: is like when I get an idea for a movie,
• 49:37
  Speaker 6: I understand that if I don't act on it, it
• 49:40
  Speaker 6: will go to someone else within a bond or two.
• 49:44
  Speaker 2: And he's like, it's never failed that. When I've let
• 49:48
  Speaker 2: go of an idea. Three months later, I'm reading about
• 49:51
  Speaker 2: that idea and the trades, and I've told nobody about it.
• 49:54
  Speaker 3: Yes, it's in the air, it's in ethos. My favorite
• 49:57
  Speaker 3: of those stories is about a poet, poet and I
• 50:00
  Speaker 3: can't remember her name because that's my age, and she's
• 50:04
  Speaker 3: she lived in the Midwest, and so she's out in
• 50:06
  Speaker 3: the field, in her gardens, in her fields, and she
• 50:09
  Speaker 3: feels this poem coming on.
• 50:13
  Speaker 2: We'll be right back after a word from our sponsor.
• 50:19
  Speaker 3: And now back to the show, like a storm would
• 50:24
  Speaker 3: roll in this thing, and she knows it, and she
• 50:27
  Speaker 3: knows that feeling, and so she takes off toward the
• 50:30
  Speaker 3: house and she's talking forward the house, running, running to chase,
• 50:35
  Speaker 3: because she knows if she doesn't get back to the
• 50:37
  Speaker 3: house and she doesn't get to be s paper, she
• 50:39
  Speaker 3: doesn't get to beat of paper, and so that point
• 50:41
  Speaker 3: is going to go right by her and onto another poet.
• 50:46
  Speaker 3: And so she gets home, but she gets her and
• 50:48
  Speaker 3: she grabs a paper, she grabs a pencil, and she
• 50:51
  Speaker 3: starts writing. And she said she grabbed it by.
• 50:53
  Speaker 2: The tail and hauled it in.
• 50:56
  Speaker 3: Oh my god, came out backwards. Yes, and then she
• 51:01
  Speaker 3: had to reverse the porn.
• 51:04
  Speaker 8: Wow, the ethos, that's you know, and so let's talk
• 51:10
  Speaker 8: about how, because this is what I wanted to do
• 51:12
  Speaker 8: in the book, how do you optimize that?
• 51:16
  Speaker 3: How do you make your chance of being able to
• 51:20
  Speaker 3: be in that space? And so here's all the technique
• 51:23
  Speaker 3: and the questions. And you have to have that as
• 51:25
  Speaker 3: an actor, because in teaching someone to know that they
• 51:28
  Speaker 3: know how to go about it in so that that way,
• 51:31
  Speaker 3: you know, they don't do a great big movie if
• 51:33
  Speaker 3: it's fantastic, and then they have to reinvent the every time.
• 51:36
  Speaker 3: So you have to give them some you know, some
• 51:38
  Speaker 3: structures and they know that they know, But how do
• 51:42
  Speaker 3: you get to that place where you can intend and
• 51:47
  Speaker 3: experience that opening more, that inspiration war that flow. So
• 51:53
  Speaker 3: you know, as a writer, and I know as a
• 51:54
  Speaker 3: writer will probably do certain things every time we go
• 51:57
  Speaker 3: to write, and those things kind of set up is
• 52:00
  Speaker 3: thing and then we hope that SLLL comes in a
• 52:02
  Speaker 3: restart right. Well, I guarantee you you look at those
• 52:07
  Speaker 3: things that you are doing, you are in the present moment.
• 52:10
  Speaker 3: You are not drinking or you are intending to get
• 52:14
  Speaker 3: away from those thoughts about all of that stuff, so
• 52:18
  Speaker 3: you can be here now, in the moment. So in
• 52:21
  Speaker 3: the book, you talk about the stuff that's been around forever.
• 52:25
  Speaker 3: Meditation is not who It's just a really simple way
• 52:33
  Speaker 3: to just settle in. We have so much noise going
• 52:37
  Speaker 3: on between you know, I mean, come on, with the
• 52:40
  Speaker 3: television and the media and the screens and the phones
• 52:44
  Speaker 3: and every there's so much noise, and everyone wants our
• 52:47
  Speaker 3: intention and we don't even know what the truth is anymore.
• 52:51
  Speaker 3: So my whole book was about there's only one truth,
• 52:55
  Speaker 3: and that truth is your truth. That's a connection to yourself.
• 53:00
  Speaker 3: You have the perfect biometer for knowing what's true if
• 53:04
  Speaker 3: you can only connect to I call it to your heart.
• 53:07
  Speaker 3: You call it the use, you can call it your soul,
• 53:09
  Speaker 3: you can call it just that space being in the
• 53:12
  Speaker 3: present moment. It's all the thinning you can get there
• 53:17
  Speaker 3: from many different kinds of meditation, from meditating to sport
• 53:23
  Speaker 3: to you know, people talk about all kinds of different
• 53:25
  Speaker 3: meditations for themselves. You can get their I teach actors.
• 53:30
  Speaker 3: It's the greatest exercise in the world and it's great
• 53:32
  Speaker 3: for the planet. Just to observe life without judgment, use
• 53:37
  Speaker 3: your intention to just observe what's in front of you
• 53:41
  Speaker 3: without judging, and then when you judge it just like meditation.
• 53:45
  Speaker 3: Oh I'm judging it. So then you become aware that
• 53:48
  Speaker 3: you're judging, and that flex is a muscle. It's like
• 53:51
  Speaker 3: going to the gym. You know, nature, You know, you
• 53:56
  Speaker 3: can't stand from the ocean and say it too much.
• 54:00
  Speaker 3: You know, so said thing is going to come in
• 54:01
  Speaker 3: and go hell.
• 54:04
  Speaker 2: You know you know that that wave is fat. I
• 54:06
  Speaker 2: could tell that wave is fat. Yeah, it's that wave.
• 54:10
  Speaker 2: That wave is ugly. It didn't crust the right way.
• 54:12
  Speaker 2: You never do that. You never go looking at a
• 54:15
  Speaker 2: tree and go, wow, that tree was ugly. Man, that's
• 54:18
  Speaker 2: an ugly tree. Like I have actually done that once
• 54:22
  Speaker 2: or twice. But the tree was pretty gnarredly looking. It
• 54:25
  Speaker 2: came out of a Tim Burn movie. But but but
• 54:28
  Speaker 2: but generally speaking, when you're in nature, you don't judge
• 54:31
  Speaker 2: a bird or you know, you generally don't judge that
• 54:34
  Speaker 2: You just it is what it is. And you know,
• 54:38
  Speaker 2: in my in my work, I've realized that things don't
• 54:44
  Speaker 2: have a negative or a positive charge. We are the
• 54:48
  Speaker 2: ones who apply the negative charge or positive charge to it.
• 54:52
  Speaker 2: And I love using the example of a fender bender.
• 54:55
  Speaker 2: When you get into a fender bender, the person who
• 54:57
  Speaker 2: you're driving, everyone's safe, but you get an a fender
• 54:59
  Speaker 2: bend and you're like, oh my god, it's going to
• 55:01
  Speaker 2: cost me like a thousand dollars to get this prepaired.
• 55:03
  Speaker 2: So for you, this has been an absolutely negative experience.
• 55:07
  Speaker 2: You take it to the mechanic and the mechanic and
• 55:09
  Speaker 2: the and the body shop and they're like, ah, this
• 55:11
  Speaker 2: is fantastic. I got more work. So the exact same
• 55:14
  Speaker 2: event and to different perspectives. So when you're looking at
• 55:19
  Speaker 2: life and looking at certain things that happened to you,
• 55:21
  Speaker 2: especially on your artistic journey, it is what it is.
• 55:25
  Speaker 2: You can't it's not personal. It's not just like you know,
• 55:28
  Speaker 2: oh I didn't get to find the financing fell through.
• 55:31
  Speaker 2: It is it is what it is. You being depressed
• 55:35
  Speaker 2: about it or angry about it, it doesn't help you.
• 55:37
  Speaker 2: It doesn't help the situation. If there's something you can
• 55:40
  Speaker 2: learn from it, learn from it. Grab those tech, those
• 55:43
  Speaker 2: new those new lessons and move on and to keep going.
• 55:47
  Speaker 2: But you but sticking in hold and this is something
• 55:50
  Speaker 2: we do. I mean I like I did as an artist.
• 55:52
  Speaker 2: You hold on to like I didn't get into that
• 55:54
  Speaker 2: film festival, I didn't get that agent, I didn't get
• 55:58
  Speaker 2: that actor attached to the project. And it just throws
• 56:01
  Speaker 2: you for a loop and you start telling yourselves these stories.
• 56:04
  Speaker 2: Is that you they don't want to work with me,
• 56:06
  Speaker 2: I'm a fraud.
• 56:08
  Speaker 3: And it's all in your head goes trust. There is
• 56:13
  Speaker 3: the possibility when you get into the Fender Bender and
• 56:16
  Speaker 3: the guy's like that because he has more work in
• 56:18
  Speaker 3: euro Pistol because you spent you know, a thousand dollars. However,
• 56:22
  Speaker 3: there's also the added element of by the way, you
• 56:27
  Speaker 3: were about to cross ninety sixth Street and there was
• 56:30
  Speaker 3: a huge accident right in the middle of ninety sixth
• 56:34
  Speaker 3: Street that you would have been directly hit, or oh,
• 56:37
  Speaker 3: you didn't get that movie. But then if you've gotten
• 56:39
  Speaker 3: that movie, you wouldn't have met your wife, or you know,
• 56:43
  Speaker 3: there is this beautiful thing of trusting, because this is
• 56:50
  Speaker 3: part of creating your own life. I am an exacling
• 56:54
  Speaker 3: the right place to learn the next thing.
• 56:57
  Speaker 2: That I have to learn to get to this goal
• 57:00
  Speaker 2: that I'm.
• 57:00
  Speaker 3: Trying to get to, and that's now, I mean, it's trust.
• 57:04
  Speaker 2: You know. It's just so funny because I've written about
• 57:07
  Speaker 2: this before. Where I was. I got into the top
• 57:11
  Speaker 2: twenty five of a show called Project green Light, Project
• 57:16
  Speaker 2: One green Light, the old green Light, Yes, Project green
• 57:21
  Speaker 2: I was in second season. I'm in the first thirty
• 57:24
  Speaker 2: seconds of the show and they just used a clip
• 57:28
  Speaker 2: of me. But I made it to the top twenty
• 57:30
  Speaker 2: five that year. I almost made it in I had like,
• 57:32
  Speaker 2: I went to as far as you could get until
• 57:34
  Speaker 2: they chose the top ten or whatever it was, and
• 57:36
  Speaker 2: I didn't make it, and I was devastated, absolutely devastated,
• 57:41
  Speaker 2: because You're like, oh my god, this was such a
• 57:43
  Speaker 2: great opportunity. I missed my shot to be on this
• 57:46
  Speaker 2: amazing show. And every filmmaker that made it out of
• 57:50
  Speaker 2: that show didn't do anything and it pretty much torpedoed
• 57:54
  Speaker 2: their careers. Then I did another one called on the Lot,
• 57:58
  Speaker 2: which was Steven Spielberg Show, which was about directors. It
• 58:02
  Speaker 2: was on NBC for US season. I got flown out.
• 58:05
  Speaker 2: I did. I was right at the tip end again
• 58:08
  Speaker 2: didn't get in devastated me. Who the guys who made
• 58:13
  Speaker 2: it through that show destroyed their careers, never got to
• 58:16
  Speaker 2: do anything else again. So I was so just grateful
• 58:20
  Speaker 2: that I didn't get on those shows. But that's only
• 58:22
  Speaker 2: in hindsight that because at the moment you feel like
• 58:25
  Speaker 2: it's the worst thing that could ever have happened to you.
• 58:27
  Speaker 2: But most of the time, and this is just me
• 58:30
  Speaker 2: talking about my own experience, most of the times when
• 58:34
  Speaker 2: bad things happen in life to you, generally speaking, and
• 58:40
  Speaker 2: this is again my personal experience, when you go looking back,
• 58:44
  Speaker 2: you can see the dots are how you connected the dots.
• 58:47
  Speaker 2: What happened because of this? What happened because of that.
• 58:49
  Speaker 2: I'll tell you one other story when I was coming up.
• 58:51
  Speaker 2: When I was coming up, I did I spent about
• 58:54
  Speaker 2: fifty thousand dollars for my director's reel shout out on
• 58:58
  Speaker 2: thirty five millimeters because there was no digital Yeah, that's
• 59:00
  Speaker 2: how old I am. So I shot the whole thing,
• 59:02
  Speaker 2: that my whole commercial demo reel and the the the
• 59:07
  Speaker 2: p's that I hired and I and I used the
• 59:09
  Speaker 2: word dps because it was two of them on one show.
• 59:12
  Speaker 2: How many times. Have you seen that ever happen in
• 59:15
  Speaker 2: the business? But I didn't know any better, uh, And
• 59:18
  Speaker 2: they were horrible. And I shot like a fifty thousand
• 59:23
  Speaker 2: dollars commercial. It looked horrible. It was, it was bad,
• 59:27
  Speaker 2: and I wasn't had no place of money to get
• 59:30
  Speaker 2: more money. So I was like, oh my god, I
• 59:32
  Speaker 2: guess I'm going to have to deal with this.
• 59:34
  Speaker 9: Well, so happens that in the lab. The lab broke
• 59:39
  Speaker 9: down and burned all of that film. It just it
• 59:43
  Speaker 9: just it sat in the It sat in the in
• 59:45
  Speaker 9: the in the chemicals and burned. It broke down just
• 59:49
  Speaker 9: on my commercial. And only like a few things like
• 59:55
  Speaker 9: like lack had quarter.
• 59:56
  Speaker 2: Of a reel survived. And I was like, this is
• 59:59
  Speaker 2: the the worst thand has ever happened to me. I've
• 1:00:01
  Speaker 2: lost fifteen thousand dollars. I went back reshot the whole
• 1:00:05
  Speaker 2: thing with a real DP. It came out beautiful, got
• 1:00:09
  Speaker 2: me work as a director, and I moved forward. We'll
• 1:00:12
  Speaker 2: be right back after a word from our sponsor, and
• 1:00:18
  Speaker 2: now back to the show. It was kind of like
• 1:00:22
  Speaker 2: the universe was saying, we don't want this out there.
• 1:00:25
  Speaker 2: We need to burn this because this is not going
• 1:00:27
  Speaker 2: to be good for you or your career. We need
• 1:00:28
  Speaker 2: to get rid of this. It's going to be a
• 1:00:30
  Speaker 2: little painful right now, but in the long run, it's
• 1:00:32
  Speaker 2: the best thing that could have happened to you. So
• 1:00:34
  Speaker 2: these are the kind of stories. And again, as you
• 1:00:37
  Speaker 2: get older, you start looking back at your life and
• 1:00:39
  Speaker 2: you just start going, huh, that girl that dubbed me,
• 1:00:43
  Speaker 2: probably the best thing that happened to me. That girl
• 1:00:45
  Speaker 2: that I that girl that I didn't get to go
• 1:00:48
  Speaker 2: out with, probably the best thing that get you know,
• 1:00:50
  Speaker 2: because then you hear other stories of like, oh, yeah,
• 1:00:52
  Speaker 2: she turned into a cycle with one of your friends.
• 1:00:54
  Speaker 2: You're like, oh God, thank god, I dodged that bullet.
• 1:00:56
  Speaker 2: These kind of things. You start seeing these things and
• 1:00:59
  Speaker 2: you just start realizing, oh, there's something, there's something, and
• 1:01:01
  Speaker 2: I look and this is me getting a little woo woo.
• 1:01:04
  Speaker 2: I believe the universe is at bid universe. I believe
• 1:01:06
  Speaker 2: the universe is here to kind of guide you in
• 1:01:08
  Speaker 2: the direction that you are supposed to go on because
• 1:01:11
  Speaker 2: I've just seen it so many times. Like if you
• 1:01:14
  Speaker 2: would have told me twenty years ago, you're going to
• 1:01:17
  Speaker 2: be a podcaster talking to some of the greatest filmmakers
• 1:01:20
  Speaker 2: of all time. I'll be going, first of all, what's
• 1:01:22
  Speaker 2: a podcast? Secondly, put water out of your mind? You're
• 1:01:27
  Speaker 2: out of your mind, and look where I am today,
• 1:01:29
  Speaker 2: and then all And it's so funny, and I've said
• 1:01:31
  Speaker 2: this on the show before. It's fascinating that for so
• 1:01:34
  Speaker 2: many years, all I would have done was to kill
• 1:01:37
  Speaker 2: that speak to people like yourself, to people that are
• 1:01:39
  Speaker 2: in my show, to have that kind of connection to
• 1:01:42
  Speaker 2: people that could quote unquote help me make it in
• 1:01:45
  Speaker 2: the business, let's say. And then without trying. Now they're
• 1:01:50
  Speaker 2: calling me. And the funny thing is that I have
• 1:01:53
  Speaker 2: a fairly decent rolodex, and yet I don't ever call
• 1:01:57
  Speaker 2: anybody that's them for help with why projects or anything
• 1:02:01
  Speaker 2: because it's just not something I want to do. It's
• 1:02:03
  Speaker 2: not the kind of relationships I'm building with them. If
• 1:02:05
  Speaker 2: it's organic, it's different. But it's not like when I
• 1:02:09
  Speaker 2: was like the desperate filmmaker, I would have like pulled up, Hey, Ken,
• 1:02:12
  Speaker 2: can you can you connect it to your agent?
• 1:02:14
  Speaker 3: Kid.
• 1:02:15
  Speaker 2: It's so fascinating to me that that's the reality that
• 1:02:18
  Speaker 2: I'm in right now. And you know, and people listening
• 1:02:21
  Speaker 2: to the show who've been with me for seven years.
• 1:02:23
  Speaker 2: Can see the transition from my very first episodes to
• 1:02:26
  Speaker 2: where I am today and what we're doing. But anyway,
• 1:02:29
  Speaker 2: we've gone off tangent a little bit here, but not
• 1:02:33
  Speaker 2: really because I love.
• 1:02:34
  Speaker 3: The way you say that's not something I want to do,
• 1:02:37
  Speaker 3: because it's somewhere in you that's what you wanted. This
• 1:02:40
  Speaker 3: is a really important thing. The first indicator. You know,
• 1:02:45
  Speaker 3: my din't asked me. When I was like really just
• 1:02:48
  Speaker 3: an acting out terrible teenager, my dad asked me this question.
• 1:02:52
  Speaker 3: He said, you know, Jossy, if you could have anything
• 1:02:55
  Speaker 3: in the world, barring all obstacles, what would that be.
• 1:03:00
  Speaker 3: And at the time, I said, well, I don't want
• 1:03:02
  Speaker 3: to go to boarding school. I want to live with
• 1:03:04
  Speaker 3: you at the beach and you know, go to public school.
• 1:03:08
  Speaker 3: And you know, we couldn't. I couldn't do that at
• 1:03:11
  Speaker 3: the time because he was an actor and he was
• 1:03:12
  Speaker 3: on location. He was terrified of me.
• 1:03:14
  Speaker 2: You know.
• 1:03:14
  Speaker 3: He was a single parent, and my mother sent me
• 1:03:17
  Speaker 3: to live with it at thirteen and said, you take
• 1:03:19
  Speaker 3: care of her. She fears me. So he said, you
• 1:03:23
  Speaker 3: got to go to boarding school. But then I got
• 1:03:25
  Speaker 3: kicked out of wording school, so I got what I wanted,
• 1:03:29
  Speaker 3: not in the best way, but we get what we want.
• 1:03:35
  Speaker 2: So the trick is careful, careful.
• 1:03:38
  Speaker 3: The trick is to listen to what is that, to
• 1:03:42
  Speaker 3: be able to ask yourself somewhere along the line to
• 1:03:45
  Speaker 3: get through this podcast. You had asked yourself and you
• 1:03:48
  Speaker 3: had answered the question, and you looked toward that podcast
• 1:03:51
  Speaker 3: and you discovered that, hey, this thing makes me fully
• 1:03:54
  Speaker 3: happy more than oil and vinegar. Is the podcast I'm
• 1:03:58
  Speaker 3: really you know, and I can contribute here and this
• 1:04:00
  Speaker 3: is the real purpose. We get what we want. So
• 1:04:03
  Speaker 3: the trick is to like, ask that question, wait for
• 1:04:07
  Speaker 3: an answer that losing you, not an intellectual one, but
• 1:04:11
  Speaker 3: one that's exciting to you, and then you know, move
• 1:04:15
  Speaker 3: toward that with actions every day and trust you know.
• 1:04:20
  Speaker 3: And that's what actors do. That's why I could take
• 1:04:23
  Speaker 3: all the lessons that I gave actors and then plug
• 1:04:25
  Speaker 3: them into people and say, look, you can have a
• 1:04:27
  Speaker 3: more artistic life, you can have a more joyous life,
• 1:04:30
  Speaker 3: and the more control of your life using these same
• 1:04:33
  Speaker 3: techniques that actors seems to create a life. Use those
• 1:04:36
  Speaker 3: techniques to create your life.
• 1:04:38
  Speaker 2: It's so fascinating because so many, you know, talking to
• 1:04:42
  Speaker 2: so many different filmmakers of the years, and analyzing my
• 1:04:45
  Speaker 2: own career, there's moments that you are creating a project,
• 1:04:50
  Speaker 2: let's say, because you believe that that's what the market wants,
• 1:04:54
  Speaker 2: or that's going to take you to the next level,
• 1:04:56
  Speaker 2: or you are trying to intellectualize the craft. Not one
• 1:05:03
  Speaker 2: successful filmmaker or writer in my experience on this show
• 1:05:09
  Speaker 2: has ever done anything substantial when they chase the market
• 1:05:14
  Speaker 2: or when they're trying to intellectualize their craft. When they
• 1:05:18
  Speaker 2: do something that is meaningful to them and is truly
• 1:05:21
  Speaker 2: coming from inside of them. It's something that needs to
• 1:05:24
  Speaker 2: come out of them. That is the key to success.
• 1:05:29
  Speaker 2: But to have the courage to do it. And that's
• 1:05:32
  Speaker 2: what these great artists do, is they have the courage
• 1:05:35
  Speaker 2: to go out there and sail. They have the courage
• 1:05:37
  Speaker 2: to go out there and make whatever they want to make,
• 1:05:40
  Speaker 2: and that might be ahead of their time. Every single
• 1:05:43
  Speaker 2: Stanley Kubrick film did not hit their audience when it
• 1:05:46
  Speaker 2: came out. It took generally it's about ten years later.
• 1:05:50
  Speaker 2: Every one of his films. About ten years later is
• 1:05:53
  Speaker 2: when they really go back and go, holy crap, that's
• 1:05:56
  Speaker 2: the definitive film in that genre. The bravery to do
• 1:06:02
  Speaker 2: that again and again and again. And you know, it's
• 1:06:06
  Speaker 2: funny because if you study Spielberg's career and I love
• 1:06:10
  Speaker 2: I mean, who doesn't love Stephen, But he had such
• 1:06:14
  Speaker 2: a run in the seventies from Jaws to Close Encounters,
• 1:06:19
  Speaker 2: and that he's like, I can do then then you
• 1:06:20
  Speaker 2: could see where it went wrong for a second nineteen
• 1:06:24
  Speaker 2: forty one. If you remember nineteen forty one, I do.
• 1:06:29
  Speaker 2: I liked nineteen forty one, I know, but I enjoyed
• 1:06:33
  Speaker 2: it as well. But it wasn't it wasn't something that
• 1:06:37
  Speaker 2: it was obviously one of the biggest failures of his career,
• 1:06:40
  Speaker 2: and he does not talk about but he learned a
• 1:06:43
  Speaker 2: lot from that. I mean, don't feel too bad. He
• 1:06:45
  Speaker 2: did Raiders right afterwards, so he's okay, But it was
• 1:06:48
  Speaker 2: something that went astray, something went off. And I think
• 1:06:52
  Speaker 2: he said somewhere in an interview once, at that point
• 1:06:55
  Speaker 2: he felt that he could do almost no wrong, because
• 1:06:57
  Speaker 2: at that point, there's so many people it's like you
• 1:06:59
  Speaker 2: are the greatest, you were the best things in sliced
• 1:07:01
  Speaker 2: bread at a point and you're like, hey, I can't
• 1:07:03
  Speaker 2: do anything. I'm gonna I'm gonna do my doctor strange
• 1:07:06
  Speaker 2: Doctor Strangelove. That's what I was. It was his Doctor
• 1:07:08
  Speaker 2: strangelovet you wanted to do Doctor Strangelove.
• 1:07:11
  Speaker 3: That movie. You know, it's always the questions did you
• 1:07:14
  Speaker 3: make the view you wanted to make? I mean, if
• 1:07:16
  Speaker 3: to ask more filmmakers outside of it, and then sometimes
• 1:07:19
  Speaker 3: they say yes and it was a shit you know,
• 1:07:21
  Speaker 3: and it makes them go, yeah, what but I wanted to?
• 1:07:24
  Speaker 3: And sometimes they go actually, not really, But I'm a
• 1:07:28
  Speaker 3: lot to courage because there's a wonderful definition she for courage,
• 1:07:31
  Speaker 3: which is, you know, where his courage. How do you
• 1:07:33
  Speaker 3: get courage? So you think you kind of like to
• 1:07:34
  Speaker 3: get courage up. You know, it's like, okay, I'm gonna
• 1:07:38
  Speaker 3: get the courage. There's even an expression, I get the
• 1:07:40
  Speaker 3: courage you do this thing. You don't get courage. You actually,
• 1:07:43
  Speaker 3: if you think of a doorway, if you think of
• 1:07:44
  Speaker 3: a threshold, you walk through the threshold, and courage shapes
• 1:07:49
  Speaker 3: your hand on halfway through and you know you have
• 1:07:53
  Speaker 3: to you have to move toward it. So I'm you know,
• 1:07:57
  Speaker 3: because of thirty years of teaching, I don't believe like
• 1:07:59
  Speaker 3: this has courage. Just one doesn't have courage. You have
• 1:08:02
  Speaker 3: you certainly I'm not successful with all of them. There
• 1:08:06
  Speaker 3: are certain ingredients that you can't teach. You can inspire. Courage,
• 1:08:12
  Speaker 3: though you can inspire it, sometimes somebody's just waiting for
• 1:08:15
  Speaker 3: that one person to kind of make it go click
• 1:08:18
  Speaker 3: in their head and they'll move toward it. It's a
• 1:08:20
  Speaker 3: tricky one though. Courage, You're right, Courage.
• 1:08:24
  Speaker 2: And then also just dealing with fear and dealing I mean,
• 1:08:27
  Speaker 2: I think fear in general, as as people walking the planet,
• 1:08:31
  Speaker 2: we all deal with fear and having it stops us
• 1:08:33
  Speaker 2: and stops us from moving forward. It stops us in
• 1:08:35
  Speaker 2: directions that we need to go to. And I talk
• 1:08:38
  Speaker 2: about fears of a tiger, that's fine, Uh, fear of
• 1:08:40
  Speaker 2: a bear in the room, definitely good. I'm talking about that.
• 1:08:45
  Speaker 2: I'm talking about that other fear that stops you from
• 1:08:49
  Speaker 2: going down the road to write that script, to make
• 1:08:51
  Speaker 2: that movie, to go to that audition, to whatever that
• 1:08:55
  Speaker 2: you paint, that painting, whatever. That fear is of ridicule,
• 1:08:59
  Speaker 2: fear of not being accepted, fear of your family not
• 1:09:02
  Speaker 2: accepting you, or your peers not accepting you, all of
• 1:09:05
  Speaker 2: that kind of fear. When you can break through that,
• 1:09:10
  Speaker 2: that's when that's when the breakthroughs happen and it tell
• 1:09:14
  Speaker 2: me a long time, Alex.
• 1:09:15
  Speaker 3: But channel it. You know, great actors talk about you know,
• 1:09:19
  Speaker 3: they're great actors, and they talk about I saw I
• 1:09:21
  Speaker 3: was going to throw off. I mean opening nights are yeah.
• 1:09:24
  Speaker 2: Yeah.
• 1:09:26
  Speaker 3: But what happens is is you kind of collect it
• 1:09:29
  Speaker 3: and channel it. So when you teach young people about
• 1:09:32
  Speaker 3: fear or sometimes, as you said, I had seventy year
• 1:09:36
  Speaker 3: old people come and say one being acting, which is wondering.
• 1:09:39
  Speaker 3: That's awesome and created acting careers for them. But when
• 1:09:44
  Speaker 3: you tell them these fears are absolutely natural, you know,
• 1:09:49
  Speaker 3: fun those fears. Now, what you want to do is
• 1:09:52
  Speaker 3: accept them and channel them into the work. They're just
• 1:09:54
  Speaker 3: your talent looking for an avenue because once you step
• 1:09:57
  Speaker 3: out on stage, you're fine. The camera rules. You've got
• 1:10:01
  Speaker 3: someplace to go with it.
• 1:10:04
  Speaker 2: And I do that because the camera so the There
• 1:10:11
  Speaker 2: was this great story of Peter Fonda. We'll be right
• 1:10:14
  Speaker 2: back after a word from our sponsor, and now back
• 1:10:21
  Speaker 2: to the show. Who would go on on stage every
• 1:10:25
  Speaker 2: night and right before every performance he would throw up
• 1:10:27
  Speaker 2: in the corner every performance. And he's Peter Fonda. Yes,
• 1:10:32
  Speaker 2: So if Peter Fonda has issues and is nervous before
• 1:10:36
  Speaker 2: a performance. That's at the natural part of life, as
• 1:10:39
  Speaker 2: a part of being the artist. I remember having a
• 1:10:42
  Speaker 2: panic attack on my first day directing my first short
• 1:10:45
  Speaker 2: film that I was arguably one of the bigger things
• 1:10:47
  Speaker 2: I've done at that moment in my career, and it was,
• 1:10:51
  Speaker 2: and I literally had a panic attack. I was like,
• 1:10:53
  Speaker 2: it got into my own head and I like I
• 1:10:55
  Speaker 2: went to I'm like, I didn't do it on set,
• 1:10:57
  Speaker 2: Thank god. I said, hey, guys, I gotta go to
• 1:11:00
  Speaker 2: the bathroom, went out for about ten or fifteen minutes
• 1:11:03
  Speaker 2: while they set up a shot, and had my own
• 1:11:05
  Speaker 2: panic attack quietly in the bathroom and started breathing, started meditating,
• 1:11:10
  Speaker 2: and I didn't even know what meditating was. I was like,
• 1:11:12
  Speaker 2: I'm just gonna do whatever I've seen on a movie,
• 1:11:15
  Speaker 2: closed my eyes and started deep breathing, and then slowly
• 1:11:18
  Speaker 2: calmed myself to the point where I got back out
• 1:11:20
  Speaker 2: on set because it was just so overwhelming. As a director,
• 1:11:24
  Speaker 2: a set can be a very overwhelming place. For an actor,
• 1:11:27
  Speaker 2: a set can be a very overwhelming place, and having
• 1:11:31
  Speaker 2: to deal with that kind of pressure, it takes a
• 1:11:33
  Speaker 2: special set of skills, experience, and person to do that.
• 1:11:37
  Speaker 2: That's what I've seen directors make one and they're done
• 1:11:41
  Speaker 2: because they're like, I can't go through that again, or
• 1:11:43
  Speaker 2: an actor who goes through I can't. I can't do
• 1:11:46
  Speaker 2: that again. It's a special like I love being on set.
• 1:11:50
  Speaker 2: I love it. I absolutely love being on set. I
• 1:11:53
  Speaker 2: love working with other people. I love all the insanity
• 1:11:57
  Speaker 2: that goes along with it and trying to figure out
• 1:11:59
  Speaker 2: the day and figure you're out the performance and creating.
• 1:12:01
  Speaker 2: It's art at the highest level, I feel, because it's
• 1:12:05
  Speaker 2: you're combining with so many other great artists to come
• 1:12:08
  Speaker 2: together to make one piece of art. It is one
• 1:12:11
  Speaker 2: of my favorite places to be. But I can see
• 1:12:13
  Speaker 2: where people just don't have it. They just don't have
• 1:12:16
  Speaker 2: that thing that and and like you said, it works
• 1:12:21
  Speaker 2: itself out if it's how about how bad do you
• 1:12:24
  Speaker 2: want it? Is this for you? And maybe you just
• 1:12:27
  Speaker 2: have to test it to see. Look, I had to
• 1:12:28
  Speaker 2: open up an olive oil and vinegar store and go
• 1:12:32
  Speaker 2: down that path for three years to figure out. You
• 1:12:34
  Speaker 2: know what retail not for me?
• 1:12:38
  Speaker 3: Waw I mean you do, and and all it adds up,
• 1:12:42
  Speaker 3: It all adds up. But you are right. The filmmaking
• 1:12:44
  Speaker 3: industry is very very special. You know, my husband was
• 1:12:49
  Speaker 3: the director and director a lot of episodic, hour long
• 1:12:52
  Speaker 3: episodic and dramas. And then he taught at USC and
• 1:12:57
  Speaker 3: he was from USC, and he tied at USC and
• 1:13:01
  Speaker 3: he's just the greatest thing about USC is you have
• 1:13:04
  Speaker 3: to do everything. Most of the young filmmakers are but
• 1:13:06
  Speaker 3: except they have brilliant equipment, but they're all little gorilla filmmakers.
• 1:13:11
  Speaker 3: And you put them in pods of three and five,
• 1:13:13
  Speaker 3: and you have to do the sound and you have
• 1:13:15
  Speaker 3: to be the cameraman. And you came up see if
• 1:13:17
  Speaker 3: you want to do that thing at all, and then
• 1:13:19
  Speaker 3: suddenly you realize. I mean, one of his best friends
• 1:13:22
  Speaker 3: from film school ended up being an Academy Award winning
• 1:13:25
  Speaker 3: sound man. He thought, they all think they want to
• 1:13:27
  Speaker 3: be directors, but then relever, everybody wants to be a director.
• 1:13:32
  Speaker 3: Everybody wants to be an actor. But he brought that
• 1:13:37
  Speaker 3: wonderful syllabus that he brought to our acting studio and
• 1:13:42
  Speaker 3: we had actors, you know, making these films to discover
• 1:13:45
  Speaker 3: what it's like. And we made directors. You know, out
• 1:13:48
  Speaker 3: of the thirty actors and took that film course, maybe
• 1:13:52
  Speaker 3: five of them are now professional directing, So you have
• 1:13:56
  Speaker 3: to be exposed to you know, everything, because yeah, you
• 1:14:01
  Speaker 3: might want costumer, you might want to be the cinematographer.
• 1:14:05
  Speaker 3: If you've never picked up a camera, how are you
• 1:14:07
  Speaker 3: going to know? And we won't go into you know, education,
• 1:14:11
  Speaker 3: because I really you know that it's true.
• 1:14:14
  Speaker 2: With all education.
• 1:14:15
  Speaker 3: What if we just talked to little kids and said,
• 1:14:17
  Speaker 3: what is it that.
• 1:14:18
  Speaker 2: You think you want to do?
• 1:14:19
  Speaker 3: Let's try that out. You know the big question, if
• 1:14:23
  Speaker 3: you could have anything wanted, barring all obstacles.
• 1:14:26
  Speaker 2: What would that be. I mean, I want her to
• 1:14:28
  Speaker 2: be an astronaut, But that's fine. I wanted to be
• 1:14:31
  Speaker 2: an astronaut. Probably would have worked out really well for me.
• 1:14:35
  Speaker 2: But you know that kind of made its way. It
• 1:14:39
  Speaker 2: worked it.
• 1:14:40
  Speaker 3: Why are you flying?
• 1:14:42
  Speaker 2: You know I'm not particularly good in math. I don't
• 1:14:46
  Speaker 2: have that kind of mind. I'd be a very creative astronaut,
• 1:14:50
  Speaker 2: but I wouldn't have been an astronaut to say the least.
• 1:14:53
  Speaker 2: But yeah, you're right, you have to be exposed to
• 1:14:55
  Speaker 2: some things and just think. Also, and this is a
• 1:14:58
  Speaker 2: very difficult thing for some people to hear. Let's say
• 1:15:02
  Speaker 2: you've had a dream of doing something and you've had
• 1:15:04
  Speaker 2: it since you were a child, and you go down
• 1:15:07
  Speaker 2: the path and it doesn't work out exactly the way
• 1:15:09
  Speaker 2: you want because nothing ever it works out exactly the
• 1:15:11
  Speaker 2: way you want it, because that's just life, and you
• 1:15:14
  Speaker 2: really and then to come to grips with like, you know,
• 1:15:16
  Speaker 2: maybe maybe this is not what I want. Maybe it's
• 1:15:21
  Speaker 2: I want to be a sound guy or a gal,
• 1:15:23
  Speaker 2: and maybe I want to do that. Maybe what I
• 1:15:26
  Speaker 2: really want is to write. Maybe that's where I find
• 1:15:28
  Speaker 2: But for the last ten years of my career, all
• 1:15:30
  Speaker 2: I wanted to do is direct, but that's not working
• 1:15:32
  Speaker 2: out the way I wanted to work out. Maybe I
• 1:15:35
  Speaker 2: really enjoy the writing process. Maybe I should be. That's
• 1:15:38
  Speaker 2: a difficult crossroads for artists to be.
• 1:15:43
  Speaker 3: Oh but if you accept the fact that you're better
• 1:15:47
  Speaker 3: at what you do because of what you did.
• 1:15:50
  Speaker 2: Oh so you mean you wanted that thing, and you did.
• 1:15:53
  Speaker 3: All that eggs and stuff and you learned all that stuff,
• 1:15:55
  Speaker 3: but then you came to this thing. And if you
• 1:15:57
  Speaker 3: just come to this thing, it wouldn't be Jocelyn.
• 1:16:00
  Speaker 2: I wouldn't have a show today unless I would have
• 1:16:03
  Speaker 2: gone to the twenty five years plus of shrapnel that
• 1:16:06
  Speaker 2: I've gone through in this business. And you know, I
• 1:16:09
  Speaker 2: direct when I want to direct, and make my movies
• 1:16:11
  Speaker 2: when I want to make my movies. But I'm so
• 1:16:13
  Speaker 2: happy doing what i'm doing. Everyone's like, when are you
• 1:16:15
  Speaker 2: going to make another movie? I'm like, when I'm ready.
• 1:16:18
  Speaker 2: I'm good when I'm ready to do it, and I'll
• 1:16:20
  Speaker 2: do it. And you know, I like writing books now,
• 1:16:23
  Speaker 2: I like doing this. I like building companies. These are
• 1:16:26
  Speaker 2: things that make me happy and I'm helping people, so like,
• 1:16:30
  Speaker 2: it's okay. I have never given up on my directing.
• 1:16:33
  Speaker 2: I think it's always going to be something I want
• 1:16:34
  Speaker 2: to do because I love It's addiction. It's the beautiful
• 1:16:37
  Speaker 2: illness as I call it, because we can't get rid
• 1:16:41
  Speaker 2: of it, and it's an illness.
• 1:16:45
  Speaker 3: But then you go back to what is the definition
• 1:16:47
  Speaker 3: of success. It can't just be the Academy Award. It's
• 1:16:50
  Speaker 3: too small. So it's in that exclusivity, that ego that
• 1:16:55
  Speaker 3: says you are not if you haven't. She's better than
• 1:16:58
  Speaker 3: he is because she had a series for seven years
• 1:17:01
  Speaker 3: and he's just starting out. It just can't be that way.
• 1:17:05
  Speaker 3: That's not success. But the girl as the series for
• 1:17:08
  Speaker 3: seven years, isn't nearly as happy as this guy who
• 1:17:12
  Speaker 3: just booked his first you know, five lines on a show,
• 1:17:16
  Speaker 3: and it's like I set out to do it and
• 1:17:18
  Speaker 3: I did it, and I'm seventy years old and I'm
• 1:17:21
  Speaker 3: acting for the first time in my life. You know,
• 1:17:23
  Speaker 3: it's really about how you doing day the day, well,
• 1:17:29
  Speaker 3: well in the morning, deal are you making as many
• 1:17:32
  Speaker 3: of the grown choices. I'm living where I want to live,
• 1:17:35
  Speaker 3: I'm seeing who I want to see, I'm married to
• 1:17:37
  Speaker 3: who I want I'm married to, and my kids are
• 1:17:39
  Speaker 3: doing great. You know, these are the components of successful
• 1:17:44
  Speaker 3: life and all of those are under our control.
• 1:17:50
  Speaker 2: Yeah, absolutely, without question. Now, can you tell me where
• 1:17:53
  Speaker 2: people can find your amazing book, The Artists Awakened the
• 1:17:56
  Speaker 2: Spirit with Him.
• 1:17:57
  Speaker 3: You can find it on Amazon or any place that
• 1:18:01
  Speaker 3: books are sold. So I have a website Johnson Jones
• 1:18:05
  Speaker 3: Studio dot com and we're coming out with a fifteen
• 1:18:09
  Speaker 3: part documentary series on a masterclass. We shot with three
• 1:18:14
  Speaker 3: cameras that is amazing. That has actors who've studied with
• 1:18:19
  Speaker 3: me for twenty twenty five years and brand new people
• 1:18:23
  Speaker 3: because that's what I like to do, and they are extraordinary.
• 1:18:27
  Speaker 3: I've never seen anything like this. When we went in
• 1:18:30
  Speaker 3: with three cameras and shot and acting class. And you know,
• 1:18:33
  Speaker 3: we did that in eight weeks and it's really quite beautiful.
• 1:18:37
  Speaker 3: If I do say it myself, I don't know what
• 1:18:40
  Speaker 3: we were doing. I just thought, well, why don't we
• 1:18:42
  Speaker 3: And you know, just like all filmmaking, I thought, you know,
• 1:18:45
  Speaker 3: your director Miles my husband, and we did this film class,
• 1:18:49
  Speaker 3: let's put some cameras in these people's hands and write
• 1:18:52
  Speaker 3: it out and figure it out. And now we've been
• 1:18:55
  Speaker 3: editing it for three years and discovered, oh, this is
• 1:19:01
  Speaker 3: really a celebration of actors and backs.
• 1:19:06
  Speaker 2: That's amazing. I'm going to ask you. I'm going to
• 1:19:09
  Speaker 2: ask you, if your questions ask all my guests, what
• 1:19:11
  Speaker 2: advice would you give a I would normally ask a
• 1:19:14
  Speaker 2: filmmaker screenwriter, but as artists trying to break into the business.
• 1:19:18
  Speaker 3: And artists trying to back in the business, I would
• 1:19:22
  Speaker 3: really find a way to get in conversation with yourself.
• 1:19:26
  Speaker 3: I would find you on autonomy. I would take counsel
• 1:19:30
  Speaker 3: from one person and one person only, particularly as artist,
• 1:19:34
  Speaker 3: and that is yourself. And so meditation can help doing that.
• 1:19:39
  Speaker 3: Just taking in nature because nature will stop your thinking
• 1:19:42
  Speaker 3: a little bits cause she's just you know, oh, look
• 1:19:45
  Speaker 3: at this and create that space to ask yourself in
• 1:19:50
  Speaker 3: questions what do I want? And believe you can have them,
• 1:19:54
  Speaker 3: but they have to come from me. Nobody can tell.
• 1:19:56
  Speaker 2: You what is the lesson that took you the longest
• 1:19:59
  Speaker 2: to learn, whether in the film industry or in life.
• 1:20:03
  Speaker 3: My judgment judgment, I came from a very very that's
• 1:20:07
  Speaker 3: a great question.
• 1:20:10
  Speaker 2: We'll be right back after a word from our sponsor,
• 1:20:16
  Speaker 2: and now back to the show.
• 1:20:19
  Speaker 3: Maybe emotional. I came from a very judgmental family, and
• 1:20:23
  Speaker 3: I am very proud of and artists are very judgmental, right,
• 1:20:29
  Speaker 3: proud of the fact that I practiced that every day
• 1:20:33
  Speaker 3: in every conversation, just creating space for that other person
• 1:20:37
  Speaker 3: to be, to listen to.
• 1:20:38
  Speaker 2: Them and let them be they are. And three of
• 1:20:42
  Speaker 2: your favorite films of all time.
• 1:20:45
  Speaker 3: Well, it's interesting because you set ranch in Spielberg, and
• 1:20:48
  Speaker 3: my favorite Spielberg film is Empire the Son, So beautiful.
• 1:20:54
  Speaker 3: That film just knocks me out. And then you know,
• 1:20:58
  Speaker 3: for some reason, and there's so many, but for some reason,
• 1:21:00
  Speaker 3: I'd have to say to kill Locking Bird because as
• 1:21:03
  Speaker 3: a child, that's one of the first films I just
• 1:21:05
  Speaker 3: entered into a world didn't come out of forever and
• 1:21:13
  Speaker 3: third one, Oh, hello, God, I've gone completely oh truthful?
• 1:21:22
  Speaker 2: Oh you know what it is?
• 1:21:23
  Speaker 3: Member of the film. I think it's les Luge where
• 1:21:25
  Speaker 3: the couple doesn't meet each other. He has a life
• 1:21:28
  Speaker 3: and she has a life, and see them in the
• 1:21:31
  Speaker 3: restaurant and they pass each other. I think it's happy
• 1:21:34
  Speaker 3: happy in the here and anyway. At the end of
• 1:21:36
  Speaker 3: the film they get on the airplane. You go, oh
• 1:21:38
  Speaker 3: my god, they're finally going to meet it. We see
• 1:21:40
  Speaker 3: their rongag show up.
• 1:21:41
  Speaker 2: But I'm familiar with it. Yes, I forgot the name
• 1:21:46
  Speaker 2: of it, but yes.
• 1:21:47
  Speaker 3: Beautiful, beautiful, I would say that's my third.
• 1:21:52
  Speaker 2: Jocelyn. It has been an absolute pleasure talking to you.
• 1:21:54
  Speaker 2: Thank you so much for coming on the show and
• 1:21:56
  Speaker 2: writing this book, and hopefully this episode has helped some makers,
• 1:22:00
  Speaker 2: some screenwriters, some artists out there book inside themselves to
• 1:22:04
  Speaker 2: figure out what they need to do to truly be
• 1:22:07
  Speaker 2: an artist, to truly make a living in this business,
• 1:22:10
  Speaker 2: and connecting to their to their true purpose of what
• 1:22:13
  Speaker 2: they're trying to do here on earth. So I truly
• 1:22:16
  Speaker 2: appreciate you, my dear, Thank you so much.
• 1:22:18
  Speaker 3: Thank you, Ale. It's has been a tremendous honor to
• 1:22:20
  Speaker 3: be on here. I loved your show and I thought, wow,
• 1:22:23
  Speaker 3: he's interested in this book. I love that. So always
• 1:22:27
  Speaker 3: the pleasure to listen to you any more of a
• 1:22:30
  Speaker 3: pleasure you talked.
• 1:22:31
  Speaker 2: I want to thank Jocelyn so much for coming on
• 1:22:33
  Speaker 2: the show and dropping her knowledge bombs on the Tribe today.
• 1:22:36
  Speaker 2: Thank you so much, Jocelyn. If you want to pick
• 1:22:38
  Speaker 2: up her new book, Artist, all you need to do
• 1:22:41
  Speaker 2: is head over to the show notes at Bulletproof Screenwriting
• 1:22:44
  Speaker 2: dot tv. Forward slash three eighty two. Thank you so
• 1:22:47
  Speaker 2: much for listening. Guys, as always, keep on writing no
• 1:22:50
  Speaker 2: matter what. I'll talk to you soon.
• 1:22:52
  Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
• 1:22:56
  Speaker 1: Screenwriting dot tv.