Latest / Yeah Buddy! Podcast / Unveiling 'Scar': A Riveting Western Tale of Greed, Betrayal, and Love

Transcript

Unveiling 'Scar': A Riveting Western Tale of Greed, Betrayal, and Love · Yeah Buddy! Podcast

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Music.
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Yes, yes, yes. What's going on, world? This is your man, Buddy Ramig,
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and we are back at it, y'all, with another episode of the Yeah Buddy Podcast.
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And if this is your first time tuning in, thank y'all for sitting down,
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listening to the Yeah Buddy Podcast.
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If you're a returning friend, thank you for tuning back in. We appreciate the support.
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And you know how we do, like every episode, I like to bring one of my friends
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or a couple of my friends from the entertainment business, sit down,
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we chop it up, see what we got going on, talk about our journeys and our adventures
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in the movie business. and this episode is like no other.
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This episode right here is dedicated to a brand new short film coming out called Scar.
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And right now we got a couple of the filmmakers and the creators of Scar in
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the building right now. So I want y'all to make it live and make it loud for my good friends.
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We got Brandon Larson coming all the way out from, originally from Chico,
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Chico, California, all the way now out here in Sacramento. And we got Dania
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Denise, Dania my bad, my bad.
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Dania, Dania Denise from Fairfield, California.
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Thank y'all for coming out here, tuning in to the yeah buddy
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podcast yeah thank you no worries cool cool
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cool so we brought y'all down stuff like that to talk about like i say your
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short film scar stuff like that do you want to just get into it talk a little
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bit about it yeah absolutely it's a set in the gold rush it's about two prospectors
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they're they find a discovery which is right on this table here.
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And they're torn apart by greed betrayal and the love of a woman Which is Dania
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Classic story It's a classic western Not a spaghetti western though No,
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this is gritty It's really grounded in reality We really strove for authenticity,
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But what's a Spaghetti Western? It's like over the top. So it's campy.
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It's not real whatsoever.
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Trying to think of something like a Roy Rogers or it just doesn't feel real.
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So like the Clint Eastwood, I would say, was the first one that kind of made it feel more real.
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Okay. Those Clint Eastwood movies are not Spaghetti Western.
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I'll fit into the culture. what the Westerns are and stuff like that.
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Exactly. Not a caricature.
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And it's, you know, it's more just really, like you got dropped into a time
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machine and you went, oh, this was what it's like. We really tried to capture that.
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Okay. So what made you choose, like, a Western of all things?
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And I mean, I know we got the gold nugget, the official mascot of Scar.
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Can you tell me what made you choose Western
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times and of course like right how the gold nugget
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plays it yeah i can because i'm from northern california
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so i'm proud of it and if you go back to our
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history the gold rush was huge right you had everybody migrate migrate out here
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to the west for a better life to to to find rich you know to get rich and i
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just feel like that's a story that people can still relate to that that idea
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of gold and people are still gold panning.
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So I actually met people that gold panned, prospected, and the story's set in
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Dutch Flat, which is a historical location.
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So I had all of that in mind, and I did a lot of research when I was writing the film.
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Now, was this the first film that you produced? Yeah, first time I ever produced a film.
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So what was the process like for you, like
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dive it in because like we've known each other for a while stuff like
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that going back to like when i was doing my mixers and stuff like that like so you're from
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chico i'm from uba city we like you know we neighbors and stuff
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like that so for me we both know it's like and you too it's like we gotta go
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out there to get work go find the work go find the work what was it like for
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you to finally like say in your head like you know what i'm gonna just do the
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work on my own i'm gonna just go make my own my own movie yeah that's a great
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question and honestly it's about opportunities, right?
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Because we may not always get those big roles.
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So I'm of the opinion, let me write it and let me get my friends involved.
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Let me get the people that I want to work with like yourself,
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Dania, Justin, everybody who is involved and I can write those parts.
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So if there's like a certain role somebody wants to play, I can come up with
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a story instead of waiting around.
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Because let's say you did a hundred auditions and your goal was to do 100 auditions in a year.
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You might not get a single part. And so I would much prefer to keep it local
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here in Sacramento and get people involved.
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I'm assuming that's how you got Dania involved with the project?
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Yeah, I met Dania at a Tasha B. film mixer here in Sacramento.
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And she was one of the panelists.
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And just all of her answers really drew me in.
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And I was like, this is somebody who I really want to work with.
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So I made it my goal. I was like, I want to work with Dania.
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How can I achieve that? Well, I've got to produce it, right?
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I've got to write it. I've got to reach out to her, see if she's interested,
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because she might say no.
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But that's the worst thing that she could say.
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So yeah, granting that initiative to approach me,
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you know, it is a people person industry, and you don't
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know how to be on somebody's radar until you open your mouth
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and say something so you know we had a good conversation and
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we started following each other on social and you know engaging with each other's
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posts and stuff keeping tabs on what we're doing and so there was no pressure
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it wasn't there's some people who network and they're really really aggressive
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about it but i think you just kind of let things breathe and you know the timing
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is everything for projects especially so when you reached out.
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I really didn't question it i was like send me the script because for me
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that's that's the first thing i asked send me the script you can build it
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all up i didn't see the script because then
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i can really see you know the the ground zero
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of what there is to work with and if i'm drawn into the story if i like the
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writing if i can visualize it then i'm pretty much sold and even though this
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is technically his first project you wouldn't know it based on the results i
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mean it just you you and justin between the two of you really knocked it out
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of the park because usually I wear the producer hat too, where I'm just doing everything.
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So when I see other people do it well, I'm always like, oh, that's refreshing
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because a lot of people want to produce or they're forced to produce.
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They're not actually that good at it. And you guys really excelled. So I was very impressed.
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And I really needed someone multi-talented like yourself, somebody that can
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direct, edit, you do it all.
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And so, and your acting was incredible too so
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that's where it's like if i can get the
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chance to work with dania that would be a dream for
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me and so i was like she came
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to my mind i was like who could direct this and you were one of the first people
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that came across my mind i was glad for that so and so you have experience like
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producing producing films before like that yeah yeah i started my production
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company runaway mill Productions LLC back in 2021.
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So I've been doing everything from spec commercials to short films.
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Screenplays, and the same thing Brandon was talking about.
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I knew I had a built-in network of people I'd been working with from being in
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front of the camera for so many years that when I announced that I was doing
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my own production company, I had my colleagues coming out of the woodwork and they're like, let's go.
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What are we working on? They weren't even worried about, hey,
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they just wanted to do good work and they wanted to work with good people.
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So we share that same mindset and work ethic so,
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I, you know, love directing. I love producing. I help with casting.
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I also act in front of the camera, but that's never a must for me.
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I'm not one of those selfish creatives that's like, I'm going to write it and
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I'm going to be in front of the camera.
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And I love editing. So when people ask me which one would I pick,
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I refuse because I just, I really know the lanes that I'm comfortable in.
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And sometimes you just have to do it yourself to get it right.
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So it worked out in this case. So I kind of want to ask like a similar question,
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like with like with Brandon,
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then like, what was your experience like being being
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an actress especially up here in the bay area and stuff like
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that i mean we say it's diverse but i mean it's it's
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still a struggle you know to go out there and find work so what was your journey
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like being an actress that then led you to say okay let me start my own production
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company especially in 2021 because that's you know pandemic and quarantine and
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stuff like that it took a pandemic for me to do this full time don't ask me
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how it worked out that way.
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The universe is wild, but I was fortunate that I got in early.
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I started acting when I was 15.
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So I got into the industry way before social media and the internet was even
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a thing. I had black and white headshots.
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It's that long ago. So I was fortunate enough to learn the ropes and really
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grow within the industry and do commercials,
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do short films, do some feature stuff, nothing really big, but actually being
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on sets and being so comfortable around productions.
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And it was my second home and it still is so by the time that the pandemic hit
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we're gonna get our yeah we.
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Had a we got a surprise surprise surprise guest coming
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through and stuff like that all the way from i think he just came out from san
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francisco was working on um the movie and a whole bunch of the papa roach thing
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not working yeah i was all like man like when he he like this dude like he would
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come to like my business mixers and they're like he would even just like come
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out to like like when i was doing like my comedy shows would just come pop up
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in my car shows just to come and say, bro.
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I think I appreciate it, man. And then just seeing him like.
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Just popping his head out and stuff all like that to now like being out there
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and stuff all like this is freaking dope okay no worries yeah well we we was
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hyping everybody up but no that's the way we i feel like intro taking care of
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man we got his intro taking them i feel like.
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It's like you know what like you like there's like a surprise birthday party and
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they're like it's the wrong person that walks in and you waste the surprise i feel
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like we just wasted his intro on whoever that was
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we're gonna keep it moving because it's just like on production when murphy's a
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lot of hits you keep it you push take two take two
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yeah but no i was just saying that
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i was fortunate enough to be experienced
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enough already seeing how productions worked and so when the pandemic hit and
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we were all just stuck in the house i told myself okay well i've got the gift
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of time i need to start writing and i have all these ideas and prior to the
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pandemic i started doing indie film with some filmmaker friends shooting on
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the iphone having those experiences those takeaways,
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making those mistakes, but also telling pretty cool stories.
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And I loved it. But I was frustrated with, you know, the lack of work ethic,
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the lack of discipline, people who are clearly there to just do it as a hobby for fun.
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I was there to make it my life. And so in my head, I thought to myself,
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if I had my own production company, this is how I would run it.
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This is the type of environment I would want to foster.
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These are the type people want to work with. So I took those takeaways.
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And that basically became the foundation of Runaway Milk Productions.
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And I was nervous because I didn't go into this industry expecting to direct
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or be a director. It's like, oh, I'm gonna be an actor and it's gonna be fun.
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And then I did a little bit of directing with the previous group that I was
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creating with. And I realized I was like, oh, I actually kind of know what I'm doing.
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So once I found that confidence to know that I was in the right lane and I didn't
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have imposter syndrome, I was just off to the races at that point.
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I knew how to put together a good team, how to execute a good story,
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how to bring it to fruition and not have it take a million years and no one sees the footage.
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Because that's the thing we always do. We're still chasing footage to this day.
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There's something we've forgotten.
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We've done. yeah as actors yeah and i just told myself i refuse granted there
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might be an exception to the rule like diabolical stuff that is just out of
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my control but i'm proud to say that every actor i've worked with every team
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i've worked with they have seen the final results yeah that's really really
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important to me yeah do you think that was kind of what's changed like when you was.
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Producing stuff i mean when you were acting that as far as
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like with producing because like as actors sometimes like we don't really
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want to like market our own product or whatever i mean of course
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we're like it will show like when we like oh look at me i did this but like the
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whole like market aspect and make sure it gets done and stuff like that you kind of like
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i you know i did it type of thing but they like when you switch to
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like being a producer you're kind of like no this
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has to get out we're getting this out we're pushing this out were you more like conscious
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about the about putting your content out rather than being
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kind of like reserved with maybe i'll show somebody this
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yeah absolutely i think the pandemic taught me
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that because i i took my
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time building my company and building the brand and
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collecting the bts and documenting everything because
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i didn't want to have a website where you go to it it's like coming soon check
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back later oh yeah no i want there to be content even though i was just starting
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so i didn't actually launch anything until april 2021 but i spent the year before
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that just collecting content and doing bts and just.
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Building things that would allow people to get a better idea of who I was if they'd never met me.
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Because your work speaks for itself. People can look really good on paper and
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then you get in front of them and you're like, what the hell just happened? Who are you?
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And so I wanted people to feel like they knew me, but that they also knew what
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my expectations were because I do have high standards because filmmaking can
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be really, really great with the stuff you put out or really, really corny.
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And I don't want people to watch my work because they want to laugh at how bad it is. Yeah.
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Right. So I, I really knew the importance of putting content out.
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Getting on the socials, getting comfortable with that medium,
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understanding the best way to, you know, I would do featurettes and teasers
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because yes, the final product's great, but people also are really intrigued
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by what it took to get that certain shot or I couldn't tell it was shot on an iPhone.
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And you know so i love that kind of stuff so i
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really dedicated a portion of my
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filmmaking and creative career to kind of
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cultivating the content that gets people to see how serious you
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are about your crowd okay yeah so you're more
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about the the the quality of the content as
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opposed to just let me just push this out push this out push this out push it
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out yeah because anybody can push out garbage yeah how much how
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many things have we seen that got fully funded or or not or whatever and
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you just went really isn't that the biggest head
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scratch of the world like who do you no like you know like
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like i don't know if it's like the artist thing or like like focus
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so much on like the the production value of
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it as opposed to like there's just somebody telling you like man i just need 10 000
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bucks because you can have all the money in the world and it's still not good
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it's still not good how many hollywood movies do we see that spend millions
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of dollars that exactly and so getting back to scar i did a good two years of
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networking In that span,
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I found a really talented DP,
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who was our DP.
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Joey Ketches, and he's here locally.
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And we used an Arri Alexa 35 with anamorphic lenses.
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So this is really high quality filmmaking. This is a type of camera that you
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would see being used at Sundance.
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I researched it and I had read somewhere along the lines of 60% of the films
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at Sundance Film Festival use this type of camera that we use.
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So it's high quality and
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and like dania was saying you know i'm the type of person too i want to make
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the best quality even if we have to take a little longer to make it the best
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quality i'd rather have that than push something out that might not be the top
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the best that we can make it yeah,
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So what was the collaboration process like between you two? So like I said, so you send Dania. Yeah.
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You send Dania. You see how close it is?
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So you send Dania the script. And then so you like automatically you're like, yeah, I'm on board.
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Yeah. Yeah. I told him I really enjoyed the story. And because I also write,
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it's one of those things where if it's something that I would have written.
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That's also like a double, like huge thing for me.
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So we got on a zoom, me, Brandon and Justin, and I'd never met Justin before. So he was new to me.
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And we just started talking about our expectations and talking about the story.
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And I was asking them questions to kind of fill in the world for me,
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because when you're telling somebody else's story as a director,
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you want to do your best to make sure that you're, you're executing their vision
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while still putting your touch on it.
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But you know, ultimately, I wanted them to be happy with the work that I was doing. Yeah.
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And so we really had a mutual respect that was, it just all of our conversations were so natural.
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There was no ego, there was no like name dropping, you know,
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the usual things that just to me turn me off when I talked to certain creatives.
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We didn't lead with any of that. It's just like, hey, we've got a cool story.
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We want you to be part of the team.
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What can we do to make this happen. So it just, it all just was organic.
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And that's what makes the dream work is teamwork, right?
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Because without a team, it's not about one individual. You have to check your ego at the door.
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That's the biggest thing is being able to collaborate with everybody and finding
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the right people to do the job and do it well.
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And that's the job of a producer is
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what I had to do was assemble that team and
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find all the best pieces to make this film happen
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because i can't do it alone dania can't
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do it alone no yes and you you can you can do your podcast no no way like no
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guess if you have been yeah no guess like no if you have been here like when
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i was first doing this podcast maybe like like because i've been at the space
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for like maybe like two and a half years and stuff when i first like trust me
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like this this whole thing right now is operated by ai but
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if this was like two and a half years no this room was full like we had a whole crew
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and all that type of stuff so like no trust me it was
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it was it was it was uh it was uh you know team effort and
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stuff like that so trust me i understand what you're talking about like you can't
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do it all but i mean until until i could you know hire new people or whatever
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ai is my ai is my pa you know but so now speaking of like doing a whole bunch
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of stuff you did tackle a lot of the the stuff of Of course,
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because you had the experience.
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You know, but like with the directing, the editing and acting in it, how comfortable is it?
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Because is that kind of like a comfortable say, like, I would take over majority
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of the bulk of the work for like somebody else's like project, you know?
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And I almost think like, yeah, you know what I mean? Yeah.
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So like, cause sometimes like, cause sometimes I feel like, like,
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like, like, cause I produce stuff too. And I feel like I could definitely like
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overstep my boundaries.
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Sometimes they'd be all like, no, let's do all this. And we got to do all this.
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I'm like, Oh my bad. No, we're not ready for that. Yeah. It was,
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it actually kind of worked out because when Brandon first approached me,
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I honestly, you were vague and I don't know if it was on purpose.
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Cause I wasn't sure exactly what hat they wanted me to work for the project.
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And I didn't want to assume, I didn't want to go to like, yeah, I want to direct.
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He might have already had a director i didn't know so i
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i kind of played it cool and when we got in the first zoom i
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was trying to kind of suss it out like right so what are
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you thinking and so when they said oh directing i was like yes and then they
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said then you know the editing i was like and so those two alone i was happy
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with and and then they invited me to audition for kate so it was not handed
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to me uh it wasn't one of those things that's what's up though just and i'm
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very I will always say that because people assume, right?
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No, I'm not one of those directors that's like, yeah, I can act.
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So I'm going to be in it too.
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They invited me to audition. That wasn't even on my radar. I asked them about
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the Kate role and had she been cast yet. And they were in the middle of the
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casting process, actually.
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And they said, oh, if you can get your tape in by this time,
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we'll take it into consideration. And I let them know. I said,
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if it's not me, it's okay.
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I would much rather have whoever brings this character to life properly.
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That's what's important to me and then it
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worked out that it was me but yeah yeah and so since
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i had already known the story and just kind of already shown
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them my spin on kate and they didn't really have too much to
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really you know give me feedback on so i was already
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in the ball park which made things a lot easier so i
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knew i had their blessing to take on as much as i did
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and i was very cautious about
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not trying to overstep but with this particular project
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we had a very tight small crew to
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be honest yeah and so we needed like
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brand said we needed those multitaskers they needed me to do
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the heavy lifting and i wouldn't have taken it on if i couldn't have
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yeah so i felt really confident going in that whatever lane i wanted to get
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in i had their blessing and if there was any hesitation or reservation i felt
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confident that they would talk to me about it because that's what mature grown-ups
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do exactly talk through things if something's not jiving if something's not
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meshing you talk it out yeah,
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dope dope and then so with so brandon like similar situation
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what is like what was it like with you going into
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your first production having somebody with so much experience to
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where you could like lean on to them and just be all like just have your mind
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completely at ease and just about oh you know what my first project is getting
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done you know because that's the that's the hard thing man people don't understand
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like film it is like put it together but like once you get to that post-production
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process and all that you'd be like god damn i feel like i don't even want to do this no more.
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I'm like, again?
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Yeah, I know what you're saying. And, and it was a learn as you go for me.
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And I trusted in the team.
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First of all, I, I trusted in Dania. I knew her capabilities.
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You also do a lot of research on people before you consider them.
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And also recommendations from other people help. Just like when you're applying for a job, right?
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Why do they ask for those? Because if you've got a bad reputation,
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it's going to catch up with you sooner or later.
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Especially in this business, in this city, in this town. Oh my goodness.
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Yeah. because what i was looking
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for i took into consideration everybody's
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personalities too and will
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we will we all mesh so i i kind
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of have an instinct with that i know it's
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kind of weird but i don't know how to describe it but it's
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it's just like i feel like this person could
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work with this person just understanding i
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think you know what it is i think it's because i'm an
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actor yeah we spend so much time like breaking down
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characters breaking down people acting in front of being in front of
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people are like you know what and it's weird and that's the thing too like
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we had that that actor's intuition that just kicks in just in real life where
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like you get that energy you get that vibe from somebody like oh i can kick
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it with this person or i gotta stay away from that person and everybody else
23:21
will look at you like you kind of weird like why don't you i'm like no trust
23:23
me it's my intuition i i'm a method actor i know this yeah i hope i answered your question.
23:31
No, yeah, no, you did, yeah. No, it's perfect, man. It's perfect. And then so.
23:35
Working with this small crew, we're going to show the trailer in a little bit.
23:39
I'm trying to wait for Justin DeGare so he can put his own input on,
23:42
too, before we show people the trailer and stuff like that.
23:46
But how long did it take to film this, and then how small of a crew was it?
23:52
I think it was two days. Okay. So it was like 12 hours each day.
23:57
I had some breaks in between a few hours for daylight and things like that,
24:01
but the first day was a beast.
24:05
Yes honestly in hindsight had
24:08
we kind of known i would have done all
24:11
the hotel stuff day one and i would have done the
24:15
last scene i also don't want to spoil it for some people the last scene
24:18
i would have done that at the top of day two okay because
24:21
we had all the outdoor stuff that day anyway but you
24:25
know we crammed it all in on day one so by the end of
24:28
day one we were delirious I'm just
24:31
so glad that you gave us a later call time like
24:34
just that extra hour I just I just everybody's
24:37
just kind of starting to drop like flags you know but the thing is
24:40
like we were gassed but we pushed through everybody knew if we get through this
24:45
tomorrow is going to be so much easier yeah and we got through it and I just
24:50
went we're pushing call time y'all sleeping because we're not doing that like
24:54
that was wild but all the locations were within minutes of each other so it wasn't like a lot of
25:00
you know, company moves from place to place.
25:03
So it was very logistically smart the way that Brandon and Justin put things together.
25:08
Yeah. And that's another thing we had to do was location scout.
25:12
Okay. And we had to get permission from people.
25:15
So this wasn't just roll up and start filming and doing the gorilla type filmmaking. Right.
25:20
Which I, I, I, I fully support that. Yeah. That's what you got to do.
25:25
You got to be careful about what type of film you make with that though.
25:27
But for me, I didn't want to go that route.
25:31
This being my first production, I didn't want to risk getting shut down.
25:37
I wanted to ensure that I did everything correctly, that I followed the rules,
25:43
so that we don't have to worry about that.
25:45
There's so much more to worry about when you make a film.
25:48
If you take on a short film, it is so much work.
25:52
And you do have to wear multiple hats
25:55
because as much as i love just
25:58
to be an actor i think where i
26:01
see my future is producing writing
26:05
and acting and doing all that and and potentially
26:08
directing down the road but i want to learn more
26:11
before i do that yeah yeah and as far as the crew it was aside from us there
26:15
was three talent there was on cdp joey we had our sound op riley we had our
26:22
first AC Edward and then we had a PA Roz wardrobe Chantel and.
26:30
We had key grip was edwin was edwin and
26:33
we had uh script soup michelle yep i
26:36
think that was it no and then we had max who was
26:39
yes max as well right correct and did you
26:42
say rosaline too yeah okay yeah so it
26:45
was enough of a skeleton crew but every single
26:48
person could easily do two to three things yeah individually and
26:52
everyone stepped up when they needed to so it worked
26:55
it was funny we had uh me and brandon was talking earlier about
26:58
like the whole process that we call like independent filmmaking but i
27:01
was like it's it's actually should be like the opposite it's really like codependent like
27:04
we like when you're really like you're really like like like
27:08
you know what i mean like y'all are like in it together like i'm saying like
27:11
like you know i mean just because because you gotta like i'm serious
27:13
like the last thing you want to do is like do it
27:16
and be by yourself with this thing because like the whole the whole or at least
27:20
you know like if i'm wearing somebody has at least let me be with somebody that
27:23
understands the pressure like yeah and the responsibility that i've taken off
27:26
the bill all right let me just all right when with dania got it to be in i said
27:30
it right dania i gotta go it the second time with d i'm gonna say d i saw that.
27:36
I saw i saw the sock time movie buffs thing so i'm gonna
27:39
go with d because i i told myself if i mess it up three times i'm
27:42
gonna just go with d all right for sure so so like like so like with d like
27:46
she got directing editing acting and all this then you know managing these crew
27:50
and all this stuff it's all like it's like hey goodness i got somebody like
27:53
brandon that at least got the logistics right to be all like we were within
27:57
like close to each other you know and all this type of stuff and.
28:01
Like saying y'all out there in the trenches together because I said I saw the trailer.
28:05
And there was stuff that was shot outside like y'all was outside
28:08
people don't understand like when you watch a movie like yeah okay you're inside
28:13
a house watching people outside but like when you're filming the movie like
28:20
everybody's outside and it could be like when you're the person with the camera
28:24
like no I'm holding this carrot.
28:26
I'm breaking this one. I'm holding the sound and all this stuff. It is a lot. So like.
28:32
I said, kudos to having a team that was like, you know, committed to it.
28:36
Y'all was all in there. So I said, because I said, it's codependent.
28:37
Like we are, we are in it together. We are a family. We are one.
28:41
Yeah. People don't understand that if you aren't in this industry,
28:45
if you're not on sets or at least not on sets enough, the camaraderie,
28:50
how comfortable we all are with each other, granted, you know,
28:52
stereotypes aside, it is a family.
28:55
And you get so familiar because you're with these people for 12, 14.
29:00
Longer hours a day sometimes and for several days at a time and
29:02
you're in the same creative space and you're all having
29:05
this collective vision that you're trying to execute and that's
29:08
like you said it's in the trenches and when you finish that project that
29:11
sense of pride that you have the memories and
29:14
the inside jokes and just all the experiences that no
29:17
one else will understand that's special and
29:21
and that's just a world that you it's really hard for people
29:24
to appreciate if they're not in the game yeah because
29:28
when you said like 12 hour days i'm like oh all right that's not bad but
29:31
then like if you was explaining that to anybody else they're like 12 hours why
29:34
why are you doing and people really don't understand what
29:37
it takes to get even a few minutes of footage yeah and
29:40
you're like yeah no we we needed five hours for maybe two minutes of footage
29:44
and it blows people's minds yeah you put it in that perspective yeah or just
29:47
the whole time like if you're like oh we got to get the sunset right you don't
29:50
say like like you'd be prepared all day for that for that that 30 minutes you'd
29:54
be like and once it finally hits you don't say it'd be chill You'd be relaxed
29:57
about, all right, everything's all set up here.
29:59
All right, cool, cool, cool. Just chill it throughout the day.
30:01
But then once it gets started, all right, y'all, go, go, go, go.
30:04
Everybody's all heads on deck. And it's just like, yeah, people don't understand.
30:09
And it don't even matter if it's a big feature film or just like it said,
30:12
even a short film and stuff like that. Because even like some of our short film
30:15
is our big film, you know? It is.
30:17
We're going to take it to wherever it will get us to to take it to our next
30:21
level with our career and stuff like that.
30:23
So what are your goals with Scarve?
30:26
I would say we really want to get it out there and submit to festivals because
30:32
if you're going to make a really quality film, you need an audience.
30:37
Because why else are you making it? Because we got to share it.
30:41
Once you create it, you need to share it with everybody.
30:44
And so I would say our goal is to get it seen here in California specifically,
30:49
focus on our market here.
30:51
And in order to do that, each festival that you submit to costs an entry fee,
30:57
and that doesn't guarantee you that you're selected.
31:01
So we are still raising funds to be able to submit to more festivals.
31:07
So that's really, I would say, our goal. Wouldn't you say, Dania? I think so.
31:12
There's nothing more rewarding than getting into a festival and one that you
31:16
can actually travel to with your team and give everyone that experience to see
31:20
it on a big screen along with the audience. It's really rewarding and satisfying.
31:24
And I think that this particular film is so unique because you don't see a lot
31:28
of Westerns and you don't see a lot of them done to this degree with the production quality.
31:33
So it'd be really, really cool to get on the radars of, you know,
31:37
the directors of these film festivals and who knows who's in the audience that's
31:41
going, oh, wow, you guys did that. That's pretty amazing.
31:43
Let's talk. It's about the follow up and the networking and the meetings and
31:46
just, again, putting yourself on other people's radars and showing what you can do.
31:50
So I'm going to show everybody right now the poster for Scar.
31:54
We have the poster for Scar right up here.
31:56
Show me what went into this.
31:59
Canva. all right i'm at it camba pro
32:02
camba i'm a huge camba fan i'm a graphic
32:05
designer in general when it comes to photoshop and things like that but i
32:09
was looking for something that reflected the tone
32:12
of the film i didn't want to just do some random image or
32:15
a generic image and originally i had
32:18
done about three mock-ups or so one had
32:21
like an all-black background and had a few different you know screenshots
32:24
of us from the film there was one where it was just a
32:27
still with just brandon and justin's characters and
32:30
they instantly were like no we need you in the poster i was pushing to be
32:33
on the poster no we need the three of us definitely love you guys
32:36
and so i did some mock-ups i sent it to them
32:38
we kind of had conversation about what we liked about which
32:42
version and ultimately we felt like that one looked the
32:45
coolest it felt the most true to the tone and
32:48
just the shots themselves it really just shows kind of
32:51
a glimpse into what each character is about yeah it
32:54
definitely has a very gritty feel to it the way
32:57
it kind of i don't know i don't know if there's some sort of love triangle going
33:00
on or something like that but just the way it's laying up with you in between i
33:03
ain't gonna say nothing like that you know uh but that's
33:06
just that's just where my mind went to and stuff like that and then i don't
33:10
know if we had touched on this subject but why did you call it scar that's a
33:15
great question so i was really debating the title and And talking to a lot of people about it.
33:25
I originally was going to call it gold scar, but I felt that it would be better
33:33
suited to just have scar, like scar of the earth.
33:38
And scar can mean so many things. So it's a metaphor.
33:43
What greed can leave you with to the betrayal, all of that?
33:48
What can it leave you with? I think a scar. you
33:51
know and yeah i i i
33:55
put a lot of thought into it because if you
33:57
can sum up the film in one
34:00
word because you really need a title that is going to be memorable right yeah
34:06
and i feel people can remember that no yeah i'll definitely remember it i was
34:12
gonna say i just just popped it to my head like with you submitting to film
34:16
festival have you heard of the wild west film festival i have
34:20
I don't have experience submitting to it, but yes I have heard of it.
34:23
Okay, you know I'm on the committee for it. Well, it's all about who you know.
34:27
Yeah, I was just saying, yeah so I mean, we got that coming up in October and
34:30
stuff like that. Okay, timing's everything. Is that when the submissions due?
34:34
I'm not sure when the submissions are due. I would double check.
34:37
I'm on the comedy side of things, so I just book the comedians and stuff like
34:40
that to perform and stuff like that, but I'm on yeah, I don't watch the movies.
34:43
Hit the film freeway we've made a short list. Hit the film freeway hit the film
34:46
freeway. I have heard of it Yeah, we got some things coming.
34:49
I'll tell y'all off camera, stuff like that. I can't say right now,
34:52
but y'all talk to y'all off camera, stuff like that. But yeah, look forward to that.
34:55
And then speaking of which, I do have the, here's the QR code for the GoFundMe for SCAR.
35:02
So anybody watching this right now on Facebook or wherever we're streaming this
35:07
from, YouTube, Twitch, this is the QR code. You can go ahead and scan that right now.
35:11
That will take you to the SCAR GoFundMe page so you could support their short film.
35:17
You know get it out there to these film festivals and stuff like that
35:19
so yeah i'll leave that up i'll leave the smaller one up there so people could
35:22
um i'll leave that throughout the thing so if people want to they
35:25
can go ahead and uh scan that qr code and go ahead and please go out there and
35:28
support the film scar we're going to show the trailer up here in a little bit
35:31
but until then and stuff like that so like i said film festivals what were we
35:36
talking about pretty much the film festival oh yeah so did you have you said
35:40
you had something in mind that you were were aiming for.
35:43
In terms of festivals? Yeah, as far as festivals. Looking at Sactown Movie Buffs
35:47
would be one that comes right away.
35:50
We want to have it here in Sacramento as well as the Bay Area,
35:54
you know, and we'll also tackle LA, I think would be good. For sure. Yeah.
36:00
And I think what's also cool about being local is it gives our friends and family
36:04
and colleagues a chance to attend as well.
36:06
Yeah. So, I mean, it's great to share it online and people, you know,
36:10
if they're far away, that helps them. But there's nothing like that homegrown
36:13
community where everybody can just go and celebrate a production that you've
36:16
done and see it on the big screen.
36:18
So I think it's a great opportunity for everyone who supports us up here as
36:22
well as in Southern California to, you know, come out and just have a good time.
36:27
And so outside of, like I said, if you do get accepted, well,
36:31
when, let's say when, when you do get accepted to these festivals,
36:34
do you, is it your goal and intention to attend them or do you just want to
36:38
say just to get the, just to get the recognition?
36:40
Should oh no no i'm i'm going to all of them
36:43
yeah i'm going to every single one yeah i will be there yeah
36:46
there's nothing like it yes yeah yeah yeah especially i'm
36:49
gonna be there yeah especially see your work you're seeing your work
36:52
in like like like yeah and like for me because the
36:55
short of my head did it was a couple years ago produced and directed stuff
36:58
like that we finally had the premiere for it's called almost like we finally
37:00
had the premiere for down in la and i said that was the very first time that
37:03
well i had seen it a bunch of times but i said see like the cast and stuff like
37:07
that that was their first time so i didn't even really watch the movie i spent
37:11
the whole time watching like watching their reaction and stuff like that and just being all like,
37:16
huh you know like because that was my first time like with my producer hat on
37:19
you know kind of like i don't want to sound cocky or ignorant but just say oh
37:24
man i helped make these people dream come true but you know what i mean you
37:26
like like like oh yeah i did that shit you don't say it's very rewarding it's
37:30
very rewarding seeing other people happy is that like i don't know what my friend
37:33
called he's like he's called like a.
37:35
Selfish selflessness or something like that but just like you know
37:37
doing something good for other like just feeling good about doing good
37:40
for other people you know you gotta yeah yeah you gotta take care of your team
37:43
even after the film is done it doesn't just stop it don't stop yeah you're done
37:47
filming that goes back to the the codependency part you know that's yeah guilty
37:52
we are in it together yeah we are in it to win it and then so you know what
37:58
do you know how far justin is
37:59
be out till yeah i just texted him he at the time he said he was 40 minutes
38:03
out so i just told him let let me know when you get here okay cool all right
38:08
cool we go let okay well so we go we
38:11
we'll get back to talking about uh scar because i want you know justin to be here to at least,
38:15
you know have some input so you know he can say something and stuff like that so we talk about
38:19
we'll switch up and talk about like other projects that we have been on and stuff like that that
38:22
way you know kind of like tied into how we was able to take our
38:25
experiences and you know put it into scar and stuff like
38:27
that i know brandon was talking about he had did a commercial
38:30
like a did you show you the correct the craig robinson commercial yeah it
38:33
was so yeah yeah that was honestly that
38:37
was a joy for me to be able to work with a guy like craig robinson he taught
38:43
me so much he knew the entire script so he knew my lines he knew his lines and
38:48
that's what you need to do And so being able to get the chance to be with top-notch guy like that,
38:57
it's going to level you up, right, to be with the best.
39:00
And I consider him one of the best.
39:03
And we did that here in Sacramento. I should mention that. Which is even cooler. Yeah.
39:08
So what did you take away from that experience, just, like, seeing somebody
39:11
who does it professionally, like, in these movies and TV shows,
39:14
seeing it, like, up close and personal, like, oh, that's how it's done.
39:18
I got to tell you, I was a little nervous at first because when you show up to set, you don't know.
39:22
So I had no idea that I was going to be acting with him. Oh, really? So I had no clue.
39:29
And the director came up to me and said, by the way, you're going to do a full
39:34
one-on-one scene with him.
39:36
And so I waited.
39:39
This was a long day. I waited eight hours just to get to my part.
39:45
So in that eight hours, what do you think I was doing? Stopped going over your lines? Exactly.
39:50
And his lines, too. But it was in the hot of the summer. So it was 102 degrees
39:57
when we filmed it. And we did it in the semi-truck.
40:01
So we had to shut it off for the camera. Yeah. So it was super hot. No AC, no sound. Yeah.
40:09
We know that. So it taught me a lot about environment, too.
40:14
Every time they slammed the the semi
40:17
truck door the lighting equipment fell so i had to adjust it on the fly and
40:24
they said action oh my god so this happened and i'm doing this with craig robinson
40:29
and you got to deliver yeah i did not delay and i just you know hit my marks,
40:38
so that's what it taught me you have to be prepared for
40:41
anything oh yeah yeah and lady what
40:43
kind of what what sets have you have you worked on because i'm not really you
40:48
know i know him but you know yeah yeah yeah this is our first time meeting so
40:51
yeah yeah yeah yeah i've definitely been doing a lot of commercials and industrials
40:55
up here because that's you know a lot of what we have up here and that's been
40:58
great you know adobe google some of the bigger names and.
41:03
It's just been, it's been really, really chill when it comes to the indie side
41:07
of things, like the short films and stuff like that, you know,
41:09
my agent's not necessarily pushing for those things because that the market's different.
41:14
So it's nice because she's like, yeah, have fun, you know, do your thing,
41:17
build up the material, build up the reel.
41:18
And so I had that great flexibility where she was holding me down in the commercial aspect.
41:22
And I was also able to kind of go after roles and things that kind of spoke
41:26
to the narrative side of my personality.
41:29
A lot of actors poo-poo commercial work, and I don't get that,
41:34
first of all, because one, it's easy money.
41:36
Two, it's a quick character study. Three, it gets you on sets regardless. I want to be on set.
41:41
And casting directors, cast for commercials, film all kinds of stuff.
41:45
So they will remember you, and you build that reputation.
41:48
So those were the kinds of things I was able to work on. And I remember in college,
41:53
I'm an alumni of San Francisco State. and Rent was shooting in San Francisco.
41:59
And so I was an extra on that film and it was the New Year's Eve scene and they
42:06
had shut down the entire street and the director was on the huge jib crane.
42:11
Oh, wow. Because, you know, that's how they did it back then.
42:13
Yeah. And he's just like soaring over us and I was in the limo party and we
42:17
were all dressed up and we had these like really funky retro outfits and hairstyles on.
42:21
And so we were hanging outside the top of the limo And so Rosario Dawson's character
42:27
was, you know, continually walking back and forth in front of us.
42:30
And I didn't know a lot about her at the time to the extent that she's like,
42:34
she doesn't break character pretty much.
42:36
And so we were like, Rosario, we love you. And she like was like walking.
42:41
But you know, no lines from us or anything. And eventually, though, it was a 15 hour thing.
42:47
Because it was a nighttime shoot but they started us you know
42:50
early in the afternoon to just sit around and
42:53
wait then they put us in the limo we got lucky we were in the limo this is san
42:57
francisco yeah oh yeah and eventually after the first couple of hours of doing
43:02
the same thing hanging out the window we were like you know what just gotta
43:04
be fine we didn't care about it it was so cold we ended up on the eddie room
43:08
floor anyway but that was probably the biggest.
43:13
Feature film that i'd had an experience with even just as
43:16
a background you know at the time it was really exciting and then
43:19
i was in an episode of monk when it shot in san
43:21
francisco i was recognizable but i just like walked yeah you
43:25
were featured you guys featured we'll give you that feature we'll give you that feature
43:28
credit yeah put that on the resume yeah so like
43:31
those little things when those opportunities popped up in the bay it was
43:33
always a lot of fun but yeah other than that i was
43:36
i was mostly you know industrials and commercials and things
43:39
like that now tv and film baby let's do
43:42
yeah but it's always fun like i said like when you like do monk
43:44
or whatever like say like we do those type of tv shows or movies that
43:47
like even though you're just even though you just walk in the background for like a second or
43:50
whatever like going back and like showing people
43:53
and stuff like that like like look that's me that's me right that's me right there
43:56
you know you get the experience yeah you got
43:59
the experience you get the bragging rights and then you get you know you got
44:02
sometimes you got little things like that you don't say even though
44:04
you're like all right i'm just a background but like being a
44:07
background on a tv show or a movie it's
44:10
still that kind of like uh like i said i was there
44:13
i was there you know but you know what was interesting about the
44:16
not the rent experience particularly but monk and then a couple of other productions
44:20
i at the time associated the first ad as being like a horrible person because
44:26
they would scream at everybody they were so mean yeah and i didn't understand
44:30
i was like oh my gosh is this what it takes to be a person like this is this
44:33
what they do they're just stressed stuff.
44:35
Did he yell at people? Yeah. Until I got my own first AD, Isaiah,
44:38
and he was super opposite.
44:41
He was chill. He was like a ninja. He would just materialize out of nowhere
44:44
and ask me if I needed anything. And I was like, what do you.
44:48
And I realized, oh, my gosh, you don't have to be those things.
44:51
You don't have to be that angry. What a shocker. You don't have to be an asshole
44:56
to make it in this business. You could actually be nice.
44:58
You could be respectful. You could be humble. Oh, my goodness. You never.
45:02
It blows your mind. To Brandon's point earlier, it's personality.
45:06
If you can have all the accolades, you can have Emmys, Oscars.
45:09
You're a jerk. I don't want to work with you. I don't care about name dropping.
45:14
There's a way to have a conversation where we don't have to brag about what
45:17
done yeah exactly yeah just i can't those types
45:20
of personnel like he's a 10 foot radius i'm honestly grateful for any opportunity
45:24
that i get any type of opportunity whether i you know i did an extra as well
45:30
in the leo film that's coming out and so yeah so that was my first major motion picture,
45:38
experience and justin was in that too so for us to get that opportunity to be
45:44
like to actually, we actually got to, I got to see Leo in action.
45:50
So once I did my part, walking down a hallway, I got to actually watch him do his stuff.
45:57
So I learned from just watching him and Paul Thomas Anderson, the director.
46:02
So getting to see them at work and how they do it, that's, I learned a great deal.
46:08
Is that the man? The man of the hour. The man of the hour, Mr. Justin. Come on in, bro.
46:14
Pull up a chair. Pull up a chair, my guy.
46:18
And got you the microphone. Yep, we got you the microphone. I'll let it go.
46:23
You can hold it if you want to.
46:24
You can hold it in your hand. I guess we'll do whatever else is good.
46:28
Join the cool kids. You just have to scoot it a little bit closer to Brandon, but you're all good.
46:32
For sure. Yeah, we got a whole big-ass family right now. We got the whole Scar
46:35
family. The whole gang is here.
46:37
Let's start with Justin. Where have you been at, man? Where have you been from?
46:40
We was actually just talking about our adventures on different movie sets.
46:43
So this is actually a perfect time for you to hop in and stuff.
46:46
Everybody, this is Justin McDavid. Y'all tune in.
46:49
Another actor from Scar. We already did our introduction. My bad.
46:52
We wasted your good introduction on somebody that just walked in like randomly.
46:57
We thought it was you. We thought it was you. So we was doing this whole big
47:00
intro for like when you walk in and then it was like, no, wrong person. I'm like, ah, shit.
47:05
It's kind of comedic actually. Yeah, yeah.
47:09
But you just came back from San Francisco? Yes, San Francisco. Can you talk about it?
47:16
I see people posting about it on social media, but if you don't want to, it's all good.
47:22
Oh, the one I was just at is probably pretty known, I think.
47:27
So I think the title is Artificial. Yeah, yeah, yeah.
47:32
There was, I think, three or four things going on in San Francisco around the
47:37
same time, and I've hit three of them. Yeah.
47:40
Did you work on Steel Harp? Yeah. Okay, for sure. Yeah, yeah.
47:43
And then a short film off there too.
47:45
Okay, dope, dope, dope, dope, man. So what was your experience like working on a...
47:50
Artificial? Artificial, yeah. So today I go to sit on a park bench and...
47:55
Life of an extra. Yeah, yeah.
47:57
And then I was kind of like, I've been doing a lot of traveling,
48:00
so I'm trying to find my moments to take my naps and things like that.
48:05
But luckily, after I was on the park bench, I got a picnic blanket,
48:10
and it was on a sloped hill.
48:12
So I just sat there and fell asleep for two, three hours.
48:16
Nice. Nice. On the set?
48:19
As long as they're not watching. No, it's all good. No, man.
48:21
Please have it, man. Don't come to me. I was performing my role. My guy was sleeping.
48:26
Method acting. That's all good method acting. That's all it is.
48:29
That's all it is, is stuff like that. That's funny.
48:32
Cool. So now that Justice is here, we can bring it back to Scar now.
48:35
We could talk about so they was all given their experience about working on Scar.
48:39
Tell us about who your character is and how you got on board with Scar.
48:43
I know you and Brad have been homies since day one.
48:48
Yeah, my character's name is Holt. He is pretty.
48:54
General kind of like an everyday man kind
48:57
of role he's got his mission you know
49:00
he goes out on the trail and he wants to find
49:03
something that that'll give him a path to achieve more in life than he's you
49:09
know than he's previously been accustomed to and as far as far as coming into
49:14
the production brandon shared the initial script is his first first chapter from back in,
49:21
and I was interested in the roles,
49:24
the story, and the dynamic between the characters that were in the script.
49:29
And so then me and Brandon just went back and forth on some ideas and things
49:33
that we could do to change it.
49:35
And then in some aspects to make it more simple due to budget constraints and
49:40
locations, the things I felt.
49:42
Okay, nice, nice, nice. And then so what was your experience like?
49:47
You being on the set, like I said,
49:51
type of stuff bro you've been busy you've been busy grinding
49:54
stuff like that so how are you like like taking that experience like with all
49:56
the work that you've been doing and then now being able to apply that to scar
50:01
so i or was it the opposite where you did you do scar you was like you know
50:07
what now man this is about to kick some fucking ass out here so i'm about to
50:10
really gotta get out there and get my name oh mom we could cuss too i didn't
50:14
know i didn't know i could have said.
50:16
Yeah we could we could we could yeah we could cuss out this
50:19
thing so uh i mean no matter
50:22
what the role is i approach them the same like i
50:25
i give it my my all like for example when i'm talking about like sleeping on
50:29
the picnic a blanket you know like fully all in that you know eyes closed i
50:35
don't know if i was snoring but you know they didn't wake you up you wasn't
50:38
yeah right nobody So Halt was...
50:46
It was an interesting character. It was one that I got.
50:51
The main difference, I would say, was I got to spend a little more time getting
50:55
to be inside the character, building it out, living it, and then seeing the dynamic.
51:01
Something that I don't usually do is being behind the camera,
51:04
being on the production side.
51:05
So it was kind of mixing or kind of keeping those separated.
51:11
But existing to do both roles. Yeah. You said you don't like being?
51:16
Not that i don't like it i just typically don't do
51:19
it because i want to stay in one lane and you know
51:22
drive forward in that one but if if the
51:25
mission calls for it i'll do what's necessary no no no i completely i just didn't
51:28
hear i just didn't hear but i don't know i completely understand that that's
51:31
exactly how i am and stuff like that i was like until until until that until
51:34
that colleague came my way i was strictly like man no i'm uh like i remember
51:38
i i feel so i feel i feel ignorant about it now and stuff like that but like
51:42
short from i did like way back in the day.
51:44
And the director's like man there's so many great opportunities like
51:47
being on a movie said if you just focus on like doing like the
51:50
behind the scenes stuff like you like be a gripper you know
51:53
say they're even like just a simple thing for like being a prop master
51:56
and i was all like hell no i'm uh i am
51:58
i i did not do method advice they're traded to you know
52:01
to do the props i'm like i want to be an actor but like
52:04
i was like no yeah i was i was i
52:07
was dead fast i'm like no i'm just strictly in front
52:10
of the camera but like i say like switch it
52:13
over to like try to direct it try to produce and stuff like that uh
52:16
last i have started to like see myself lead more
52:19
towards that way i'm like oh okay yeah i'm no longer just
52:22
an actor i'm a filmmaker now i'm a
52:25
filmmaker yeah i've crossed over yeah i'm on
52:28
the dark side yeah and then so
52:31
what are some things that you want people to know about like with this
52:34
film scar that you that you're you're proud to you know said like
52:37
this happened why this happened well i think
52:40
what i want people to know the most about the
52:43
film is just to take away from the fact that
52:46
this isn't like a western you
52:50
know back in the day where you had these sharply distinct characters where dylan
52:55
was black and evil and the hero was white and good that everybody in these worlds
53:00
are a little bit of gray and and that's who we are We're not distinctly one
53:06
flavor, we're a little mixture.
53:07
And so when the question comes up, whatever the question is,
53:12
you don't know what you're going to do until it happens.
53:15
So maybe just approach it when you see somebody else reach that question with
53:20
a little more empathy and an open mind.
53:25
So I said, we have been waiting for a while, but I'm going to show everybody
53:27
the trailer right now. Like I said, it was the boat player, but I'm going to
53:30
go back and, you know, I'm going to do my thing.
53:32
But yeah, so everybody right now here, this is the trailer for Scar.
53:35
So before we do show, do you want to tell anybody what we can expect to see from the trailer?
53:40
Well, the hard thing about this is there's so much we couldn't show because
53:44
it would give away so much. It's a short.
53:47
So we tried to find a way to find little sneak previews of each character,
53:52
give you a bit of a sense of who they are, and then how they kind of intersect.
53:56
So we did that to the best of our ability without completely giving everything
53:59
away. Okay. So the TLDR is what you'll see in the trailer?
54:03
All in movie two. Okay. Okay. Cool, cool, cool, cool. For sure.
54:07
That's good to know. Marvel be doing shit. Like, they'd be all like,
54:10
look at it. 30%, like 50% of this trailer is not in the movie.
54:14
I was like, where'd this go?
54:16
Like, is the trailer in the room with us?
54:20
All right. So yeah, so we're going to show everybody here the trailer for Scar right now in three.
54:27
What'd you do if you got rich?
54:34
This woman looks familiar. How do you know her?
54:43
When gold becomes the color of greed, the odds of success grows more scarce by the day.
54:54
It's coming for us.
54:56
I feel it in my bones.
55:01
All right, cool. Dope. Yes, that was the trailer, y'all. That was the trailer
55:03
for the new short film, Scar, that is going to be... How far along are y'all
55:08
in the post-production process for it?
55:10
We're about 95% done, actually. We've got a quick ADR session coming up this
55:15
Monday, actually. We're putting these guys to work.
55:17
And our musical score is coming along beautifully. Oh, my God.
55:21
Who's doing the music for it? Kevin Edelson. Yeah? And he is so talented.
55:26
And we're just excited to have his magic kind of grace this because we had talked
55:33
heavily about the use of music and really building the world out for the audience.
55:37
But we didn't want the music to take center stage.
55:40
We didn't want it to dictate how people were going to feel about it.
55:44
And we just wanted to like accent.
55:46
And, you know, Kevin understood the assignment. So far, the working relationship,
55:50
the communication has been really stellar.
55:52
He's, you know, he's like, what do you think about this? and then we kind of
55:55
collaborate and bear our notes and we give to him he goes okay cool there's
55:58
no ego from him where he's like well i'm gonna die on this hill i really want
56:01
he's just like okay let me go back to the kitchen and start picking and then
56:04
he gives us the food and it's delicious.
56:07
What's it like trying to uh like trying to
56:10
keep up that momentum from like because there's so much excitement going into
56:14
like the like the pre-production that like actual the shooting and stuff like
56:16
that to like the post-production process could be so like drawn out and stuff
56:21
like that to where so like one of the things is like producers and then as an
56:25
actor what are some of the things that y'all do to like after a project is done like
56:29
try to keep up that momentum go like you know okay let's get this done like
56:33
from the actor standpoint just waiting for it to come out but then let me try
56:37
to find other projects to do it between then.
56:39
So aside from the direct post-production, like editing, it's a lot of social media marketing,
56:46
connecting with people, networking, reconnecting with the team after the wrap
56:52
and making sure that they're reaching out to their networks.
56:55
They're still excited to promote the film. Things like that. Yeah.
57:00
Once the trailer dropped, they kind of reignited the crew.
57:04
Because when you're crew, you're on to the next thing. Not that the project
57:07
wasn't special, but it's the grind.
57:09
Yeah and so for for us we continually see
57:13
the footage we continually are in the world but for them they
57:15
are they're telling other stories and so when the trailer dropped oh
57:19
my god yeah they're so excited so that
57:22
was satisfying to go okay got a little bit here
57:25
to wet the whistle yeah yeah no that was
57:28
funny because like when i did short for like almost i was like like
57:31
for the can i see it i saw it maybe a hundred times before anybody
57:34
else seen it you know i'm saying but like i was calling up the other producer i'm like yo this is
57:37
a really good ass movie we got to go out and celebrate this like all right
57:39
whatever whatever you know it's like because they kind of like you don't say the dude
57:42
don't move it off thing i'm like oh no it's a good ass movie every couple months i
57:45
know this is gonna be good and then finally like when i
57:47
showed to them and stuff like that like when they saw like in like la they're
57:50
like hey yo we gotta go out and celebrate i'm like yeah that's what i've been
57:52
telling y'all like but like you say you got a little things like that especially
57:56
when you know you got a good project on your hand you're like it's not hard
58:00
to keep up that momentum but like i said it could just be a long draw out process
58:03
and that's where like things like life comes in like real life,
58:06
you know, so now you no longer have this 12 hour.
58:10
Two 12 hour days like set schedule like we're doing this.
58:14
It's all like, it kind of be all like three hours on a Monday and then like,
58:19
you know, okay well, my day off, I'll get the whole day off to do this or,
58:22
you know, in between laundry and all this other type of stuff.
58:24
You know, there's so many other different type of factors that now like life
58:28
comes at you and stuff like that to kind of keep it going.
58:31
So like so that's why I want to, you know, get churf feedback about like
58:34
what it's like to keep up the momentum for anybody that's watching that's all like
58:37
they know what that post-production process is like what like
58:40
no so things to you know keep them going it's all
58:43
about momentum from the start to finish because the
58:46
thing is is the goal is to make the film right and and any delays in the production
58:53
can stall it can and so the goal is you got to get it done you got to get it
58:59
done whatever it takes yeah no excuses right yeah Because,
59:03
you know, that's the kind of person I am.
59:05
It's like my goal is if I was always raised like if you're going to start something,
59:10
finish it. Yeah, yeah, yeah.
59:13
So that's for better for worse.
59:16
Because I said this was just a short film. I don't want to say just a short
59:19
film because no such thing is short, you know what I'm saying?
59:21
But like, you know, like the script.
59:23
When did you write the script before actually like going into production?
59:26
Earlier this year, I started writing in January.
59:30
Towards the end of January got Justin the draft first draft in February and
59:37
four drafts later, I believe you saw the final draft.
59:41
Yeah. And so that was over 50 hours of labor. Yeah. I'll give you an idea of,
59:47
of what that was like for me.
59:49
And that's why I just wanted to like the highlight just to let people know and stuff like that.
59:52
Like you said, it's a short film, but like, like, like how long is it going
59:56
to be like, like 15 minutes, 15 minutes, about 15 minutes.
1:00:00
From January to like, bro, we're about to be in August. You know what I mean?
1:00:04
People, like I say, when people, you see people may not understand what the
1:00:09
process is like to make a movie or what people actually go through to make a
1:00:12
movie, but when somebody tells y'all I'm making a movie,
1:00:15
sit back or either help or get back, man. Get out of the way.
1:00:18
You know what I'm saying?
1:00:20
And for us, that's a relatively quick turnaround time by comparison. We know that. Yeah.
1:00:26
The regular person is like, yeah but there are some people who have the same
1:00:29
type of project and it takes them years or never at all who made ours in 2022
1:00:34
you know wow that's sometimes that's that's part that's part of the journey
1:00:39
that's part of the journey so yeah so no so hats off and commend you know to y'all for,
1:00:44
even like saying getting this far to where i said within the same calendar year,
1:00:48
yeah you out here promoting because this ain't the first podcast and all the
1:00:50
things y'all be doing so y'all been out there making hustlers and what and you
1:00:55
don't really see that from too many i mean we could wrap up this episode a little
1:00:58
bit and stuff like that, but we're just jabbering right now.
1:01:00
But like, you know, anytime y'all want to get up, y'all can just get up and
1:01:02
leave. I'll just talk to myself.
1:01:05
Marathon episode. No, but like we can talk about this and then wrap it up and
1:01:09
stuff. Oh, see, now I totally forgot what I was about to say.
1:01:12
It'll come back to me in a little bit. Anyways, so we was talking about,
1:01:16
oh, short films, all the process of getting it done, the momentum.
1:01:20
Yeah, you know what? We've been rambling for a minute. We could probably wrap
1:01:23
up this episode and stuff like that. I lost my count and stuff like that.
1:01:26
We really appreciate you having a song, buddy. Oh, that's right. Thank you.
1:01:32
Now y'all gotta stay for another hour. Now y'all gotta stay for another hour.
1:01:35
You don't really see too many people out here like, I don't want to knock on
1:01:39
anybody, but what I haven't really seen, like, pushing a short,
1:01:43
like y'all, like I said, like y'all are pushing a short film.
1:01:45
Like it's a feature film, like going out here, promoting it,
1:01:49
doing these different podcasts, all these types of interviews and stuff, all like that.
1:01:52
What do you mean like from, from that standpoint, like put it in your head,
1:01:56
like we're going to promote it, like, like really like promote this film.
1:01:59
I think it's kind of like the core to who we are.
1:02:03
Like when we all approach something, we want to, well, first off,
1:02:08
we want to tell stories, right.
1:02:09
And we want to tell quality stories and we want to do
1:02:12
it in a quality way so when we achieve
1:02:15
that we feel we want we
1:02:18
wanted to get out to people we want people to see and be
1:02:20
able to enjoy it and you know ask those questions or come
1:02:24
up with those thoughts or say hey that's interesting
1:02:27
hey maybe that inspires me to tell a story or
1:02:30
to you know think about the past or anything well
1:02:34
no one makes a movie so that people don't see it yeah yeah
1:02:38
yeah so many projects get
1:02:41
made and then forgotten and you know all projects
1:02:44
have a shelf life to a certain degree but when you put as much time and heart
1:02:48
as we do and our team does you want to do it justice you want to remind people
1:02:53
that hey it's not even about like us our team did this let's get them more work
1:02:58
you know when the work gets seen
1:03:00
and people go oh my gosh, who did the cinematography? Who did the music?
1:03:04
We're more than happy to give those people names because I want to put my people
1:03:08
to work. That's my number one goal as a filmmaker.
1:03:10
Obviously, it's not to tell stories, but I want to put these guys to work.
1:03:14
So you can't do that if people don't actually know what you're doing.
1:03:18
And this, you know, you treat it like it's like your child. You want it to shine
1:03:22
and you want everyone to know how amazing, how special it is.
1:03:26
And on that note, any closing notes? That was a good way to end it.
1:03:31
Very positive, very uplifted type of thing. So I feel comfortable closing it
1:03:35
right there. I just wanted to thank you for having us on your podcast, buddy.
1:03:40
And we really appreciate you. We think that you're doing excellent things here in Sacramento.
1:03:45
And we want to lift you up. And anything that you ever need from us, please.
1:03:49
So thank you for giving us this time. I appreciate y'all sitting down on the
1:03:52
podcast and stuff like that.
1:03:53
This was dope. Like I said, I haven't done like a lot of the other,
1:03:56
a lot of the interviews I've been doing recently have all been virtual and stuff like that.
1:04:00
So this is a good time for me to appreciate y'all like making the drive and
1:04:03
the commitment to come out here and sit down and stuff like that.
1:04:05
So rock with y'all. So, um, I was at any time y'all got something coming up,
1:04:09
even if y'all want to come back and promote scar again, like know what film festival it is.
1:04:12
You already know y'all more than welcome to sit down at the ad buddy podcast,
1:04:15
but let everybody know where they could find you and how they could follow you
1:04:18
and, you know, hear more about the scar journey.
1:04:21
You want to learn more about me? it's d-a-n-i-a-d-e-n-i-s-e dania
1:04:26
denise that's the same handle for instagram facebook daniandenise.com for my
1:04:32
production company runawaymillproductions.com and you can also find me on ig
1:04:36
at runawaymill productions best way to get in touch with me is through instagram
1:04:41
at brando larson l-a-r-s-o-n.
1:04:46
And then mine would be Instagram too it's Justin underscore S underscore McDavid
1:04:51
it's M as in Mike, C as in Charlie,
1:04:53
D as in David A as in Alpha, D as in Victor, I as in Ice Cream C as in Tom,
1:04:57
T as in Tom and then the film's Instagram account is Scar underscore.
1:05:02
Film underscore 2025 alright, sure, yep, yep and you know me man,
1:05:07
Buddy Ramik you can catch me at YeahBuddyEnt on all my Instagram and social
1:05:12
media handles and if you want to follow the YeahBuddy Podcast.
1:05:15
You know, we're streaming on all platforms where we stream your podcast.
1:05:18
You can go to YeahBuddyENT for more podcasts, stand-up comedy,
1:05:23
sketches, and all that good jazz.
1:05:25
Like I said, y'all, this was another episode of the YeahBuddy Podcast.
1:05:28
Thank you again for my guests for sliding through.
1:05:30
If you were a returning guest, thank y'all for tuning in. And if this is your
1:05:32
first time, I hope y'all come back next time.
1:05:35
We're going to point to this camera right here, y'all. This is the camera.
1:05:37
We out, y'all. Deuces. Yeah, buddy.
1:05:43
Music.