Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 789: The Indie Filmmaker’s Journey: Curt Wiser on Creativity, Persistence, and Making Cam Girl

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IFH 789: The Indie Filmmaker’s Journey: Curt Wiser on Creativity, Persistence, and Making Cam Girl · Indie Film Hustle® - A Filmmaking Podcast

• 0:03
  Speaker 1: You are listening to the ifh podcast Network.
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  Speaker 3: Welcome to the Indie Film Muscle Podcast, Episode number seven
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  Speaker 3: eighty nine, Cinema Should Make You Forget You're sitting in
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  Speaker 3: a theater, Roman Polanski.
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  Speaker 2: Broadcasting from the back alley in Hollywood. It's the Indie
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  Speaker 2: Film Hustle Podcast, where we show you how to survive
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  Speaker 2: and thrive as an indie filmmaker in the jungles of
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  Speaker 2: the film biz.
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  Speaker 4: And here's your host, Alex Ferrari.
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  Speaker 3: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
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  Speaker 4: I am your humble.
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  Speaker 1: Host, Alex Ferrari. Today's show is sponsored by Rise of
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  Speaker 1: the Film Entrepreneur How to turn your independent film into
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  Speaker 1: a profitable business. It's harder today than ever before for
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• 1:50
  Speaker 1: today's episode with guest host Dave Bullis.
• 1:54
  Speaker 5: This week's guest is a writer, director, producer who is
• 1:57
  Speaker 5: currently residing in Florida. Again, I want to feature filmmakers
• 2:01
  Speaker 5: that don't actually live in either.
• 2:02
  Speaker 4: New York or LA.
• 2:04
  Speaker 5: I think it's very refreshing whenever you have somebody that's
• 2:06
  Speaker 5: not in one of those two spaces, in North America
• 2:09
  Speaker 5: or in the United States of America, I should say,
• 2:13
  Speaker 5: you know, this guy's latest film, Camgirl, is out now.
• 2:15
  Speaker 5: On DVD and through Amazon Prime. This is a very
• 2:18
  Speaker 5: good conversation about writing without distraction, finding time to actually write,
• 2:25
  Speaker 5: how he actually found an agent and manager or producer
• 2:28
  Speaker 5: just by getting.
• 2:29
  Speaker 4: A script out there. And also we talk about.
• 2:31
  Speaker 5: A lot about making this film and how he actually
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  Speaker 5: did it on a shoestring budget, one location. We're gonna
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  Speaker 5: hear all about that good stuff with guest Kurt Wiser.
• 2:40
  Speaker 4: Yet you know you're you're in Florida.
• 2:42
  Speaker 5: I forgot about that too up and until you know,
• 2:44
  Speaker 5: I started actually doing all the research for the podcast
• 2:47
  Speaker 5: episode because you know, I always forget where everybody's from
• 2:50
  Speaker 5: because I meet so many people online. That's how you
• 2:53
  Speaker 5: and I met, and I'm always like, man, where does
• 2:55
  Speaker 5: this person live? Well, in my worldview, Kurt, they either
• 2:58
  Speaker 5: live in New York or they live in La so
• 3:02
  Speaker 5: and they don't even live in Philadelphia in my own worldview.
• 3:05
  Speaker 5: So it's like, you know that I forgot. I sometimes
• 3:07
  Speaker 5: forget that there are other, you know, places besides New
• 3:11
  Speaker 5: York and La.
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  Speaker 6: Yeah, I mean, and in fact, that's something I was
• 3:15
  Speaker 6: thinking about. It's kind of weird how even on the
• 3:17
  Speaker 6: same coast, we're kind of like in the same I
• 3:22
  Speaker 6: wouldn't say predicament, but kind of just situation where we're
• 3:24
  Speaker 6: kind of really close to these meccas in the film industry.
• 3:27
  Speaker 6: You know, I've got Georgia just north of me where
• 3:29
  Speaker 6: all the tax right ups are, and I keep seeing
• 3:32
  Speaker 6: that the Georgia peach, you know, made in Georgie at
• 3:35
  Speaker 6: the end of like all TV shows and Zombieland and
• 3:39
  Speaker 6: The Walking Dead. It's just like, man, So it's like
• 3:43
  Speaker 6: kind of a strange thing. It's just like calling me
• 3:45
  Speaker 6: north or west or something. But so, I don't know,
• 3:49
  Speaker 6: it's interesting thing to kind of navigate.
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  Speaker 5: So let me ask you this when you because you're
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  Speaker 5: an independent filmmaker in Florida, you know, do you notice
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  Speaker 5: like in your in your area, in your town, is
• 4:01
  Speaker 5: there like an interest in filmmaking or are you sort
• 4:04
  Speaker 5: of like the the sort of needle in the haystacks,
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  Speaker 5: so to speak.
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  Speaker 6: Well, i'd say, and this is kind of interesting for
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  Speaker 6: aspiring filmmakers to know, is that No, there's definitely a
• 4:17
  Speaker 6: pretty prominent, you know, independent film industry. In fact, I'm
• 4:22
  Speaker 6: sure that'd be the case in a lot of places.
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  Speaker 6: Like it's more there's an active interest because it's not
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  Speaker 6: it has more novelty to it because there's not you know,
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  Speaker 6: big productions everywhere, and you know, it's not like New
• 4:36
  Speaker 6: York and Georgia and California, where you know, it's it's
• 4:42
  Speaker 6: it's not. For instance, for instance, if you have a
• 4:44
  Speaker 6: location you're looking for, if you're trying to go to
• 4:47
  Speaker 6: some coffee shop and you ask them, oh, we go
• 4:48
  Speaker 6: to film here, you know, it would be like, oh,
• 4:50
  Speaker 6: we're making a movie. You would be like, oh, really
• 4:52
  Speaker 6: that's interesting, you know, oh yeah, you know, it'll have
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  Speaker 6: some uh some some clout to it. As opposed to
• 4:59
  Speaker 6: you know, New York. They'd be like, Okay, it'll be
• 5:01
  Speaker 6: you know, X amount of dollars for one day and
• 5:03
  Speaker 6: I hope you'll you know, or they'll say no because
• 5:05
  Speaker 6: they've been you know, it's been a disaster before where
• 5:08
  Speaker 6: they've had film crews there that you don't mess the
• 5:11
  Speaker 6: floor or whatever it is, you know. So I'd say
• 5:14
  Speaker 6: it's an opportunity to get credits, to kind of get
• 5:17
  Speaker 6: an experience, which I've definitely taken advantage of over the years. Now.
• 5:22
  Speaker 4: Yeah, it's one of the benefits.
• 5:24
  Speaker 5: I always tell people if they live, you know, in
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  Speaker 5: the Midwest or even in any sort of rural area.
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  Speaker 5: They have more benefits than they think than they think
• 5:32
  Speaker 5: they do, because you can just go out to somebody
• 5:35
  Speaker 5: like a restaurant or a local business and at least
• 5:37
  Speaker 5: approach them and it be a little easier than say,
• 5:40
  Speaker 5: if you're in la and you say, hey, I really
• 5:42
  Speaker 5: like your office or your restaurant. I'd love to film here,
• 5:45
  Speaker 5: and they say, oh, yeah, you know, that'll be you know,
• 5:47
  Speaker 5: five thousand dollars a day. That actually happened to a
• 5:49
  Speaker 5: friend of mine, by the way. He actually found this
• 5:51
  Speaker 5: little deli that opened. I don't know why. It's not
• 5:55
  Speaker 5: really a deli, it's more like a breakfast spot. But
• 5:57
  Speaker 5: but they.
• 5:59
  Speaker 4: He basically said, hey, I like the film here.
• 6:01
  Speaker 5: Well, they let him, you know, film there before they
• 6:03
  Speaker 5: opened on like Sunday mornings before they opened at like
• 6:06
  Speaker 5: five or six am. And suddenly they started like charging
• 6:10
  Speaker 5: a little more and then asking for a little more,
• 6:13
  Speaker 5: and then finally they said, like it was going to
• 6:15
  Speaker 5: be like six thousand dollars or something to film there,
• 6:17
  Speaker 5: and he goes, what the hell.
• 6:19
  Speaker 4: So, you know, when you know, guys like us, we
• 6:21
  Speaker 4: live close by.
• 6:22
  Speaker 5: I live very close to New York, about two hours away,
• 6:24
  Speaker 5: you probably live what two hours away from Georgia.
• 6:27
  Speaker 4: You know, tons of stuff going on up there. We're
• 6:29
  Speaker 4: right by the hubs of all this stuff.
• 6:31
  Speaker 5: I also have about four hours away from Pittsburgh, which
• 6:33
  Speaker 5: which is a pretty big film hub. And Living Dead
• 6:36
  Speaker 5: man yeah, yes, seriously Man, Living Dead, Dawn of the Dead,
• 6:41
  Speaker 5: and even Day of the Dead. I you know, funny
• 6:43
  Speaker 5: you mentioned that on Day of the Dead. I actually
• 6:46
  Speaker 5: met a guy, a filmmaker who shot something where they
• 6:49
  Speaker 5: shot Day of the Dead, and he was like, it
• 6:52
  Speaker 5: was amazing because it was just you know, it's so
• 6:55
  Speaker 5: remote and a way for everyone else. And he and
• 6:58
  Speaker 5: I actually was looking for a place like that when
• 7:01
  Speaker 5: I was a part of this one film project. You know,
• 7:04
  Speaker 5: because you listen to the show Kurt, so you know
• 7:06
  Speaker 5: that there's been so many projects and I've been a
• 7:08
  Speaker 5: part of that faulted, falled apart. So it's just it's just,
• 7:11
  Speaker 5: you know, and I have never mentioned these projects in passing.
• 7:13
  Speaker 5: It's just like, oh, yeah, which one is that that
• 7:15
  Speaker 5: fell apart? But I was doing this one and I
• 7:18
  Speaker 5: actually contacted them and the person actually said to me
• 7:21
  Speaker 5: that the woman who actually like who was the property manager,
• 7:24
  Speaker 5: And she said, oh, there's actually businesses here now. She's like,
• 7:28
  Speaker 5: we don't want to actually keep having films here. She's like,
• 7:30
  Speaker 5: it's not profitable. And there's you know, there's so many
• 7:32
  Speaker 5: businesses now, and there's like a gravel place in here. Now.
• 7:35
  Speaker 4: I'm like, God, damn, it always always late to the party.
• 7:37
  Speaker 4: But I don't know.
• 7:39
  Speaker 5: I just thought that'd be a little fun fact for
• 7:40
  Speaker 5: people in case they're huge Day of the Dead fans
• 7:43
  Speaker 5: the original Day of the Dead. So now it's a
• 7:46
  Speaker 5: like a standing gravel place is there.
• 7:49
  Speaker 6: You know. And I've always found it fascinating when I
• 7:51
  Speaker 6: learned it is I read a book, a biography on
• 7:54
  Speaker 6: Romero and My Living Dead, and it talked about how
• 7:57
  Speaker 6: most people don't realize that that film changed how copyright
• 8:02
  Speaker 6: law is. Oh yeah, because the as the story goes is,
• 8:08
  Speaker 6: they had the copyright notice, you know, a little logo
• 8:12
  Speaker 6: with the title, and the original title was a Knight
• 8:14
  Speaker 6: of the Flesh Eating Ghouls or something like that. And
• 8:17
  Speaker 6: when they got the distributed got distribution lined up, the
• 8:20
  Speaker 6: distributor took that title card away replaced it, and when
• 8:24
  Speaker 6: they did that, the copyright notice went away, and at
• 8:27
  Speaker 6: that time they didn't have it stated, you know, where
• 8:31
  Speaker 6: copyright happens when it's committed to an existing medium. So
• 8:36
  Speaker 6: that actually became a huge thing. And as far as
• 8:38
  Speaker 6: I know, yeah, it's still in the public domain because
• 8:40
  Speaker 6: of that, the original black and white, and they've tried
• 8:42
  Speaker 6: to that's why there was a colorized version and all
• 8:44
  Speaker 6: this stuff, which they tried to regain the copyright, but
• 8:47
  Speaker 6: in doing so, all it did is they have the
• 8:49
  Speaker 6: copyright to the colored version, et cetera. So it's kind
• 8:53
  Speaker 6: of unusual. You know.
• 8:54
  Speaker 5: They're actually they found some extra footage now of Living
• 8:58
  Speaker 5: Dead and they're actually planning on splicing it back together
• 9:01
  Speaker 5: with the main part of it, and then that will
• 9:03
  Speaker 5: be the next pitch to the copyright. I actually went
• 9:07
  Speaker 5: to another Living Dead screening, probably about two or three
• 9:09
  Speaker 5: years ago out in Pittsburgh, and that's one of the
• 9:11
  Speaker 5: things that they were talking about it. But the two
• 9:14
  Speaker 5: it was with, you know, John Russo was there, Russ
• 9:18
  Speaker 5: Steiner was there, uh and but George Romeiro wasn't there,
• 9:21
  Speaker 5: but but everybody else was. There was a ton of
• 9:22
  Speaker 5: cast members and stuff, and that was one of the
• 9:24
  Speaker 5: things that they were talking about, was putting this this
• 9:27
  Speaker 5: one cut together and that would be the new copyright
• 9:29
  Speaker 5: pitch interesting. So but I mean, but you know, and
• 9:33
  Speaker 5: then that movie obviously as well in the whole zombie genre,
• 9:37
  Speaker 5: and it's just gone on to just do you know
• 9:39
  Speaker 5: it's it's etched in time.
• 9:41
  Speaker 4: Now the.
• 9:44
  Speaker 5: Did you know George Romero is actually doing uh did
• 9:48
  Speaker 5: you hear it's called like I think it's called Race
• 9:49
  Speaker 5: of the Dead.
• 9:51
  Speaker 6: No, yeah, like Death Ray two thousand meets uh Living
• 9:56
  Speaker 6: Head or something.
• 9:57
  Speaker 1: Yeah, we'll be right back after a word from our sponsor,
• 10:05
  Speaker 1: and now back to the show.
• 10:07
  Speaker 5: Basically, what's gonna happen is is is that it's about
• 10:10
  Speaker 5: these rich people have zombie races and sold and basically
• 10:17
  Speaker 5: they have like there look there's zombies and race cars
• 10:20
  Speaker 5: and and and now, like you know, I mean, I
• 10:23
  Speaker 5: hope it's better than the last few Romera movies because
• 10:27
  Speaker 5: I mean I I actually had had had a love
• 10:31
  Speaker 5: love hate relationship with the Land of the Dead. Diary
• 10:35
  Speaker 5: of the Dead was actually not bad in my opinion.
• 10:38
  Speaker 5: And then there was like what was the other one?
• 10:41
  Speaker 5: It was like the hat Fields.
• 10:42
  Speaker 4: Of McCoy's feud.
• 10:43
  Speaker 5: There was like there was a feuding families. I figure
• 10:47
  Speaker 5: what that I I don't even know what that was.
• 10:49
  Speaker 5: Called I just tuned tuned it out. But but but
• 10:52
  Speaker 5: now you know we're gonna see Race of the Dead,
• 10:53
  Speaker 5: so I can't wait.
• 10:57
  Speaker 6: The Yeah, I think the last one I remember or
• 11:00
  Speaker 6: was a diary that that was the one that was
• 11:01
  Speaker 6: like found footage version of that kind of genre, right,
• 11:07
  Speaker 6: wasn't that that one? Okay? Yeah, so that's the last
• 11:09
  Speaker 6: one I remember seeing. But yeah, now he's he keeps
• 11:12
  Speaker 6: going with it. Yeah, I mean, that's your thing, that's
• 11:15
  Speaker 6: your bread and butter. You keep you keep eating.
• 11:21
  Speaker 5: So because I mean it is George Romero's what happens
• 11:24
  Speaker 5: is everybody. Every so often, I mean he even admits
• 11:26
  Speaker 5: us interviews. Every so often, he'll get a random producer
• 11:30
  Speaker 5: will come by and say, hey, I have a you know,
• 11:32
  Speaker 5: a million or whatever for you to make a zombie film.
• 11:35
  Speaker 5: And he goes, okay, and that's it. And that's how
• 11:37
  Speaker 5: it gets, you know, it happens. I mean, you know,
• 11:40
  Speaker 5: have you ever seen Romero's work outside of zombie films?
• 11:45
  Speaker 6: I don't think so. I saw the documentary on him
• 11:48
  Speaker 6: and I thought was really good. But no, I I
• 11:52
  Speaker 6: definitely I've just known of you know, his interview footage
• 11:56
  Speaker 6: and the zombie stuff.
• 11:59
  Speaker 5: Yeah, it's actually, you know, pretty interesting. I actually like
• 12:02
  Speaker 5: a lot of this stuff. Uh, you know, like Martin
• 12:05
  Speaker 5: is a really interesting take on vampires.
• 12:08
  Speaker 4: And I think what was the other one. I think
• 12:09
  Speaker 4: it was called Bruiser or something.
• 12:11
  Speaker 5: I forget what it was called, but he actually it was,
• 12:15
  Speaker 5: you know, he also did I think he did creep Show.
• 12:17
  Speaker 5: I mean, it's just stuff like that. It's like, you know,
• 12:19
  Speaker 5: he actually has had yeah, what it was called Bruiser
• 12:21
  Speaker 5: now I think about it had Jason Fleming in it,
• 12:25
  Speaker 5: and and uh, it's just it's I don't know. I
• 12:29
  Speaker 5: do like his stuff outside of all the zombie stuff.
• 12:32
  Speaker 5: I think it's kind of cool how he ebbs and
• 12:33
  Speaker 5: flows in and out of it. But but yeah, I mean,
• 12:37
  Speaker 5: he can't really pass up a movie about you know,
• 12:39
  Speaker 5: George Romero, about racing zombies, you know what I mean.
• 12:42
  Speaker 5: So you have to kind of you kind of have
• 12:44
  Speaker 5: to kind of see that movie to get it.
• 12:46
  Speaker 6: Do you know if he resists that though, do you
• 12:48
  Speaker 6: think like deep down he wants to do more of
• 12:50
  Speaker 6: you know, he's got to do this romantic comedy than
• 12:52
  Speaker 6: he's been wanting to do for for ten years or something,
• 12:56
  Speaker 6: or you know, you know what I really want to
• 12:57
  Speaker 6: do is a musical?
• 13:00
  Speaker 5: You know, if that if he came out with a
• 13:02
  Speaker 5: romantic comedy, I honestly don't think that his fans would
• 13:07
  Speaker 5: know what they had to respond to that. I mean
• 13:09
  Speaker 5: I would, I would definitely go see it, but I
• 13:12
  Speaker 5: mean I think people will feel torn because we're like, well,
• 13:14
  Speaker 5: this is the guy who you know made you know,
• 13:17
  Speaker 5: Day of the Dead or Dawn of the Dead, and
• 13:20
  Speaker 5: now he's making you know, like like another rom com
• 13:24
  Speaker 5: kind of like, uh, I don't know, remember those all
• 13:27
  Speaker 5: those rom coms that used to come out in the
• 13:29
  Speaker 5: late nineties early two thousands. Remember it was like every
• 13:32
  Speaker 5: other month there. It was always about like the very
• 13:35
  Speaker 5: stressed out successful business woman who meets this guy and
• 13:38
  Speaker 5: then you know, you know what I mean. You saw
• 13:40
  Speaker 5: the commercials, like you, Grant was in like every single
• 13:42
  Speaker 5: one of them, and you look at these commercials, you'd
• 13:43
  Speaker 5: be like, well are these trailers and you'd say yourself, well, Jesus,
• 13:47
  Speaker 5: I wonder what's gonna happen in this film?
• 13:49
  Speaker 6: Yeah, or a Jude Law Clive Bowen and stuff, and yeah,
• 13:53
  Speaker 6: it's very Although Closer was awesome. I thought Closer was,
• 13:56
  Speaker 6: you know, really good as far as those kind of
• 14:00
  Speaker 6: movies go. Yeah, of course that was based on a play,
• 14:04
  Speaker 6: so and it was Mike Nick Nichols, so you know,
• 14:09
  Speaker 6: it's can't go wrong with that. But anyway, Yeah, it
• 14:12
  Speaker 6: makes me wonder that I asked that question because of
• 14:15
  Speaker 6: Romero and the whole you know, not wanting to get
• 14:17
  Speaker 6: typecasts in a way, just because you know, it's something
• 14:21
  Speaker 6: I'm having to consider now because of the first feature
• 14:25
  Speaker 6: Camberill was kind of like a suspense thriller and very
• 14:29
  Speaker 6: much I think filmmakers realize. I know that was my
• 14:34
  Speaker 6: impetus is that's an easy way to break in if
• 14:37
  Speaker 6: any of it can ever be easy. Is you know,
• 14:39
  Speaker 6: you make a genre film because there's kind of a
• 14:42
  Speaker 6: built in market for it, same for like family film
• 14:46
  Speaker 6: or faith based film because it's just such a high
• 14:49
  Speaker 6: demand and it doesn't necessarily require named actors for distributors
• 14:53
  Speaker 6: say okay, sure, But at the same time, I definitely
• 14:58
  Speaker 6: want to make other things and have you know, other
• 15:01
  Speaker 6: screenplays that are written that are in different genres but
• 15:04
  Speaker 6: have the same through line. Like my whole Thing is
• 15:09
  Speaker 6: all the scripts that I've written, including Camgirl that is
• 15:11
  Speaker 6: very based on the whole man woman thing you know,
• 15:15
  Speaker 6: how relationships can really be a center of conflict, and
• 15:19
  Speaker 6: how it can be you know, the best thing and
• 15:21
  Speaker 6: the work the best of times and the worst of times.
• 15:23
  Speaker 6: For if I could plague your eyes of that. But
• 15:28
  Speaker 6: so that's why I like, even if I've written this
• 15:31
  Speaker 6: romantic comedy that I'm hoping to get produced, it has
• 15:34
  Speaker 6: it's it's still very much based on what I think
• 15:37
  Speaker 6: I'm strong at, which is that character driven stuff that
• 15:40
  Speaker 6: deals with relationships and and the good and the bad
• 15:43
  Speaker 6: of it.
• 15:45
  Speaker 5: Yeah, you know, I found that horror is a very
• 15:48
  Speaker 5: good way to start your career.
• 15:50
  Speaker 4: I found.
• 15:51
  Speaker 5: I mean, look at Sam Raimi for instance, Georgia Merrow,
• 15:54
  Speaker 5: who were just talking about. You know, these guys all
• 15:56
  Speaker 5: started in horror and then you know they were able
• 15:58
  Speaker 5: to segue to other things. Romero, though, just to keep
• 16:03
  Speaker 5: going back back to Georgia, he can't, you know, segue
• 16:07
  Speaker 5: out of that zombie stuff, you know, zombie, the zombie
• 16:10
  Speaker 5: genre that he invented.
• 16:11
  Speaker 4: It's it's it's become like you know.
• 16:13
  Speaker 5: That's again, like I was just saying, that producer or
• 16:16
  Speaker 5: a producer always comes up and says, hey, I have
• 16:18
  Speaker 5: a million dollars, but you have to do a zombie
• 16:19
  Speaker 5: film or I have a two million dollars, but you
• 16:21
  Speaker 5: have to through a zombie film. Sam Raimi was able to
• 16:24
  Speaker 5: segue out of that with Evil Dead Evil Dead too,
• 16:28
  Speaker 5: but he's done other things like Spider Man, and you know,
• 16:32
  Speaker 5: it's that's that's an interesting sort of perspective, is how
• 16:36
  Speaker 5: do you not get pigeon holed into certain things? Like
• 16:38
  Speaker 5: how do you not get pigeonholed we're only doing one thing,
• 16:40
  Speaker 5: you become typecast almost like an actor, like you know
• 16:44
  Speaker 5: member Julia White, who is Steve Verkle and family.
• 16:46
  Speaker 4: Matters, well every role he was, you know, he's Steve Erkeles.
• 16:50
  Speaker 5: So it's kind of like when he went to go audition,
• 16:53
  Speaker 5: they were like, hey man, it's Steve Verkles auditioning for
• 16:55
  Speaker 5: this movie. He's not gonna get it because he's Steve Rkle.
• 16:57
  Speaker 4: But you know, you know what I mean.
• 16:59
  Speaker 5: It's it's it's stuff like that that I understand completely
• 17:03
  Speaker 5: what you're saying. And that's why when I think you're
• 17:06
  Speaker 5: making you know you're making films.
• 17:08
  Speaker 4: I think it's always important to remember the genre.
• 17:12
  Speaker 5: Like I said again, going back to horror and starting
• 17:14
  Speaker 5: off in horror, I think it's an excellent idea. I mean,
• 17:17
  Speaker 5: let me give you a case in point too, Kurt,
• 17:19
  Speaker 5: because I had a friend of mine he actually made
• 17:21
  Speaker 5: a zombie film as his first movie, and it actually
• 17:25
  Speaker 5: was actually pretty well received, and he followed it up
• 17:29
  Speaker 5: with a romantic comedy, and all the distributors that he
• 17:33
  Speaker 5: made friends with and everything else came back to him
• 17:35
  Speaker 5: and said, hey, here, you got another movie coming up, and.
• 17:37
  Speaker 4: Will tell us about it.
• 17:39
  Speaker 5: And he told them the pitch and he said, literally
• 17:42
  Speaker 5: you could see their faces just turn, like, so you're
• 17:46
  Speaker 5: making a sappy, romantic comedy now, like what happened to
• 17:49
  Speaker 5: the horror stuff? And now he was like, well, I
• 17:52
  Speaker 5: don't want to be pigeonholed. I want to make you
• 17:55
  Speaker 5: a more professional film now. And basically it just it
• 17:59
  Speaker 5: tanked it. Literally, he said, it was like d O A.
• 18:02
  Speaker 5: And and then that's something that you know, it's kind
• 18:05
  Speaker 5: of like, well, if you do get pigeonholed, and let's
• 18:08
  Speaker 5: just play worst worst case scenario here, if you do
• 18:10
  Speaker 5: get pigeon holed, really and we can only make horror
• 18:13
  Speaker 5: or only make zombie films. Honestly, Kurt, I think that's
• 18:17
  Speaker 5: that's actually a fate if I had that happen to me,
• 18:19
  Speaker 5: where I can only make one genre movies, I would
• 18:22
  Speaker 5: be like, you know what, as long as I get
• 18:23
  Speaker 5: to make movies for a living, you know what, I'm
• 18:25
  Speaker 5: willing to make that sacrifice.
• 18:27
  Speaker 6: Oh yeah, don't get me wrong. If any you know
• 18:31
  Speaker 6: producers are listening, No, I'm not rejecting the genre. I
• 18:37
  Speaker 6: just would writing is really it for me, And I
• 18:40
  Speaker 6: know for certain having written the rom con for Instances
• 18:43
  Speaker 6: three Nights Stand, and it's gotten good feedback. I've got
• 18:47
  Speaker 6: two recognizable named actresses attached to it, so it gives
• 18:52
  Speaker 6: me some voted confidence that it's the trick of it
• 18:56
  Speaker 6: is it just needs to be really good, like in
• 19:00
  Speaker 6: your in your friend scenario. That's sad, and it is
• 19:02
  Speaker 6: an unfortunate common thing that, Yeah, the industry kind of
• 19:07
  Speaker 6: resists it, and I understand if you're gonna you know,
• 19:12
  Speaker 6: the fact of the matter is film business is a business.
• 19:16
  Speaker 6: You know, primarily it's art, and we love it for
• 19:19
  Speaker 6: the art, and that's why you want to really make
• 19:23
  Speaker 6: sure it's something you're passionate about when you write a
• 19:25
  Speaker 6: script or especially go to to in the battle producing
• 19:29
  Speaker 6: a future. But you have to also realize from the
• 19:33
  Speaker 6: beginning of the onset. It's it's a business first. So
• 19:36
  Speaker 6: you know, if people buy a certain brand of soda,
• 19:39
  Speaker 6: they expect a certain brand of soda when they purchase
• 19:42
  Speaker 6: it again, and very much. You know, when you're professional
• 19:47
  Speaker 6: actor or screenwriter, director, you know, agents and everything, publicists,
• 19:53
  Speaker 6: they expect you to be a brand. You know, and
• 19:56
  Speaker 6: I get that.
• 19:58
  Speaker 1: We'll be right back after a word from our sponsor
• 20:04
  Speaker 1: and now back to the show.
• 20:07
  Speaker 6: So it's more of a matter of doing it gracefully
• 20:11
  Speaker 6: or when you make that transition. It is so impressive
• 20:15
  Speaker 6: that people go, Okay, you can do that. You know,
• 20:19
  Speaker 6: like maybe if they saw the trailer first in your
• 20:20
  Speaker 6: friend scenario, let's say the movie was really outstanding, had
• 20:24
  Speaker 6: a released, solid hook, had you know, great production value,
• 20:29
  Speaker 6: like it looked better than his first future just saying
• 20:33
  Speaker 6: if that was the case and they just saw the
• 20:34
  Speaker 6: trailer first, then you know what they'd be like, Okay,
• 20:37
  Speaker 6: it looks pretty good. You know, it would be proof
• 20:39
  Speaker 6: of concept in a way more than the concept of
• 20:42
  Speaker 6: oh I'm doing something different. I can see the resistance
• 20:46
  Speaker 6: unfortunately to that. It is a fine line.
• 20:49
  Speaker 4: Yeah, it is a fine line.
• 20:52
  Speaker 5: And you know, we were talking about your movie Camgirl,
• 20:55
  Speaker 5: and you know it's even before you shot Camgirl. You
• 20:58
  Speaker 5: actually obviously because I took a peak at your IMDb.
• 21:02
  Speaker 5: One thing I wanted to bring up, and I think
• 21:04
  Speaker 5: this is pretty important because I mean, it actually speaks
• 21:06
  Speaker 5: volumes to me too, Kurt Is. I noticed that you
• 21:10
  Speaker 5: have three director credits and there was a six year
• 21:12
  Speaker 5: spam between the one short film and Camgirl. Here's the
• 21:16
  Speaker 5: thing I get that, Like, I honestly like whenever I
• 21:19
  Speaker 5: see a a a a gap in anyone's in anyone's resume,
• 21:24
  Speaker 5: that's what happened. That that happened to me, And I
• 21:27
  Speaker 5: honestly I understand. You know, things happen. You know what
• 21:31
  Speaker 5: I mean, It's it's tough to get stuff going because
• 21:34
  Speaker 5: everything in this business is time and money. It takes
• 21:36
  Speaker 5: a lot of money to get to you know, even
• 21:39
  Speaker 5: get up to bat. I always say it's like this, Kurt.
• 21:41
  Speaker 5: It's it's like playing It's like playing a game of
• 21:44
  Speaker 5: Home run Derby. It takes so much practice and effort
• 21:49
  Speaker 5: just to get up to the plate. And even if
• 21:51
  Speaker 5: you're at the plate that I mean that that's just
• 21:53
  Speaker 5: like you know, making a project and you have one
• 21:56
  Speaker 5: shot to hit this ball out of the park and
• 21:59
  Speaker 5: you know what I mean. And it's just it takes
• 22:00
  Speaker 5: so much, you know, training and stuff like that, and
• 22:02
  Speaker 5: everything you do up until that point, until you get
• 22:05
  Speaker 5: to that plate, it's just it's just practice. It's just
• 22:07
  Speaker 5: refining your skills or finding a technique, finding your voice,
• 22:10
  Speaker 5: you know what I mean, finding your your network, and
• 22:12
  Speaker 5: then when you finally get to that plate, you put
• 22:14
  Speaker 5: that all into into into use. So, you know, before
• 22:18
  Speaker 5: you did Camgirl, you know what was you know, what
• 22:21
  Speaker 5: were some of the other projects that you were working on. Uh,
• 22:23
  Speaker 5: you know that actually you sort of prepared you to
• 22:26
  Speaker 5: make Camgirl.
• 22:28
  Speaker 6: Well that's an interesting point. I never really actually studied
• 22:31
  Speaker 6: the Oh it's been like when you say six years
• 22:34
  Speaker 6: in between each thing or what. Yeah, it's like, oh
• 22:39
  Speaker 6: my gosh, Okay, now I think about it in that depth.
• 22:43
  Speaker 6: I mean it's more. Uh, first of all, I highly
• 22:46
  Speaker 6: recommend making sure it's first because that is a proving
• 22:51
  Speaker 6: grounds you just you, for one, you can call yourself
• 22:55
  Speaker 6: a director before you actually take the big leave to
• 22:58
  Speaker 6: direct a feature, because let me tell you, it is different.
• 23:00
  Speaker 6: It is unlike anything when somebody does that for the
• 23:05
  Speaker 6: first time, directs a feature film like and I'm not
• 23:10
  Speaker 6: talking about you know, doing it just on the weekends.
• 23:13
  Speaker 6: Over the course of of you know, six months or whatever,
• 23:17
  Speaker 6: we did it. You know, I took a full month
• 23:19
  Speaker 6: off of work. I was glad to happy to do it.
• 23:21
  Speaker 6: At the time, I had a day job I wasn't
• 23:22
  Speaker 6: too thrilled about. And yeah, it was just five days
• 23:26
  Speaker 6: a week, weekends off, long days, not irresponsibly long days,
• 23:31
  Speaker 6: but no, just really you know, NonStop you know work,
• 23:36
  Speaker 6: and it's just by the end of it you are exhausted.
• 23:38
  Speaker 6: I mean, it's the most fulfilling thing. At the same time,
• 23:40
  Speaker 6: it is the endurance test. So now I highly recommend
• 23:45
  Speaker 6: doing shorts first. In fact, that first short, which was
• 23:49
  Speaker 6: you might have seen then credit died was power Grab,
• 23:52
  Speaker 6: which is actually animated short, which I have a background
• 23:56
  Speaker 6: in that I got a bachelor's from a University of
• 23:59
  Speaker 6: Central Floor in computer animation, so that I'm glad that
• 24:03
  Speaker 6: I have that backing because it is very much like filmmaking.
• 24:07
  Speaker 6: What drew me to it is it's filmmaking without boundaries,
• 24:10
  Speaker 6: like I would see how the visual effects was used
• 24:13
  Speaker 6: in the movie like Fight Club for instance, and how
• 24:15
  Speaker 6: it just broke barriers it's it's it's you know, you
• 24:18
  Speaker 6: can do things with a camera that a physical camera
• 24:21
  Speaker 6: just can't do, and I just really kind of embraced
• 24:23
  Speaker 6: that was taken by it. So the thing that's important
• 24:27
  Speaker 6: to note about that is okay, So power Grab came first.
• 24:31
  Speaker 6: It was just a minute short. It played a festival
• 24:34
  Speaker 6: or two, which was an amazing you know eco boost,
• 24:39
  Speaker 6: you know, confidence builder, and it got me an IMDb.
• 24:43
  Speaker 6: So that's the thing. It's it's what is the different
• 24:46
  Speaker 6: steps you want to be an IMDb? Then you want
• 24:50
  Speaker 6: to actually just prove more work and whatever avenue you're
• 24:54
  Speaker 6: trying to get into, including what genre it is. The
• 24:57
  Speaker 6: second short I did actually was because the writer also
• 25:03
  Speaker 6: produced it said I wrote this because honestly he was
• 25:07
  Speaker 6: interested and ended up working with me on Camgirl. But
• 25:11
  Speaker 6: in the onset of that, as I was working on
• 25:13
  Speaker 6: that trying to get it financed, he said, oh, yeah, no,
• 25:16
  Speaker 6: I've got this short. Would you like to direct it?
• 25:18
  Speaker 6: I'll give you X amount of dollars to go ahead
• 25:21
  Speaker 6: and produce it and direct it. It was just a one
• 25:23
  Speaker 6: day shoot and it was great. So it was like,
• 25:25
  Speaker 6: in a way, my first paying job, you could say,
• 25:28
  Speaker 6: you know, it was somebody was saying, yes, you know,
• 25:31
  Speaker 6: I'll be your champion for this moment and give you
• 25:34
  Speaker 6: X amount of dollars. I believe in your ability to
• 25:36
  Speaker 6: direct this. And it was directed, and you know, so
• 25:40
  Speaker 6: that's another step. So it's just a matter of different
• 25:43
  Speaker 6: steps along the way. And if it takes you know,
• 25:45
  Speaker 6: three years or whatever in between, so be it. I
• 25:48
  Speaker 6: certainly wouldn't. I don't regret it at all because it
• 25:52
  Speaker 6: took from the time I wrote the first solid draft
• 25:56
  Speaker 6: of Camgirl that was two thousand and nine, so then
• 26:00
  Speaker 6: it took a solid two years trying to get the financing.
• 26:05
  Speaker 6: But the whole time it was I was working on casting.
• 26:08
  Speaker 6: I built the website to use that as a as
• 26:11
  Speaker 6: a sales tool. I built a look book, I formed
• 26:15
  Speaker 6: a company. You know, you got to have an LLC
• 26:17
  Speaker 6: or whatever, some business entity. You just have to do everything.
• 26:21
  Speaker 6: You have to just do the work to because everybody's
• 26:25
  Speaker 6: got a script, and everybody's got a first script, it's
• 26:28
  Speaker 6: important to note that. And this is important because this
• 26:31
  Speaker 6: explains also the time cap is. Cam Gral was my
• 26:34
  Speaker 6: third feature length screenplay, first screenplay I wrote, actually co
• 26:39
  Speaker 6: wrote with Curtis Norton, who ended up becoming my good
• 26:43
  Speaker 6: friend and editor of Camgirl that you know, got some
• 26:47
  Speaker 6: recognition and contests screenplay competitions Blue Cat a semi finalists
• 26:53
  Speaker 6: and Blue Cat. It was a same kind of thing,
• 26:56
  Speaker 6: like semifinalist in the Creative Screenwriting magazine that child you
• 27:00
  Speaker 6: how long ago.
• 27:00
  Speaker 4: It wasn't whatever, but I remember Creative Career. I remember, yeah,
• 27:06
  Speaker 4: it actually was.
• 27:07
  Speaker 6: It was actually really good rip there with like script mag.
• 27:10
  Speaker 5: Yeah, and all of a sudden, I remember when it
• 27:12
  Speaker 5: when it just kind of faded away, and I was like, damn,
• 27:16
  Speaker 5: because I remember they had a really good I still
• 27:18
  Speaker 5: have the the issue. It had Tarantino's death proof on
• 27:22
  Speaker 5: the cover and it was like an interview with him
• 27:24
  Speaker 5: inside and and uh just really they had a previous
• 27:27
  Speaker 5: issue with him too.
• 27:28
  Speaker 4: It was a really good interview about his writing process.
• 27:30
  Speaker 5: But I'm sorry to get off topic, Kurt, but but yeah,
• 27:33
  Speaker 5: I know exactly what you mean, and uh, you know
• 27:35
  Speaker 5: just about you know, place in those competitions, but actually
• 27:38
  Speaker 5: I want to hear more about So so you submitted
• 27:40
  Speaker 5: the script of Camgirl to Blue Cat and actually placed.
• 27:44
  Speaker 6: You said, oh no, that was the first no, so sorry,
• 27:47
  Speaker 6: So that was tragic. Kingdom first screenplay I ever wrote,
• 27:50
  Speaker 6: which is co wrote. I haven't really written co written
• 27:53
  Speaker 6: anything since that much, unless it's a writing for higher job,
• 27:57
  Speaker 6: which happened recently. But so that Tragic Kingdom, you know,
• 28:04
  Speaker 6: is the one that we entered in contests and stuff,
• 28:06
  Speaker 6: because at the beginning, that's what you need to do,
• 28:07
  Speaker 6: You really need to just at that time I really
• 28:11
  Speaker 6: had no connections at all. So I highly recommend that
• 28:15
  Speaker 6: enter the main competitions, you know, just like a film festivals,
• 28:20
  Speaker 6: you know, start with the main ones, you know, the
• 28:23
  Speaker 6: the big break you know, competition I think is still
• 28:27
  Speaker 6: going on obviously, the Nickel Fellowship, Sundance Labs, things like that.
• 28:32
  Speaker 6: Go for the majors because that's really what you want.
• 28:35
  Speaker 6: You want something that really is approving ground, because you're
• 28:37
  Speaker 6: going against the best the best. If you can get
• 28:39
  Speaker 6: some kind of nod from those, you're onto something. And
• 28:43
  Speaker 6: if not, write the next one. I've heard Jim Wools
• 28:46
  Speaker 6: say that, no, you need to. My advice to screener
• 28:49
  Speaker 6: is starting out is write that first script and then
• 28:52
  Speaker 6: put in a drawer, and then write the second script.
• 28:55
  Speaker 6: And then when you're done writing that second script, yeah,
• 28:57
  Speaker 6: you can go back and look at the first script
• 28:59
  Speaker 6: and rewrite it whatever and see if there's something there.
• 29:01
  Speaker 6: But I'm telling you, and I've seen it to be
• 29:04
  Speaker 6: proof in my own work, is you get better with
• 29:06
  Speaker 6: each time. And I think far too many people write
• 29:10
  Speaker 6: that first script, they telled all their friends about it
• 29:12
  Speaker 6: for about fifteen years, it never gets produced, and you know,
• 29:15
  Speaker 6: they put all their eggs in that that unfulfilling basket
• 29:19
  Speaker 6: and it's it's sad and I but I understand why
• 29:24
  Speaker 6: that could happen because it is such a sense of accomplishment.
• 29:27
  Speaker 6: It's like, oh, look what I did and it is amazing,
• 29:29
  Speaker 6: But you got to keep pushing forward. I think a
• 29:33
  Speaker 6: lot of professional screenwriters that's their first script does not
• 29:37
  Speaker 6: get produced more often than not. And I think most
• 29:41
  Speaker 6: of them will tell you, oh, thank god it did
• 29:43
  Speaker 6: get produced, because you know, I wouldn't be you know,
• 29:46
  Speaker 6: talking with you right now, so or whatever it is.
• 29:48
  Speaker 6: So it's you know, I wouldn't have a career, and
• 29:51
  Speaker 6: you know that there's something to that. I mean, people
• 29:54
  Speaker 6: get better with practice, and that the same goes for
• 29:57
  Speaker 6: your craft as a screenwriter, director, actor, what have you.
• 30:01
  Speaker 1: We'll be right back after a word from our sponsor,
• 30:07
  Speaker 1: and now back to the show.
• 30:10
  Speaker 5: Yeah, you know, and that's so true, and I wanted
• 30:13
  Speaker 5: to actually ask, you know, we kind of touched upon
• 30:15
  Speaker 5: this before as to talk about writing screenplays. You know,
• 30:18
  Speaker 5: how did you because you were working the nine to
• 30:20
  Speaker 5: five you mentioned when you were doing the short films,
• 30:22
  Speaker 5: you know, what were some of the things that you did.
• 30:25
  Speaker 5: I mean, when you when you got home from the
• 30:27
  Speaker 5: nine to five, did you have a whole process in place, like, Hey, listen,
• 30:32
  Speaker 5: I'm gonna get home at five, I'm gonna maybe eat
• 30:35
  Speaker 5: some dinner, and then from seven to eight, I'm just
• 30:38
  Speaker 5: going to write for an hour.
• 30:39
  Speaker 4: Did you have a set schedule like that.
• 30:44
  Speaker 6: The way I tend to work is I outlined thoroughly,
• 30:49
  Speaker 6: and that's very kind of at my own time. I
• 30:52
  Speaker 6: do a lot of work at night at the time
• 30:56
  Speaker 6: when I worked the day job, I would get off
• 30:58
  Speaker 6: work at eleven PM, and yeah, I'd be up to
• 31:01
  Speaker 6: like five am or whatever, writing, you know, or doing
• 31:04
  Speaker 6: other things and then writing and then you know, going
• 31:06
  Speaker 6: to sleep, waking up at noon and starting all over
• 31:08
  Speaker 6: again with the day job. You know, I would thoroughly
• 31:13
  Speaker 6: outline first. So in the case of Camgirl, for instance,
• 31:18
  Speaker 6: I spent about a year outlining and researching, and I
• 31:24
  Speaker 6: did the whole Lawrence Casden method, you know, with the
• 31:26
  Speaker 6: note cards and the bulletin board. And I highly recommend
• 31:31
  Speaker 6: people at least trying that because it's free form. It's
• 31:34
  Speaker 6: not something you're pigeonholed too. You know, it's just putting
• 31:37
  Speaker 6: down the thoughts so you don't forget it. So you
• 31:39
  Speaker 6: end up with a big stack of cards and you
• 31:41
  Speaker 6: write down anything from lines of dialogue to you definitely
• 31:46
  Speaker 6: at least need what a sentence describing what the scene's about,
• 31:50
  Speaker 6: and then visual cues, you know, symbolism, metaphor, you know,
• 31:55
  Speaker 6: any kind of thing that is going to be key
• 31:58
  Speaker 6: components to any scene, and then you kind of just
• 32:01
  Speaker 6: find a home for it on the bulletin board. So
• 32:04
  Speaker 6: anyway I did that. I even did things like read
• 32:06
  Speaker 6: a great book by a memoir by Diablo Cody, famed
• 32:13
  Speaker 6: screenwriter Diablo Cody who wrote Juno and Young Adult. Before that,
• 32:18
  Speaker 6: she was actually a blogger about her experiences as being
• 32:21
  Speaker 6: a stripper, and it was called Candy Girl. This phenomenal read.
• 32:26
  Speaker 6: I recommend that you can definitely see early on that
• 32:28
  Speaker 6: first bit of work of hers that got published. This
• 32:31
  Speaker 6: woman has talent. So that was a great way into
• 32:34
  Speaker 6: that world because I'm a guy and I don't know
• 32:37
  Speaker 6: anything about about camgirl stuff. So in all honesty, I mean,
• 32:42
  Speaker 6: I stumbled upon the idea and knew that's what I
• 32:44
  Speaker 6: need to write. But okay, now I really have to
• 32:47
  Speaker 6: do it justice and try to get in the mindset.
• 32:52
  Speaker 6: So yeah, a year of that, a year of researching, outlining,
• 32:55
  Speaker 6: and then and I've done this with Camgirl for the
• 32:59
  Speaker 6: first time, and I've done it with many screenplays ever since.
• 33:03
  Speaker 6: Is once I'm ready, I start, and then I am
• 33:06
  Speaker 6: fully disciplined and I try to write first draft as
• 33:10
  Speaker 6: quick as possible. In the case of Camera, I wrote
• 33:13
  Speaker 6: it in fourteen days, so eighty nine pages. It ended
• 33:17
  Speaker 6: up being a little longer than that, but that first
• 33:18
  Speaker 6: drafting nine pages and fourteen days, and it was one
• 33:21
  Speaker 6: of the greatest experiences I've ever had. It was kind
• 33:23
  Speaker 6: of cathartic. It just flew out of me like therapy,
• 33:27
  Speaker 6: you know. And I highly recommend it because for me
• 33:33
  Speaker 6: that just the energy and the kind of excitement that
• 33:40
  Speaker 6: you have for it ends up on the page. It's
• 33:42
  Speaker 6: just a matter of getting it all on the page
• 33:44
  Speaker 6: and just rework it later. I mean that first draft, no,
• 33:48
  Speaker 6: is not something I ended up showing to anybody because
• 33:50
  Speaker 6: it had, you know, was littered with typos and sentences
• 33:54
  Speaker 6: and I'm like, wait a minute, what was Okay? Yeah,
• 33:55
  Speaker 6: I added this word that way, you know, but that's great.
• 33:59
  Speaker 6: That's how you know, it just ends up, you know,
• 34:02
  Speaker 6: just becoming a flourish of this story, you know. So
• 34:07
  Speaker 6: I've definitely been doing that ever since. So yeah, just
• 34:11
  Speaker 6: really doing the work beforehand. So I know, no matter
• 34:15
  Speaker 6: what I have this story, I really have a solid beginning, middle,
• 34:19
  Speaker 6: and end. I know what it's all about. I know
• 34:21
  Speaker 6: what the character motivations are. I know that it's has
• 34:27
  Speaker 6: a slid through line. I know what the theme is.
• 34:29
  Speaker 6: You know, it's not something that's overt, but it's all there,
• 34:32
  Speaker 6: and let's get started and I just get it done.
• 34:34
  Speaker 6: And that's when I you know, when those fourteen days, Yeah,
• 34:36
  Speaker 6: it was very disciplined from this time to that time, NonStop.
• 34:40
  Speaker 6: Well I'm not working. In fact, in that fourteen days,
• 34:43
  Speaker 6: I ended up calling off the day job two days.
• 34:46
  Speaker 6: So I had a long weekend and it was like
• 34:48
  Speaker 6: one of the most you know, happy weekends I've had,
• 34:51
  Speaker 6: you know, So no, it was very much disciplined from
• 34:54
  Speaker 6: that regard.
• 34:55
  Speaker 5: So when you took those days off work and you
• 34:57
  Speaker 5: were just writing, did you just turn your f going
• 35:00
  Speaker 5: off too at the same time, did you just basically
• 35:02
  Speaker 5: say I don't want to be bothered by anybody and
• 35:04
  Speaker 5: just shut yourself up in your bedroom and just you know,
• 35:06
  Speaker 5: notebook in hand and pen or laptop whatever you had.
• 35:09
  Speaker 5: So some mean that what you did just eliminate all
• 35:11
  Speaker 5: those distractions.
• 35:13
  Speaker 6: Yeah, And I didn't really have a reason to go
• 35:15
  Speaker 6: on the internet because it was all written there. It
• 35:17
  Speaker 6: was all there in the notes, It was all there
• 35:21
  Speaker 6: at my disposal. With a rare exception of like, oh
• 35:25
  Speaker 6: I want to reference this weird thing or whatever, you know,
• 35:28
  Speaker 6: then I'd have to look up the word or something
• 35:31
  Speaker 6: like that, and things like that, you know, if it's
• 35:34
  Speaker 6: some kind of like reference to the world, real world.
• 35:38
  Speaker 6: But no other than that, no internet, no, you know,
• 35:42
  Speaker 6: no phone, no, you know, other than like maybe I
• 35:46
  Speaker 6: tend to like listen to music, like classical music or
• 35:49
  Speaker 6: commentary while I'm writing, you know, something like that, just
• 35:52
  Speaker 6: to just to you know. It's like one of those
• 35:57
  Speaker 6: fidget spinners in a way for my head, you know,
• 35:59
  Speaker 6: it just keeps me focused, you know, rather than that. Now,
• 36:04
  Speaker 6: there was no distractions or what people would call distractions,
• 36:08
  Speaker 6: because you.
• 36:08
  Speaker 5: Know, that's something I've noticed too, wait with just running screenplays,
• 36:12
  Speaker 5: and even when you come home from a day job.
• 36:14
  Speaker 5: And this is from a lot of different people who've
• 36:16
  Speaker 5: been on the podcast and my own experiences, is that
• 36:19
  Speaker 5: some days when you.
• 36:20
  Speaker 4: Come home you're either a too tired.
• 36:22
  Speaker 5: I had a friend of mine who was an av guy,
• 36:24
  Speaker 5: and he even on Facebook, he would say, my god,
• 36:27
  Speaker 5: I don't have enough energy when I get home to
• 36:29
  Speaker 5: even do anything. I just want to crash in front
• 36:30
  Speaker 5: of the TV and jo pop open a beer and
• 36:34
  Speaker 5: just start you know, zoning out in front of the
• 36:36
  Speaker 5: TV or whatever. And then other friends would say, they
• 36:38
  Speaker 5: come home and it's just, you know, they have a wife,
• 36:40
  Speaker 5: they have kids, you know, stuff like that, and it's just,
• 36:44
  Speaker 5: you know, it was it was always one thing after another,
• 36:46
  Speaker 5: and then by the time they got some alone time,
• 36:48
  Speaker 5: it was like ten eleven o'clock at night and they
• 36:50
  Speaker 5: have to be up at six o'clock the next morning,
• 36:52
  Speaker 5: so there wasn't a lot of time to actually sort
• 36:54
  Speaker 5: of write this out.
• 36:56
  Speaker 4: Just hearing a little.
• 36:58
  Speaker 5: I hate to use the word hacks, but I guess
• 37:00
  Speaker 5: I should probably use the word hacks. So to sort
• 37:04
  Speaker 5: of hack the process. They would do stuff like writing
• 37:08
  Speaker 5: wherever they can. On the lunch break at work, they
• 37:10
  Speaker 5: take their phone out and start writing on that. They
• 37:12
  Speaker 5: would try to they would take their phone and record
• 37:15
  Speaker 5: audio as they're driving to work, you know, writing little
• 37:18
  Speaker 5: notes in the shower using Aqua notes, which is something
• 37:21
  Speaker 5: I've actually picked up to by the way, seriously, eight
• 37:24
  Speaker 5: bucks on Amazon you can actually write in the shower.
• 37:27
  Speaker 5: Comes with a pencil, waterproof pad, everything. It's amazing, But
• 37:30
  Speaker 5: stuff like that. That way you can sort of at
• 37:33
  Speaker 5: least get some writing done and you not sort of
• 37:36
  Speaker 5: just keep putting it off, if you know what I mean.
• 37:39
  Speaker 6: Yeah, whatever you're gonna do, That's what I mean. I've
• 37:41
  Speaker 6: heard other people say, you know, look at it this way.
• 37:44
  Speaker 6: If all you do is write a page a day,
• 37:47
  Speaker 6: you know, by the end of the year you'll have
• 37:49
  Speaker 6: you know, two screenplays done or whatever, you know, whatever
• 37:52
  Speaker 6: it is. If you devote just one hour a day
• 37:56
  Speaker 6: or one or three hours a week, you know, however
• 37:59
  Speaker 6: it breaks down. I mean, you don't need to be
• 38:01
  Speaker 6: that formulaic with it. If it helps you, then by
• 38:03
  Speaker 6: all means, everybody's processes their own. But no, it's it's
• 38:07
  Speaker 6: a matter of just finding the time. And yeah, we
• 38:11
  Speaker 6: have the it's the best time in a way to
• 38:16
  Speaker 6: be a filmmaker writer because yeah, you do have these apps,
• 38:19
  Speaker 6: you do have you know, this technology that's easily affordable.
• 38:24
  Speaker 6: So but at the same time, it's just the most crowded,
• 38:27
  Speaker 6: uh time to ever try to break in. So you
• 38:30
  Speaker 6: really have to have that hook. You have to have
• 38:32
  Speaker 6: that high concept that's going to get out there, and
• 38:35
  Speaker 6: you got to just do the put in the time,
• 38:37
  Speaker 6: you know.
• 38:39
  Speaker 4: So yeah, and that's so true.
• 38:40
  Speaker 5: We have to you know, you have to do point
• 38:41
  Speaker 5: in the time and and actually, you know, getting actually
• 38:44
  Speaker 5: the hardest part of the process, somebody once told me
• 38:46
  Speaker 5: Kurt is actually getting started. M And once you can
• 38:50
  Speaker 5: get that that that sort of pushing that stone up
• 38:52
  Speaker 5: the hill like Sisyphis, you can you know, keep keep
• 38:55
  Speaker 5: pushing it up there. But the hardest part is actually starting.
• 38:59
  Speaker 5: So you know, let's look, it's starting Cambral. So you
• 39:01
  Speaker 5: have the script written. Where where does it finally come together?
• 39:05
  Speaker 5: Where you have this script and you say to yourself,
• 39:08
  Speaker 5: you know what, this is the time, you know, you know,
• 39:12
  Speaker 5: everything sort of came together. So how did you go
• 39:14
  Speaker 5: about you know, you know, finding that, you know, finding
• 39:16
  Speaker 5: the right time to do.
• 39:17
  Speaker 4: This and and starting to cast this this this project.
• 39:21
  Speaker 4: So was it?
• 39:22
  Speaker 5: Was it finally did you finally, you know, maybe get
• 39:24
  Speaker 5: the right amount of money, did you finally maybe find.
• 39:26
  Speaker 4: The right actress? Did you finally maybe find the right location?
• 39:29
  Speaker 5: So what sort of came together for you at the
• 39:31
  Speaker 5: right time for you to make Camber last year?
• 39:35
  Speaker 6: Well that's an interesting way too. Okay, this is a
• 39:38
  Speaker 6: very good question. Uh, basically, what happened was I just
• 39:45
  Speaker 6: what I was alluding to earlier, is I did all
• 39:47
  Speaker 6: I could pre production. First, I'd be casting, I'd be
• 39:52
  Speaker 6: doing all I can, hoping that the financing will eventually come.
• 39:58
  Speaker 1: We'll be right back after a word from our sponsor.
• 40:04
  Speaker 1: And now back to the show.
• 40:07
  Speaker 6: And I just knew in the back of my head
• 40:09
  Speaker 6: if it didn't, if I didn't get the money by now,
• 40:11
  Speaker 6: I would have found a way to you know, clerk
• 40:14
  Speaker 6: style El Mariachis style, following by Christopher Nolan style, you know,
• 40:20
  Speaker 6: get it made on my own resources, my own you know,
• 40:25
  Speaker 6: by any way I could. Thankfully it didn't have to
• 40:28
  Speaker 6: do that, because after several years of doing all that.
• 40:34
  Speaker 6: I would in the process of casting everywhere online on
• 40:38
  Speaker 6: those you know, usual listing boards, you know, the Craigslist,
• 40:42
  Speaker 6: the Mandy's all that stuff. I would put the casting notices,
• 40:46
  Speaker 6: you know, with the webs link to the website. Like
• 40:49
  Speaker 6: I said, you know, it was kind of like a
• 40:50
  Speaker 6: sales tool. I'd kind of list what the casting was
• 40:54
  Speaker 6: for at the very head of it all it had
• 40:56
  Speaker 6: the log line. It was very much an intentional way
• 40:59
  Speaker 6: to pitch what the story of the script was. And
• 41:05
  Speaker 6: in doing so, I actually had a producer contact me.
• 41:09
  Speaker 6: He emailed me out of the blue and said they'd like
• 41:11
  Speaker 6: to read the script, and that was Jay Aubrey. He
• 41:15
  Speaker 6: ended up becoming one of the two executive producers of Camgirl.
• 41:19
  Speaker 6: Within two weeks. He said he loved the script. I
• 41:21
  Speaker 6: wanted to send it to another friend to his and
• 41:23
  Speaker 6: it was a business partner that he's worked with, Oerto
• 41:26
  Speaker 6: Rico Mendez, and he was the other executive producer, and
• 41:29
  Speaker 6: between the two of them, they got it financed and
• 41:32
  Speaker 6: it all quickly happened after that. Immediately after that, the
• 41:37
  Speaker 6: money was you know, sent, and we just looked forward
• 41:42
  Speaker 6: to have a production date and everything was by that time,
• 41:46
  Speaker 6: the ship was pretty well steered in the right direction.
• 41:50
  Speaker 6: So because I used all that time, because I used
• 41:52
  Speaker 6: that time to be prepared, I had storyboards, I had
• 41:57
  Speaker 6: shot lists, I had promotional stills. You know, they didn't
• 42:02
  Speaker 6: end up becoming promotional stills we use for the final feature,
• 42:06
  Speaker 6: but it was a sales tool. You need that kind
• 42:07
  Speaker 6: of stuff for your look book and pitch documents, and
• 42:11
  Speaker 6: that just helps you understand the world and the look.
• 42:14
  Speaker 6: You know what you're going for. So no, use that
• 42:17
  Speaker 6: time to your advantage. I wouldn't if you know this
• 42:22
  Speaker 6: is your first shot, if this is really going to
• 42:25
  Speaker 6: be your resume film, don't rush into it, is what
• 42:28
  Speaker 6: i'd suggest, because that's you only got the one in
• 42:32
  Speaker 6: a way. I mean, if it's really so bad that
• 42:34
  Speaker 6: it just kind of dies at the vine, you can
• 42:36
  Speaker 6: take it off IMDb or something or try to. But
• 42:40
  Speaker 6: for the most part, no, you really want to don't
• 42:41
  Speaker 6: want to rush into that first first break you get.
• 42:44
  Speaker 6: Treat it like your resume because that's usually what happens
• 42:48
  Speaker 6: with these things.
• 42:49
  Speaker 4: Yeah, you mentioned dying on the vine that that's good.
• 42:53
  Speaker 4: You know, I've heard that so many times.
• 42:55
  Speaker 5: You know, with projects the money's there, they're about to shoot,
• 42:59
  Speaker 5: and then everything just falls apart, and it's like, well,
• 43:01
  Speaker 5: we did everything right.
• 43:02
  Speaker 4: And it still fell apart.
• 43:04
  Speaker 5: And uh, I mean, you know, and I want to
• 43:08
  Speaker 5: get back to Toed. My camera go by the way
• 43:09
  Speaker 5: in one second. I just want to tell you a
• 43:10
  Speaker 5: little anecdote. Kurt I once had a friend of mine
• 43:13
  Speaker 5: and he had he wrote a script that he was
• 43:14
  Speaker 5: hoping to pitch to people. And he wrote it and I,
• 43:19
  Speaker 5: you know, I read it and it wasn't anything crazy,
• 43:22
  Speaker 5: meaning there was no real set pieces that were going
• 43:25
  Speaker 5: to be expensive, nothing that I could think of that
• 43:27
  Speaker 5: was gonna be outrageous. And he said, well, if you know,
• 43:30
  Speaker 5: if I can't get it, you know, produced by somebody,
• 43:32
  Speaker 5: I'm going to produce it myself, even if I have
• 43:34
  Speaker 5: to shoot it in my backyard.
• 43:35
  Speaker 4: And I said, see that's the spirit. I said, that's
• 43:37
  Speaker 4: what you got to have.
• 43:38
  Speaker 5: And he said, you know, thank you, Dave, and and
• 43:42
  Speaker 5: well he went off. Nobody wanted to produce it, so
• 43:43
  Speaker 5: he said he was going to shoot his own backyard.
• 43:45
  Speaker 5: And I said, I'm always for it. I said, you know,
• 43:47
  Speaker 5: you should always, you know, follow your dream and if
• 43:50
  Speaker 5: the project you want to make, you know, don't let
• 43:52
  Speaker 5: anybody tell you no, make make your project. Well, he
• 43:55
  Speaker 5: came back to me and Kurt. He told me, all right,
• 43:58
  Speaker 5: I'm going to need half a million dollars to shoot
• 44:00
  Speaker 5: this thing. And I said, it's four guys in a
• 44:03
  Speaker 5: freaking living room in a house. I said, why the
• 44:05
  Speaker 5: hell do you need half a million dollars? I said,
• 44:09
  Speaker 5: and I said, there was no explosions, there's no there's
• 44:11
  Speaker 5: no great blood, there's no gunshots, there's no special effects.
• 44:15
  Speaker 5: I said, what the hell are we are you using
• 44:17
  Speaker 5: four hundred or five hundred thousand dollars for?
• 44:19
  Speaker 6: And he said, you need to be shot on Imax. Dave.
• 44:22
  Speaker 5: I mean, well, it's funny because he actually got a
• 44:27
  Speaker 5: director of cinematography that came with a package. It was
• 44:29
  Speaker 5: like a red X at the time, I think, or
• 44:31
  Speaker 5: whatever it was at the time, or a red dragon,
• 44:34
  Speaker 5: and and he was like.
• 44:36
  Speaker 4: He was like, okay, we'll shoot it on that. But
• 44:37
  Speaker 4: I was like, how much money is this guy charging you? Like,
• 44:39
  Speaker 4: where the hell is this five hundred thousand dollars? And
• 44:42
  Speaker 4: then he was, you know, like, well maybe if I
• 44:43
  Speaker 4: could get this actor.
• 44:44
  Speaker 5: In it, I said, dude, I said, it's four guys
• 44:47
  Speaker 5: in a living room unless you know you're best friends
• 44:49
  Speaker 5: with uh, I don't know, I don't know, shot labuff
• 44:53
  Speaker 5: or something. I said, it's not you know, they're not
• 44:54
  Speaker 5: gonna be able to pull all these guys together. I said,
• 44:57
  Speaker 5: you know, he wanted to have this. So finally I said, dude,
• 45:00
  Speaker 5: you could shoot this over the weekend, wit by bit.
• 45:03
  Speaker 5: And then I said, for for literally probably two three
• 45:06
  Speaker 5: hundred bucks a day a little more if you get
• 45:08
  Speaker 5: a professional director's inematography like the one he had selected
• 45:11
  Speaker 5: with the red Kit, and I said, it wouldn't cost
• 45:12
  Speaker 5: you anywhere near this, and then you could just put
• 45:14
  Speaker 5: it online for free and have people just you know,
• 45:17
  Speaker 5: check it out. Because after all, this this isn't really
• 45:20
  Speaker 5: you know, you're you're this is more like a passion
• 45:22
  Speaker 5: project and like not a commercially viable product, you know.
• 45:27
  Speaker 5: And honestly, if I like, like, if you're gonna like
• 45:30
  Speaker 5: we were talking about before, if you know the difference
• 45:31
  Speaker 5: between the two, and I think that's amazing.
• 45:33
  Speaker 4: You have to know a difference between the two.
• 45:35
  Speaker 5: If one's a commercially viable product, you know, something like
• 45:38
  Speaker 5: you know, something like Living Dead, something like cam Girl,
• 45:41
  Speaker 5: that's gonna have an audience, it's gonna have a niche
• 45:43
  Speaker 5: that's gonna have a selling point. It's going to have,
• 45:46
  Speaker 5: you know, a unique selling position aka unfair advantage versus
• 45:50
  Speaker 5: something that hey, look, I just want to get my
• 45:52
  Speaker 5: I just want to shoot a film, because if I
• 45:54
  Speaker 5: don't shoot it now, or if I don't shoot it
• 45:55
  Speaker 5: in a couple of months or a year or whatever,
• 45:57
  Speaker 5: I'm probably never gonna shoot one. Because I'm not I'm
• 45:59
  Speaker 5: gonna always be spinning my wheels and talking about shooting
• 46:02
  Speaker 5: a film, you know what I mean?
• 46:04
  Speaker 6: Absolutely, And I think there's two different elements to that.
• 46:11
  Speaker 6: One is casting. In as far as pre production is concerned,
• 46:16
  Speaker 6: casting is probably ninety percent of the game. I've heard
• 46:19
  Speaker 6: the expression go, you know, like the director's job, or
• 46:23
  Speaker 6: you know, as far as shepherding of production is casting
• 46:27
  Speaker 6: as ninety percent of it, because if you're not with
• 46:31
  Speaker 6: the actors, if you don't believe the acting, you're not
• 46:32
  Speaker 6: going to believe anything, no matter how good the composer is,
• 46:35
  Speaker 6: no matter how good your DP is, no matter how
• 46:37
  Speaker 6: good the writing is. And we felt very fortunate and
• 46:41
  Speaker 6: I'm glad that we took our time, especially in finding
• 46:44
  Speaker 6: all of our cast. But especially the two leads. Aaron
• 46:46
  Speaker 6: Nicole Klein as Jessica, the lead, was just outstanding. She
• 46:51
  Speaker 6: was local talent. Everybody on Camgirl was a local cast
• 46:56
  Speaker 6: and crew at the time. Half of them have since
• 46:58
  Speaker 6: moved to either California or Georgia. But anyway, Joe Coffee,
• 47:03
  Speaker 6: the other the male lead, I think was phenomenal and
• 47:05
  Speaker 6: he's gone on to Both of them have gone on
• 47:07
  Speaker 6: to great things. So no, we felt I couldn't have
• 47:10
  Speaker 6: done it without those people, and I'm glad I took
• 47:14
  Speaker 6: the time in casting to get people I knew that
• 47:18
  Speaker 6: could really just knock it out of the park. They're
• 47:21
  Speaker 6: not names as far as Hollywood's concerned, but it has
• 47:27
  Speaker 6: to just stand out as good acting. As long as
• 47:30
  Speaker 6: it stands out as good acting, Yeah, it's gonna be
• 47:32
  Speaker 6: really hard to get Sandra Bullock or Steve Buscemi and
• 47:37
  Speaker 6: your four people in a room movie. I mean, if
• 47:40
  Speaker 6: you have no experience or connections, I mean you have
• 47:42
  Speaker 6: to be realistic. At the same time, you really need
• 47:45
  Speaker 6: to realize that, Okay, how can I get the best
• 47:47
  Speaker 6: talent I can find for this, because that is really crucial.
• 47:51
  Speaker 6: I've seen far too many movies low budget movies. That
• 47:56
  Speaker 6: is just like, even if it's just one of the
• 47:58
  Speaker 6: lead actors or actresses that just fall short, it just
• 48:02
  Speaker 6: really kind of takes the air out of the tires
• 48:04
  Speaker 6: of the whole project.
• 48:06
  Speaker 5: Yeah, it's it's so true. And uh, you know one
• 48:09
  Speaker 5: of the other things we see and that's the other
• 48:11
  Speaker 5: thing we're talking about with all the actors. Once, you know,
• 48:13
  Speaker 5: actors keep going on and different people in the project
• 48:16
  Speaker 5: move on, you know, things that I've worked on, you know,
• 48:20
  Speaker 5: I hear about them moving out to l A. I
• 48:22
  Speaker 5: met these two girls on a film set. They were like, Oh,
• 48:25
  Speaker 5: maybe we're going to get into film.
• 48:26
  Speaker 6: We don't know.
• 48:27
  Speaker 4: And I said, you know, some.
• 48:29
  Speaker 5: People have this romantic idea of filmmaking and they get
• 48:32
  Speaker 5: in there for a day, Kurt, and they go running
• 48:34
  Speaker 5: away screaming like they think it's going to be a
• 48:35
  Speaker 5: fairy tale, Like.
• 48:36
  Speaker 4: Oh my god, you know, holy shit, you know.
• 48:40
  Speaker 5: So so they but but they ended up both of
• 48:42
  Speaker 5: them moving to LA And I was like, hey, listen,
• 48:45
  Speaker 5: you know, more power to you.
• 48:47
  Speaker 4: If you can do that, more power to you. And
• 48:49
  Speaker 4: I don't.
• 48:50
  Speaker 5: I haven't heard from him since, but I much, you know,
• 48:52
  Speaker 5: but you know, I have so many friends who have
• 48:55
  Speaker 5: moved out to LA And honestly, let's be honest here, Kurt,
• 48:58
  Speaker 5: I'm probably gonna move out there at some point. I
• 49:01
  Speaker 5: don't know when, probably when I get you know, a
• 49:04
  Speaker 5: little more things under my belt, because I know if
• 49:07
  Speaker 5: I go out there, I will probably end up, you know,
• 49:10
  Speaker 5: living in the gutter. But but I want to make sure,
• 49:13
  Speaker 5: you know, I have something to show for all this
• 49:16
  Speaker 5: years I've been putting into it. And but but you know,
• 49:19
  Speaker 5: it's just you know, that's why I always say, your
• 49:21
  Speaker 5: network is your net worth. And honestly, when you're when
• 49:24
  Speaker 5: all these people go to these networking parties and everything else,
• 49:27
  Speaker 5: you know, you never know who you're gonna bump into.
• 49:30
  Speaker 5: That's why you should really you should only burn a
• 49:32
  Speaker 5: bridge if you're absolutely certain you don't need to cross
• 49:34
  Speaker 5: that again. It's something like that old saying goes It's
• 49:37
  Speaker 5: something like, you can burn a bridge if you never
• 49:39
  Speaker 5: have to cross it twice. And uh, but but but
• 49:43
  Speaker 5: you know, and that's the thing, you know, And they
• 49:45
  Speaker 5: go into the projects and it kind of ties in
• 49:47
  Speaker 5: with what I'm trying to get at here. It's I know,
• 49:50
  Speaker 5: there are screenwriters of producers and actually more and more
• 49:53
  Speaker 5: screenwriters who heard you say that about the two producers
• 49:56
  Speaker 5: who found your script, and they're probably like, I can't
• 49:58
  Speaker 5: believe Dave didn't talk about that more.
• 50:01
  Speaker 1: We'll be right back after a word from our sponsor,
• 50:08
  Speaker 1: and now back to the show.
• 50:10
  Speaker 4: Damn it. So I so I wanted to just tie in.
• 50:13
  Speaker 5: You know, we're talking about networking and all the actors
• 50:16
  Speaker 5: from Camgell going in different directions and in commercials. So
• 50:21
  Speaker 5: and tying with your network is your net worth. So
• 50:23
  Speaker 5: tying back then and tying into that when those two
• 50:26
  Speaker 5: producers found you, that one producer found you just randomly
• 50:30
  Speaker 5: did he just really was he just looking for on
• 50:32
  Speaker 5: those boards, just for like a budding filmmaker or a
• 50:36
  Speaker 5: butting screen screenwriter or something like that, just to sort
• 50:39
  Speaker 5: of see what's out there.
• 50:43
  Speaker 6: Yeah, he was. We're talking about Jay Aubrey here. Yeah,
• 50:46
  Speaker 6: he actually has a long history decades of working He
• 50:50
  Speaker 6: actually worked with Roger Corman. His father was very prominent
• 50:56
  Speaker 6: film a filmmaker, you know, in the film industry. So no,
• 50:59
  Speaker 6: he was looking looking for somebody to be the next
• 51:04
  Speaker 6: champion for you know, And we just kind of saw
• 51:07
  Speaker 6: my post and sent the email and the rest was
• 51:10
  Speaker 6: kind of a good history for me, so but yeah,
• 51:14
  Speaker 6: it was a very interesting story. Would that happen if
• 51:17
  Speaker 6: I tried to do it all over again today, Who knows.
• 51:19
  Speaker 6: I'm sure that stuff is a little different. But no,
• 51:22
  Speaker 6: it's free advertising. It's just good to show you any
• 51:24
  Speaker 6: way you can get your concept out there once it's
• 51:28
  Speaker 6: copywritten and ready to go, wait for that at least.
• 51:31
  Speaker 6: But yeah, once it's done, do everything you can to
• 51:34
  Speaker 6: get it out there using these resources you have. Because
• 51:37
  Speaker 6: I know we've always always heard the common saying as
• 51:41
  Speaker 6: far as production goes, you know, you can make it good, fast, cheap.
• 51:44
  Speaker 6: You know, two out of the three. I'd like to
• 51:48
  Speaker 6: introduce one that I live by, a totally different trifecta
• 51:52
  Speaker 6: for more for low budget film makers to consider, is
• 51:56
  Speaker 6: you have time, money, and resources, so you can have
• 52:00
  Speaker 6: two of those three things, or you know what you
• 52:03
  Speaker 6: have to really kind of latch onto. In the case
• 52:06
  Speaker 6: of Camrol, we had the resources and we had time,
• 52:09
  Speaker 6: to be honest, I mean, I'm glad that we had
• 52:11
  Speaker 6: enough money to get it done and we paid people,
• 52:14
  Speaker 6: you know, but it was really more a matter of
• 52:18
  Speaker 6: taking all that time that I had the years and
• 52:21
  Speaker 6: years to really maximize the resources, and you'd look at
• 52:24
  Speaker 6: movies like Clerks and Following, et cetera, where they wrote
• 52:28
  Speaker 6: the script based on what they even had available as
• 52:31
  Speaker 6: far as locations and everything. So to some degree, I
• 52:34
  Speaker 6: definitely did that. I mean, it's easy to find a
• 52:37
  Speaker 6: house or condo. So people in your cast and crew,
• 52:40
  Speaker 6: especially when they're paid, they're willing to, you know, maybe
• 52:42
  Speaker 6: work with you on something like that. You know, I've
• 52:44
  Speaker 6: got this place or my friend's place or whatever. So
• 52:48
  Speaker 6: now it's a matter of that. I definitely look at it,
• 52:51
  Speaker 6: especially if it's a low budget film. You got your time, money,
• 52:54
  Speaker 6: and resources. How are you going to utilize two of
• 52:56
  Speaker 6: those three?
• 52:58
  Speaker 5: Yeah, and that perception by the way, that that sort
• 53:02
  Speaker 5: of time, money and uh and you know, the quality,
• 53:05
  Speaker 5: the speed and the cost and and and sort of
• 53:09
  Speaker 5: changing that to fit with indie film standards.
• 53:11
  Speaker 4: Because you know, we've vos seen this, Curt.
• 53:13
  Speaker 5: You meet somebody who wants to make an indie film
• 53:15
  Speaker 5: for like five grand, ten grand whatever, and they're talking
• 53:19
  Speaker 5: about like, all right, I'm gonna have this period piece
• 53:22
  Speaker 5: and I'm gonna you know, we're gonna be back in
• 53:24
  Speaker 5: this sixteen hundred, and.
• 53:25
  Speaker 4: You're like, what a future length filled with what I mean.
• 53:29
  Speaker 5: And you saw that thing I posted on Instagram recently
• 53:31
  Speaker 5: that I took from Grilla producer aka Calvin you know
• 53:34
  Speaker 5: where it's like you're trying to explain to people how
• 53:36
  Speaker 5: your you know, music video is not gonna cost five
• 53:38
  Speaker 5: hundred bucks, you know what I mean. It's just like
• 53:41
  Speaker 5: it's just too much is involved with this to sort of,
• 53:45
  Speaker 5: you know, just say, oh, yeah, we can get by
• 53:46
  Speaker 5: with you know, one hundred bucks or whatever. And I
• 53:50
  Speaker 5: don't know why I even just thought of this, but
• 53:52
  Speaker 5: I want to bring this up too. I actually had
• 53:54
  Speaker 5: a friend of mine who did who did our online
• 53:56
  Speaker 5: radio show before that was even a thing. And I
• 54:00
  Speaker 5: haven't talked to this guy in years, but he had
• 54:02
  Speaker 5: it as it was like a and then what happened
• 54:04
  Speaker 5: was he would record it. It was an online radio show.
• 54:07
  Speaker 5: You could listen to it, and you could also watch
• 54:10
  Speaker 5: They had cameras in the room kind of like cam
• 54:12
  Speaker 5: girl by the way, and you know, and then what
• 54:14
  Speaker 5: happens is you could also listen to it later on
• 54:16
  Speaker 5: as a podcast. And I mean this is before any
• 54:18
  Speaker 5: everyone was doing it, you know, And he would try
• 54:22
  Speaker 5: to act like he could charge these exorbitant rates when
• 54:25
  Speaker 5: like nobody was watching, you know, like he had like
• 54:27
  Speaker 5: two viewers one night, one of which was me, and
• 54:30
  Speaker 5: he was like talking about, like, hey, I could I
• 54:32
  Speaker 5: should charge like one thousand dollars for an ad space here.
• 54:35
  Speaker 5: It's like, what the hell are you talking about? Like
• 54:37
  Speaker 5: where do you get this stuff from? But it's sort
• 54:39
  Speaker 5: of like, you know, I think some people have expectations
• 54:42
  Speaker 5: and then when their expectations doesn't meet reality, you know,
• 54:46
  Speaker 5: they have to say change their perception because otherwise they're
• 54:50
  Speaker 5: just gonna just be miserable about everything, you know what
• 54:52
  Speaker 5: I mean, They're always gonna be those people who were
• 54:54
  Speaker 5: just saying, like, oh my god, if only I could
• 54:56
  Speaker 5: find you know, ten thousand dollars or twenty thousand dollars,
• 54:59
  Speaker 5: I don't know, maybe if he maybe they could change
• 55:01
  Speaker 5: the movie and shoot it a little differently.
• 55:02
  Speaker 4: Uh, you know.
• 55:04
  Speaker 5: And you know one of the things that you mentioned
• 55:05
  Speaker 5: too is when when when the crew and the cast
• 55:08
  Speaker 5: see you, meaning like you as the director and writer
• 55:11
  Speaker 5: and producer, have this You're you have a great attitude,
• 55:15
  Speaker 5: You're willing to work hard. And the thing is, and
• 55:19
  Speaker 5: this is this is true with pretty much any project
• 55:21
  Speaker 5: I've ever been on. The if the if the producer, director, writer,
• 55:25
  Speaker 5: whoever is leading the ship. Sometimes you know, like you
• 55:27
  Speaker 5: and me, Kurt, we wear all three hats. If you
• 55:30
  Speaker 5: don't care about the project more than everybody else, people
• 55:34
  Speaker 5: can sense that.
• 55:35
  Speaker 4: And if they sense.
• 55:36
  Speaker 5: That, their their their willingness and their their willingness to
• 55:40
  Speaker 5: to sort of, you know, go, that extra mile diminishes
• 55:44
  Speaker 5: by like rapidly by by the day, you know what
• 55:46
  Speaker 5: I mean.
• 55:47
  Speaker 6: Absolutely, and not only that. To kind of expand on
• 55:51
  Speaker 6: what you were talking about earlier about you know, people,
• 55:53
  Speaker 6: where are you getting these numbers from? You know, you
• 55:55
  Speaker 6: should charge this? And I think it's this crowdfunding mentality
• 55:59
  Speaker 6: where it just as it's like a plague, people think, oh,
• 56:02
  Speaker 6: just because you know, Spike Lee could do it. Yeah,
• 56:06
  Speaker 6: it's Spike Lee. You know, it's like he got over
• 56:09
  Speaker 6: a million dollars because it's you know, but it's a
• 56:12
  Speaker 6: matter of with crowdfunding, it's about the rewards. It's not
• 56:17
  Speaker 6: a matter of what you're taking. But you know, there's
• 56:19
  Speaker 6: this kind of me first mentality that filmmakers need to
• 56:23
  Speaker 6: kind of get away from if they really want to
• 56:25
  Speaker 6: get a start. I have the opposite philosophy. It's about
• 56:29
  Speaker 6: you know, giving first. I mean, obviously within reason. If
• 56:32
  Speaker 6: it's you know, one sided with a certain you know,
• 56:36
  Speaker 6: then you can stop, you know, on that avenue. But
• 56:39
  Speaker 6: it's giving first, And you'd be amazed how many other
• 56:41
  Speaker 6: people eventually down the road. Oh, you know, I do
• 56:44
  Speaker 6: have this concept. How about you write the screenplay, I'll
• 56:46
  Speaker 6: pay you or whatever. Or I've got this one producer,
• 56:49
  Speaker 6: he'd be really interested in this script that you told
• 56:51
  Speaker 6: me about a year ago. Like you'd be amazed how
• 56:54
  Speaker 6: often that is how it works, And that is a
• 56:58
  Speaker 6: great way of networking, is what do you do for
• 57:00
  Speaker 6: this person first? It's just like the agent's client relationship.
• 57:06
  Speaker 6: It's it's your it's a symbiotic thing. It's like what
• 57:09
  Speaker 6: are you doing for the agent? That's why they want
• 57:11
  Speaker 6: to know what your brand is. They already want you
• 57:12
  Speaker 6: to have some kind of reputation, like you have a
• 57:14
  Speaker 6: reason for them to want you, like you've already put
• 57:18
  Speaker 6: in the time. You've got studios interested in whatever script
• 57:21
  Speaker 6: or project it is or YouTube video you made, et cetera.
• 57:24
  Speaker 6: So no, it's very much I look at networking that way.
• 57:29
  Speaker 6: It's like it's a it's a giving first thing and
• 57:32
  Speaker 6: seeing what comes in, what goes around, comes around to
• 57:35
  Speaker 6: some degree.
• 57:37
  Speaker 5: Yes, I that is my philosophy and networking as well.
• 57:40
  Speaker 5: You know, I always, you know, always extend out. You know, hey,
• 57:44
  Speaker 5: this is why I think we should talk or with
• 57:46
  Speaker 5: this we should meet, And this podcast has been an
• 57:48
  Speaker 5: extension of that. You know, I've always been one of
• 57:52
  Speaker 5: my strongest skills, Kurt. You know, some people just have these,
• 57:55
  Speaker 5: you know, skills that they've accumulated and sort of ends
• 57:57
  Speaker 5: up becoming a strength, and.
• 57:58
  Speaker 4: One of them has been networking for me.
• 58:00
  Speaker 5: And one of the things that I've learned is that,
• 58:02
  Speaker 5: you know, you have to sort of offer up some
• 58:04
  Speaker 5: value and if it's not reciprocated, because which you know,
• 58:08
  Speaker 5: let's just be honest, sometimes in the film industry it's
• 58:10
  Speaker 5: not reciprocated, so you just you just have to sort
• 58:15
  Speaker 5: of let it go and just be like, all right,
• 58:16
  Speaker 5: that's their karma. If they don't want to reciprocate that,
• 58:19
  Speaker 5: that's fine, but uh, you know, next time, I'm not
• 58:22
  Speaker 5: gonna you know, it's you know, you next time, I
• 58:25
  Speaker 5: don't know if I'm gonna actually be so willing to
• 58:27
  Speaker 5: help them out. And that's why I always tell people
• 58:30
  Speaker 5: in this industry, you have to have a good attitude that. Honestly, Kurt,
• 58:35
  Speaker 5: I've worked on some of these film sets, man, and
• 58:37
  Speaker 5: it has just been ego maniacs out of the gate.
• 58:41
  Speaker 4: And I'm like, you guys haven't done anything.
• 58:42
  Speaker 5: How how you know you're we're making a small indie
• 58:46
  Speaker 5: film here that that you know is literally all free,
• 58:50
  Speaker 5: Like everything's free, Like we have the location for free,
• 58:52
  Speaker 5: everyone's working for free, the cast is working for free.
• 58:55
  Speaker 5: And I'm like, you know, we're shooting this with like
• 58:57
  Speaker 5: a potato And I'm like and and you know, everyone's like, oh,
• 59:00
  Speaker 5: this is gonna be a YouTube hit. We're gonna have
• 59:02
  Speaker 5: a million hits. You know, in retrospect, I've looked at that.
• 59:05
  Speaker 5: I've looked at that and and I realized you do
• 59:07
  Speaker 5: have to have that attitude that it is going to
• 59:09
  Speaker 5: lead to something. But I think it with as we
• 59:11
  Speaker 5: go back to expect expectations, Hey, it's gonna be a
• 59:13
  Speaker 5: million hits on YouTube, the reality of it is if
• 59:16
  Speaker 5: it doesn't hit that, hey, you know what, you know,
• 59:18
  Speaker 5: at least we tried. You know, it shouldn't be this
• 59:21
  Speaker 5: like blinded Ferber, if you know what I mean. That
• 59:24
  Speaker 5: sort of like leads a lot of people astray because
• 59:26
  Speaker 5: I mean, you've been on those movies, Kurt, where you
• 59:28
  Speaker 5: know people you work on a project, and some people
• 59:30
  Speaker 5: have that attitude where like, hey, this is the big
• 59:33
  Speaker 5: thing that's gonna win Sun Dance.
• 59:34
  Speaker 4: We're all gonna be multi millionaires living.
• 59:36
  Speaker 5: In mansions in bel Air and it's all gonna be
• 59:39
  Speaker 5: gonna because of this film. And I honestly, I think
• 59:43
  Speaker 5: that's a it's a double edged sword type of attitude
• 59:46
  Speaker 5: because you want people to be positive, but you also
• 59:48
  Speaker 5: don't want people to sort of lose grasp.
• 59:51
  Speaker 4: Of reality, if you know what I mean.
• 59:53
  Speaker 1: We'll be right back after a word from our sponsor
• 1:00:00
  Speaker 1: and now back to the show.
• 1:00:02
  Speaker 6: It's like that movie. This is a very obscure reference,
• 1:00:05
  Speaker 6: mind you, so pardon, but it's like that movie The
• 1:00:10
  Speaker 6: Great White Hype. You know, it's it's it's all this.
• 1:00:14
  Speaker 6: You build this expectations, expectations, and it kind of builds
• 1:00:17
  Speaker 6: upon itself and then you better deliver and then it's
• 1:00:19
  Speaker 6: like the biggest let down in the world when it doesn't.
• 1:00:21
  Speaker 6: Although that's the movie was that did the opposite, But anyway,
• 1:00:24
  Speaker 6: that was kind of the joke of it. It turned
• 1:00:26
  Speaker 6: its on it's on its head. But it's just about that,
• 1:00:30
  Speaker 6: you don't really what I was saying earlier, especially if
• 1:00:34
  Speaker 6: it's a smaller project, and really especially if it's people
• 1:00:37
  Speaker 6: volunteering their time. One, you better be to the nicest
• 1:00:42
  Speaker 6: to them, the you know, nice, super nice to them
• 1:00:45
  Speaker 6: and thank them for their work and and and let
• 1:00:47
  Speaker 6: them know it's appreciated. Because no, I mean, if you're
• 1:00:50
  Speaker 6: able to get people to work for you for free
• 1:00:52
  Speaker 6: and it comes out, uh, watchable, that's amazing. That's a
• 1:00:56
  Speaker 6: miracle in itself. It's already a miracle producing a feature
• 1:01:00
  Speaker 6: or whatever it is. Short. So no, it's really hard
• 1:01:03
  Speaker 6: to get quality work and people with experience and do
• 1:01:07
  Speaker 6: quality work for free. I mean, I have different philosophies
• 1:01:11
  Speaker 6: about people that do that, and I've still done work
• 1:01:13
  Speaker 6: for free, but I'm eventually gonna really just stop doing
• 1:01:17
  Speaker 6: that unless it's a very close friend or something. Anyway, Yeah,
• 1:01:22
  Speaker 6: very much. You gotta just it's about demeanor. You want
• 1:01:25
  Speaker 6: to be respectful to people, because again, it goes maybe
• 1:01:30
  Speaker 6: a year later when they remember working with you. If
• 1:01:33
  Speaker 6: you were act like that, they probably don't want to
• 1:01:35
  Speaker 6: work with you again, or especially you know, when you
• 1:01:38
  Speaker 6: don't live up to the hype which is very possible
• 1:01:41
  Speaker 6: when it's this crowded of an industry. It's just kind
• 1:01:44
  Speaker 6: of it really kind of looks bad. It should be
• 1:01:47
  Speaker 6: about this is a great story to tell. I'm glad
• 1:01:49
  Speaker 6: you're all here to help tell it with me. Let's
• 1:01:52
  Speaker 6: go to work action. Yeah, So it starts with that because,
• 1:01:58
  Speaker 6: like I said, Cameron took well over from start to finish,
• 1:02:03
  Speaker 6: from the first screenplay to actual nowl and distribution, it's
• 1:02:07
  Speaker 6: taken four years, well over four years if we consider
• 1:02:12
  Speaker 6: you know, the development process, you know, the year, you know,
• 1:02:14
  Speaker 6: five years. So it's you have to really want to
• 1:02:17
  Speaker 6: tell a story and really have you know, your your
• 1:02:22
  Speaker 6: heart behind it because you've got to really get through
• 1:02:24
  Speaker 6: all that time. I mean, it doesn't necessarily have to
• 1:02:27
  Speaker 6: take that long, but it could at very least it
• 1:02:30
  Speaker 6: should take you know, post production everything. If you don't
• 1:02:33
  Speaker 6: have a lot of money your disposal, Yeah, it'll take
• 1:02:35
  Speaker 6: years before you get from A to B on that.
• 1:02:39
  Speaker 5: Yeah, And that's sort of that perseverance you got to
• 1:02:41
  Speaker 5: keep sort of punching it through.
• 1:02:43
  Speaker 4: And you know, that's sort of goes back to what.
• 1:02:46
  Speaker 5: I was talking about with my friend of mine, where
• 1:02:48
  Speaker 5: it's like, you know, if you want to make it
• 1:02:50
  Speaker 5: in your own backyard.
• 1:02:51
  Speaker 4: Hey, more partia. It's kind of like that film Buried.
• 1:02:55
  Speaker 5: You know, they were going to actually shoot that in
• 1:02:57
  Speaker 5: somebody's backyard because hey, you know what, they could do it.
• 1:02:59
  Speaker 4: And this is before you know, he had a whole
• 1:03:01
  Speaker 4: like that.
• 1:03:01
  Speaker 5: They had a film crew obviously and everything, but they
• 1:03:03
  Speaker 5: were saying like, hey, I wrote this movie, but a
• 1:03:05
  Speaker 5: guy in a coffin, I could shoot this in my backyard.
• 1:03:07
  Speaker 4: It doesn't have to be any you know what I mean.
• 1:03:09
  Speaker 4: So if you haven't seen.
• 1:03:11
  Speaker 5: Buried, by the way, any everyone listening, Uh, fantastic movie.
• 1:03:14
  Speaker 5: One location, you know, and it's really really interesting how
• 1:03:18
  Speaker 5: they shot that. But you know, just to get back
• 1:03:20
  Speaker 5: to Cam Girl, I wanted to actually mention, you know
• 1:03:23
  Speaker 5: what was some of the you know what was some
• 1:03:25
  Speaker 5: of the like the maybe the toughest obstacle you had
• 1:03:28
  Speaker 5: to overcome and in actually the in the actual shooting
• 1:03:31
  Speaker 5: of Cam Girl, is there anything unexpected that may have
• 1:03:34
  Speaker 5: happened on set that that sort of like threw everything
• 1:03:36
  Speaker 5: into a into a like disarray or anything that sort
• 1:03:39
  Speaker 5: of happened that just sort of like put a wrench
• 1:03:40
  Speaker 5: in the works.
• 1:03:42
  Speaker 6: Well, no matter how prepared you get, you'll still have
• 1:03:46
  Speaker 6: things that just really you know, like what the bleep?
• 1:03:49
  Speaker 3: You know.
• 1:03:52
  Speaker 6: A few examples of that I had. We have that
• 1:03:57
  Speaker 6: that main location that we had where all the action happens. First,
• 1:04:00
  Speaker 6: very quickly, the log line. It's CAMRA's Aspence film. It's
• 1:04:04
  Speaker 6: available everywhere you know, Amazon, DVD. It's about Jessica, a
• 1:04:11
  Speaker 6: single mother who works as a webcam stripper who was
• 1:04:13
  Speaker 6: pushed to a limit when held hostage by an unknown gunman. Basically,
• 1:04:17
  Speaker 6: so it's mostly in this one location where the house
• 1:04:20
  Speaker 6: where that you know, conflict takes place, where that hostage
• 1:04:23
  Speaker 6: situation takes place, and it's very much over the phone
• 1:04:26
  Speaker 6: kind of in the vein of it was a combination
• 1:04:29
  Speaker 6: of phone booth and film I really love called hard
• 1:04:34
  Speaker 6: candy anyway, So that main location, we actually leased it
• 1:04:41
  Speaker 6: out for that month, and when we leased it it
• 1:04:44
  Speaker 6: was completely empty. So we dressed that place, you know,
• 1:04:47
  Speaker 6: from top to bottom. It was all just carpets and walls.
• 1:04:52
  Speaker 6: So when we moved in, we only had about two
• 1:04:56
  Speaker 6: days to prep everything, get it going. You know, had
• 1:04:58
  Speaker 6: the have the power set up, have you know, the
• 1:05:02
  Speaker 6: the water set up, because we had we needed all
• 1:05:05
  Speaker 6: that stuff. The working shower, et cetera. You know, sinks everything.
• 1:05:10
  Speaker 6: So once we finally got it all up and running,
• 1:05:13
  Speaker 6: the first day of production, we needed the wardrobe clean.
• 1:05:16
  Speaker 6: So I wanted to, you know, wash the main wardrobe
• 1:05:21
  Speaker 6: that we see the kind of the pajamas that the
• 1:05:23
  Speaker 6: iconic you know, stuff for the character. So I quickly,
• 1:05:27
  Speaker 6: you know, wash it just so it's not you know,
• 1:05:29
  Speaker 6: wrinkled and everything. And come to find out, the washer
• 1:05:33
  Speaker 6: that was left in there and had other tenants and
• 1:05:35
  Speaker 6: everything used or whatever prior to that, it would just
• 1:05:37
  Speaker 6: filled up and would that's all it would do. It
• 1:05:40
  Speaker 6: just filled up with water and just was like a moat.
• 1:05:42
  Speaker 6: So I found out hours later, what the heck? And
• 1:05:45
  Speaker 6: now the actresses showed up. We're ready to go, you know,
• 1:05:48
  Speaker 6: everything's set up, and this is the clothes. You know,
• 1:05:51
  Speaker 6: I realized, you know, we're about to start a little bit,
• 1:05:54
  Speaker 6: and now we've got this soaking wet clothes, and what
• 1:05:57
  Speaker 6: am I gonna do? Now? The washer doesn't work, So
• 1:06:01
  Speaker 6: basically I quickly threw it out on basically on the
• 1:06:07
  Speaker 6: inside the car. Outside it was a hot summer day
• 1:06:10
  Speaker 6: in Florida, so I put it out in the back
• 1:06:12
  Speaker 6: seat of my car. So the sun was beaming in there,
• 1:06:14
  Speaker 6: and I took one of our reflectors and reflected sun
• 1:06:18
  Speaker 6: going into the back of this car. And the DP
• 1:06:20
  Speaker 6: shows up at that time from he just parks and
• 1:06:23
  Speaker 6: passes my car and he's like, what is all this stuff?
• 1:06:26
  Speaker 6: I had to explain, Yeah, I had to dry this
• 1:06:28
  Speaker 6: stuff somehow, and because the dryer's not working, this washer
• 1:06:31
  Speaker 6: it doesn't work, so it just left the soapy water
• 1:06:34
  Speaker 6: collecting on our wardrobe that we're gonna need in an hour.
• 1:06:36
  Speaker 6: So it's just like that's one thing. Another thing. We
• 1:06:39
  Speaker 6: had a location fallout at the last minute and ended
• 1:06:42
  Speaker 6: up having to talk them into reminding them, Okay, fine,
• 1:06:46
  Speaker 6: I'm giving you how much money. I'll give you a
• 1:06:48
  Speaker 6: little more. Can we film tomorrow? Okay fine. So we
• 1:06:51
  Speaker 6: had a cover set at main location for that day.
• 1:06:54
  Speaker 6: I had immediately call everybody and reschedule actors that were
• 1:07:00
  Speaker 6: that day for a different day and bring in the
• 1:07:03
  Speaker 6: core actors to the main location and be okay, we'll
• 1:07:06
  Speaker 6: film this scene in that scene. So that became a
• 1:07:08
  Speaker 6: short day, but we still kept them with that and
• 1:07:10
  Speaker 6: we got something done, so that in a way was
• 1:07:12
  Speaker 6: our cover set. That kind of thing is more often,
• 1:07:15
  Speaker 6: like if you're doing exteriors, you definitely want to have
• 1:07:19
  Speaker 6: that early in the schedule so they're able to utilize
• 1:07:22
  Speaker 6: cover sets if it's really bad weather, what have you.
• 1:07:26
  Speaker 6: But in that case, it was because a location fell out,
• 1:07:28
  Speaker 6: So you just don't know. You need to be prepared
• 1:07:30
  Speaker 6: for anything. And that's also you need to be fully
• 1:07:33
  Speaker 6: prepared as much as possible before you start, because you're
• 1:07:37
  Speaker 6: gonna still have fires to put out.
• 1:07:40
  Speaker 4: Yeah, you are always gonna have fires to put out.
• 1:07:42
  Speaker 5: That's something I found and it's a lot of it
• 1:07:47
  Speaker 5: has been in my experience, been like people dropping out,
• 1:07:50
  Speaker 5: like key crew members, and I have to kind of
• 1:07:52
  Speaker 5: fill those rules myself. That's been a big fire that
• 1:07:55
  Speaker 5: I've noticed a lot. And you know, it's sort of like, hey,
• 1:07:58
  Speaker 5: your location manager dropped out, Okay, now you're you know,
• 1:08:02
  Speaker 5: now the the you're your associate producer dropped out, okay,
• 1:08:06
  Speaker 5: and now you know, now this guy dropped out.
• 1:08:08
  Speaker 4: Okay.
• 1:08:09
  Speaker 5: Now I'm you know, the cater, IMT this and then that,
• 1:08:12
  Speaker 5: and I'm also you know, the director and I wrote
• 1:08:14
  Speaker 5: the freaking thing. And it's just, you know, it's just
• 1:08:16
  Speaker 5: one thing after another and you're just trying to juggle
• 1:08:18
  Speaker 5: what you are at that point in time. So and
• 1:08:21
  Speaker 5: it's just you know, just trying to sort of get
• 1:08:24
  Speaker 5: through it, so to speak.
• 1:08:25
  Speaker 4: But but you know it's so good.
• 1:08:27
  Speaker 5: You know, I actually was gonna ask you to you
• 1:08:29
  Speaker 5: you just answered that question was about how did you
• 1:08:31
  Speaker 5: actually film this movie? And you know if you actually
• 1:08:33
  Speaker 5: just rented out one location, which is you know, you
• 1:08:36
  Speaker 5: just answered that because I've actually seen other people do
• 1:08:40
  Speaker 5: that too, where they've actually just you know, rented a
• 1:08:42
  Speaker 5: house for uh, you know, maybe a month or so.
• 1:08:46
  Speaker 5: I know, as odd as this is gonna sound, the
• 1:08:49
  Speaker 5: movie that I just recently watched that it made me
• 1:08:52
  Speaker 5: think of that was dB Cooper Versus Bigfoot, and basically
• 1:08:57
  Speaker 5: they rented a house for like a month and shot
• 1:08:59
  Speaker 5: the whole film in there. By the way, do not
• 1:09:02
  Speaker 5: watch TV Couber Versus big Foot. It was terrible if
• 1:09:04
  Speaker 5: you for so, Kurt, do not do not actually try
• 1:09:08
  Speaker 5: to find that movie was It was got awful. But
• 1:09:10
  Speaker 5: uh but it just made me think of of you know, hey,
• 1:09:13
  Speaker 5: they rented a house for a month. But you know,
• 1:09:15
  Speaker 5: but no, I actually liked Camgirl. Uh you know, I
• 1:09:18
  Speaker 5: thought it was a really cool idea.
• 1:09:20
  Speaker 4: Reminded me of Phone Booth you mentioned, you said Hard
• 1:09:22
  Speaker 4: Candy reminded me of Phone Booth more than more or
• 1:09:25
  Speaker 4: even Devil more so than Hard Candy.
• 1:09:29
  Speaker 6: Yeah, it was a combination of both. I thought, I said,
• 1:09:31
  Speaker 6: both Phone Booth and Hard Candy.
• 1:09:32
  Speaker 4: Oh, I'm sorry, I missed. Sorry about that. So sorry
• 1:09:35
  Speaker 4: I missed that story.
• 1:09:36
  Speaker 6: I don't know, I'm thinking, I said, but I don't.
• 1:09:38
  Speaker 6: I won't have to go back.
• 1:09:39
  Speaker 4: Let's go to the videotape, but the instant replay.
• 1:09:45
  Speaker 6: But no, I'm pretty sure. I mean, you're absolutely right,
• 1:09:47
  Speaker 6: and uh that that definitely was both were you know,
• 1:09:52
  Speaker 6: I mean tones why I said Hard Candy is the
• 1:09:54
  Speaker 6: whole dynamic between the male and female character.
• 1:09:58
  Speaker 1: We'll be right back after a word from our sponsor,
• 1:10:04
  Speaker 1: and now back to the show.
• 1:10:07
  Speaker 6: You know, that's kind of where I was going. I
• 1:10:09
  Speaker 6: guess with that one. Now it's very contained and very
• 1:10:12
  Speaker 6: adversarial that way and kind of breaks down the the
• 1:10:17
  Speaker 6: cliche is that you might have about the the genders there.
• 1:10:23
  Speaker 6: So that's that's kind of where I was. But definitely,
• 1:10:24
  Speaker 6: I can see Phone Booth absolutely that was a definite
• 1:10:28
  Speaker 6: inspiration really all these I mean you mentioned, I was
• 1:10:31
  Speaker 6: so wanting to mention when you brought it up with
• 1:10:35
  Speaker 6: Chris Barling's Buried. Yeah, I thought that was very tactful,
• 1:10:39
  Speaker 6: very good. People should look at that they sold, I
• 1:10:41
  Speaker 6: should look at his other work at m so they're
• 1:10:44
  Speaker 6: very contained film And I thought that was great. In fact,
• 1:10:49
  Speaker 6: I think that was better than Buried. It was definitely
• 1:10:51
  Speaker 6: uh because it had it had bigger scope because it
• 1:10:54
  Speaker 6: was three people in a small, contained space. But it
• 1:11:00
  Speaker 6: just goes to show you that he became the contained
• 1:11:03
  Speaker 6: thriller guy, you know, and he embraced it and he
• 1:11:06
  Speaker 6: I think it is really interesting to know that, yes,
• 1:11:08
  Speaker 6: he wrote that script intending to no matter what if
• 1:11:11
  Speaker 6: he had to make it himself. And there was this
• 1:11:13
  Speaker 6: other movie called Coffin, which is a lesser scene and
• 1:11:16
  Speaker 6: it's a you know, it's okay, but it's just very
• 1:11:19
  Speaker 6: low budget and just isn't quite what Buried is. Then again,
• 1:11:22
  Speaker 6: it doesn't have Ryan Reynolds inside the coffin. Also, what's
• 1:11:27
  Speaker 6: really fascinating is I was amazed to find out that
• 1:11:30
  Speaker 6: Baried was shot in twenty one days. It's like it's
• 1:11:32
  Speaker 6: a one guy in a coffin the whole time, and
• 1:11:34
  Speaker 6: it was shot in twenty one days.
• 1:11:36
  Speaker 1: Wow.
• 1:11:36
  Speaker 6: They really you know, it goes to show you they
• 1:11:38
  Speaker 6: took their time. They could have probably done that. Unless
• 1:11:41
  Speaker 6: there's another movie called Break, which is one actor Stephen Dorf.
• 1:11:46
  Speaker 6: I believe he's inside a trunk of a car. He's
• 1:11:49
  Speaker 6: kind of held hostage. There's this terrorism type plot and
• 1:11:52
  Speaker 6: he's you know, held hostage inside of a trunk, and
• 1:11:56
  Speaker 6: it's just like there's this ticking clock and each time
• 1:11:58
  Speaker 6: it triggers something out, you know, it ratches up the suspense.
• 1:12:01
  Speaker 6: What's gonna happen to him? Because they're they're wanting him
• 1:12:04
  Speaker 6: to do something. The people that are driving are holding
• 1:12:09
  Speaker 6: him hostage. I mean, just look at these kind of movies, realize, Okay,
• 1:12:13
  Speaker 6: how can I make a story like this that I
• 1:12:15
  Speaker 6: really feel passionate about that is unique, that takes advantage
• 1:12:20
  Speaker 6: of the same kind of things that these movies do.
• 1:12:23
  Speaker 6: Is what I'd suggest if you're trying to break in,
• 1:12:25
  Speaker 6: because it's it's it's it's about budget, you know, you
• 1:12:30
  Speaker 6: need to get that first credit. That's the thing I'm
• 1:12:33
  Speaker 6: very appreciative that I have, you know, my first credit
• 1:12:35
  Speaker 6: as a writer director. I've got you know, first credit
• 1:12:37
  Speaker 6: for features now on visual effects and things like that.
• 1:12:41
  Speaker 6: So I can really until it's like a plumber. If
• 1:12:44
  Speaker 6: you're gonna need some plumbing work done, are you gonna
• 1:12:48
  Speaker 6: just have your buddy say, oh, yeah, I know somebody
• 1:12:50
  Speaker 6: down the street. Has he done anything before? No, he's
• 1:12:53
  Speaker 6: he's he's he works as a you know, an accountant,
• 1:12:56
  Speaker 6: but you know he likes to do plumbing on the side.
• 1:12:58
  Speaker 6: Are you going to bring that person into work on
• 1:13:00
  Speaker 6: the pipe? So you're going to call somebody in that
• 1:13:02
  Speaker 6: your friend said, oh no, I did an amazing job.
• 1:13:03
  Speaker 6: You know he's been doing it for years. You know,
• 1:13:07
  Speaker 6: if you don't trust somebody with your pipe, you don't
• 1:13:09
  Speaker 6: trust somebody, you know, with your screenplay. You know who's
• 1:13:12
  Speaker 6: going to give you your you know, eight hundred thousand
• 1:13:15
  Speaker 6: dollars right off the bat. You know, why would they
• 1:13:18
  Speaker 6: decide to do that? Why would they take that risk?
• 1:13:21
  Speaker 6: So you got to look at it from that way.
• 1:13:22
  Speaker 6: It's very much starting realizing you have to start somewhere
• 1:13:27
  Speaker 6: and writing something that's very marketable that you still feel
• 1:13:31
  Speaker 6: great about telling that's within a budget is a great avenue.
• 1:13:36
  Speaker 4: Yeah.
• 1:13:37
  Speaker 5: It sort of goes back to what we're talking about too,
• 1:13:39
  Speaker 5: with the whole you know, trying to make a time
• 1:13:41
  Speaker 5: travel movie for like, you know, fifty bucks or whatever
• 1:13:43
  Speaker 5: the hell was, or you know, a let's make a
• 1:13:46
  Speaker 5: period piece movie for five thousand.
• 1:13:48
  Speaker 4: It's sci fi.
• 1:13:49
  Speaker 6: But I mean you can look at the movie like Primer.
• 1:13:51
  Speaker 6: That's the thing. A brilliant movie like Primer for instance,
• 1:13:54
  Speaker 6: is super low budget at sci fi.
• 1:13:57
  Speaker 5: Like that is.
• 1:13:58
  Speaker 6: It was so unique and high concept and it was
• 1:14:01
  Speaker 6: started from the ground up in a way that would work,
• 1:14:04
  Speaker 6: you know, for a budget, you know, and that's why
• 1:14:06
  Speaker 6: it got the attention. That's why it was a hit
• 1:14:08
  Speaker 6: at Sundance, you know.
• 1:14:10
  Speaker 5: Yeah, yeah, exactly, And it was it was very internal,
• 1:14:14
  Speaker 5: very psychological, and it was you know, for those of
• 1:14:16
  Speaker 5: you haven't seen Primer, it was a time travel movie
• 1:14:18
  Speaker 5: that was made for like seven thousand bucks, and basically
• 1:14:22
  Speaker 5: it's about a guy who in his garage makes a
• 1:14:24
  Speaker 5: time machine and he keeps going back and forth. And
• 1:14:27
  Speaker 5: the movie too where where it's like, you know, you
• 1:14:29
  Speaker 5: really have to pay attention and I hate using that phrase,
• 1:14:32
  Speaker 5: you really have to pay attention to this movie, Kurt,
• 1:14:34
  Speaker 5: Like you know, you like you should be on your
• 1:14:36
  Speaker 5: phone or you know what I mean. But uh, but
• 1:14:38
  Speaker 5: but the fact is, you know, it goes it jumps
• 1:14:40
  Speaker 5: back and forth a lot. It back jumps forward, jumps backwards,
• 1:14:43
  Speaker 5: and you kind of have to sort of piece this together.
• 1:14:46
  Speaker 5: It's really really cool and uh yeah, exactly, you know,
• 1:14:49
  Speaker 5: it depends upon what you do with it. It's kind
• 1:14:52
  Speaker 5: of there's an article I actually just tweeted out and
• 1:14:54
  Speaker 5: not to about maybe yesterday where I it was the
• 1:14:56
  Speaker 5: difference between an amateur using pro gear and a role
• 1:15:00
  Speaker 5: using amateur gear, and you know, the the the the
• 1:15:04
  Speaker 5: sort of concis is the camera doesn't make the photographer.
• 1:15:07
  Speaker 5: The photographer makes the camera. The camera just helps you
• 1:15:12
  Speaker 5: get that vision. Yes, so you know, and that's sort
• 1:15:18
  Speaker 5: of what where we're sort of you know, going with
• 1:15:21
  Speaker 5: you know, don't really focus on gear a lot, I honestly,
• 1:15:24
  Speaker 5: and and because honestly, Kurt, I mean, I'm sure when
• 1:15:27
  Speaker 5: you were filming a camgirl, you know, you probably you
• 1:15:31
  Speaker 5: could have just simply went into a computer typed in
• 1:15:34
  Speaker 5: gear for rent and you would have had probably ten
• 1:15:37
  Speaker 5: million hits because.
• 1:15:38
  Speaker 4: There's everybody you know, has these camera packages.
• 1:15:41
  Speaker 5: You know, don't use the DSLR, use a red, No,
• 1:15:44
  Speaker 5: don't use a red, use an area of flag, you know,
• 1:15:46
  Speaker 5: I mean, it's just you know, you can just keep
• 1:15:48
  Speaker 5: going down this wormhole of gear and stuff like that,
• 1:15:51
  Speaker 5: but you really have to, you know, I say, you know,
• 1:15:54
  Speaker 5: find out what your project is and really play to
• 1:15:56
  Speaker 5: that and which is what Primer did and you know,
• 1:16:00
  Speaker 5: and really just sort of go from there. And I think,
• 1:16:02
  Speaker 5: you know, you you don't have to worry about finding
• 1:16:04
  Speaker 5: the latest gear and shooting in four K or imax
• 1:16:07
  Speaker 5: or whatever, because you know, most people are never going
• 1:16:10
  Speaker 5: to see your movie in four K imax because you know,
• 1:16:13
  Speaker 5: most of the monitors that we have nowadays, you know,
• 1:16:16
  Speaker 5: like ninety ten percent of them on the planet aren't
• 1:16:17
  Speaker 5: aren't four K, you know what I mean. So this
• 1:16:20
  Speaker 5: obsession with just this high res and everything else, it's
• 1:16:22
  Speaker 5: just sort of detracting from actually making the movie, you
• 1:16:25
  Speaker 5: know what I mean, always chasing the next big thing
• 1:16:28
  Speaker 5: in the in the in the gear market. But uh,
• 1:16:32
  Speaker 5: but you know I want and then you know, I
• 1:16:33
  Speaker 5: actually want to ask you to Kurt, you know, you
• 1:16:35
  Speaker 5: have a few projects. You know. Again, I was looking
• 1:16:37
  Speaker 5: at your IDB things that are announced, so you know,
• 1:16:40
  Speaker 5: I wanted to ask Kurt, you know, with KM Girl
• 1:16:42
  Speaker 5: out now it's on Amazon Prime, and I wanted to
• 1:16:45
  Speaker 5: ask you, what are some of your other projects that
• 1:16:47
  Speaker 5: you have out that that are that you're working on
• 1:16:49
  Speaker 5: right now.
• 1:16:50
  Speaker 6: Well, yeah, it's very much what is the next thing?
• 1:16:52
  Speaker 6: Like I was saying, just from the writing standpoint, it's
• 1:16:55
  Speaker 6: it's keep moving on and the same thing with you,
• 1:16:57
  Speaker 6: like things are trying to get in production. So I've
• 1:17:00
  Speaker 6: got a thirty Nights Stand, which is a rom com,
• 1:17:04
  Speaker 6: and that that was what I wrote kind of after
• 1:17:08
  Speaker 6: cam Girl was kind of my answer to that, and
• 1:17:10
  Speaker 6: I kind of wanted to do something different with that.
• 1:17:14
  Speaker 6: I've heard it called. You know, it's like a rom
• 1:17:16
  Speaker 6: com with an edge. Basically logline is tensions rise and
• 1:17:19
  Speaker 6: sparks fly when a woman is cunning enough to turn
• 1:17:22
  Speaker 6: a one night stand into an opportunity to live with
• 1:17:25
  Speaker 6: a man rent free. So it kind of like it's
• 1:17:28
  Speaker 6: very much deals with the kind of generation I'm in now,
• 1:17:31
  Speaker 6: you know, people in their thirties and everything. It's there's
• 1:17:33
  Speaker 6: this big thing about you know, you need to have
• 1:17:38
  Speaker 6: a house, you know, and and you know, what kind
• 1:17:40
  Speaker 6: of house do you have? And or oh you're renting okay,
• 1:17:42
  Speaker 6: you know, or who's living with you? Oh you've got
• 1:17:44
  Speaker 6: roommates and you're thirty five whatever, you know, it's like
• 1:17:48
  Speaker 6: some people might have a problem with that. It's other
• 1:17:50
  Speaker 6: people like, no, I think it's the best thing, you know,
• 1:17:52
  Speaker 6: going for me right now. You know, it's like you
• 1:17:54
  Speaker 6: don't understand, you know, So, I mean it's very much
• 1:17:57
  Speaker 6: and there's all this kind of what really kind of
• 1:17:59
  Speaker 6: trigger the idea was this talk about what's it? The term,
• 1:18:05
  Speaker 6: I guess is like kind of like forced ownership in
• 1:18:08
  Speaker 6: a way where that's there's kind of like this strange
• 1:18:11
  Speaker 6: stuff where people can kind of claim owner ownership if
• 1:18:15
  Speaker 6: they've been there for seven years or whatever and it's
• 1:18:18
  Speaker 6: been dormant, this kind of weird legal stuff. And it's
• 1:18:22
  Speaker 6: also like it it takes a different direction that with
• 1:18:25
  Speaker 6: thirty nights. Stand it's not that, but I mean there's
• 1:18:27
  Speaker 6: all this kind of weird stuff as far as as
• 1:18:31
  Speaker 6: vacancies and squatters and you know, living arrangements, and I
• 1:18:35
  Speaker 6: kind of just tried to make a funny situational rom
• 1:18:39
  Speaker 6: com out of that. You know, of course, it's the
• 1:18:41
  Speaker 6: conflict ensues because they're stuck there for thirty days. You know,
• 1:18:45
  Speaker 6: he gives her a notice to vacate, and now they
• 1:18:47
  Speaker 6: hate each other. You know, it starts off as a
• 1:18:49
  Speaker 6: great you know, love affair for one night, but they
• 1:18:53
  Speaker 6: woke up, so then it's like what happens after that,
• 1:18:58
  Speaker 6: and you know it kind of ebbs and flows and
• 1:18:59
  Speaker 6: goes from there. So that's that, and I'm very happy
• 1:19:02
  Speaker 6: I've got Anaka Marx attached to that so far, and
• 1:19:05
  Speaker 6: she was in the sessions with Helen Hunt. Also have
• 1:19:09
  Speaker 6: Serena Vincent to play alongside her, and she's known from
• 1:19:13
  Speaker 6: like of Cabin Fever of course the original and other
• 1:19:19
  Speaker 6: genre movies like Tales from Halloween and stuff like that.
• 1:19:23
  Speaker 6: So that's that one. And then another one I'd like
• 1:19:25
  Speaker 6: to talk about is anxiety, and that was actually originally
• 1:19:29
  Speaker 6: I wrote as a playscript, so now I have a
• 1:19:31
  Speaker 6: two act playscripts, you know, trying to try to handle
• 1:19:34
  Speaker 6: that because I am, like I said, my strength is
• 1:19:37
  Speaker 6: kind of character driven stuff, you know, dialogue centric. And
• 1:19:42
  Speaker 6: anxiety as a based loosely based on a true event
• 1:19:46
  Speaker 6: that happened. Basically, a manic, claustrophobic woman gets locked inside
• 1:19:51
  Speaker 6: an office building bathroom after hours along with the male janitor.
• 1:19:56
  Speaker 1: We'll be right back after a word from our sponsor
• 1:20:02
  Speaker 1: and now back to the show.
• 1:20:05
  Speaker 6: So it's just based on this true events, not the
• 1:20:09
  Speaker 6: story itself, it departs from it very much. Where this
• 1:20:12
  Speaker 6: woman was trapped in this office building on a Friday
• 1:20:17
  Speaker 6: night in Washington, and she is so claustrophobic that when
• 1:20:22
  Speaker 6: it's kind of did the news articles didn't explain why
• 1:20:25
  Speaker 6: she got locked in there. But she got locked in
• 1:20:27
  Speaker 6: this bathroom and it took her eight hours. She eventually pried.
• 1:20:32
  Speaker 6: She broke the wooden chair inside there at the used
• 1:20:36
  Speaker 6: the wooden chair to pry at the metal handle on
• 1:20:38
  Speaker 6: the inside of the front door of the bathroom. The
• 1:20:42
  Speaker 6: thing snapped off, so now she doesn't have, you know,
• 1:20:45
  Speaker 6: even a handle, but she takes that handle that snapped
• 1:20:48
  Speaker 6: off from the inside and used it as a chisel.
• 1:20:51
  Speaker 6: And she first tried to chisel through the sidewall. Why
• 1:20:54
  Speaker 6: I don't know, but she tried to do that, and
• 1:20:56
  Speaker 6: she couldn't because it became solid after she got through
• 1:20:58
  Speaker 6: the drywall and all. So then she tried. Eventually she
• 1:21:01
  Speaker 6: browed the same kind of hole but right beside the door,
• 1:21:04
  Speaker 6: reached on the other side, stuck her arm through the
• 1:21:08
  Speaker 6: wall and unlocked it from the other side, and eventually
• 1:21:12
  Speaker 6: escaped that way. So it just it took that concept
• 1:21:15
  Speaker 6: and really kind of went a different direction with it
• 1:21:18
  Speaker 6: because there's somebody else stuck in there with her, and
• 1:21:19
  Speaker 6: of course they start blaming each other and you know,
• 1:21:22
  Speaker 6: have to forced to to deal with each other and
• 1:21:26
  Speaker 6: how are we going to get out of this mess?
• 1:21:27
  Speaker 6: And it's it's just again deals very much with gender
• 1:21:31
  Speaker 6: and even a possible you know, love interest, you know,
• 1:21:37
  Speaker 6: going on. It's just very fun. So that was actually
• 1:21:40
  Speaker 6: adapted to a screenplay as well, so you know, I
• 1:21:43
  Speaker 6: have that as a two act playscript and a future
• 1:21:45
  Speaker 6: that I hope to get going. And it's very much contained,
• 1:21:48
  Speaker 6: and I think it also helps it. It's it's inspired
• 1:21:51
  Speaker 6: by true events because they like having that, you know,
• 1:21:54
  Speaker 6: distributors like being able to put that on a poster
• 1:21:57
  Speaker 6: DVD box, which I get.
• 1:22:00
  Speaker 5: Yeah, you know, I remember talking to friends about stuff
• 1:22:02
  Speaker 5: like that, like when you whenever you're at you know,
• 1:22:04
  Speaker 5: member with video stores, but but when you ever go
• 1:22:07
  Speaker 5: to a video store, you would see that stuff. And
• 1:22:10
  Speaker 5: by the way, yes, everyone, I know video stores still exist.
• 1:22:12
  Speaker 5: I'm just making a joke. I actually that actually came up,
• 1:22:15
  Speaker 5: by the way, Kurt I, I had a guest thought it,
• 1:22:16
  Speaker 5: and I also had people email me like Dave, you know,
• 1:22:18
  Speaker 5: video stores still exist, right, I'm like, yes, I just
• 1:22:20
  Speaker 5: I was making a little levity guys, you know, come.
• 1:22:23
  Speaker 6: On, yeah, there's like what one hundred and two blockbusters left.
• 1:22:26
  Speaker 6: But yeah they exist. Yeah, they're actually worked at one.
• 1:22:29
  Speaker 6: I worked at a Hollywood video so I could try
• 1:22:31
  Speaker 6: to claim me and Tarantino. Yeah we have the same
• 1:22:35
  Speaker 6: not so much, but yes. I did a stint at
• 1:22:38
  Speaker 6: a video store and it was awesome. It's about the
• 1:22:40
  Speaker 6: perk of having movies, you know. I was able to
• 1:22:42
  Speaker 6: check out movies before they were on the shelves. That
• 1:22:45
  Speaker 6: was like the coolest executive privilege in the world. Like
• 1:22:49
  Speaker 6: I was able to take home a movie like a
• 1:22:51
  Speaker 6: week before it's available to the public.
• 1:22:52
  Speaker 4: It was like, yes, that is that is so cool.
• 1:22:55
  Speaker 4: You know, it's funny.
• 1:22:56
  Speaker 5: I actually had a friend of mine who worked at
• 1:22:57
  Speaker 5: a Hollywood video and we got to go in there
• 1:22:59
  Speaker 5: and rents movies and uh we actually rented a movie
• 1:23:02
  Speaker 5: called Bloody Murder, which is produced by It was like
• 1:23:05
  Speaker 5: the first movie produced by Mark Bienstock, who ended up
• 1:23:09
  Speaker 5: I ended up being his TA when he taught here
• 1:23:11
  Speaker 5: at Drexel here in Philly when he was shooting when
• 1:23:14
  Speaker 5: he was producing m Night Shyamalan split and he and
• 1:23:17
  Speaker 5: I he ended up he ended up coming on the
• 1:23:18
  Speaker 5: podcast too, and Mark and I were talking about it
• 1:23:21
  Speaker 5: and I was like, imagine how small a world that
• 1:23:23
  Speaker 5: is that that was the movie we grabbed and then yeah,
• 1:23:27
  Speaker 5: end up, you know what, fifteen years twenty years later,
• 1:23:29
  Speaker 5: we end up you know, uh, working together.
• 1:23:32
  Speaker 4: I mean, my god, but but yeah, you know, I'm
• 1:23:35
  Speaker 4: sorry not to not to get to have tracks.
• 1:23:36
  Speaker 5: Sorry, but but yeah, I know, it's just it's just
• 1:23:40
  Speaker 5: you know, cool that you got to work at that
• 1:23:42
  Speaker 5: Hollywood video and and yeah, you know some there some
• 1:23:44
  Speaker 5: blockbusters around, but but you know, just to go back
• 1:23:47
  Speaker 5: with what you're talking about, you know, yeah, I I
• 1:23:50
  Speaker 5: I know exactly what you mean. Where they can put
• 1:23:51
  Speaker 5: on that inspired by two events, you know, right on
• 1:23:54
  Speaker 5: the poster and uh you know they that's sort of
• 1:23:57
  Speaker 5: goes back to the unique selling position, right aways have
• 1:24:00
  Speaker 5: to have you always have to find a way to
• 1:24:01
  Speaker 5: stand out.
• 1:24:02
  Speaker 6: Mm hmm. Absolutely. I mean that's what they did for Fargo.
• 1:24:05
  Speaker 6: And it wasn't even true, I believe exactly. Like some
• 1:24:09
  Speaker 6: people like I heard some tragic story like somebody actually
• 1:24:11
  Speaker 6: you know, I think you know, passed away because they
• 1:24:14
  Speaker 6: were searching for this money out in the middle of
• 1:24:16
  Speaker 6: nowhere or something like that. I mean, it's just like,
• 1:24:18
  Speaker 6: oh geez oh yeah, by the way, it was not true.
• 1:24:22
  Speaker 5: Sorry, that was actually that's actually a true story that
• 1:24:25
  Speaker 5: somebody there was. It actually made a movie about it.
• 1:24:27
  Speaker 5: It's it's called Rico the Treasure Hunter or Harico. It's
• 1:24:30
  Speaker 5: a Japanese woman legitimately came to America looking for that
• 1:24:36
  Speaker 5: that money that that Steve Buscemi's character actually buried in Fargo,
• 1:24:40
  Speaker 5: buried in that long wooden fence the middle of nowhere
• 1:24:44
  Speaker 5: with no markers whatsoever, which is kind of funny that
• 1:24:46
  Speaker 5: he takes the ace scraper and puts it on there,
• 1:24:48
  Speaker 5: because that was the only marker you could get, you know,
• 1:24:50
  Speaker 5: because it's just it's a vast wasteland. And she actually
• 1:24:54
  Speaker 5: legitimately came to this country looking for that and ended
• 1:24:57
  Speaker 5: up dying looking for it.
• 1:24:59
  Speaker 6: So I just need to find this this isolated house
• 1:25:02
  Speaker 6: with this woodhepper in the back, and then I've got
• 1:25:04
  Speaker 6: a frame of reference. That's all I need.
• 1:25:07
  Speaker 4: Yeah, yeah, And honestly, the movie was actually pretty good.
• 1:25:11
  Speaker 5: But I mean, obviously Fargo as a masterpiece, but also
• 1:25:13
  Speaker 5: the the other movie I forget the actual name, but
• 1:25:17
  Speaker 5: it's called the it's something the Treasure Hunter. And it
• 1:25:21
  Speaker 5: was actually pretty good because it was about, you know,
• 1:25:22
  Speaker 5: this isolated woman living this terrible life.
• 1:25:25
  Speaker 4: And she figures, you know what, why not just go
• 1:25:27
  Speaker 4: to America and look for this treasure?
• 1:25:29
  Speaker 5: And I don't know if her life in real life
• 1:25:31
  Speaker 5: was that bad, but I do know that she did
• 1:25:33
  Speaker 5: go to this country looking for treasure.
• 1:25:35
  Speaker 4: And I didn't find it, obviously because it doesn't exist.
• 1:25:38
  Speaker 4: But but you know what, Kurt, you know, I honestly
• 1:25:42
  Speaker 4: think you know this is you know, this has been
• 1:25:44
  Speaker 4: such a great chance to speak with you. I know,
• 1:25:46
  Speaker 4: we met online and it's so great being able to,
• 1:25:48
  Speaker 4: you know, to meet people like you.
• 1:25:50
  Speaker 5: And I mean we've been talking for about an hour
• 1:25:52
  Speaker 5: and twenty minutes now, and I just want to just
• 1:25:54
  Speaker 5: just sort of wrap this, this whole conversation up. Is
• 1:25:57
  Speaker 5: there any sort of parting thoughts that you have for
• 1:25:59
  Speaker 5: everybody or anything that you want to discuss them and
• 1:26:01
  Speaker 5: get a chance.
• 1:26:02
  Speaker 6: To Yeah, thanks super quick? Uh, because you talk about
• 1:26:06
  Speaker 6: the net worth and everything is which are worth? I
• 1:26:09
  Speaker 6: mean I recently have to just give a shout out
• 1:26:12
  Speaker 6: to a novelist that I became friends with e A. Stripling.
• 1:26:15
  Speaker 6: She's got a novel series of internal conflict as the
• 1:26:19
  Speaker 6: first one, and I just really am have been inspired
• 1:26:21
  Speaker 6: by how she kind of just took me in and
• 1:26:24
  Speaker 6: after just contacting each other and talking back and forth.
• 1:26:27
  Speaker 6: And I really like what she does online and promoter stuff,
• 1:26:30
  Speaker 6: and we just are probably going to continue to collaborate.
• 1:26:33
  Speaker 6: So it's all just about making those connections and taking
• 1:26:37
  Speaker 6: opportunities to bring them up, you know, when you when
• 1:26:40
  Speaker 6: you get a chance, because she sings my praises and
• 1:26:42
  Speaker 6: like it's like, oh, well you said, that's so nice,
• 1:26:44
  Speaker 6: thank you, but so final thoughts as honestly did have
• 1:26:48
  Speaker 6: a question for you if we have time right after this.
• 1:26:51
  Speaker 6: But really it just it just all comes down too.
• 1:26:56
  Speaker 6: I really just have to reiterate that you have to
• 1:26:58
  Speaker 6: really have a your heart in it, because I know
• 1:27:02
  Speaker 6: you've heard other people say the advice, like they say,
• 1:27:05
  Speaker 6: is there anything else you'd like to do besides filmmaking,
• 1:27:07
  Speaker 6: you know, law whatever, a doctor? Okay, pursue that because
• 1:27:11
  Speaker 6: it would be infinitely easier than working in that. I
• 1:27:13
  Speaker 6: don't want to be so hard nosed about it, but
• 1:27:16
  Speaker 6: I just do want people to understand where that comes
• 1:27:18
  Speaker 6: from it comes from the fact that it is such
• 1:27:20
  Speaker 6: a grind. It is so hard you're gonna be just
• 1:27:24
  Speaker 6: rot with the doors being shut in your face and
• 1:27:28
  Speaker 6: obstacles along the way. Just like great stories that you
• 1:27:31
  Speaker 6: want to be telling, you know, it's just one obstacle
• 1:27:33
  Speaker 6: after another, and it's all about being that protagonist that
• 1:27:37
  Speaker 6: has that goal that is just so solid that you're
• 1:27:40
  Speaker 6: going to see it through to the end. But it
• 1:27:41
  Speaker 6: takes eight years, even if it's not that project, even
• 1:27:44
  Speaker 6: if you have to in the meantime, while you're trying
• 1:27:47
  Speaker 6: to get that one project going, you're writing the next
• 1:27:49
  Speaker 6: one and the next one. Because you can see an
• 1:27:52
  Speaker 6: i'm dB pro if you subscribe, you can see, you know,
• 1:27:54
  Speaker 6: professionals they have eight things in development and they probably
• 1:27:58
  Speaker 6: have two or three things that aren't even list that
• 1:28:00
  Speaker 6: are in development. And the reason is because, yeah, it
• 1:28:03
  Speaker 6: might take even a year or two for one of
• 1:28:05
  Speaker 6: those that pan out. You just don't know if it's
• 1:28:08
  Speaker 6: the stars have to align, and it's just it's just
• 1:28:12
  Speaker 6: going back to that is it's just remembering that it's
• 1:28:16
  Speaker 6: really something you have to just have a passion for.
• 1:28:18
  Speaker 6: If not, then it's it's maybe try a different different
• 1:28:22
  Speaker 6: avenue or a different part of the industry. You know,
• 1:28:25
  Speaker 6: some people can be consultant, some people become agents. You know,
• 1:28:28
  Speaker 6: maybe that's kind of you're close to the right track,
• 1:28:31
  Speaker 6: but it's just a little slight deviation from it.
• 1:28:35
  Speaker 5: Yeah, and uh, you know that's so true, Kurt. And honestly,
• 1:28:38
  Speaker 5: I want to say thank you so much for coming on,
• 1:28:40
  Speaker 5: but you know, and just sort of you know again,
• 1:28:43
  Speaker 5: you know, when you're meeting all these people, I always say,
• 1:28:48
  Speaker 5: you know, no matter who you they meet, no matter
• 1:28:51
  Speaker 5: where they are, I always say, stay humble for as
• 1:28:53
  Speaker 5: long as you can because you know, you know what
• 1:28:56
  Speaker 5: I mean.
• 1:28:56
  Speaker 4: Because you never know who you're going to meet again.
• 1:28:59
  Speaker 5: So if you're if you do meet somebody who's a
• 1:29:01
  Speaker 5: PA one day, they could be your producer the next day,
• 1:29:03
  Speaker 5: or a consultant like you were just saying, or or
• 1:29:06
  Speaker 5: running an agency or who knows what, and then all
• 1:29:09
  Speaker 5: of a sudden, you're you're trying to pitch to them
• 1:29:11
  Speaker 5: and they're like, hey, remember remember me, we were on
• 1:29:13
  Speaker 5: that set and you were a jerk to me, and uh,
• 1:29:16
  Speaker 5: and you just you don't want to be in that situation.
• 1:29:18
  Speaker 4: We're like, uh, sorry about that, but uh you know
• 1:29:20
  Speaker 4: what I mean.
• 1:29:21
  Speaker 6: People remember I think unfortunately, I think they remember the
• 1:29:24
  Speaker 6: jerks more than they remember the nice people. They definitely
• 1:29:26
  Speaker 6: remember both, but they kind of make a point to
• 1:29:29
  Speaker 6: remember the jerks they don't want to work with again.
• 1:29:32
  Speaker 5: Yeah, yeah, I seriously so uh so, Kurt, justin closing,
• 1:29:36
  Speaker 5: uh did you you have a question for me?
• 1:29:39
  Speaker 6: I did Okay. Like I said earlier, I am a listener,
• 1:29:42
  Speaker 6: and uh, I don't think I've ever heard any heard
• 1:29:45
  Speaker 6: this kind of address. And I'm really curious just for myself.
• 1:29:48
  Speaker 6: I really love the I guess industry term for its bumpers,
• 1:29:51
  Speaker 6: you know, the great intros and outros you have of
• 1:29:53
  Speaker 6: this outro. I honestly have to know what is the
• 1:29:56
  Speaker 6: story behind this, this this outro, the voice of this
• 1:29:58
  Speaker 6: you know that it's about to play.
• 1:30:02
  Speaker 1: We'll be right back after a word from our sponsor,
• 1:30:08
  Speaker 1: and now back to the show.
• 1:30:12
  Speaker 6: Who is that and what does good?
• 1:30:13
  Speaker 3: You know?
• 1:30:13
  Speaker 6: Where did that come from?
• 1:30:15
  Speaker 4: The girl at the end? Yeah, that was actually supposed
• 1:30:21
  Speaker 4: to be my original intro.
• 1:30:24
  Speaker 5: I got that done on okay, So I actually had
• 1:30:28
  Speaker 5: a friend of mine make that eight bit intro and
• 1:30:31
  Speaker 5: that was my intro for if they've been listening for
• 1:30:33
  Speaker 5: since like the earlier episodes, that intro that weird kind
• 1:30:36
  Speaker 5: of like do do do do that eight sound that
• 1:30:40
  Speaker 5: was done as like an intro. I actually found a
• 1:30:42
  Speaker 5: girl in fiver her to do that sort of like
• 1:30:44
  Speaker 5: you know, this is the Day Bulls podcast.
• 1:30:46
  Speaker 4: Please make sure to subscribe and share the podcast.
• 1:30:49
  Speaker 5: Well, I actually took both of them together and I
• 1:30:52
  Speaker 5: was like, it's not working, So I took them together
• 1:30:54
  Speaker 5: and I mixed them and I said, you know, that's
• 1:30:55
  Speaker 5: gonna be my outro now. And my intro is also
• 1:30:59
  Speaker 5: done by that same ape bit artists, and that is
• 1:31:02
  Speaker 5: actually obviously the kill Bill Battle Without Humanity and Honor
• 1:31:06
  Speaker 5: from Kill Bill Volume one, and that's the intro and
• 1:31:09
  Speaker 5: that's how that sort of the outro came to be.
• 1:31:12
  Speaker 6: Well, that explo that's very great. Don't change the thing
• 1:31:14
  Speaker 6: that a little eight bit and everything explains why, Like
• 1:31:17
  Speaker 6: the only way you can express it is like that voice.
• 1:31:19
  Speaker 6: It sounds like a robut with a British accent that
• 1:31:22
  Speaker 6: is on xanax, Like I just love it. It's just
• 1:31:25
  Speaker 6: so weird and it's just like every time I hear it,
• 1:31:27
  Speaker 6: I'm like, yep, it's about consistency, Like it's it's good
• 1:31:30
  Speaker 6: to have like these YouTubers and podcasters and filmmakers like
• 1:31:33
  Speaker 6: you were talking about, it's a brand. It's like you
• 1:31:35
  Speaker 6: create this kind of catchy thing and you kind of
• 1:31:38
  Speaker 6: just have to stick with it because they expect it,
• 1:31:40
  Speaker 6: you know, a week after week or what have you.
• 1:31:43
  Speaker 5: Yeah, yeah, yeah, And it's so true. It's just like
• 1:31:45
  Speaker 5: we're saying, you're go to McDonald's, you know what the
• 1:31:47
  Speaker 5: burger's gonna taste like. You don't want to go to
• 1:31:49
  Speaker 5: that McDonald's and have it taste something, you know, completely different.
• 1:31:52
  Speaker 4: You're gonna say, what the hell? You know what I mean.
• 1:31:54
  Speaker 5: It's it's that sort of they know they they they
• 1:31:56
  Speaker 5: sort of know what they're gonna expect. They go to
• 1:31:58
  Speaker 5: a Tarantino movie, they know what to expect, you know.
• 1:32:02
  Speaker 5: It's it's that living up to those expectations. And that's
• 1:32:05
  Speaker 5: why I've tried to make this a little you know
• 1:32:07
  Speaker 5: some you know, have creativity here and there, and also
• 1:32:09
  Speaker 5: try to make a little uniformity here and there.
• 1:32:11
  Speaker 4: So but thank you very much for that compliment. I
• 1:32:14
  Speaker 4: really do appreciate that.
• 1:32:15
  Speaker 5: Scott McMahon once told me that it reminded him of
• 1:32:19
  Speaker 5: Scott mcannon from Film Trooper. He told me it reminded
• 1:32:22
  Speaker 5: him of the Nerdous one time, and I was blown away.
• 1:32:24
  Speaker 5: I was like, wow, you want to compare me to
• 1:32:26
  Speaker 5: Chris Hardbreck and the Nerds, Please do, sir. I'm nowhere
• 1:32:31
  Speaker 5: near his his level of stardom or anything, but I
• 1:32:35
  Speaker 5: take that compliment very very graciously.
• 1:32:38
  Speaker 4: And so Kurt, you know, just just in closing, where
• 1:32:41
  Speaker 4: can people find you out online?
• 1:32:43
  Speaker 6: Oh? Yeah, absolutely so. You can check out our official site.
• 1:32:47
  Speaker 6: It's Webcamthefilm dot com. You can also find us at
• 1:32:52
  Speaker 6: Twitter at Camgirl Underscore Movie, Facebook at Camegirl Movie. On Instagram,
• 1:32:59
  Speaker 6: it's at Kurt Wiser. And thank you so much for
• 1:33:03
  Speaker 6: having me on. Please rate and uh and uh we're
• 1:33:06
  Speaker 6: also on Amazon Prime, so yeah, please just if you're
• 1:33:09
  Speaker 6: watching Amazon Prime, it's great. Just you know, leave a rating.
• 1:33:12
  Speaker 6: Be huge. You know even you know, you know good
• 1:33:15
  Speaker 6: or bad, Please just like leave rating and leave a feedback,
• 1:33:18
  Speaker 6: like to hear what your thoughts are. And that's Itid,
• 1:33:21
  Speaker 6: thank you so much for having me on on the podcast.
• 1:33:24
  Speaker 5: There, Dave my pleasure, Kurt, because like I said, you're
• 1:33:27
  Speaker 5: you're a person that's been on my radar for a
• 1:33:28
  Speaker 5: while because we met on Twitter. I believe we met
• 1:33:31
  Speaker 5: on Twitter, but I usually meet most people there, so
• 1:33:34
  Speaker 5: uh see they're Facebook.
• 1:33:36
  Speaker 4: We met on one of the other. But but I've
• 1:33:38
  Speaker 4: actually had it one.
• 1:33:39
  Speaker 5: I've actually had to you know, wanted to have you
• 1:33:41
  Speaker 5: on for a while, And I will link to everything
• 1:33:44
  Speaker 5: in the show notes everybody, and uh, Kurt, I want
• 1:33:47
  Speaker 5: to say thank you so much for coming on, my friend.
• 1:33:49
  Speaker 4: Thank you so much.
• 1:33:50
  Speaker 6: Thank you and with all that expectation we've been building
• 1:33:53
  Speaker 6: cue the outro in three two one, I.
• 1:33:57
  Speaker 1: Want to thank Dave so much for doing such a
• 1:33:59
  Speaker 1: great job on this episode. If you want to get
• 1:34:01
  Speaker 1: links to anything we spoke about in this episode, head
• 1:34:03
  Speaker 1: over to the show notes at Indie Film Huscle dot com.
• 1:34:05
  Speaker 1: Forward slash seven eighty nine, and if you have it already,
• 1:34:08
  Speaker 1: please head over to Filmmaking podcast dot com, subscribe.
• 1:34:12
  Speaker 6: And leave a good review for the show.
• 1:34:15
  Speaker 1: It really helps us out a lot.
• 1:34:16
  Speaker 6: Guys.
• 1:34:17
  Speaker 4: Thank you again so much for listening to guys.
• 1:34:18
  Speaker 1: As always, keep that hustle going, keep that dream alive,
• 1:34:21
  Speaker 1: stay safe out there, and I'll talk to you soon.
• 1:34:25
  Speaker 2: Thanks for listening to the Indie Film Hustle podcast at
• 1:34:28
  Speaker 2: Indie Film hustle dot com.
• 1:34:30
  Speaker 4: That's I N D I E f I L M
• 1:34:33
  Speaker 4: h U S T l E dot com.