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IFH 866: The Brutal Truth About Making Horror Movies with Harrison Smith · Indie Film Hustle® - A Filmmaking Podcast

• 0:03
  Speaker 1: You are listening to the ifh podcast Network. For more
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  Speaker 1: amazing filmmaking and screenwriting podcasts, just go to ifhpodcastnetwork dot com.
• 0:12
  Speaker 2: Welcome to the Indie Film Muscle Podcast, Episode number eight
• 0:15
  Speaker 2: sixty six. You try to do it, and you do
• 0:17
  Speaker 2: it honestly, you can't control people's responses.
• 0:19
  Speaker 3: Really, Edgar Wright.
• 0:23
  Speaker 1: Broadcasting from the back Alley and Hollywood. It's the Indie
• 0:26
  Speaker 1: Film Hustle Podcast, where we show you how to survive
• 0:29
  Speaker 1: and thrive as an indie filmmaker in the jungles of
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  Speaker 1: the film biz.
• 0:33
  Speaker 3: And here's your host, Alex Ferrari.
• 0:36
  Speaker 2: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
• 0:39
  Speaker 3: I am your humble.
• 0:40
  Speaker 4: Host Alex Ferrari. Today's show is sponsored by Rise of
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  Speaker 4: the Film Entrepreneur. How to turn your independent film into
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  Speaker 4: a profitable business. It's harder today than ever before for
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  Speaker 4: prey upon them. The odds are stacked against the indie
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• 1:47
  Speaker 4: That's film bizbook dot com. Enjoy today's episode with guest
• 1:52
  Speaker 4: host Dave Bullis.
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  Speaker 3: Showing me today is Harrison Smith. Harrison is actually the
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  Speaker 3: second person from Philly that I've actually had on my podcast,
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  Speaker 3: the other being David Greenberg. There's not a lot of
• 2:06
  Speaker 3: filmmakers in Philly who've been on the podcast yet, but
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  Speaker 3: Harrison is the second one. Harrison is the writer producer
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  Speaker 3: for The Fields and Six Degrees of Hell starring Corey Feldman.
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  Speaker 3: Harrison made his directorial debut with the feature Camp Dread,
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  Speaker 3: which then Harrison followed up with Zombie Killers Elephant Graveyard.
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  Speaker 3: His upcoming film, Death House is being called the expendables
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  Speaker 3: for the horror genre. Harrison, thank you very much for
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  Speaker 3: coming on the show.
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  Speaker 5: Thanks you very much. It's really nice to be here,
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  Speaker 5: and thanks for taking the time to want to talk
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  Speaker 5: to me.
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  Speaker 3: Oh my pleasure, Harrison.
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  Speaker 6: You know, Harrison, you know, just to get started, you know,
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  Speaker 6: with everything, you know, I wanted to ask, you know,
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  Speaker 6: growing up, did you always, you know, have an affinity
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  Speaker 6: for film or did you know from a young age
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  Speaker 6: that you wanted to go into the film industry?
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  Speaker 5: Yeah? Absolutely, The Fields. If anybody has watched my film
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  Speaker 5: In the Fields, this shows a lot that I've spent
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  Speaker 5: a lot of time with my grandparents growing up. My
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  Speaker 5: grandmother loved movies, especially horror films, So I spent a
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  Speaker 5: lot of time on Saturday afternoons with Creature Feature and
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  Speaker 5: Doctor Shock from Philadelphia and Creature Double Feature, all those things.
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  Speaker 5: And so by the time I was like eight years old,
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  Speaker 5: I knew the names of Vincent Price, Peter Lorie Boris, Carlotte,
• 3:17
  Speaker 5: Bela Legosie, all of them. And so when my mom
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  Speaker 5: took me to see Jaws at the age of eight.
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  Speaker 5: I was in nineteen seventy five. I saw it in theaters.
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  Speaker 5: I knew when I walked out of that theater, It's like,
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  Speaker 5: this is what I want to do. Jaws is the
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  Speaker 5: movie that made me want to make movies.
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  Speaker 3: You know, that's very cool. You know, it's always interesting
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  Speaker 3: to hear everyone's background, because some people really take to
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  Speaker 3: horror at a young age, Like I remember myself, Harrison,
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  Speaker 3: you know, watching horror movies at a very young age,
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  Speaker 3: and you just be like, Wow, this is just absolutely amazing,
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  Speaker 3: you know, and you know it's just it's really just
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  Speaker 3: really cool how we can just sort of take that
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  Speaker 3: and you know, make a career out of it. So,
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  Speaker 3: you know, I was just taking all that, Harrison. Did
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  Speaker 3: you decide to go to film school or did you
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  Speaker 3: go an other routes to get to actually do it
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  Speaker 3: for a living.
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  Speaker 5: I wanted to make movies, Like I said, I was
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  Speaker 5: making movies as a boy growing up. I did it
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  Speaker 5: all through school, middle school, high school, the whole thing.
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  Speaker 5: I had a local cable TV show, a comedy show
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  Speaker 5: with my brother in it, and I decided, well, you know,
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  Speaker 5: I guess when you're in high school, the thing you
• 4:21
  Speaker 5: want to do is one of them. I wanted to
• 4:23
  Speaker 5: do was backpack through Europe, and my mom was like,
• 4:26
  Speaker 5: absolutely not, like you're going to you don't go. You'll
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  Speaker 5: never go that kind of thing. And so I ended
• 4:32
  Speaker 5: up going to Penn State, where I didn't even last
• 4:34
  Speaker 5: a semester and a half. I mean, I just partied
• 4:37
  Speaker 5: my way right out of Penn State. So you know,
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  Speaker 5: I went to LA I ended up getting a job
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  Speaker 5: at Universal Studios at Los Angeles, where I worked out there,
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  Speaker 5: made a lot of connections, a lot of you know,
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  Speaker 5: got a lot of knowledge. I think I learned more
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  Speaker 5: working on the set of Universal than I did, you know,
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  Speaker 5: going to school. But I really didn't give it the
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  Speaker 5: old college try either. However, I don't. I'm still on
• 5:02
  Speaker 5: the fence about film school. I'm not one to ever
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  Speaker 5: discount education. I mean I have, you know, my master's
• 5:08
  Speaker 5: degrees and all of that stuff. However, to go to
• 5:13
  Speaker 5: school for film not quite so sure about that. I Mean,
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  Speaker 5: I know it can teach you certain things, especially in
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  Speaker 5: the way of you know, like let's say, even computer design,
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  Speaker 5: you know, animation. You have to learn those things and
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  Speaker 5: I get it. I'm still not sure about where I
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  Speaker 5: stand on where if you can teach talent, you either
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  Speaker 5: have that creative ability and most of all that gumption
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  Speaker 5: to get up and do it. I mean, the number
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  Speaker 5: one thing that any good film production class should teach
• 5:39
  Speaker 5: is you go out and you do it. That's it.
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  Speaker 5: You can't teach how to produce. You only know by
• 5:45
  Speaker 5: doing it. John Carpenter will say that, I mean, you
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  Speaker 5: grab a camera and you go out and you shoot.
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  Speaker 5: Dean Kundy will back me up on that. You know,
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  Speaker 5: to to sit in a class in front of a
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  Speaker 5: textbook and watch movies or whatever, you can learn things. Yes,
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  Speaker 5: I'm never discounting that. But what I am saying is
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  Speaker 5: is that you got to get out there and do it.
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  Speaker 5: It's as simple as that. If you want to make movies,
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  Speaker 5: go make movies. That's the best advice that I have.
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  Speaker 3: And you know, that's actually similar advice to Harrison from
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  Speaker 3: some of the other guests. So I'm always interested to know,
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  Speaker 3: you know, if the guests went to film school or not.
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  Speaker 3: And it's always you know, interesting to see, you know,
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  Speaker 3: what if they did, do they feel they gained anything
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  Speaker 3: from it, and if they didn't do, they kind of
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  Speaker 3: wish they did. And it's just interesting because you know,
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  Speaker 3: and you mentioned it yourself. You know, you don't want to,
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  Speaker 3: you know, discount education, but it's just interesting to see
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  Speaker 3: everyone's sort of path to in this industry.
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  Speaker 1: Yeah.
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  Speaker 5: I mean, we're in a society now, Dave, where most
• 6:37
  Speaker 5: filmmakers will tell you that we're we're in a spectator's society.
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  Speaker 5: We're in a society where everybody can get online and
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  Speaker 5: be a critic. But my answer always back is very simple,
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  Speaker 5: and that is, and what film did you make? Oh?
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  Speaker 5: You've made nothing, but you snark on the internet and
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  Speaker 5: put anonymous comments on And we've now confused the line
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  Speaker 5: between true criticism, which is great, and reviews, which are
• 7:02
  Speaker 5: not reviews. They're they're not they're they're just they're they're
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  Speaker 5: just posts their comments on on IMDb or Amazon or YouTube,
• 7:12
  Speaker 5: you know, like like for example, look, I don't know
• 7:15
  Speaker 5: where I stand on the new Ghostbusters movie coming quite frankly,
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  Speaker 5: I just really don't care. If it's good great, and
• 7:20
  Speaker 5: if it isn't, oh well, But you know the amount
• 7:23
  Speaker 5: of piss and vinegar that came out for that trailer,
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  Speaker 5: mostly from people that have never made a film. They
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  Speaker 5: don't know what goes into it. They have no idea
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  Speaker 5: what it happened, and most of them they're judging something
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  Speaker 5: based on a thirty second trailer, sixty second trailer. So
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  Speaker 5: I mean, I look, you and I both know we've
• 7:40
  Speaker 5: seen trailers where something looks awesome and then you get
• 7:43
  Speaker 5: there and you found out you saw the best parts
• 7:44
  Speaker 5: in the trailer and the movie is nothing like that.
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  Speaker 5: So we're in a we're in a very spectator society,
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  Speaker 5: I guess is my point where we're losing the ability,
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  Speaker 5: not all of us, but people lose the ability to
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  Speaker 5: understand what really goes into something like film is not
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  Speaker 5: a product, and the moment that film becomes product, it
• 8:04
  Speaker 5: loses its intent and its magic. Film is a laborious process.
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  Speaker 5: Any independent filmmaker listening to me now knows that whether
• 8:11
  Speaker 5: your budget is five thousand bucks or five million bucks,
• 8:16
  Speaker 5: the same amount of effort goes into it. You're it's
• 8:18
  Speaker 5: all relative. And for the critics, they just go, oh,
• 8:21
  Speaker 5: it didn't have those great special effects, so it doesn't
• 8:23
  Speaker 5: have this, it doesn't have a star in it. Well, yeah,
• 8:26
  Speaker 5: that's because you're sitting somewhere on a laptop, a computer,
• 8:29
  Speaker 5: your cell phone, and you don't do it. You're not
• 8:31
  Speaker 5: out there doing it. You're not out there dealing with
• 8:33
  Speaker 5: how do you feed a crew, how do you where
• 8:35
  Speaker 5: do you lodge people, dealing with permits from cities or
• 8:38
  Speaker 5: any of that. So we've become a very comment based society.
• 8:43
  Speaker 5: And and that's that's tough for anybody listening to me
• 8:47
  Speaker 5: that's out there and they're putting their neck on the line,
• 8:49
  Speaker 5: and they're they're, you know, taking someone's money that has
• 8:51
  Speaker 5: been invested into them and trusted into them to make
• 8:54
  Speaker 5: the best possible product for a return on investment.
• 8:57
  Speaker 3: You know, there's an account on Twitter call Amazon Movie Reviews,
• 9:01
  Speaker 3: and it actually it harvests all of the most weird,
• 9:06
  Speaker 3: craziest movie reviews, and some of the time you'll see
• 9:09
  Speaker 3: like a one star review Wolf of Wall Street as
• 9:13
  Speaker 3: one of the most rememberable ones. It was one star review.
• 9:15
  Speaker 3: There were no wolves in this movie.
• 9:17
  Speaker 5: Yeah, And that's what you're up against, right, This is
• 9:21
  Speaker 5: definitely what we're up against. There's one guy on YouTube
• 9:25
  Speaker 5: and I have a post. I publish a series of
• 9:28
  Speaker 5: film articles called Cinema cyn e m A and it's
• 9:32
  Speaker 5: on horror Fuel dot Com. It's hosted over there, and
• 9:36
  Speaker 5: you know, I talk about cynicism and filmmaking and how
• 9:39
  Speaker 5: dangerous it is, and I did a swipe at these
• 9:43
  Speaker 5: supposed online movie bloggers and reviewers. Look, I have no
• 9:47
  Speaker 5: problem with somebody qualified watching one of my films and going, well,
• 9:51
  Speaker 5: I didn't care for it, And here's the empirical data
• 9:54
  Speaker 5: as to why that's fine.
• 9:57
  Speaker 4: We'll be right back after a word from our sponsor,
• 10:03
  Speaker 4: and now back to the show.
• 10:06
  Speaker 5: Well, what I don't like is, you know, I've had people,
• 10:09
  Speaker 5: for example, here's one in a review where they absolutely
• 10:14
  Speaker 5: love Camp Drett. I mean, they did nothing but praise
• 10:16
  Speaker 5: this movie, Dave, and then then at the end they go,
• 10:20
  Speaker 5: it's it's probably the best sequel to sleep Away Camp
• 10:23
  Speaker 5: that they've made. Well, you just blew the entire review.
• 10:25
  Speaker 5: My Camp Dread is not a sequel, and it is
• 10:28
  Speaker 5: not affiliated with sleep Away Camp in any way other
• 10:31
  Speaker 5: than that FeliCa Rose stars in the film, but she
• 10:34
  Speaker 5: is not Angela Baker and it has nothing to do
• 10:36
  Speaker 5: with that original storyline. So all the praise that they
• 10:39
  Speaker 5: heaped on my film tells me nothing, because you didn't
• 10:43
  Speaker 5: watch it properly. You did not even look at it,
• 10:45
  Speaker 5: and then you have others that claim the reviewers. And
• 10:47
  Speaker 5: one guy in Camp Dread said, well, you know, Smith
• 10:51
  Speaker 5: thinks it's creative to kill somebody at the end with
• 10:53
  Speaker 5: a watermelon shot at their head. It's pretty damn clear
• 10:56
  Speaker 5: that that's not a watermelon that's in that slang. So
• 10:59
  Speaker 5: and then when I contacted the guy and I said, look,
• 11:02
  Speaker 5: I understand you may not have liked all of Camp
• 11:04
  Speaker 5: Dredd or that the ending put you off, but your
• 11:07
  Speaker 5: information is incorrect. There there is no watermelon at the end,
• 11:11
  Speaker 5: and anybody who's seen the film and listening to me
• 11:13
  Speaker 5: right now knows that is not the case at all.
• 11:15
  Speaker 5: And then the guy said, oh, yeah, I guess you know,
• 11:18
  Speaker 5: I didn't write this review until a couple of weeks
• 11:20
  Speaker 5: after it. I guess I didn't look at my notes.
• 11:22
  Speaker 5: You don't need notes for that. That's like saying at
• 11:25
  Speaker 5: the end of Jaws, you know it's a shame that
• 11:27
  Speaker 5: they launched a shark into space. No, they blew it
• 11:30
  Speaker 5: up with a tank in its mouth. Oh well, I
• 11:32
  Speaker 5: didn't have my notes. How do you forget something like that.
• 11:35
  Speaker 5: So that's that's the issue. I think that that's out
• 11:39
  Speaker 5: there now that films are being looked upon as just
• 11:41
  Speaker 5: product and they're not being looked upon as you know,
• 11:45
  Speaker 5: something special, or the people are working very hard on
• 11:48
  Speaker 5: And not all films people are working very hard. I mean,
• 11:50
  Speaker 5: there's there's truly some bad films out there that people
• 11:54
  Speaker 5: have that American idol attitude that they think theirs is
• 11:56
  Speaker 5: the greatest. But I don't think we have a very
• 11:59
  Speaker 5: well educated audience out there. I really don't. So with horror,
• 12:03
  Speaker 5: like you said, there were no wolves in this film. Now,
• 12:05
  Speaker 5: if that's a legitimate post and somebody was really expecting
• 12:09
  Speaker 5: a wolf or a were wolf or whatever it may be,
• 12:12
  Speaker 5: that's the kind of thing I'm talking about. Like I said,
• 12:15
  Speaker 5: there's a guy on YouTube that does his whole review
• 12:18
  Speaker 5: under a sheet like as I guess, he's like the
• 12:21
  Speaker 5: unknown reviewer, and it's just a shtick. There's there's no
• 12:25
  Speaker 5: film analysis there, there's no criticism, there's nothing there other
• 12:29
  Speaker 5: than that this guy thinks it's just really funny to
• 12:31
  Speaker 5: have a stupid gimmick like being under a sheet and
• 12:34
  Speaker 5: making fun of movies. I guess, yeah, maybe there's an
• 12:37
  Speaker 5: audience for that. But then you have somebody as brilliant
• 12:40
  Speaker 5: as a red Letter Media with you know, mister Plinkett's
• 12:43
  Speaker 5: reviews where I think his Star Wars critique should be
• 12:46
  Speaker 5: studied in film school. I think he's brilliant.
• 12:49
  Speaker 3: Yeah, Red Letter Media, I've actually seen all all of
• 12:52
  Speaker 3: their videos, and yeah, I concur that their Star Wars
• 12:56
  Speaker 3: analysis is absolutely phenomenal. I actually had a professor when
• 13:00
  Speaker 3: I was in college actually bring that up and he
• 13:02
  Speaker 3: said he actually showed a few minutes of it, and
• 13:04
  Speaker 3: he goes, Guys, when you go home, make sure you
• 13:06
  Speaker 3: check this out. It is absolutely well so well done
• 13:08
  Speaker 3: because it's funny, but it's also insightful to say it's brilliant.
• 13:11
  Speaker 5: I mean, you know, and he and he assesses so
• 13:13
  Speaker 5: much more than just film criticism. He's he's looking at
• 13:16
  Speaker 5: the the entire scope of the picture that allowed these
• 13:19
  Speaker 5: movies to be made. And what I loved is is
• 13:22
  Speaker 5: they have a recent post now where he's he's like,
• 13:25
  Speaker 5: instead of the Force awakens Plank and awakens like he's
• 13:28
  Speaker 5: been asleep for so long. And you know this this
• 13:32
  Speaker 5: retro view now that oh, maybe the prequels weren't as
• 13:36
  Speaker 5: bad as we said, and oh the Internet drove poor
• 13:39
  Speaker 5: George Lucas away from the Star Wars franchise, and now
• 13:41
  Speaker 5: there's this ridiculous thing that you know, we want him
• 13:44
  Speaker 5: back to direct episode nine. No No, and Plankett adamantly
• 13:49
  Speaker 5: supports why this should not be and and all of
• 13:54
  Speaker 5: the like I said, the overall general big picture stuff
• 13:58
  Speaker 5: that that contributed to a series of films that were
• 14:01
  Speaker 5: not very good at all and really flew in the
• 14:04
  Speaker 5: face of what drove the original and its subsequent sequels.
• 14:09
  Speaker 5: And that's that's what I'm talking about. We there's too
• 14:11
  Speaker 5: much information out there now, Dave and and a lot
• 14:14
  Speaker 5: of people just you know, they think, well, my opinion
• 14:16
  Speaker 5: is the only one that should be heard. So we
• 14:19
  Speaker 5: have now this my technology, Trump's experience kind of thing.
• 14:23
  Speaker 5: That's how I feel. You know.
• 14:25
  Speaker 3: There was a documentary about episode one and when they
• 14:28
  Speaker 3: were actually watching the cut of The Phantom Menace, and
• 14:32
  Speaker 3: George said something like, see, Jorge jar is the key
• 14:35
  Speaker 3: to all this. If we can get him working, it
• 14:37
  Speaker 3: makes everything else work er something along those lines, And
• 14:40
  Speaker 3: it was just very interesting to see how that all
• 14:42
  Speaker 3: sort of came together because I think in that process,
• 14:45
  Speaker 3: I think, you know, obviously there was a reliance on
• 14:48
  Speaker 3: CGI and special effects and you know, putting on the
• 14:51
  Speaker 3: actors in a complete green screen and a green screen room.
• 14:54
  Speaker 3: You know, it's just very interesting to see, you know,
• 14:56
  Speaker 3: how those movies were shot. And the only real defense
• 15:00
  Speaker 3: I've ever seen of those movies for like, you know,
• 15:02
  Speaker 3: people who liked the old Star Wars episodes, you know, four, five,
• 15:05
  Speaker 3: and six, they always say about episodes one, two, and three,
• 15:07
  Speaker 3: they were mainly for kids, And I don't really know
• 15:10
  Speaker 3: if that's true or not, If you know what I mean.
• 15:12
  Speaker 5: I agree, I don't know what. Look, I'm not George Lucas,
• 15:16
  Speaker 5: and I could only wish to rack up his type
• 15:20
  Speaker 5: of failures. Okay, so it's hard to say on that.
• 15:25
  Speaker 5: I mean, I wrote a two part essay on it
• 15:28
  Speaker 5: when George was out there belly aching about how unfairly
• 15:32
  Speaker 5: he was treated or alienated from the process this time
• 15:36
  Speaker 5: around of making the new Star Wars film, The Force Awakens.
• 15:40
  Speaker 5: And my answer, quite frankly, is is Disney. I'm not
• 15:44
  Speaker 5: a big Disney champion nor fan, and yet I felt
• 15:47
  Speaker 5: Disney did the absolute right thing, and that is they
• 15:49
  Speaker 5: gave him a check for four billion dollars and told
• 15:52
  Speaker 5: him to be happy to be on his way. And
• 15:53
  Speaker 5: I think that was the smartest thing that Disney could
• 15:55
  Speaker 5: have done. They made it very clear, we're not interested
• 15:58
  Speaker 5: in your ideas, We're not interested sted in your outlines.
• 16:01
  Speaker 5: Thanks for all you've done and contributed to this genre
• 16:04
  Speaker 5: and this film series, and we wish you well. And
• 16:07
  Speaker 5: I think that was a very smart business move. And
• 16:10
  Speaker 5: obviously the box office performance and overall reception to The
• 16:14
  Speaker 5: Force Awakens I think reflects that. I think The Force
• 16:18
  Speaker 5: Awakens was the proper way to do things, to kind
• 16:22
  Speaker 5: of like reset the franchise. Yes, it relied incredibly on nostalgia. Yeah,
• 16:28
  Speaker 5: you could argue that it's a remake of a New Hope.
• 16:31
  Speaker 5: I get all of that, but there was really almost
• 16:33
  Speaker 5: no other way that it could be done because of
• 16:35
  Speaker 5: the damage that had been inflicted by those three prequels,
• 16:39
  Speaker 5: and so saying that the excuses while they were eying
• 16:42
  Speaker 5: for children, My question is, well, who the hell asked
• 16:44
  Speaker 5: you to do that? Since when did Star Wars become
• 16:47
  Speaker 5: predominantly just for children? And why would you alienate an
• 16:51
  Speaker 5: entire generation that grew up on those films and shut
• 16:54
  Speaker 5: them out of the picture to make movies for that
• 16:56
  Speaker 5: generation's kids. No one asked you to do that. There
• 16:59
  Speaker 5: was no and for any of that, it's almost arrogance.
• 17:03
  Speaker 5: If that's if that was Lucas's intent, my question is
• 17:06
  Speaker 5: is who the hell asks you to do that?
• 17:07
  Speaker 3: Yeah, and also the reason I don't believe that either
• 17:10
  Speaker 3: is because you know, the storyline in episode one, for instance,
• 17:14
  Speaker 3: is very, very convoluted, and also the you know at
• 17:19
  Speaker 3: the end, you know, Darth Maul gets chopped into two
• 17:21
  Speaker 3: and QUI gon Jindie and I was like, Hey, that
• 17:24
  Speaker 3: that wouldn't be a kid's movie.
• 17:26
  Speaker 5: And that's what I mean. It is. You're right, it is.
• 17:28
  Speaker 5: It's a very poor excuse. What it comes down to
• 17:31
  Speaker 5: is in my opinion, and it's nothing I wouldn't say
• 17:34
  Speaker 5: to George Lucas to his face, because apparently people have said,
• 17:36
  Speaker 5: I know, Frank Darabot has pretty much said worse to him,
• 17:39
  Speaker 5: and Lucas just stares back at you, like George Lucas,
• 17:44
  Speaker 5: so I don't think he really cares. I think the
• 17:46
  Speaker 5: issue really comes down to is you have the Elvis principle,
• 17:51
  Speaker 5: and that is, you know, he became so big no
• 17:53
  Speaker 5: one's going to tell him no, So you have an
• 17:56
  Speaker 5: Emperor's new clothes kind of situation. Once that first draft,
• 18:00
  Speaker 5: the Phantom Menace was done. It really needed to go
• 18:02
  Speaker 5: through a team and that people go George now that
• 18:05
  Speaker 5: the dialogue is horrendous. And by the way, George is
• 18:07
  Speaker 5: the first one to admit in many of his interviews
• 18:10
  Speaker 5: he hates the writing process and he knows his dialogue
• 18:13
  Speaker 5: as wooden, instilted, and not good. He's very much aware
• 18:17
  Speaker 5: of that, and he even admits so much to say
• 18:19
  Speaker 5: that he really doesn't care for directing all that much.
• 18:21
  Speaker 5: So why is he allowed to do this? That was
• 18:25
  Speaker 5: the question. Well, the answer is simple. He financed all
• 18:27
  Speaker 5: those prequels out of his own pockets. So when you
• 18:29
  Speaker 5: do that, you can do whatever the hell you want.
• 18:32
  Speaker 5: I mean, there's a video I saw somewhere of one
• 18:36
  Speaker 5: of the assistant producers sitting with him in a room
• 18:40
  Speaker 5: going okay, George, So I assume on set you'll be
• 18:44
  Speaker 5: the one to yell action and cut. Could we suck
• 18:47
  Speaker 5: up to this guy anymore? Yeah, guess who yells action
• 18:52
  Speaker 5: and cut the director unless you want to be the
• 18:54
  Speaker 5: first ad and do it, because they do that as
• 18:56
  Speaker 5: well too. What kind of a stupid conversation is that? Anyway?
• 19:02
  Speaker 5: You know, somebody needed to tell him this is not
• 19:05
  Speaker 5: a good script when when the opening crawl, that title
• 19:08
  Speaker 5: crawl comes out and it says the Phantom Menace and
• 19:10
  Speaker 5: at about one paragraph into a three sentences or so,
• 19:14
  Speaker 5: five sentences or so into this thing we're talking about,
• 19:17
  Speaker 5: you know, blockades, planetary blockades and trade federations and tariffs
• 19:22
  Speaker 5: and all, I'm like, oh my god, can my eyes
• 19:24
  Speaker 5: glaze over? I mean, I knew within the first thirty
• 19:27
  Speaker 5: seconds of that crawl we're in trouble, and we were
• 19:32
  Speaker 5: you know that, And you just kind of approach those
• 19:34
  Speaker 5: films as if you know, well, I'll go see Attack
• 19:37
  Speaker 5: of the Clones because it really couldn't be any worse
• 19:40
  Speaker 5: than The Phantom Menace. We'll guess what it was. And
• 19:42
  Speaker 5: then even with Revenge of the Sith, well, I mean,
• 19:45
  Speaker 5: everybody's saying this is the darkest one. Oh this is it? No?
• 19:49
  Speaker 5: That really that Darth Vader ending that No, that was
• 19:53
  Speaker 5: something you'd see on the Simpsons.
• 19:56
  Speaker 4: We'll be right back after a word from our sponsor,
• 20:02
  Speaker 4: and now back to the show.
• 20:06
  Speaker 5: You know, and when people are sitting in that theater
• 20:08
  Speaker 5: laughing and it's unintentional laughter, I mean, it was it
• 20:12
  Speaker 5: was bad. It was just bad, you know, And it's
• 20:15
  Speaker 5: one of those again, it's the Emperor's new clothes. Nobody
• 20:18
  Speaker 5: wants to say it's bad because it's Star Wars. Well,
• 20:20
  Speaker 5: guess what they were bad from a production sense. No,
• 20:23
  Speaker 5: they're beautifully made, They're richly textured. You know, you have
• 20:26
  Speaker 5: top of the line stars in them. Look, there's a
• 20:29
  Speaker 5: reason why, there's a reason why this guy isn't out
• 20:32
  Speaker 5: there being proud and talking about his contribution to the
• 20:35
  Speaker 5: Star Wars franchise. You know, the story is is that
• 20:39
  Speaker 5: he signed on without a script. He wanted to be
• 20:42
  Speaker 5: in Star Wars. Well you got it. And he wasn't
• 20:46
  Speaker 5: the only one who got taken. We all got taken,
• 20:49
  Speaker 5: you know. I mean we waited twenty years for that,
• 20:52
  Speaker 5: to explain Midichlorian, you know, to explain the force as
• 20:56
  Speaker 5: almost a genetic kind of of situation. Why do we
• 20:59
  Speaker 5: need that? Nobody asks for that. We didn't ask for
• 21:02
  Speaker 5: any of this. It's like now with this whole remake thing, Oh,
• 21:06
  Speaker 5: we're gonna go back and give Jason Voorhees a backstory?
• 21:09
  Speaker 5: Do we really need that? Do we really need a
• 21:11
  Speaker 5: backstory to Michael Myers and Jason Voorhe's Oh so in
• 21:14
  Speaker 5: Rob Zombies Halloween. Michael Myers is the way that he
• 21:18
  Speaker 5: is because his mom was a stripper and his dad was,
• 21:21
  Speaker 5: you know, a wife beater, and oh that's why he's
• 21:23
  Speaker 5: Why do we need that? Do we need to explain
• 21:26
  Speaker 5: a tornado? Sometimes bad shit just happens. Sometimes bad things
• 21:30
  Speaker 5: happen to good people, and there is no explanation. Michael
• 21:34
  Speaker 5: Myers I always compared to in the original seventy film
• 21:37
  Speaker 5: is a tornado. He touches down in Haddenfield. This is
• 21:40
  Speaker 5: before the subplot of Jamie Lee Curtis as his sister
• 21:42
  Speaker 5: and all that soap opera garbage. But he touched down
• 21:47
  Speaker 5: in a town. He's evil, He was born evil. Doctor
• 21:50
  Speaker 5: Loomis said it best, like this kid is just evil.
• 21:53
  Speaker 5: That's it. We don't need any other explanation. We don't
• 21:56
  Speaker 5: need that. You know, he tortured animals and he was
• 21:59
  Speaker 5: picked on, and he loved his mom, but his mom
• 22:01
  Speaker 5: was beaten, And why do we need any of that?
• 22:03
  Speaker 5: I mean, it's just fluff to make people feel like
• 22:06
  Speaker 5: they're getting something more.
• 22:07
  Speaker 3: In my opinion, I wasn't a big fan of the
• 22:09
  Speaker 3: remake of The Halloweens, nor did I like the remake
• 22:12
  Speaker 3: of Friday the thirteenth, because that one, I you know,
• 22:17
  Speaker 3: I remember watching that was and I thought to myself, Wow,
• 22:21
  Speaker 3: I don't know what I just saw there. I remember
• 22:24
  Speaker 3: like two things from that movie right now, because usually
• 22:26
  Speaker 3: most movies I can remember pretty well. That one not
• 22:30
  Speaker 3: so much. I remember something about a bus and Jason
• 22:32
  Speaker 3: popping out of it.
• 22:33
  Speaker 5: Yeah, you know, that's what I mean, Like, that's cynicism
• 22:37
  Speaker 5: in filmmaking, and that's what I write about a lot,
• 22:40
  Speaker 5: and that is was this trip even necessary? Why not
• 22:44
  Speaker 5: go back?
• 22:44
  Speaker 3: Then?
• 22:44
  Speaker 5: If you're going to remake stuff, remake the bad movies,
• 22:48
  Speaker 5: why are we remaking the good ones? There's no need
• 22:51
  Speaker 5: to remake John Carpenter's Halloween. There's no needs. There's no need.
• 22:56
  Speaker 5: There's no reason whatsoever to do this none. And you
• 23:01
  Speaker 5: know people can say, well, it's to update it. What's
• 23:03
  Speaker 5: there to update? Do we need to update Gone with
• 23:06
  Speaker 5: the Wind? Do we need to take it out of
• 23:07
  Speaker 5: the Civil War and update it to I don't know, Iraq.
• 23:10
  Speaker 5: Do do we need to do this? I don't see
• 23:13
  Speaker 5: the need for any of this. Everybody falls on that, well,
• 23:16
  Speaker 5: we're updating the movie. A good story is a good story.
• 23:19
  Speaker 5: Do we do we need to update you know anything,
• 23:21
  Speaker 5: you know, like the legend is sleepy hollow? Do we
• 23:23
  Speaker 5: need to rewrite that? Should we be rewriting Stephen King's
• 23:26
  Speaker 5: carry in the future? And people go, oh, that's ridiculous, Well,
• 23:29
  Speaker 5: why is it any different with remaking a movie? Does
• 23:31
  Speaker 5: Jaws really need to be updated? What because some of
• 23:34
  Speaker 5: the cars look old because they don't have cell phones
• 23:37
  Speaker 5: in them? That this is stupid, It's just dumb. Yeah.
• 23:41
  Speaker 3: I concur you know, whenever I hear about somebody's movies
• 23:44
  Speaker 3: being remade. I mean, you mentioned Ghostbusters earlier when they
• 23:48
  Speaker 3: when they were gonna you know, I know there's a
• 23:50
  Speaker 3: female version of Ghostbusters, and I heard them there's gonna
• 23:53
  Speaker 3: be a male version of Ghostbusters. I don't know if
• 23:55
  Speaker 3: they're if they're necessarily a remake or a sequel pre
• 24:00
  Speaker 3: goool type deal. But I'm always wondering, you know, is
• 24:04
  Speaker 3: you know, what's the intent behind this?
• 24:06
  Speaker 5: I don't know, you know, I I it would be
• 24:09
  Speaker 5: like like I don't care that it's in all female Ghostbusters.
• 24:12
  Speaker 5: Like it's almost like that's a deliberate distraction to get
• 24:15
  Speaker 5: people talking. You like you're almost doing it deliberately to
• 24:18
  Speaker 5: stir things up. Why is that even an issue? I
• 24:21
  Speaker 5: don't care. I mean, what if they were all black?
• 24:23
  Speaker 5: What if they were all Asian? Is it an all
• 24:25
  Speaker 5: Asian Ghostbusters? Is it in all black Ghostbusters? Who cares?
• 24:29
  Speaker 5: If the movie's funny, go see go see the movie.
• 24:32
  Speaker 5: Who cares? Who cares if it's all women, Who cares
• 24:35
  Speaker 5: if it's all animated. I don't care. Just make a
• 24:38
  Speaker 5: good movie. But we create these things now to generate
• 24:42
  Speaker 5: the buzz on the internet, to get people talking and
• 24:45
  Speaker 5: fighting and bickering back and forth. Because in the end,
• 24:48
  Speaker 5: it's the old theory that you know, there is no
• 24:50
  Speaker 5: such thing as bad publicity. So I'm sure that Apatou
• 24:54
  Speaker 5: and everybody were really upset that, you know, there was
• 24:56
  Speaker 5: such hatred for the Ghostbusters trailer that can out because
• 25:00
  Speaker 5: they're sitting back going but you're talking about it. Yeah,
• 25:03
  Speaker 5: now it's trending. It's everybody's The pre awareness on the
• 25:07
  Speaker 5: project is amazing. And let's just say it is a
• 25:10
  Speaker 5: terrible film. It's not gonna matter because people a lot
• 25:13
  Speaker 5: of people will go just to see if it is
• 25:14
  Speaker 5: that terrible.
• 25:15
  Speaker 3: Yeah, and that that is very true. And you know,
• 25:18
  Speaker 3: and you know, as we were talking earlier about you know,
• 25:20
  Speaker 3: everyone sort of has a blog, you know, reminded me
• 25:22
  Speaker 3: of this, you know of a couple of different filmmaking blogs,
• 25:24
  Speaker 3: and I would stumble upon, you know, maybe you know,
• 25:27
  Speaker 3: a year or so ago, and it would be people
• 25:29
  Speaker 3: you know who went to film school who never really
• 25:31
  Speaker 3: made a film, just like you know, like you were saying, Harrison,
• 25:34
  Speaker 3: and they were they it seems like they wanted to,
• 25:38
  Speaker 3: but it was just a rather an easier way just
• 25:42
  Speaker 3: to sort of watch movies and then just make these
• 25:45
  Speaker 3: like real snarky comments about them.
• 25:48
  Speaker 5: Yeah. It's a different when you go to a football
• 25:50
  Speaker 5: game and some big fat load is sitting behind you
• 25:53
  Speaker 5: talking about how the coach made a bad move here
• 25:55
  Speaker 5: and that player can't run. Really, fat ass, get down
• 25:58
  Speaker 5: on the field and go run. You know that. That's
• 26:02
  Speaker 5: how I feel, you know, And it's it's no different
• 26:04
  Speaker 5: than a musician, anybody out there who's working. It's like teachers,
• 26:09
  Speaker 5: you know, you get everybody, Oh, teachers get you know,
• 26:11
  Speaker 5: three months off and they're overpaid. Really go in and
• 26:14
  Speaker 5: do their job, Okay, go in and do it. Look,
• 26:18
  Speaker 5: I was a teacher, and I can tell you the
• 26:20
  Speaker 5: people that complain, I'll give you five days you won't
• 26:23
  Speaker 5: make it three, but I'll give you five. And it's
• 26:26
  Speaker 5: no different than construction. It's no different than anything that
• 26:30
  Speaker 5: you're out there and your work and your butt off,
• 26:31
  Speaker 5: and there's always somebody to comment. So it doesn't it
• 26:34
  Speaker 5: doesn't just apply to filmmaking. You know. Yeah, maybe I'm
• 26:37
  Speaker 5: not in George Lucas's shoes. It's very easy for me
• 26:40
  Speaker 5: to sit back and critique because you know, I'm not
• 26:42
  Speaker 5: making one hundred and fifty million dollar motion picture. But
• 26:46
  Speaker 5: when you see, look, all good films start in one place,
• 26:50
  Speaker 5: and that is with a script. You don't need a
• 26:52
  Speaker 5: giant staff and you don't need a mega empire to
• 26:55
  Speaker 5: write a good story. And the issue with all of
• 26:58
  Speaker 5: the prequels comes down to one thing. It's on that page.
• 27:02
  Speaker 5: That's it. You know, you you can once you if
• 27:05
  Speaker 5: you don't have, you're not improving on a bad script,
• 27:07
  Speaker 5: that's all. And believe it or not, the computers still
• 27:10
  Speaker 5: can't take that writing job over. They still can't write
• 27:13
  Speaker 5: a good movie yet. So it still comes down to
• 27:16
  Speaker 5: telling a good story. And those three films did not
• 27:19
  Speaker 5: have good stories. And it's that simple.
• 27:24
  Speaker 3: You know. Harrison's funny you mentioned that because I was
• 27:25
  Speaker 3: actually talking to a past guest about that just recently,
• 27:29
  Speaker 3: because she posted an article about a new screenwriting algorithm
• 27:33
  Speaker 3: software and they and she said to me, you know,
• 27:37
  Speaker 3: one day, she was like, are they just you know,
• 27:39
  Speaker 3: do are studio execs just gonna literally try to bang
• 27:42
  Speaker 3: out a script by hitting a button saying like, Okay,
• 27:44
  Speaker 3: I want a superhero movie with this and this and
• 27:49
  Speaker 3: this enter and you know, and you know, it'll go
• 27:53
  Speaker 3: through a million computations and all of a sudden, you know,
• 27:57
  Speaker 3: outcomes a hundred, one hundred and twenty page screenplay and
• 28:00
  Speaker 3: they go, oh, this is our next blot bus.
• 28:02
  Speaker 5: And in some ways, didn't we have that with Jurassic World.
• 28:06
  Speaker 5: Jurassic World is not a screenplay. I love when they
• 28:08
  Speaker 5: say written by it. It's a to do list, that's
• 28:12
  Speaker 5: all it is. I mean, they basically remade all the
• 28:14
  Speaker 5: best scenes out of Jurassic Park and they stitched it
• 28:17
  Speaker 5: together with some threadbare story. So it's an algorithm, that's
• 28:21
  Speaker 5: all it is. Right, Introduce the kids, get the kids
• 28:24
  Speaker 5: in trouble, rescue the kids, and in between, intersperse it
• 28:27
  Speaker 5: with some dinosaur action and give us a Godzilla ending.
• 28:30
  Speaker 5: Because that's basically what we got the Tyrannosaurus walks off,
• 28:34
  Speaker 5: you know, as the embattled hero, like Godzilla walked off
• 28:37
  Speaker 5: into the sunset in the twenty fourteen film. And then
• 28:40
  Speaker 5: EN's up on some type of helicopter helipad and roars
• 28:43
  Speaker 5: off into the sunset, just like Godzilla does before he
• 28:46
  Speaker 5: drops down into the water. I mean, that's an algorithm,
• 28:48
  Speaker 5: is it not.
• 28:49
  Speaker 3: Yeah? And because that ending, I was kind of like,
• 28:53
  Speaker 3: oh okay, everyone sort of teamed up. It reminded me
• 28:55
  Speaker 3: of another movie I saw, which I actually think, actually
• 28:59
  Speaker 3: I think that was one of the sequels a Jurassic Park,
• 29:01
  Speaker 3: where it comes some of the dinosaurs all teamed up
• 29:03
  Speaker 3: at the end, and I was like, I think I
• 29:05
  Speaker 3: was like wow, I think I was like, it did
• 29:08
  Speaker 3: seem You're right, it does seem like a to do
• 29:10
  Speaker 3: lo it's all.
• 29:11
  Speaker 5: I mean, you can see what they did. They probably
• 29:13
  Speaker 5: brought a Colin Trevoro on as director and said, you're
• 29:16
  Speaker 5: you're really not a director, you're a manager. Just get
• 29:19
  Speaker 5: us from here to here, start us here, get that in,
• 29:21
  Speaker 5: make sure you get that end it Like that's all
• 29:24
  Speaker 5: there is to it, right, I mean I was I
• 29:27
  Speaker 5: told this story to another interview. I was standing in
• 29:30
  Speaker 5: line to see Jurassic World and the three D version
• 29:33
  Speaker 5: I did not want to see. I'm sorry. The three
• 29:36
  Speaker 5: D version I was going to see and it sold
• 29:39
  Speaker 5: out and all that was left was a two D version.
• 29:41
  Speaker 5: But it already started like the first I think the
• 29:44
  Speaker 5: previews were on or something like that. So these guys,
• 29:46
  Speaker 5: these college guys, were in front of me, and they
• 29:48
  Speaker 5: were fretting, like, oh man, we're gonna miss the first
• 29:51
  Speaker 5: ten minutes, and so I stopped him and I said, gentlemen,
• 29:54
  Speaker 5: let's really look at this pretty clearly here. What do
• 29:56
  Speaker 5: you think we're going to miss.
• 29:59
  Speaker 4: We'll be right back after a word from our sponsor,
• 30:05
  Speaker 4: and now back to the show.
• 30:08
  Speaker 5: I said, I'll bet you it'll start with some kids
• 30:11
  Speaker 5: and they go to the island and we hear John
• 30:12
  Speaker 5: Williams's Jurassic Parks score with lots of aerial sweeping shots
• 30:17
  Speaker 5: of the island, and then we'll go down onto the
• 30:18
  Speaker 5: island and see lots of dinosaurs and everybody's standing in
• 30:21
  Speaker 5: wide eyed wonder with their mouths open and a gape.
• 30:24
  Speaker 5: That's what we're gonna have. And son of a bitch,
• 30:26
  Speaker 5: if that wasn't the first ten minutes of Jurassic World,
• 30:30
  Speaker 5: and when I walked out, those guys said, dude, did
• 30:32
  Speaker 5: you see that already? Yeah, technically we all did. We
• 30:35
  Speaker 5: all did see this already. We saw this before in
• 30:38
  Speaker 5: three other motion pictures, especially the first one. Yeah, we
• 30:41
  Speaker 5: did see it already. This is not a movie, This
• 30:44
  Speaker 5: is an algorithm. So your previous guest is not off
• 30:49
  Speaker 5: the mark whatsoever? You know? Now, will it be any good?
• 30:52
  Speaker 5: I don't know how Jurassic World made the money that
• 30:55
  Speaker 5: it did, but it did, and I think it's just
• 30:58
  Speaker 5: because people. I wanted to stand up at one point
• 31:01
  Speaker 5: in the theater and just turn around to the audience
• 31:03
  Speaker 5: and say, don't you people see this is the same
• 31:05
  Speaker 5: damn thing all over again. I mean, you can do
• 31:07
  Speaker 5: a split screen, and I think some people on YouTube
• 31:09
  Speaker 5: have done it. You can do a split screen and
• 31:12
  Speaker 5: see scenes from Jurassic World and they show you right
• 31:15
  Speaker 5: where they copied them from Jurassic Park. They're side by side,
• 31:18
  Speaker 5: they're identical, and that's all it is. Terminator Genesis did
• 31:22
  Speaker 5: the same thing, went back, took the best scenes out
• 31:24
  Speaker 5: of Terminator one and two. Notice they don't do three.
• 31:27
  Speaker 5: And they took the best scenes out of Terminator one
• 31:29
  Speaker 5: and two, and they remade them, and they stitched them
• 31:33
  Speaker 5: into some threadbare story. And really all it is is
• 31:36
  Speaker 5: moving on. We start here, get us to the middle,
• 31:39
  Speaker 5: get us to the end. That's not directing, that's managing.
• 31:42
  Speaker 5: It's not directing a movie. There's no feeling there, there's
• 31:45
  Speaker 5: no emotion, there's nothing original. And all we're doing is
• 31:48
  Speaker 5: sitting there being reminded for another ten dollars of how
• 31:51
  Speaker 5: much better the previous movies were.
• 31:53
  Speaker 3: Yeah, you're right, they didn't take from the third one.
• 31:55
  Speaker 3: And you know, I hear, by the way, I just
• 32:00
  Speaker 3: right yesterday that there's another one coming up, a new Terminator.
• 32:03
  Speaker 5: Why you know, I have no doubt about it. You know,
• 32:08
  Speaker 5: I have no doubt about it. They said there wasn't,
• 32:11
  Speaker 5: but that Look, it's a franchise that I think Annapurnas
• 32:15
  Speaker 5: still owns the rights to. They need to make some money. Now,
• 32:19
  Speaker 5: as far as I know, Genesis made money, you know,
• 32:21
  Speaker 5: thanks to the foreign market. I think the Chinese market
• 32:24
  Speaker 5: that the film at least broke even and is generated
• 32:27
  Speaker 5: probably some some type of profit. They wouldn't be talk about.
• 32:30
  Speaker 5: I guess if it didn't, But I don't know. I mean,
• 32:33
  Speaker 5: there's all kinds of rumors about that is going. Isn't
• 32:35
  Speaker 5: it going? I don't know. I mean, quite frankly, at
• 32:38
  Speaker 5: this point, I don't even know if Terminator is even
• 32:40
  Speaker 5: relevant anymore. That's the whole issue. Do we are these
• 32:44
  Speaker 5: were these things that were pretty much eighties and early
• 32:47
  Speaker 5: nineties escapist entertainment, and do they really apply to this
• 32:50
  Speaker 5: world now? I mean I saw where Genesis was trying
• 32:53
  Speaker 5: to go with, you know, the Eye and the Sky
• 32:55
  Speaker 5: kind of thing. You know, everybody being watched, everybody becoming
• 32:59
  Speaker 5: a piece of them from I guess, but I I
• 33:03
  Speaker 5: don't know.
• 33:03
  Speaker 3: You know, I I would have I hate to be
• 33:06
  Speaker 3: this guy Harrison, but I would have a pitch to
• 33:08
  Speaker 3: how they could actually make the next one work. But
• 33:11
  Speaker 3: you know, I don't want to be one of those
• 33:12
  Speaker 3: kind of like quote unquote fanboys. There's there's there's a
• 33:16
  Speaker 3: lot of different avenues they could take by because I
• 33:18
  Speaker 3: mean the technology that you know I see almost daily now,
• 33:21
  Speaker 3: you know, it's almost like we're almost at the point
• 33:25
  Speaker 3: where terminators supposed to take over anyway, right, I Mean
• 33:28
  Speaker 3: you have security drones now out out in San fran
• 33:32
  Speaker 3: you have fast Food's gonna be taken over by automation.
• 33:35
  Speaker 3: You know, you have a robot Bartenders on cruises now,
• 33:38
  Speaker 3: So it's it's almost like this film's almost writing itself.
• 33:41
  Speaker 5: Yeah, well that's that's what I'm saying, Like, you know,
• 33:45
  Speaker 5: does art imitate life? If we go through that whole thing.
• 33:48
  Speaker 5: The real issue that that comes down to is you're
• 33:50
  Speaker 5: you're saying it right there. You think you have a
• 33:53
  Speaker 5: good story, right, That's all it is. It just comes
• 33:55
  Speaker 5: down to I think I have a good story. So
• 33:58
  Speaker 5: if there's a good I mean many or Genesis wasn't
• 34:01
  Speaker 5: a story. It was a laundry list, that's all it was.
• 34:04
  Speaker 5: It was a to do list. There was no story.
• 34:08
  Speaker 5: And the same with Jurassic World, well yeah there was.
• 34:10
  Speaker 5: People would to, oh, well, where have we seen that before?
• 34:13
  Speaker 5: I mean, what more can we do? I mean, we
• 34:15
  Speaker 5: bring back dinosaurs? Dinosaurs e people. That's what Jeff Goldblum said,
• 34:20
  Speaker 5: right that there it is. So you know, I mean,
• 34:23
  Speaker 5: at least I don't know where they being at least
• 34:26
  Speaker 5: upfront and honest, you got me. I mean you know
• 34:29
  Speaker 5: I paid money, they got my ten dollars to see it.
• 34:32
  Speaker 5: But I do believe that you know, studios will look
• 34:35
  Speaker 5: for that algorithm. I think they already are. They're they're
• 34:38
  Speaker 5: trying to cover their their bases now by making sure
• 34:40
  Speaker 5: their demographics are all properly covered. Do they do they
• 34:43
  Speaker 5: have something for foreign appeal? Do they have something for this?
• 34:46
  Speaker 5: And and in the meantime, we're also worried about offending people.
• 34:50
  Speaker 5: We got to make sure that things are sanitized. And
• 34:53
  Speaker 5: you know, the people talk about now the uniqueness of
• 34:57
  Speaker 5: a summertime R rated comedy that that might be a
• 35:00
  Speaker 5: little quote unquote raunchy. We're in a world now where
• 35:03
  Speaker 5: everybody drops the word inappropriate and awkward like they're they're
• 35:08
  Speaker 5: part of our lexicon now and I don't even know
• 35:09
  Speaker 5: what they need. Everything's inappropriate, everything is awkward. Uh, you
• 35:14
  Speaker 5: hear kids say it all the time. Awkward. What what
• 35:17
  Speaker 5: does that mean?
• 35:19
  Speaker 4: You know?
• 35:19
  Speaker 5: Was would Caddy Shack if it was released today be awkward?
• 35:23
  Speaker 5: I mean, is Blazing Saddles inappropriate? And if there's anybody
• 35:27
  Speaker 5: listening to me right now saying yes they are, then
• 35:29
  Speaker 5: you don't know movies and go get a sense of
• 35:31
  Speaker 5: humor because you're a jackass.
• 35:33
  Speaker 3: You know, I've I've actually joked around with friends that
• 35:37
  Speaker 3: I could like if they were to remake Caddy Shack.
• 35:39
  Speaker 3: I said, I could see exactly how they would do
• 35:41
  Speaker 3: it and who the hell they would cast. You know,
• 35:43
  Speaker 3: I imagine they would put Paris Hilton in the uh
• 35:46
  Speaker 3: in the role of of that one. Now I forget
• 35:48
  Speaker 3: the girl's name, but uh, she was the the girl
• 35:52
  Speaker 3: who came in Ted back Ted Knight's character. Yeah, yeah,
• 35:56
  Speaker 3: she would have you know, she'd be paid by Paris Hilton. Uh,
• 35:59
  Speaker 3: you know, and I and and I would I just
• 36:00
  Speaker 3: kind of went down a cast list, but I said,
• 36:02
  Speaker 3: you know, and that's sort of when you touched on
• 36:04
  Speaker 3: that where they would probably say, you know, should they
• 36:07
  Speaker 3: even be in a golf course? Does anybody play golf anymore?
• 36:11
  Speaker 3: You know what I mean? Should we make it at
• 36:12
  Speaker 3: it sort of a drone racing seminar? I don't know,
• 36:15
  Speaker 3: But it's just, you know, with all the remakes nowadays,
• 36:18
  Speaker 3: I'm I'm anytime they're going to remake a movie, I'm
• 36:21
  Speaker 3: not really that shocked anymore, because it just seems like
• 36:23
  Speaker 3: that's like the latest sort of you know, hey, you
• 36:25
  Speaker 3: know this original movie bombed, so let's just go remake
• 36:29
  Speaker 3: Ben hurt right, you know what I mean?
• 36:30
  Speaker 5: I mean, they kind of forget, like what made Caddy
• 36:32
  Speaker 5: Shock funny. And most people don't realize unless they've watched
• 36:36
  Speaker 5: like those A and E biographies on it, is that
• 36:38
  Speaker 5: the movie never came out the way that they intended.
• 36:41
  Speaker 5: That the film was scripted to be about the caddies
• 36:45
  Speaker 5: and instead basically Rodney Dangerfield and Bill Murray and the boys,
• 36:48
  Speaker 5: they all hijacked it. And yea, Harold Ramis said it best.
• 36:52
  Speaker 5: We went to Florida to shoot it because at that
• 36:54
  Speaker 5: time there really was no film industry in Florida, and
• 36:57
  Speaker 5: we went out there to get the hell away from
• 36:59
  Speaker 5: the executives, and we had really one big drug and
• 37:01
  Speaker 5: alcohol party, is what they did. And it shows on screen,
• 37:04
  Speaker 5: like you can see when Rodney Dangerfield farts at that
• 37:07
  Speaker 5: table and does his round around the dining room hall.
• 37:11
  Speaker 5: I mean, you can tell the director was just probably
• 37:13
  Speaker 5: a good ahead Rodney, go do your thing, and that's
• 37:15
  Speaker 5: what made the movie funny. Bill Murray was on set
• 37:18
  Speaker 5: what a week, and he ad lipped everything pretty much.
• 37:21
  Speaker 5: His whole Carl character is, you know, Carl Spackler is
• 37:24
  Speaker 5: ad libbed. That's what made the movie funny. Now we
• 37:29
  Speaker 5: have you know, everything's got to be properly scripted and
• 37:31
  Speaker 5: everybody's worried, Like, why are we worried about an R
• 37:34
  Speaker 5: rated comedy anymore in the summertime? How many? Growing up?
• 37:38
  Speaker 5: I mean, I don't know how old you are, Dave,
• 37:40
  Speaker 5: but growing up, that's pretty much all they're freaking was.
• 37:43
  Speaker 5: You know, in the eighties, it was all our rated
• 37:45
  Speaker 5: Porky's and all that stuff. Now everything's inappropriate and offensive
• 37:49
  Speaker 5: and we've got to be careful. And you know, now
• 37:52
  Speaker 5: colleges have safe rooms for kids to go to if
• 37:54
  Speaker 5: they feel unsick. This is nuts. This is absolutely crazy.
• 37:59
  Speaker 5: This is beyond Britain, New World. We have become so
• 38:02
  Speaker 5: sanitized that even now we're afraid of our own culture.
• 38:05
  Speaker 5: This is stupid. You know, everybody goes well blazing saddles
• 38:08
  Speaker 5: is offensive. It's supposed to be, you dumbass. It's supposed
• 38:12
  Speaker 5: to show the stupidity of racism. That's the point of it. Yes,
• 38:16
  Speaker 5: it's supposed to be offensive.
• 38:18
  Speaker 3: Yes, I know exactly what you're coming where you're coming from, Harrison.
• 38:21
  Speaker 3: I'm I'm thirty, But I've seen all those movies, you know,
• 38:25
  Speaker 3: Poor Key's, you know, I mean, we can go on
• 38:27
  Speaker 3: and all, but you know, I've seen all those movies
• 38:30
  Speaker 3: and I agree, you know, the movies and even you know,
• 38:33
  Speaker 3: and it's something I was talking about too, is the
• 38:35
  Speaker 3: Slashers from the eighties. You know, even the worst ones
• 38:38
  Speaker 3: had some heart that a lot you know, when I
• 38:41
  Speaker 3: see like new Slashers, a lot of them, I don't
• 38:43
  Speaker 3: know if they've they've ever seen the old ones, or
• 38:46
  Speaker 3: if they just sort of maybe don't have the experience
• 38:48
  Speaker 3: yet behind you know, to behind the camera, or if
• 38:51
  Speaker 3: it's even that.
• 38:52
  Speaker 5: I think a lot of them are just trying to
• 38:53
  Speaker 5: be so slick now, like even low budget I mean, look,
• 38:57
  Speaker 5: low budget filmmakers have access to a quick meant that
• 39:00
  Speaker 5: you know, let's face it, thirty years ago you didn't
• 39:02
  Speaker 5: have did the digital revolution has changed things so even
• 39:05
  Speaker 5: bad movies can look great. And now you see this
• 39:08
  Speaker 5: horror has become like this overproduced kind of look to
• 39:12
  Speaker 5: it that has no heart, as you just said. And
• 39:15
  Speaker 5: you know, what you didn't have in technology or what
• 39:17
  Speaker 5: you didn't have in shortcuts thirty years ago, well you
• 39:22
  Speaker 5: made up for in heart. So you're right, not not
• 39:24
  Speaker 5: all of them, but many of them that were bad,
• 39:26
  Speaker 5: they did have an element of heart to them. Where
• 39:28
  Speaker 5: people are, damn it, they're trying now It's like all
• 39:31
  Speaker 5: these horror films, they all have that blue or green
• 39:33
  Speaker 5: filter on them, and they all look you know, they're
• 39:35
  Speaker 5: over lit, they're very bright. Everybody's trying to look slick.
• 39:38
  Speaker 5: Everybody's trying to look not low budget, and I think
• 39:42
  Speaker 5: that's a problem. John Carpenter embraced that with Halloween and
• 39:46
  Speaker 5: a lot of his films. I mean, yeah, they used
• 39:47
  Speaker 5: panavision on Halloween and that was important. But yet Halloween
• 39:51
  Speaker 5: doesn't have an overproduced look to it. It does look
• 39:54
  Speaker 5: like it was a low budget film, but they used
• 39:57
  Speaker 5: it smartly. John was a brilliant direct.
• 40:01
  Speaker 4: We'll be right back after a word from our sponsor,
• 40:07
  Speaker 4: and now back to the show.
• 40:10
  Speaker 5: And he used it correctly and he made it work
• 40:13
  Speaker 5: to his advantage. He was telling a good story and
• 40:15
  Speaker 5: he didn't try to slick it up. That's where I
• 40:17
  Speaker 5: mean Halloween h two oh is not a scary film.
• 40:21
  Speaker 5: I don't even really think it counts as even a
• 40:24
  Speaker 5: good sequel. It gets love from the fan bas simply
• 40:27
  Speaker 5: because Jamie Lee Curtis returned, and there's some legitimacy there,
• 40:31
  Speaker 5: I guess. But I mean it looks good. I mean,
• 40:33
  Speaker 5: it's beautifully shot, it's beautifully lit. I just it doesn't
• 40:37
  Speaker 5: have any heart. There's nothing to it. I mean, it's
• 40:39
  Speaker 5: a very forgettable entry into the pretty much all of
• 40:42
  Speaker 5: them are forgettable entries except for one that I always champion,
• 40:46
  Speaker 5: and that's Halloween three. I think Halloween three, if it
• 40:49
  Speaker 5: had not been called Halloween three, would have done far better.
• 40:52
  Speaker 5: And I think it's a great comment on the commercialism
• 40:55
  Speaker 5: of the holiday and is a fun horror film with
• 40:58
  Speaker 5: some heart.
• 40:58
  Speaker 3: Yeah. I actually just show Halloween three to some friends
• 41:01
  Speaker 3: of mine last Halloween, and I said to them before
• 41:03
  Speaker 3: I showed it to him, I said, listen, this is
• 41:04
  Speaker 3: just Halloween in name. I said, Michael Myers is not
• 41:08
  Speaker 3: a part of this even in the slightest sense. And
• 41:11
  Speaker 3: one of my friends you watched, and he said, you know,
• 41:13
  Speaker 3: I think I actually enjoyed that one sort of more
• 41:15
  Speaker 3: than than any other because he's like it was just
• 41:18
  Speaker 3: so different. He's like, it's actually different than a lot
• 41:20
  Speaker 3: of the horror movies I've ever seen. Oh yes, I.
• 41:22
  Speaker 5: Mean, Dave, You're right. Your friend is correct. I mean,
• 41:25
  Speaker 5: look at Halloween two, all I mean picks up the
• 41:28
  Speaker 5: same night. That is a dreadfully mediocre bad film. I mean,
• 41:33
  Speaker 5: Halloween two was just a contractual agreement to make some
• 41:38
  Speaker 5: more money. It had nothing. I mean, the first Halloween
• 41:42
  Speaker 5: movie was made by a bunch of artists who tried
• 41:44
  Speaker 5: to make the best damn horror film that they could.
• 41:46
  Speaker 5: The second one was just a complete knockoff, is all
• 41:49
  Speaker 5: it was. And they could have made Halloween two about
• 41:53
  Speaker 5: the phone Book and people would have come to see
• 41:54
  Speaker 5: it just because it was the sequel to Halloween. So,
• 41:58
  Speaker 5: you know, then you've got Halloween four. I mean, Danielle
• 42:00
  Speaker 5: Harris is great in it, and Danielle is a friend
• 42:02
  Speaker 5: of mine, but let's face it was Halloween for a classic.
• 42:06
  Speaker 5: It's the same damn story all over again. And then
• 42:08
  Speaker 5: Halloween five, Halloween six, and then we've got Halloween h two. Oh,
• 42:12
  Speaker 5: and then we've got Resurrection, and then we what's different
• 42:15
  Speaker 5: about any of these things? Nothing? You know, at least
• 42:18
  Speaker 5: Halloween three, which it should have never been called, Like
• 42:20
  Speaker 5: you said, it's only Halloween in name only, tried to
• 42:24
  Speaker 5: branch out and do something cool. And you have to admit,
• 42:27
  Speaker 5: Man Cochran is a wonderful villain and Halloween three he's terrific.
• 42:31
  Speaker 3: Yeah, you know, it was just such an interesting idea too,
• 42:34
  Speaker 3: because you know, I mean, and they all like the
• 42:36
  Speaker 3: idea too, you know, the whole masks the song and
• 42:39
  Speaker 3: that song in that movie, by the way, does get
• 42:40
  Speaker 3: in your head, you know, you know, you know, as
• 42:45
  Speaker 3: we talked about horror movies, you know, I actually did
• 42:47
  Speaker 3: want to actually talk about, you know, your films. You
• 42:50
  Speaker 3: actually have some impressive films that you've actually you know, wrote,
• 42:53
  Speaker 3: directed and produced. You know, so if you don't mind,
• 42:56
  Speaker 3: I really would like to sort of talk in depth
• 42:58
  Speaker 3: about it. So much about your process, okay, really, you know,
• 43:02
  Speaker 3: I guess you know, might as well start at the beginning, right,
• 43:04
  Speaker 3: so if we could talk about The Field. You know,
• 43:06
  Speaker 3: you wrote and you produced the Field, So I wanted
• 43:09
  Speaker 3: to ask, you know, was the Field one of the
• 43:11
  Speaker 3: first things that you've you've written and you know, if so,
• 43:15
  Speaker 3: you know, what was your process? Well, actually, even if
• 43:17
  Speaker 3: it wasn't, you know, what was your process about on
• 43:20
  Speaker 3: actually writing the Field?
• 43:21
  Speaker 5: Well, the Fields is based on the true story of
• 43:23
  Speaker 5: what happened to me as a boy growing up on
• 43:25
  Speaker 5: my grandparents farm. So it was written totally from memory,
• 43:29
  Speaker 5: is really what it was.
• 43:30
  Speaker 3: I mean.
• 43:30
  Speaker 5: Laurus Leechman plays my grandmother in the film, and I
• 43:34
  Speaker 5: always say this almost in every interview. She didn't play
• 43:37
  Speaker 5: my grandmother, She channeled my grandmother. Chloris became my grandmother
• 43:41
  Speaker 5: and seeing her on set and watching her in that movie,
• 43:45
  Speaker 5: that's the closest I'm ever going to get to see
• 43:46
  Speaker 5: in my grandmother again. So it was written based on
• 43:51
  Speaker 5: memory and it was not hard to write because it
• 43:54
  Speaker 5: was a true story. And you know, you get people going,
• 43:56
  Speaker 5: oh yeah, they always say that now this it happened
• 43:59
  Speaker 5: to me, like I know, is based on true events
• 44:02
  Speaker 5: because I lived them. So the little boy in the
• 44:04
  Speaker 5: film is based on me. Tara Reid played my mother
• 44:08
  Speaker 5: and The Fields was not the first script I've written,
• 44:12
  Speaker 5: but it was the first one to get produced. And
• 44:15
  Speaker 5: it was a very grueling process. I mean, as I said,
• 44:18
  Speaker 5: you want to learn about producing, get on a film
• 44:21
  Speaker 5: set and just go produce. You'll find out real fast
• 44:24
  Speaker 5: you know how to do this. You'll either sink or swim.
• 44:27
  Speaker 5: The Fields was a baptism by fire, It really was.
• 44:30
  Speaker 5: I will have to say, of all my filmmaking experiences,
• 44:35
  Speaker 5: the Fields was the most unpleasant. It was extremely rough.
• 44:38
  Speaker 5: It was one of those that by the end I
• 44:40
  Speaker 5: was asking myself, is this what I really want to do?
• 44:43
  Speaker 5: And I felt kind of cheated because all my life
• 44:45
  Speaker 5: I've wanted to make movies and then you finally get
• 44:48
  Speaker 5: to make your movie and it was not the sunshine
• 44:51
  Speaker 5: and puppy dogs that you hoped it would be.
• 44:54
  Speaker 3: Was it a lot to do with like location issues
• 44:57
  Speaker 3: or because I mean, I know how you know, hard
• 44:59
  Speaker 3: producer a film can be. I've produced things myself, and
• 45:03
  Speaker 3: you know how you know on Harris, you know, and
• 45:05
  Speaker 3: you've experienced this too, where you look at it on
• 45:07
  Speaker 3: paper and it looks like, Okay, you know, this should
• 45:10
  Speaker 3: be a gimme. This is a gimme, And then all
• 45:12
  Speaker 3: of a sudden, everything just sort of turns on its
• 45:14
  Speaker 3: head and what you thought was going to be easy
• 45:16
  Speaker 3: became hard. We thought it was hard became easy, and
• 45:19
  Speaker 3: it's just sort of you're just like, Wow, what the
• 45:22
  Speaker 3: hell did I get myself in?
• 45:24
  Speaker 5: I think it's like, you know, if you produce something,
• 45:26
  Speaker 5: then you know, I think a lot of it had
• 45:29
  Speaker 5: to do with that you You're you're kind of thrown
• 45:32
  Speaker 5: naked out on the stage is really what it is.
• 45:35
  Speaker 5: And you know there there were a lot of things
• 45:37
  Speaker 5: from sag paperwork and I don't care who's listening SAG
• 45:40
  Speaker 5: is a nightmare to work with. It is just and
• 45:43
  Speaker 5: I think most independent filmmakers out there will agree and
• 45:45
  Speaker 5: are probably nodding their heads, and if they're listening to
• 45:48
  Speaker 5: this driving, they're going, oh, yeah, you're you're thrown into
• 45:52
  Speaker 5: all of this and dealing with you know, pension and
• 45:54
  Speaker 5: health and taxes and and how your taxes are broken down,
• 45:57
  Speaker 5: and then agent fees and you know, the south plus
• 46:00
  Speaker 5: ten and line item budget issues, and then feeding people
• 46:03
  Speaker 5: and making sure that your caterers all work out. Because look,
• 46:07
  Speaker 5: I know someone who worked on a House of Cards,
• 46:10
  Speaker 5: but I think they had close to a four million
• 46:12
  Speaker 5: dollar budget for catering and he told me, he said,
• 46:15
  Speaker 5: people still complained. You know, they had chocolate fountains on
• 46:20
  Speaker 5: set and people are still like, oh, this food sucks. So,
• 46:23
  Speaker 5: you know, you quickly realize you're never going to please
• 46:25
  Speaker 5: everyone on the set of a film. And then you
• 46:29
  Speaker 5: go into, like you said, location issues, weather, all of
• 46:32
  Speaker 5: the stuff that goes into it, and most of all,
• 46:34
  Speaker 5: watching your screenplay in the hands of other people, to
• 46:38
  Speaker 5: directors that sometimes put their own spin on things, where
• 46:41
  Speaker 5: you're kind of feeling, oh, you're kind of diverting from
• 46:44
  Speaker 5: the source material. I wasn't. I've been very vocal about
• 46:47
  Speaker 5: this before, and nothing I haven't said to them. I
• 46:49
  Speaker 5: wasn't always one hundred percent supportive of the changes that
• 46:52
  Speaker 5: they made to the screenplay, but it was their choice
• 46:55
  Speaker 5: because they're directors. In the end, I feel I was
• 46:58
  Speaker 5: pretty fairly treated as a first time writer, but as
• 47:01
  Speaker 5: a producer I walked away pretty bruised from it. And
• 47:05
  Speaker 5: not to be over dramatic, but just it was tough,
• 47:08
  Speaker 5: and as going into any type of career like that is,
• 47:11
  Speaker 5: you know, any anyone can say that, well, you know,
• 47:13
  Speaker 5: I started out in this and this is how you learn.
• 47:16
  Speaker 5: So I made my bones, I guess is the best
• 47:18
  Speaker 5: way to sum up the fields.
• 47:20
  Speaker 3: You know, that's an excellent way to put it, Harrison,
• 47:22
  Speaker 3: I made my bones. I actually, you know, I've had
• 47:24
  Speaker 3: other people come on who've also written, you know, screenplays
• 47:28
  Speaker 3: or you know, it was a first movie that you know,
• 47:30
  Speaker 3: actually got produced, and they said, you know, for the
• 47:33
  Speaker 3: for the better or for the worst, or however it
• 47:36
  Speaker 3: turned out. They were like, I'm just happy it happens.
• 47:39
  Speaker 3: And you know, you know, sometimes you know, like you said,
• 47:42
  Speaker 3: things go beyond your control and you just sort of
• 47:44
  Speaker 3: have to make peace with that because you can't control it.
• 47:46
  Speaker 5: You know, Yeah, make peace is a good word for it.
• 47:48
  Speaker 5: You just make peace with it.
• 47:50
  Speaker 3: So your next film with six Degrees of Hell, and
• 47:53
  Speaker 3: they actually had you know, Corey Felman in it, and
• 47:56
  Speaker 3: you know, it was actually funny. I actually got invited
• 47:58
  Speaker 3: to the screening of this. I forget who invited me,
• 48:02
  Speaker 3: but I actually couldn't make it. We actually would have
• 48:04
  Speaker 3: met each other if I had attended the screening because
• 48:06
  Speaker 3: it was in Philly. So you were you wrote and
• 48:08
  Speaker 3: produced Six Degrees of Hell. So you know, how did
• 48:11
  Speaker 3: you go about writing this? About writing this film Six
• 48:13
  Speaker 3: Screes of Hell?
• 48:14
  Speaker 5: Well, it came from I went through a haunted establishment
• 48:18
  Speaker 5: at Halloween time with my ex wife and we went
• 48:22
  Speaker 5: through and she hated those things. And we went through
• 48:25
  Speaker 5: this one room and there was a guy tied to
• 48:28
  Speaker 5: a table and I'll never forget as I walked by him,
• 48:32
  Speaker 5: he reached out and he grabbed me and he said,
• 48:36
  Speaker 5: you don't get it. They're really killing people in here,
• 48:38
  Speaker 5: like they're going to kill me. Please, when you get
• 48:40
  Speaker 5: out of here, call the police. And as I walked
• 48:43
  Speaker 5: out of the room, I said to my ex wife,
• 48:46
  Speaker 5: I said, well, you know how do we really know
• 48:49
  Speaker 5: that he's not telling the truth? Like, what if they
• 48:52
  Speaker 5: really are going to kill this dude? Like we won't know,
• 48:54
  Speaker 5: you know, I mean, this is all part of the game, right,
• 48:56
  Speaker 5: this is all part of the illusion. And so I
• 48:59
  Speaker 5: thought I would build on that for a film, and
• 49:01
  Speaker 5: then I added a supernatural element to it, and we
• 49:05
  Speaker 5: we got what we had with six degrees.
• 49:07
  Speaker 3: So what if what if that guy really goes?
• 49:14
  Speaker 5: I don't know. I hope he's alive.
• 49:17
  Speaker 3: That's what I thought you were going to say, is
• 49:19
  Speaker 3: like you know later on you're like, wow, I never.
• 49:20
  Speaker 5: Found out what happened to him. I'm kind of assuming
• 49:22
  Speaker 5: he was okay.
• 49:24
  Speaker 3: So you know, when you went about writing this film,
• 49:26
  Speaker 3: you know actually you know your process of writing. I
• 49:29
  Speaker 3: wanted to ask, you know, do you subscribe to any method?
• 49:31
  Speaker 3: I always asked this the screenwriters, you meaning, like, you know,
• 49:33
  Speaker 3: there's say the Cat and there's a Sidfield method. So
• 49:36
  Speaker 3: do you write like a heavy outline or treatment? Though
• 49:38
  Speaker 3: before you begin out?
• 49:38
  Speaker 5: I mean sometimes I outline it. My business partner Mark
• 49:42
  Speaker 5: is always like, outline it, outline it. Look Sometimes the
• 49:46
  Speaker 5: best advice for any writer is right, that's it, and
• 49:50
  Speaker 5: nobody can teach you the best way. Everybody's got their way.
• 49:55
  Speaker 4: We'll be right back after a word from our sponsor,
• 50:01
  Speaker 4: and now back to the show.
• 50:04
  Speaker 5: So you want to write, right, So sometimes something hits
• 50:08
  Speaker 5: me and I'm like, oh my god, and I'll plow
• 50:10
  Speaker 5: into the first act. I'll get through the first act
• 50:13
  Speaker 5: in the second act. Yeah, an outline, you know, sid
• 50:17
  Speaker 5: Field way. Sometimes you need to make sure your beats
• 50:19
  Speaker 5: all hit. Yeah, I get all of that, and sometimes
• 50:21
  Speaker 5: I do a beat sheep. But it depends on the project,
• 50:24
  Speaker 5: and sometimes it depends on the mood I'm in. If
• 50:25
  Speaker 5: I'm really passionate and I've been taken over by the moment,
• 50:29
  Speaker 5: I just write and then I go back and I
• 50:32
  Speaker 5: constantly correct. I mean writing is writing, and then it's
• 50:35
  Speaker 5: pretty much eighty percent rewriting is really what it is.
• 50:38
  Speaker 5: I mean, you got to be smart enough to know
• 50:40
  Speaker 5: to go back and rewrite. And I don't know who
• 50:42
  Speaker 5: gets the credit with this phrase, but I think it
• 50:44
  Speaker 5: was Stephen King who said, you go back and you
• 50:46
  Speaker 5: kill your babies. What you think may be brilliant on
• 50:49
  Speaker 5: that page you might have to get rid of. And
• 50:51
  Speaker 5: that's something George Lucas could have learned.
• 50:54
  Speaker 3: Yeah, you know. I've also learned too in just writing myself.
• 50:57
  Speaker 3: You'll drive yourself crazy if you try to do like
• 51:01
  Speaker 3: the outline that so the quote unquote script writing gurus
• 51:04
  Speaker 3: always talk about like it has to be this by
• 51:06
  Speaker 3: page seventeen, we have to see this and what about this?
• 51:10
  Speaker 3: And I think that sort of I know, at least
• 51:13
  Speaker 3: my my own experience, it's been very It almost makes
• 51:16
  Speaker 3: a difficult task damn near impossible.
• 51:19
  Speaker 5: Oh yeah, because cause you're not right. I mean, it's
• 51:21
  Speaker 5: that balance. You can't write just for you, and you
• 51:25
  Speaker 5: have to keep an audience in mind. But if you
• 51:27
  Speaker 5: start trying to write to the algorithm, as your former
• 51:30
  Speaker 5: guests had talked about, you're defeating yourself. It's a self
• 51:34
  Speaker 5: defeating process, and then it becomes unpleasant and you no
• 51:36
  Speaker 5: longer want to write. You should write it first, almost
• 51:39
  Speaker 5: like a mental vomit in my opinion, and that is
• 51:41
  Speaker 5: get it all out. There's plenty of time to go
• 51:43
  Speaker 5: back and organize and make sure it hits the proper beats.
• 51:45
  Speaker 5: And by like you said, page twenty five, all the
• 51:48
  Speaker 5: major characters should be introduced, and by the end of
• 51:50
  Speaker 5: act one, something's really important should have happened to close
• 51:53
  Speaker 5: act one, and I get all of that because in
• 51:55
  Speaker 5: the end, we are making movies that I've seen movies
• 51:58
  Speaker 5: which go on way too long, and you're like, a man,
• 52:00
  Speaker 5: they should have just ended it here, they should have
• 52:02
  Speaker 5: done this here, and they didn't do that. So but
• 52:06
  Speaker 5: I think in the end, the final analysis is just right.
• 52:11
  Speaker 5: That's it.
• 52:12
  Speaker 3: Yeah, I concur you know something. I mean, even even
• 52:15
  Speaker 3: now when I when I'm you know, in line somewhere,
• 52:18
  Speaker 3: I sometimes pull out my phone and I'll pull out
• 52:20
  Speaker 3: like every note and I'm like, oh, that's a good
• 52:21
  Speaker 3: piece of dialogue, right, you know what I mean, Like,
• 52:23
  Speaker 3: that's a good idea because you know, I don't really
• 52:25
  Speaker 3: have a penalty anymore. So it's like now with my phone,
• 52:27
  Speaker 3: I can at least, you know, write on every note,
• 52:28
  Speaker 3: you know, so I so I at least have it. Yeah,
• 52:30
  Speaker 3: did you do you do that too? Do you do you? Ever?
• 52:32
  Speaker 5: Fleeing can tell people I'll hear a great line of
• 52:34
  Speaker 5: dialogue and say, I'm going to steal that just you know,
• 52:36
  Speaker 5: that's going to make it into a film someday, because
• 52:38
  Speaker 5: that was just really classic what somebody said.
• 52:41
  Speaker 3: That's something I think a lot of writers do. I
• 52:43
  Speaker 3: had like Jumichael hoffon who he knows he's not a screenwriter,
• 52:46
  Speaker 3: but he but he's trying to get into it or
• 52:48
  Speaker 3: he's getting into it. And that's something he always was saying,
• 52:51
  Speaker 3: like he'll be in line for a Starbucks. You'll be like,
• 52:52
  Speaker 3: oh my god, will we just listening to people talk
• 52:54
  Speaker 3: behind him, and he's like, Oh, that's a that's pretty good.
• 52:56
  Speaker 3: I gotta get that kind of write that down.
• 52:58
  Speaker 5: Yeah, that's the best stuff. I mean, Mark Twain said
• 53:01
  Speaker 5: it best write what you know.
• 53:03
  Speaker 3: Yeah, very very true. You know Stephen King's on writing,
• 53:06
  Speaker 3: by the way, I think that is the best book.
• 53:10
  Speaker 5: I own it, yep, absolutely, and I I follow it,
• 53:13
  Speaker 5: you know, especially about you know, adverbs and things like that,
• 53:17
  Speaker 5: get rid of them. So I mean I've I've listened,
• 53:21
  Speaker 5: and it does improve your writing. It really does.
• 53:23
  Speaker 3: And I don't think, you know, it's just to you
• 53:26
  Speaker 3: know what he usually writes novels, but I think you're
• 53:28
  Speaker 3: anything screenwriting, you know, whatever you're writing. I mean, it's
• 53:30
  Speaker 3: just everything he was talking about hit home. And I
• 53:33
  Speaker 3: mean obviously he's a man who walks the walk because
• 53:36
  Speaker 3: I mean, how many number one best sellers as he
• 53:38
  Speaker 3: had well.
• 53:38
  Speaker 5: And and that's the point because King does what is best.
• 53:42
  Speaker 5: He just tells good stories. Yeah, you know, and people go, well,
• 53:46
  Speaker 5: wait a minute, you know the movies. No, no, no,
• 53:48
  Speaker 5: you don't go buy the movies. You just go buy
• 53:50
  Speaker 5: his books. And I mean, he's he's just there won't
• 53:55
  Speaker 5: be another Stephen King for for generations to come. I mean,
• 53:58
  Speaker 5: these these kind of people merge every so often. And
• 54:02
  Speaker 5: you know, you don't want to be the next Stephen King.
• 54:04
  Speaker 5: What you want is to be your own next thing
• 54:07
  Speaker 5: instead of trying to ape or mimic Stephen King. Stephen
• 54:10
  Speaker 5: King is successful because Stephen King came forward as Stephen King,
• 54:15
  Speaker 5: and you you read his writing and listening to or
• 54:18
  Speaker 5: reading I should say King's books and his pros. Yeah,
• 54:22
  Speaker 5: you just kind of just settle back, and it's a
• 54:24
  Speaker 5: very comfortable world because he's such a master's storyteller.
• 54:27
  Speaker 3: Yeah, yeah, he really is. To everyone listening. If you
• 54:30
  Speaker 3: ever checked that on writing, it is you know, obviously
• 54:33
  Speaker 3: I just said the best book on writing that I've
• 54:35
  Speaker 3: ever come across, by far and away.
• 54:37
  Speaker 5: It's terrific.
• 54:38
  Speaker 3: So you know, Harrison, you followed up Six Degrees of
• 54:41
  Speaker 3: Hell with your directorial debut, which was Camp Dread. How
• 54:45
  Speaker 3: did that come about? You know, did you write the
• 54:46
  Speaker 3: screenplay and then did you did you pitch it to
• 54:48
  Speaker 3: anybody in particular? And you know, how did you get about,
• 54:51
  Speaker 3: you know, actually getting the director the director's job.
• 54:53
  Speaker 5: Well, I had an investor who said, I want to
• 54:56
  Speaker 5: make this kind of slasher movie and I want you
• 55:00
  Speaker 5: to do it. And he said, I only want you
• 55:02
  Speaker 5: to direct it. So I was like, I guess I'm
• 55:04
  Speaker 5: going to direct it. And he said, basically, I want tits,
• 55:08
  Speaker 5: blood and ass make sure it has that. And I said, well,
• 55:11
  Speaker 5: can I also write a good story? And he goes,
• 55:12
  Speaker 5: you can do whatever you want, but make sure it
• 55:14
  Speaker 5: has those three things. So that's what I did. And
• 55:18
  Speaker 5: I love Camp Dread. I think Camp Dread is a
• 55:21
  Speaker 5: lot of fun. And we got a great cast in
• 55:24
  Speaker 5: that we have Daniel Harris, we have Eric Roberts, we
• 55:26
  Speaker 5: have FeliCa Rose. And that's how it all kind of
• 55:29
  Speaker 5: started with FeliCa Rose because I did not know her
• 55:32
  Speaker 5: at the time, but in making this, I wanted her
• 55:36
  Speaker 5: in the film to be a camp counselor, to be
• 55:39
  Speaker 5: the big camp counselor in the film. And a guy
• 55:43
  Speaker 5: was interviewing me for Fangoria and He said, you want
• 55:47
  Speaker 5: FeliCa Rose and I said yea. He goes, well, I
• 55:49
  Speaker 5: know FeliCa Rose, and I said you do. He goes, yeah,
• 55:51
  Speaker 5: you want her cell phone number? I'm like, no, but
• 55:54
  Speaker 5: you could send her an email because I don't want
• 55:56
  Speaker 5: her to think I'm some crazy stalker who's just calling
• 55:58
  Speaker 5: her up. And he did an email introduction. Felissa Rose
• 56:02
  Speaker 5: and I talked and we became friends and now we're
• 56:05
  Speaker 5: business partners and we've been ever since. She lives in
• 56:09
  Speaker 5: La I live on the East Coast. She's been wonderful
• 56:13
  Speaker 5: and she's great in Camp Dread and most of my
• 56:15
  Speaker 5: I want to Camp Dread to be fun. It's got
• 56:18
  Speaker 5: a great message, I think at the end when you
• 56:19
  Speaker 5: find out who the real villains really are in this movie.
• 56:24
  Speaker 5: And I just had We had a great time making it.
• 56:28
  Speaker 5: It was a lot of fun and I'm very I'm
• 56:31
  Speaker 5: very pleased with all the performances. And I think Eric Roberts,
• 56:34
  Speaker 5: I don't know if you've seen the film, but Eric
• 56:36
  Speaker 5: Roberts just makes such a great Hollywood scumbag. You know.
• 56:41
  Speaker 3: Actually, Harrison, that is the only movie of yours I
• 56:43
  Speaker 3: haven't seen. We'll see it, okay.
• 56:47
  Speaker 5: It's a lot of fun, it really is, and it's
• 56:50
  Speaker 5: just one of those you put it on at night,
• 56:54
  Speaker 5: especially like a summer night, and you just sit down
• 56:57
  Speaker 5: and let it seep into you. That's what I wanted.
• 57:00
  Speaker 5: We did not want just a lot of naked girls
• 57:03
  Speaker 5: being killed. And I'm an equal opportunity offender. There's plenty
• 57:07
  Speaker 5: of male skin as well as female skin in the movie,
• 57:10
  Speaker 5: because chicks love a good horror film. And you know,
• 57:14
  Speaker 5: whether you're heterosexual or homosexual, it doesn't matter, just enjoy
• 57:17
  Speaker 5: what we put on the screen for Eye Candy. And
• 57:20
  Speaker 5: we knew we were playing to a wide horror audience,
• 57:23
  Speaker 5: and we gave them what they required, you know, and
• 57:26
  Speaker 5: most of all, we gave a good story. And it
• 57:28
  Speaker 5: makes a big comment on the search for fame and
• 57:32
  Speaker 5: the extent that people will go to be on TV
• 57:36
  Speaker 5: or win a little bit of money, and what they
• 57:38
  Speaker 5: will do to sell out.
• 57:40
  Speaker 3: Yeah, I will check that out. Actually, as soon as
• 57:42
  Speaker 3: I'm off this podcast episode with you, I'm actually gonna
• 57:45
  Speaker 3: check it out. I'm probably gonna order it off Amazon
• 57:47
  Speaker 3: or or wherever, because I actually have Yeah, I was saying,
• 57:50
  Speaker 3: and you know, it's funny. I actually Brian Gallagher is
• 57:54
  Speaker 3: in the movie Cam Tread and he's I'm actually a
• 57:56
  Speaker 3: friend of his and he's a terrific guy. And I'm
• 57:59
  Speaker 3: not sure what Roly plays in Camp Truid, but I
• 58:01
  Speaker 3: remember he He actually shared a photo on set and
• 58:04
  Speaker 3: I was of Eric Roberts with a butterfly yes, And
• 58:10
  Speaker 3: I was like, Brian, what do you what movie is this?
• 58:13
  Speaker 3: And he's like, I don't want to talk too much
• 58:14
  Speaker 3: about it, but he's like, this is just you know,
• 58:16
  Speaker 3: Eric Roberts, you know, with this butterfly. I said, okay.
• 58:19
  Speaker 5: Brian plays John Hill in the film, who is a
• 58:23
  Speaker 5: former slasher star who's now on the convention circuit kind
• 58:27
  Speaker 5: of thing, and he's been called back by his former
• 58:29
  Speaker 5: director where they were always at loggerheads while they were
• 58:33
  Speaker 5: shooting this franchise in the nineteen eighties. So Brian is
• 58:37
  Speaker 5: now older and wiser and comes back and kind of
• 58:40
  Speaker 5: sees through what this guy wants to do. Like Brian
• 58:44
  Speaker 5: is not very supportive of what's of what's going on
• 58:48
  Speaker 5: at this camp, and it's pretty cool. I don't want
• 58:51
  Speaker 5: to give away too many of the secrets because the
• 58:53
  Speaker 5: ending is a really good ending.
• 58:55
  Speaker 3: Very cool, so I won't won't pressure on that one
• 58:59
  Speaker 3: because I want to see him myself.
• 59:00
  Speaker 5: So they'll be like it, please let me know what
• 59:02
  Speaker 5: you think it. Please be honest.
• 59:03
  Speaker 3: Oh I will, We'll do We'll do Harrison, you know,
• 59:06
  Speaker 3: and you know you follow that up with Zombie Killer's
• 59:09
  Speaker 3: Elephant Graveyard. Yeah, so you know again, I you know,
• 59:12
  Speaker 3: when you were writing this, you know, did you want
• 59:15
  Speaker 3: to do something completely different or you know? Because I mean,
• 59:18
  Speaker 3: you know this is probably I mean again, I haven't
• 59:20
  Speaker 3: seen Cam Dread yet, but I mean it seems different
• 59:22
  Speaker 3: than everything else you've done to that.
• 59:23
  Speaker 5: Because yeah, it's it's pretty different. It's look to be really,
• 59:30
  Speaker 5: you know, quite frank. When I was brought the project,
• 59:33
  Speaker 5: I tried to talk the investor for an hour out
• 59:36
  Speaker 5: of doing it. He came to me and he said,
• 59:39
  Speaker 5: I want to make a horror film. I'm like okay.
• 59:41
  Speaker 5: He goes, I think you're the guy to do it.
• 59:43
  Speaker 5: That's what I'm told. I'm like, okay, and we'll make
• 59:45
  Speaker 5: you a good one. What is it? And he said, well,
• 59:47
  Speaker 5: I want to make a zombie movie. I'm like, no,
• 59:49
  Speaker 5: you don't. He's like, yes I do. And I said, no,
• 59:52
  Speaker 5: you do not. I said, you wanted to make a
• 59:54
  Speaker 5: zombie film about five years ago.
• 59:57
  Speaker 4: We'll be right back after a word from our sponsor,
• 1:00:03
  Speaker 4: and now back to the show.
• 1:00:06
  Speaker 5: Not want to do it now the market is saturated.
• 1:00:09
  Speaker 5: He's like, well, Harrison, you know I want you to
• 1:00:11
  Speaker 5: do it. If you don't want to do it, I'm
• 1:00:12
  Speaker 5: going to find somebody to do it. So look, we
• 1:00:15
  Speaker 5: all have bills to pay and lights to keep on.
• 1:00:18
  Speaker 5: So I did it. I wrote a script for him
• 1:00:22
  Speaker 5: that had to incorporate the sport of paintball. How you
• 1:00:25
  Speaker 5: do that without being laughed off the screen? Zombies and paintball?
• 1:00:29
  Speaker 5: I think we manage that. We used it very organically
• 1:00:32
  Speaker 5: as a training mechanism for these young orphans that were
• 1:00:35
  Speaker 5: left behind, and we gave a film that had a
• 1:00:39
  Speaker 5: very new and fresh origin story for why these zombies
• 1:00:44
  Speaker 5: are returning. And so good that z Nation copied us
• 1:00:49
  Speaker 5: because my zombies are generated from the results and the
• 1:00:53
  Speaker 5: side effects of fracking from the natural gas and shale industry,
• 1:00:57
  Speaker 5: and Z Nations stole that right from us. And I
• 1:01:01
  Speaker 5: know they did because we had this way before it
• 1:01:03
  Speaker 5: and the copyright proves it. And not only that, but
• 1:01:06
  Speaker 5: I was in a pitch session with some people that
• 1:01:08
  Speaker 5: went on to make z Nation and that's what they used.
• 1:01:12
  Speaker 3: So they basically just said, hey, you know, we have
• 1:01:14
  Speaker 3: a similar idea, or do they say, hey, do you
• 1:01:16
  Speaker 3: ever see zombies?
• 1:01:17
  Speaker 5: Done? Anything?
• 1:01:18
  Speaker 3: Said?
• 1:01:19
  Speaker 5: I never said anything, And all of a sudden, somebody
• 1:01:21
  Speaker 5: sends me an episode of z Nation where they say, look,
• 1:01:24
  Speaker 5: the fracking industry has caused zombies. I'm like, yeah, I
• 1:01:26
  Speaker 5: wonder where the hell they got that.
• 1:01:28
  Speaker 2: You know.
• 1:01:30
  Speaker 3: Did you ever bump into somebody from Z Nation and say, hey, no.
• 1:01:33
  Speaker 5: But I'll be bumping into them, I'm sure, you know
• 1:01:35
  Speaker 5: in La probably after April. Yeah, and I'll be like, yeah,
• 1:01:39
  Speaker 5: you fairly stole it, you know what I mean, Like
• 1:01:41
  Speaker 5: that's fine, you know, I mean, it's not like we
• 1:01:44
  Speaker 5: copyrighted the issue that they can't use it, you know.
• 1:01:48
  Speaker 5: But it just shows that we were on the right
• 1:01:50
  Speaker 5: track because they took it and we were the first.
• 1:01:53
  Speaker 3: So when you said you found the producer, you know
• 1:01:56
  Speaker 3: he approached you with this project. Was that because of
• 1:01:58
  Speaker 3: all your past you know, past or was that because
• 1:02:01
  Speaker 3: your people from your network with the ones recommending.
• 1:02:04
  Speaker 5: He had done his research on me as a filmmaker,
• 1:02:06
  Speaker 5: and he also knew that I wasn't gonna rob him blind.
• 1:02:10
  Speaker 5: You know, a lot of these guys that want to
• 1:02:11
  Speaker 5: get these movies made, they take them to people that
• 1:02:14
  Speaker 5: have like two or three producers, and instantly the producers
• 1:02:17
  Speaker 5: pad the budget with their producer fees. So we made
• 1:02:21
  Speaker 5: Zombie Killers for just around a million bucks to make
• 1:02:26
  Speaker 5: this movie. The legitimate la way would have been three
• 1:02:29
  Speaker 5: to five million.
• 1:02:32
  Speaker 3: No, I don't know.
• 1:02:33
  Speaker 5: I mean, I think the best thing is is that
• 1:02:36
  Speaker 5: you just have your reputation, and that is you're making movies.
• 1:02:39
  Speaker 5: Like that's it. You can go on to IMDb and
• 1:02:42
  Speaker 5: a lot of these people, you know, I call MYMDB
• 1:02:45
  Speaker 5: whorse because they have like, you know, five pages of
• 1:02:47
  Speaker 5: IMDb stuff, and a lot of it is just bogus,
• 1:02:50
  Speaker 5: you know, filler that they post on there. If you
• 1:02:53
  Speaker 5: go on my IMDb, it's very simple. What I've produced
• 1:02:57
  Speaker 5: is there. You don't see twenty things in pre production
• 1:03:00
  Speaker 5: or in development. What I've done is there, and what
• 1:03:04
  Speaker 5: I have in pre production is actively being worked on
• 1:03:07
  Speaker 5: in pre production. So I think when people see that
• 1:03:11
  Speaker 5: and they go, Okay, you're not trying to blow smoke
• 1:03:12
  Speaker 5: up our ass, that helps, so you know, we get
• 1:03:16
  Speaker 5: movies made. That's the difference. You come to me with
• 1:03:19
  Speaker 5: a million bucks or under a million, we will get
• 1:03:22
  Speaker 5: the movie made and we will make a good movie.
• 1:03:24
  Speaker 5: It will look good, it will get great distribution. All
• 1:03:27
  Speaker 5: my films have solid distribution with great titles. Anchor bay
• 1:03:30
  Speaker 5: OURJL Entertainment, you know image. We've done well. And that's
• 1:03:36
  Speaker 5: really what it comes down to. Well done is better
• 1:03:38
  Speaker 5: than well said. And that's the way you have to
• 1:03:41
  Speaker 5: operate in this business. Anybody can talk, and I've taught
• 1:03:44
  Speaker 5: people that don't go to an investor and tell them, oh,
• 1:03:48
  Speaker 5: this is going to make five hundred million dollars and
• 1:03:50
  Speaker 5: it's going to be the next this. Don't tell them that.
• 1:03:53
  Speaker 5: Just tell them the straight up, and that is filmmaking
• 1:03:55
  Speaker 5: is a very volatile business and it's probably the worst
• 1:03:58
  Speaker 5: investment that anybody with expendable cash can put into. You
• 1:04:02
  Speaker 5: have a better chance of making your money back by
• 1:04:04
  Speaker 5: going to Atlantic City and putting your money on the
• 1:04:06
  Speaker 5: roulette wheel and getting something back then you do making
• 1:04:09
  Speaker 5: a profit on a film. And although many people say, well,
• 1:04:12
  Speaker 5: I would never tell them that that is the honest answer.
• 1:04:15
  Speaker 5: The real answer, or the fluffed up answer that people
• 1:04:17
  Speaker 5: give is oh, it's going to do this and we're
• 1:04:19
  Speaker 5: going to make this. You don't know. You have no
• 1:04:21
  Speaker 5: idea what a film is going to do. You know,
• 1:04:23
  Speaker 5: look at what happened when that guy shot up the
• 1:04:25
  Speaker 5: theater with the Dark Knight Rises. That costs that picture money. Now,
• 1:04:29
  Speaker 5: a lesser film wouldn't have survived something like that. But
• 1:04:32
  Speaker 5: because you know it's The Dark Knight Rises. Yeah, it
• 1:04:34
  Speaker 5: took a hit, but it's going to still make its money.
• 1:04:36
  Speaker 5: You don't know what's going to happen or how the
• 1:04:38
  Speaker 5: political or economic climate of the country is going to change.
• 1:04:41
  Speaker 5: By the time your film is ready for release. Anything
• 1:04:44
  Speaker 5: can happen. You never guarantee an investor their money back.
• 1:04:48
  Speaker 5: You tell them it's a risk. Then that's why it's
• 1:04:50
  Speaker 5: called an investment. Otherwise it would be a guarantee. It's
• 1:04:54
  Speaker 5: not a guarantee. Nothing is guaranteed in this industry. You
• 1:04:57
  Speaker 5: could have your star die halfway through the film. How
• 1:05:00
  Speaker 5: do you know what's going to happen. A tornado could
• 1:05:03
  Speaker 5: wreck your set. You don't know. So if you're honest
• 1:05:06
  Speaker 5: with them, they respect that. I mean my first investor
• 1:05:10
  Speaker 5: he told me, he said, kid, you're you're talking yourself
• 1:05:13
  Speaker 5: right out of the film. I said, no, I'm just
• 1:05:14
  Speaker 5: being upfront with you. You should know that I'm I'm
• 1:05:16
  Speaker 5: telling you the truth that you can trust me on this,
• 1:05:19
  Speaker 5: you know, And that's that's the best way I operate.
• 1:05:22
  Speaker 5: I mean, I never tell them this is going to
• 1:05:23
  Speaker 5: make five hundred million, two hundred million, twenty million. How
• 1:05:26
  Speaker 5: the hell do I know that? I don't know anything
• 1:05:28
  Speaker 5: about that?
• 1:05:30
  Speaker 3: Yeah, very and that is true Arison. You know, you
• 1:05:33
  Speaker 3: know Jason Brubaker who works with the stripper, you know,
• 1:05:36
  Speaker 3: he often says that he says, you know, you can't
• 1:05:38
  Speaker 3: guarantee this is going to get into sun Dance. You
• 1:05:40
  Speaker 3: can't guarantee it's going to go into slam Dance.
• 1:05:42
  Speaker 5: No, so you know you can have a greatest star
• 1:05:45
  Speaker 5: in the world. I mean, I could get Brad Pitt
• 1:05:48
  Speaker 5: to I mean I can't. But if I did get
• 1:05:50
  Speaker 5: Brad Pitt to even do something for free for me,
• 1:05:52
  Speaker 5: how do I know that movie is going to make money?
• 1:05:55
  Speaker 5: You know?
• 1:05:55
  Speaker 3: How do I know that?
• 1:05:56
  Speaker 5: You know, people aren't tired of Brad Pitt. I mean, look,
• 1:05:59
  Speaker 5: Zombie Killer. I tried to tell my investor, you're going
• 1:06:03
  Speaker 5: to deal with zombie fatigue. That Red Box, all of
• 1:06:06
  Speaker 5: them are, They're going to be tired of this by
• 1:06:07
  Speaker 5: the time this film is out. Now we've done well
• 1:06:09
  Speaker 5: with Zombie Killers, but if this were made five six
• 1:06:13
  Speaker 5: years ago, I think we would have done even better.
• 1:06:15
  Speaker 5: But you have to try to know your market, I mean,
• 1:06:18
  Speaker 5: zombie movies. I've written a piece on it why I
• 1:06:20
  Speaker 5: made a zombie film, and that is I wanted to
• 1:06:22
  Speaker 5: try to do something legitimate and different and most of
• 1:06:25
  Speaker 5: all good, which we did do. We made a good film.
• 1:06:28
  Speaker 5: But the real problem with the zombie film is is
• 1:06:30
  Speaker 5: I still stand by it today. It's lazy filmmaking. Everybody
• 1:06:34
  Speaker 5: makes a damn zombie movie because they think it's easy,
• 1:06:37
  Speaker 5: you know, and really the plot doesn't change. I mean,
• 1:06:40
  Speaker 5: it's always about people surviving. That's all it is, you know,
• 1:06:43
  Speaker 5: and people like that. It's a comfortable routine. I mean,
• 1:06:46
  Speaker 5: no matter how good The Walking Dead is, which I
• 1:06:49
  Speaker 5: believe it is. I think it's well made and it's
• 1:06:51
  Speaker 5: well produced. And I've said this a number of times
• 1:06:53
  Speaker 5: in interviews, it's still the same damn thing. Every week.
• 1:06:56
  Speaker 5: People argue and zombie's attack. That's it. That's all it is,
• 1:07:02
  Speaker 5: and that's fine, and that's what you want from your horror.
• 1:07:04
  Speaker 3: You know. You mentioned zombie fatigue. I actually remember what
• 1:07:07
  Speaker 3: I was going to say to you. Now. A friend
• 1:07:08
  Speaker 3: of mine, she's actually been on the show as well.
• 1:07:10
  Speaker 3: She actually had a zombie film. It was just a
• 1:07:13
  Speaker 3: screenplay a couple of years ago, and she went out
• 1:07:16
  Speaker 3: to one of these pitch fests out in LA and
• 1:07:19
  Speaker 3: before she was about to pitch they the one person
• 1:07:22
  Speaker 3: put up their hand, you know, stop and just said,
• 1:07:25
  Speaker 3: now before you begin, we don't want to hear any
• 1:07:27
  Speaker 3: zombie pitches. And she said, she goes that that's what
• 1:07:31
  Speaker 3: I'm about to pitch you. And she said and the
• 1:07:33
  Speaker 3: person said, well, we're gonna you know, we're very sorry,
• 1:07:36
  Speaker 3: but we're we're She's like, we're not gonna hear any
• 1:07:39
  Speaker 3: more zombie pitches because you know, we're we're hearing them left,
• 1:07:42
  Speaker 3: right and center.
• 1:07:44
  Speaker 5: For that because everybody thinks, you know, look, get it,
• 1:07:47
  Speaker 5: get a red camera and get twenty five of your
• 1:07:50
  Speaker 5: friends to stick goop out of their mouth and run
• 1:07:52
  Speaker 5: around of ripped shirts and you got a zombie movie.
• 1:07:54
  Speaker 5: That's not how it works. And it gives off the
• 1:07:58
  Speaker 5: illusion that they're just really easy to make, and they're not.
• 1:08:02
  Speaker 5: But you know, and I got flack because I wrote
• 1:08:05
  Speaker 5: in one piece. I said that the zombie movie is
• 1:08:08
  Speaker 5: kind of like the Nascar of horror, and you know,
• 1:08:11
  Speaker 5: somebody's like, oh, so he thinks anybody goes to Nascar
• 1:08:13
  Speaker 5: is stupid. No, I'm not saying that. What I'm saying is,
• 1:08:16
  Speaker 5: though it goes around in a circle, you know where
• 1:08:19
  Speaker 5: it begins, you know where it ends, and you face it.
• 1:08:22
  Speaker 5: You hope for a couple interesting crashes in between. That's it.
• 1:08:27
  Speaker 5: You know, what more can we do with zombies?
• 1:08:29
  Speaker 1: Dave?
• 1:08:30
  Speaker 5: What more can we do other than stick them in space?
• 1:08:33
  Speaker 5: What more can we do? How many spin offs of
• 1:08:36
  Speaker 5: The Walking Dead do we need? I mean, when you
• 1:08:38
  Speaker 5: see these people on Twitter, Oh my god, Sunday's coming,
• 1:08:41
  Speaker 5: I wonder what's gonna happen? I don't know. What do
• 1:08:43
  Speaker 5: you think is gonna happen? You think some zombies are
• 1:08:45
  Speaker 5: gonna bite some people? You think somebody might die? I
• 1:08:47
  Speaker 5: mean the only thing that that show really does is
• 1:08:49
  Speaker 5: who's gonna be the next big cast member to die? Like?
• 1:08:53
  Speaker 5: That's it, right, That's all it is. Who's will will
• 1:08:57
  Speaker 5: you know Daryl be killed off? Will Norman read it?
• 1:09:00
  Speaker 5: Make it till next season? I mean that's all it is,
• 1:09:03
  Speaker 5: you know, it's it's kind of like a constant who
• 1:09:05
  Speaker 5: shot j R. Kind of thing that it just keeps
• 1:09:08
  Speaker 5: you going to the next one, you know. So I
• 1:09:11
  Speaker 5: don't know. I mean, if that's what people like, then
• 1:09:13
  Speaker 5: what's wrong with that? They like it great. I mean,
• 1:09:15
  Speaker 5: the movie's making far more money than Zombie Killers is, so,
• 1:09:19
  Speaker 5: I mean the show is so good luck to him,
• 1:09:21
  Speaker 5: you know. I mean, if that's what people want, good
• 1:09:23
  Speaker 5: for them.
• 1:09:24
  Speaker 3: Well, my my next idea, Harrison, is zombies in space.
• 1:09:26
  Speaker 3: So they put they put Jason in space, they put
• 1:09:31
  Speaker 3: Jason in space. I'm gonna put I'm gonna have zombies
• 1:09:34
  Speaker 3: in space, right. No, you know, a friend of mine
• 1:09:36
  Speaker 3: I do a podcast with said he thinks zombies will
• 1:09:39
  Speaker 3: have jumped the shark when they can fall in love.
• 1:09:41
  Speaker 3: And then out came our Bodies. Yeah, that's right, warm bodies. Yeah,
• 1:09:46
  Speaker 3: and he was like, there you go, we're officially done.
• 1:09:51
  Speaker 5: It is it jumped the shark a long time ago.
• 1:09:54
  Speaker 4: We'll be right back after a word from our sponsor,
• 1:10:00
  Speaker 4: and now back to the show.
• 1:10:03
  Speaker 5: But I don't know, if you know, again, other than
• 1:10:06
  Speaker 5: The Night of the Living Dead and those films, what
• 1:10:09
  Speaker 5: more can you do? It's you know, I mean, everybody says, well,
• 1:10:12
  Speaker 5: I love The Walking Dead because it's a soap opera. Well,
• 1:10:15
  Speaker 5: why does horror have to be a soap? I don't
• 1:10:17
  Speaker 5: know if I want my horror to be a soap opera.
• 1:10:18
  Speaker 5: But if that's what you like, good for you. Man.
• 1:10:21
  Speaker 5: It's making money and it makes people happy, so if
• 1:10:23
  Speaker 5: they love it, good for them.
• 1:10:25
  Speaker 3: I still don't think that anybody any you know, zombie
• 1:10:28
  Speaker 3: films or even zombie TV shows. I mean, I still
• 1:10:33
  Speaker 3: love the original. Dawn of the Dead is my absolute
• 1:10:35
  Speaker 3: favorite zombie film that I've ever seen, by far and away,
• 1:10:38
  Speaker 3: and it's just it's just because it's just it feels
• 1:10:42
  Speaker 3: like it just hit every important you know issue at
• 1:10:45
  Speaker 3: the time. And also it's just entertaining as hell.
• 1:10:47
  Speaker 5: Yeah, and there's nothing wrong with that, you know, It's
• 1:10:51
  Speaker 5: it's just great.
• 1:10:52
  Speaker 3: And you know, I'm a huge Amera fan anyway, But
• 1:10:55
  Speaker 3: I don't I'm sorry, don't want to get sidetracked. I've
• 1:10:57
  Speaker 3: been talking about but of our Marrow. But but you know,
• 1:11:00
  Speaker 3: I actually do want to talk to you, you know,
• 1:11:01
  Speaker 3: your upcoming film Death House. Now. I know you probably
• 1:11:05
  Speaker 3: can't talk too much about it because you know, it's
• 1:11:07
  Speaker 3: it's it's obviously it's still in the whole pre production process,
• 1:11:11
  Speaker 3: but you know, I saw the IMDb and so far
• 1:11:14
  Speaker 3: you have casted, you know, Danny trey Hoe, Robert England,
• 1:11:17
  Speaker 3: Michael berryman Kane hot or Bill Mosley. You know, I
• 1:11:21
  Speaker 3: just imagine if a producing standpoint, that it must be
• 1:11:23
  Speaker 3: damn near impossible to get that accomplished because those guys
• 1:11:27
  Speaker 3: are always working, you know what I mean, and just
• 1:11:28
  Speaker 3: to getting them all in the same time. It must
• 1:11:31
  Speaker 3: be like one of those things where like all the
• 1:11:33
  Speaker 3: stars have to align and the planets are coming in
• 1:11:35
  Speaker 3: the in the you know.
• 1:11:38
  Speaker 5: Yeah, I'll be able to give you a little I
• 1:11:40
  Speaker 5: have to go in about like five minutes. Oh okay,
• 1:11:42
  Speaker 5: sorry about that. We've been on like an hour.
• 1:11:47
  Speaker 3: Yeah, we've actually been talking for an hour and fifteen minutes.
• 1:11:49
  Speaker 5: I love it, but I do have a commitment that
• 1:11:51
  Speaker 5: I have to get to in a second. However. Uh yeah,
• 1:11:56
  Speaker 5: I mean you you said it best about the stars aligning.
• 1:11:59
  Speaker 5: Uh you got to be getting these people at the
• 1:12:02
  Speaker 5: right time. And the hardest part, Dave, with all of
• 1:12:04
  Speaker 5: that is is ensemble casting. You know. It's it's one
• 1:12:07
  Speaker 5: of those where Gunner Hanson really wanted to get as
• 1:12:10
  Speaker 5: many of these names in as he could, and a
• 1:12:12
  Speaker 5: lot of people in this industry new gunner. So it's hard,
• 1:12:17
  Speaker 5: you know, to get them all to the table, and
• 1:12:20
  Speaker 5: you know, make sure that everybody is feeling treated fairly,
• 1:12:24
  Speaker 5: if that makes any sense, that they all feel that
• 1:12:27
  Speaker 5: they're being approached for the right reasons and not just
• 1:12:29
  Speaker 5: for stunt casting or things like that. And believe me,
• 1:12:33
  Speaker 5: none of that was the case at all. We want
• 1:12:35
  Speaker 5: to include as many of these luminaries as we can
• 1:12:38
  Speaker 5: because I look at it as more than just the
• 1:12:40
  Speaker 5: media dubbed it the Expendables of horror. I look at
• 1:12:45
  Speaker 5: it as more of it's a mad, mad, mad mad
• 1:12:46
  Speaker 5: world where you're taking some of these really great names
• 1:12:50
  Speaker 5: who are not going to be around forever. I love
• 1:12:52
  Speaker 5: Death House, like thirty years from now, to have people
• 1:12:56
  Speaker 5: you know come back and look at it again and go, wow,
• 1:12:58
  Speaker 5: these were, you know, some of the crown jewels of
• 1:13:01
  Speaker 5: the genre at the time. And so you know, we're
• 1:13:04
  Speaker 5: trying to make it out of respect to the names.
• 1:13:07
  Speaker 5: But I can tell you this, we have a damn
• 1:13:09
  Speaker 5: good script. And the reason why I know that is
• 1:13:13
  Speaker 5: I sent this script out to a number of film
• 1:13:15
  Speaker 5: critics respected and established horror trade magazines that I told them,
• 1:13:20
  Speaker 5: I said, listen, if you hate it, all I ask
• 1:13:23
  Speaker 5: is you wait until the film is out and then
• 1:13:25
  Speaker 5: you can trash it all you want, but I'm giving
• 1:13:27
  Speaker 5: you a scoop. Not a single one of them came
• 1:13:29
  Speaker 5: back and said, oh my god, this is not good.
• 1:13:32
  Speaker 5: They said, if you make this script the way that
• 1:13:34
  Speaker 5: you've written it, you got a winner. And that's how
• 1:13:37
  Speaker 5: we're going to make it. So that's how confident I
• 1:13:39
  Speaker 5: was in the script. And one of them was a
• 1:13:41
  Speaker 5: prominent horror critic as well too, and I said, I
• 1:13:44
  Speaker 5: want you to be honest with me. If it's not
• 1:13:46
  Speaker 5: good or you feel that this has problems, I need
• 1:13:49
  Speaker 5: to know. And that's how confident I was.
• 1:13:52
  Speaker 3: That's amazing that you're able to, you know, you know,
• 1:13:57
  Speaker 3: not have any feedback. I guess you know what I mean, Like,
• 1:13:59
  Speaker 3: it's so good, okay, tell me and you hear nothing right,
• 1:14:02
  Speaker 3: So that I guess you know, that has to you know,
• 1:14:07
  Speaker 3: that has to fill you with such confidence going forward
• 1:14:10
  Speaker 3: that you're like, you know, I know it's a damn
• 1:14:12
  Speaker 3: good script. And now I have somebody else, you know,
• 1:14:14
  Speaker 3: other people tell me it's a damn good script sounds
• 1:14:16
  Speaker 3: like all engines forward.
• 1:14:18
  Speaker 5: Yes, and and you know it's it's not even just confidence,
• 1:14:21
  Speaker 5: it's just simply we're doing the right thing here. We're
• 1:14:24
  Speaker 5: not making a gimmick movie. We're not making like some
• 1:14:26
  Speaker 5: people think. If you can make this clear on your podcast,
• 1:14:30
  Speaker 5: this isn't Michael Myers fighting Jason or Freddy Krueger. That's
• 1:14:34
  Speaker 5: not what this is. These those are copyrighted characters. These
• 1:14:37
  Speaker 5: are the actors who happen to play these people. But
• 1:14:40
  Speaker 5: they're all in different roles. So it's not like, uh,
• 1:14:44
  Speaker 5: you know, Avid and Costello meet Frankenstein, where we're going
• 1:14:47
  Speaker 5: to mash up all the monsters. That's not what we're
• 1:14:49
  Speaker 5: doing here. So that's that's something I want clear. And
• 1:14:53
  Speaker 5: then on on the second end of it, we're treating
• 1:14:57
  Speaker 5: this as you know, a really good commentary, you know,
• 1:14:59
  Speaker 5: on this story. Okay, And and and most of all,
• 1:15:03
  Speaker 5: the genre. We're treating the genre with respect. And that's
• 1:15:06
  Speaker 5: important because it's not just about throwing in a bunch
• 1:15:09
  Speaker 5: of horror names and killing them off one by one.
• 1:15:11
  Speaker 5: And Gunner never wanted that. Gunner wanted something that was
• 1:15:14
  Speaker 5: substantial and that it was a definite tip of the
• 1:15:17
  Speaker 5: hat and a tip of a respectful tip of the
• 1:15:20
  Speaker 5: hat to the genre, to the horror genre.
• 1:15:22
  Speaker 3: Yeah, I'm glad you said it, Harrison, because I remember
• 1:15:25
  Speaker 3: reading when when when news of this broke on some
• 1:15:26
  Speaker 3: of the sites. I remember some of the comments were like,
• 1:15:28
  Speaker 3: oh my god, it's gonna be leather face fighting Jason
• 1:15:31
  Speaker 3: and I And I mean I knew because you know,
• 1:15:33
  Speaker 3: like you said, they're all different copyated characters, and getting
• 1:15:36
  Speaker 3: getting all of the trademarks for those names and likenesses
• 1:15:39
  Speaker 3: and all that that would be a legal nightmare. It
• 1:15:42
  Speaker 3: so you couldn't do it, So I know, you have
• 1:15:45
  Speaker 3: to go. Somebody actually walked into your room there. I
• 1:15:47
  Speaker 3: could see. It's but it's like a horror movie itself,
• 1:15:50
  Speaker 3: like oh my god, there's somebody behind.
• 1:15:51
  Speaker 5: You, like unfriended or something like that.
• 1:15:55
  Speaker 3: Yeah, yeah, they had unfriended And there was also a
• 1:15:58
  Speaker 3: scream on one of the screams too, the people were
• 1:16:00
  Speaker 3: behind them I couldn't see, right.
• 1:16:02
  Speaker 5: And Halloween Resurrection they did that too or something.
• 1:16:05
  Speaker 3: But yeah, I remember it was with uh when h
• 1:16:08
  Speaker 3: oh bust the Rhymes and tire banks right, the Jaws.
• 1:16:14
  Speaker 5: The Revenge of Slasher films.
• 1:16:18
  Speaker 3: Harrison, I know you have to go, but before you go,
• 1:16:21
  Speaker 3: where you'll find you out online?
• 1:16:22
  Speaker 5: Oh, you can find me online at my company site,
• 1:16:25
  Speaker 5: which is www dot Class eighty five dot com. And
• 1:16:29
  Speaker 5: you can find me on Twitter Harrison Smith eighty five
• 1:16:33
  Speaker 5: on Twitter. I think that's my handle. I'm pretty sure
• 1:16:36
  Speaker 5: I should look Yeah, yeah, and I think that is
• 1:16:38
  Speaker 5: it is, okay.
• 1:16:38
  Speaker 3: Yeah, I'm not.
• 1:16:40
  Speaker 5: Really good with self promotion in that way. And uh yeah,
• 1:16:43
  Speaker 5: I mean you can find all my films. They're everywhere.
• 1:16:45
  Speaker 5: They're on Amazon, They're on iTunes, Hulu, pretty much everywhere
• 1:16:50
  Speaker 5: you can find them. And I've had plenty of people
• 1:16:52
  Speaker 5: tell me that they're torrented like crazy.
• 1:16:54
  Speaker 3: So, oh, I actually have a Hula account. We'll check out.
• 1:16:57
  Speaker 3: I'll check out camp Dread on Hulu.
• 1:16:59
  Speaker 5: I think camp Dreads. Who I know, The Fields and
• 1:17:01
  Speaker 5: six Degrees are definitely on Hulu as well. But yeah,
• 1:17:04
  Speaker 5: and if not, I know that you can stream camp
• 1:17:07
  Speaker 5: Dread right off of Amazon.
• 1:17:09
  Speaker 3: All right, cool, awesome. I usually before the physical copy,
• 1:17:13
  Speaker 3: I actually started going back and forth in digital media
• 1:17:15
  Speaker 3: and physical media.
• 1:17:16
  Speaker 5: Now big physical media person, I like it on DVD.
• 1:17:19
  Speaker 3: Yeah, that That's what I've I've come back to. Now
• 1:17:21
  Speaker 3: I'm like I'm making sure I get everything Criterion like
• 1:17:25
  Speaker 3: Blu Ray if I can, or you know now, because
• 1:17:27
  Speaker 3: I'm you know, I'm always a little leery now about
• 1:17:30
  Speaker 3: digital media. But that's a whole nother story.
• 1:17:32
  Speaker 5: Right, Yes it is. I share your wariness.
• 1:17:35
  Speaker 3: Harrison Smith. I want to say thank you very much
• 1:17:37
  Speaker 3: for coming on and I wish you best with Deathhouse.
• 1:17:40
  Speaker 5: Thank you, and we'll give you some updates as we
• 1:17:42
  Speaker 5: get moving on that we start shooting April fourth.
• 1:17:45
  Speaker 3: Oh wow, so you're like you're you're like feeling the
• 1:17:48
  Speaker 3: pressure right now. Yeah, Harrison. Again, I want to wish
• 1:17:53
  Speaker 3: you the best of luck and I look forward to
• 1:17:55
  Speaker 3: hearing how how well it turns out.
• 1:17:56
  Speaker 5: Thank you, and thanks for having me on the show.
• 1:17:58
  Speaker 3: Oh my pleasure, Harrison. Take care, but I have a
• 1:18:00
  Speaker 3: good weekend you too. Bye bye.
• 1:18:02
  Speaker 2: I want to thank Dave so much for doing such
• 1:18:04
  Speaker 2: a great job on this episode. If you want to
• 1:18:06
  Speaker 2: get links to anything we spoke about in this episode,
• 1:18:08
  Speaker 2: head over to the show notes at Indie film muscle
• 1:18:10
  Speaker 2: dot com.
• 1:18:11
  Speaker 3: Forward slash eight sixty six.
• 1:18:12
  Speaker 2: If you have it already, please head over to Filmmaking
• 1:18:15
  Speaker 2: podcast dot com, subscribe.
• 1:18:18
  Speaker 3: And leave a good review for the show.
• 1:18:20
  Speaker 4: It really helps us out a lot.
• 1:18:21
  Speaker 3: Guys. Thank you again so much for listening.
• 1:18:23
  Speaker 2: Guys, as always, keep that hustle going, keep that dream alive,
• 1:18:27
  Speaker 2: Stay safe out there, and I'll talk to you soon.
• 1:18:30
  Speaker 1: Thanks for listening to the Indie Film Hustle podcast at
• 1:18:33
  Speaker 1: Indie Film Hustle dot com. That's I N D I
• 1:18:36
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• 1:18:39
  Speaker 1: E dot com.