Latest / CINEMACTIVIST / S03E11 - Meet Photo Negative
Transcript
- speaker-0: Hello and welcome to Cinema Activist. I'm your host, John Lyons, and we have some special guests here from the film Photo Negative. New feature film from Jacob Perrett and company. We're here at Cup and Spoon at Cusawego Square, and it's delicious. Thank you for being our hosts. Apologies to those watching the video version of this because we are going to be enjoying it whilst we speak. You wrote this on your own? Okay, so when did this speaker-1: Photo Negrivias. speaker-0: idea and what idea was the first kernel of this project? speaker-1: Yeah, so I found myself in a position after my previous film, Sigil, where I wasn't necessarily sure what direction I wanted to go, but I knew that I wanted to stay like in the horror genre. but I I've been on this sort of weird journey where like sigil was very kind of like we talked about in the previous episode, like one of those challenging films. Yeah. and at the end of the day I want this to be I want Direct films is my job. So I think inherently perhaps some of that might be sacrificing what I want in favor of what people want to pay to see, you know. and so I it as you can imagine, it's kind of hard as someone who kind of likes weird shit to like you know, what do people want to pay, you know, to see. So I was trying to figure that out for a while, and eventually I was confiding in my wife Carly that I didn't. know you know, I have all these script ideas but like i nothing's really sticking and she simply said just try and write something that you wanna make and just see what happens. and I had written the outline for photo negative in like twenty four hours, which is like really bizarre for me. and yeah, a script from there and so i it all happened pretty quick but it took it took like what was I writing for like Not quite a year, but maybe like like I don't know, seven or eight months or something like that. I can't really say like what what in specific like insp inspired it directly. I remember we watched Long Legs that year and there's inherently some long legs in it with the crime, you know, sort of so I w I was attracted to to to that. speaker-0: Were there any images that you saw, like vividly that helped inform the script? speaker-1: just the crime scenes in specific. That I think was always there, but the latter half of the movie, which I won't say anything too deep, but it it sort of veers in a in a different direction, which in terms of criticism is something that some people like, some people hate, sort of thing. but And that that veering was something that like I I didn't know was gonna happen until I approached it in the outline. I feel like when I write, I don't know if this is similar to you or you, Taylor, but like it's it's a series of of like what ifs. so like if I you know, that that one particular scene where the film takes a a a turn. okay. so I don't know where that came from in terms of j it was just a what if. speaker-0: Well since you've referenced Carly. Hi Carly. Yeah. speaker-2: Ha ha. speaker-0: And since you've referenced Taylor. Right. Hi Taylor. How's it going? Great. So speaker-1: Come speaker-0: thanks for being on Cinema Activist. speaker-1: Thank you. speaker-3: I knew of him 'cause I worked at the movies in Meadville. Uh-huh. And he was showing some of the he was showing his like first student feature film. And my boss is like, I wanna introduce you to Jacob Pratt and I'm like, I don't wanna meet speaker-1: John, I to tell you I need to tell you something. Well, okay, we'll wait until that should have been speaker-3: 'Cause I knew he was a filmmaker and I was jealous. And in a part of my life I don't I I won't get into it, but I was just really jealous 'cause I'm like he was doing what I wanted to do. Yeah. And I was surrounded around people that told me that I couldn't do that and I had to kind of follow their lead where speaker-1: then there's this guy who comes in. speaker-3: So that was the only that was the time I met him and then I ended up getting out of my own. I made a short film for local legend in Meadville for Pig Hill. And then Jacob reached out to me, I think it was that December, and was like I I loved Pig Hill and if you ever want to collaborate, we should. And speaker-1: I don't even think like I remembered like meeting you at the theater the first time but like I don't even know if I put two and two together that that was the guy who made the thing that I just watched. Like and then you were like, by the way, remember when we met and it was like awkward? It was like maybe I blocked it out or something. speaker-3: But and then I think it was like a couple weeks later I was doing another short film and he's like, I'll be in it. So the first day we got to hang out, I duct taped him to a chair and covered him in head to toe with corn syrup. speaker-1: Yeah. speaker-3: it was like a short where he got paper cuts all over his body because he used to bully some kid. speaker-1: And I'm a method actor too, so I'd let them do the speaker-3: But and then from that point on he was he got me involved in a in a short and that was where I started acting. Okay. and then from that point on I was like I just loved acting so much. and then we started do doing short after short and attempting different films and then we did we're fiction and then from that point on we just kind of went off and just doing different stuff together. speaker-1: But the first the first short that you're referencing, was actually for for film school as a film school project. Okay. at Edinburgh. At Edinburgh, I played speaker-3: a serial killer and I did this whole monologue about like there's something with a detective 'cause I had a sister and everything. But speaker-1: kidnap the detective's sister and the detective comes to rescue her. But I think the thing is is he sort of antagonizes or you antagonize the detective so much that that he ends up killing you come to find out that his sister is still alive and that he just committed this you know murderous act. And speaker-3: next thing we did was like me playing a cannibal and some like fraternity and yeah speaker-1: There's all all s all school projects. speaker-3: all school procrastinates but it just so much fun. And then you got in speaker-0: acting. So Carly, I'm very curious. So did you start out in the arts and acting or singing or like where where are you because I know you sing too, right? speaker-2: Yeah, I do. speaker-0: Multi-talented person. speaker-2: Thank you very much. I started actually doing like like concert band. So I started playing the flute when I was in fifth grade and I did it all from then until I graduated. I did I joined Marching Man in seventh grade, which is like the earliest year that you could join it. And though did that all until you know I graduated some of the greatest, most formative years of building who I was as a performer. Definitely started there. I did choir from fifth grade on, just all that stuff. So I've always been a performer in whatever aspect. I love doing it in a group. I love doing it on my own. I just I just like I just like to do it. I don't know. I'm an entertainer I guess. speaker-0: But you're also fearless. That's a thing that I've I've I feel like I've noticed about you is that you will you'll speaker-1: There's lots of air. speaker-0: take your well okay. But you'll take risks and you'll put yourself out there. You will put yourself out there and you will you will try anything. I remember when we did the auditions for tethered last year, it was very movement and dance based and probably not what you were expecting at all. And you like threw yourself into it and I was like, All right. Like I already knew like after seeing your work that you were great but then when I saw you like in real life then like you know then my opinion of you like skyrocketed 'cause I was like, okay, she will do anything. speaker-1: Yeah. Well and I appreciate you saying that because I can tell her that but as her husband there's something there's a level of like you have to say I'm like she's like, you know, obviously we've had the conversation of do you just cast me because we're married and it's no, I genuinely think you are so talented. speaker-0: So when did acting stuff speaker-2: It it started well, it started with Jacob. I did do a little bit of theater in high school, which I very much enjoyed. So I guess maybe it started with stage acting and plays and musicals and things like that. I started taking voice lessons when I was seventeen. I kept up with that and I stopped for a while but I have gone back to it since. so I guess like when I was graduating I was like, I'm gonna be a musician. I'm gonna go to school in New York, I'm gonna be a music producer, like I'm gonna learn that. That was my direction. And COVID like hit during that time so I ended up not going. I also had met Jacob like right before I graduated and I was like I just I knew he was the one. That's like so speaker-1: I was like you don't have to go six hours away. It's okay. speaker-2: I'm we you know we just got started. So I didn't and I guess it started then when I helped him in spine chiller. He had somebody else lined up for this small part in one of the segments and I don't know, I guess it didn't work out. speaker-1: I don't remember that. speaker-3: I'm not surprised. speaker-0: Wait. speaker-1: Okay, we'll talk about it later. speaker-2: And then he was like, who are we gonna, you know, have do this? And I was like, I'll try it. I'll try it. So that was fun. But then like during that time I still kept thinking that like music was my thing. So like I tried I auditioned at a couple, you know, more like prestigious conservatories for like performance, like classical performance, things like that. didn't get in. I I basically was like trying to find my footing. Like I was like, Do I wanna go to college? I kept thinking like that that was the way. but I never end up going and I don't regret it so far. But all that time I was helping Jacob on his films and speaker-0: Like what role have you played other roles behind the scenes that you know, like on the production side, like I assume you're like Jacob's sounding board? speaker-1: Yeah, I would say a lot of like I mean any ideas that I have, you know, the inception of ideas, the you know, forming of the script i is all, you know, we talk about it. And kind of like how you said your partner is keeps you in in check. Yeah. I would say that speaker-2: I think I can keep you in shot. speaker-1: Yeah, yeah, yeah, yeah, yeah. Yeah. speaker-0: That's good. That's very important. speaker-2: So like I'll usually read like the earliest drafts of things and give him feedback and take notes. And when you work on a you know, project as small as we usually do with like I don't even think skeleton crew is something that you could count as us. 'Cause there's like five people and that's it. speaker-1: On I would say on photo negative our slowest or slowest smallest days were four people. Yeah. The three of us and Liam, our sound guy. Yeah. speaker-2: so like you kind of become a person who wears many hats. You know, you go and do this or you go and get that or you're the prop you're in charge of your own props or your own costumes, your etcetera, etcetera. So that kind of thing I suppose. but yeah. And then for sigil we did do like I had written a song that ended up being like one of the main themes. speaker-0: I don't know if I knew that. speaker-1: It was during the credits, yeah. speaker-0: man, that's cool. speaker-2: Yeah, it was just a small snippet snippet at the end, but I think Mae's character sings it like throughout the movie here and there. speaker-1: Yeah, yeah. But but like we had the instrumental with it in the credits. Yeah. speaker-2: Yeah, we did like a full recorded version with our sound guy in the credits. So I did have a chance to like really let that aspect of me shine there. But just the more projects I did with him, the more I was like, wow, making movies is actually really cool. And then I started watching more movies and I was like, this is actually like this is an art form of all art forms. You want to perform, you wanna sing, you wanna dance, you wanna do literally whatever you want you can do in a movie. I was like, This is fantastic. So just as you know, as I started acting more and more, he gave me bigger parts. I you know, I just kept trying to rise to the occasion and then I was like, I think I might actually have something here. I like this. It's going good. So yeah. speaker-0: That's awesome. That's awesome. Were both of you horror fans always, or did you find your way to horror? speaker-2: I was not really a huge horror fan. Jacob kind of had to show me the reins. The first I the first one you showed me. The first horror movie I ever watched was House of a Thousand Corpus. speaker-1: Yeah, what what was the first one I showed you? The first horror movie? this is crazy. speaker-0: No, wow. speaker-1: First and so and so that like scarred her. Yeah. To the point where I was like, I really like horror movies and and that's like her that's like her perception of what all horror movies are like and she's like Okay. Yeah. I think I think the first one I showed you was It Follows. yeah, which was like departure from yeah. Yeah. speaker-2: Yeah. My friend in Marching Man every year he would have like like a final bash where he'd invite the whole band to his house and we would have a horror movie marathon. I had never, you know, experienced such a thing before and speaker-1: You described it to me 'cause you didn't she didn't remember the name of the movie, but she was like, It's the one with the clown and the fried chicken and I was like, speaker-2: So that was my first experience, but since I found a lot of more movies that I liked. So speaker-3: That's I grew up with horror movies because my dad was in bands and then because of his mom, my grandma, she was a a horror freak as well. cool. And so my dad I grew up with him having horror on all the time, and I'm a little kid and I'm being traumatized by like the sounds of Texas Chainsaw Massacre and Evil Dead and that kind of stuff. But we became Christians earlier on in my life. so he threw out everything and he had hundreds of tapes, all like the the the life size McFarlane toys and all that stuff. And it burned a bunch of them and threw them all away. And so I wasn't allowed. Yeah, and I wasn't allowed to like watch any of that stuff. So then what age were you when speaker-0: Yeah. speaker-3: I was like nine or ten years old. So yeah it was like that whole part of my life is like gone. But it impacted me because it always stuck with me and anytime I was like draw like little homemade comic books and stuff like that, it would be horror themed There'd be a lot of blood and then I'd get grabbed. and then it hit ninth grade and my dad was back in his band and then he's like, I'm gonna show you guys Evil Dead Two and 'cause he was waiting for Evil Dead to come. It was like coming in the mail, it was taking forever. So he's like, I'm gonna show you Evil Dead too and after speaker-1: Yeah. speaker-3: Years later. So he shows us Evil Dead too and I just was obsessed. And then I see the first one and it scared me so freaking bad and it it stuck with me. And but that was like I wanna write horror movies. So like yeah, Evil Dead was like what really got my love of horror. And I was allowed to watch like little things like I snuck and watch The Gate as a kid. Okay. And that gave me nightmares and to this day I still love that movie. The little the little minions. Tell my wife, I'm like, you know, if you ever want to get me something cool for Christmas, I want one of those little imp demons. But yeah, just I grew up with it. speaker-0: That's cool. That's really cool. So you yeah, you've got kind of your own film collective here. I mean when we did There No Goodbyes, like Schism w our crew was like maybe five or six people on the best of days. But then Darona and I decided it would just be her and I and a sound person. So there was only three of us on crew for like that movie. So I totally get it and I I do love and and some ways miss, you know, having a small speaker-1: I was gonna say like I've I've been on other, you know, film sets are like what you guys were talking about. They they were extras in House of Eden. Yeah. And they were telling me about you know, all the crew and whatnot, and I was like, you know, s part of you's like like part of me I guess wonders what that would be like, but I also like kind of just having you know a handful of you there. Yeah. I don't know. speaker-0: Yeah, it feels like you can be more open to new ideas in in the moment and capturing things like that spontaneously maybe that you're not so much when you have all the you know, if it's like you wanna change a shot and it's gonna involve like, all right, now we gotta change all the lighting move, you know, all speaker-1: Right. speaker-0: the dolly track and whatever else, it's like a giant thing whereas you can be like quick in a smaller production and and catch catch things in the moment. speaker-1: Right. Especially like like for you guys, and and on like photo negative in particular, like how vulnerable you had to be for those characters. Like it's just I feel like is it easier for you to to to only be playing, I guess for for me and Liam? speaker-2: Definitely easier 'cause we're all friends. speaker-1: Right, right. speaker-2: although I think I've gotten better at being more vulnerable even when I'm not just with my friends, but it does become easier. and speaker-1: Sure. speaker-2: and it also maybe gives you the opportunity to challenge yourself, like try something you maybe wouldn't normally try or speaker-0: Let's talk about the plot. Photo photo negative Yeah, speaker-1: Yeah. For speaker-0: what is photo negative about? What's the synopsis? Have you been working on that on your elevator when somebody says what's your move you what's your movie? speaker-1: It depends on how big the building is. now photo negative is about a forensic photographer named Jen who has sort of found herself in this position where she hates her job and it is that cricket gonna be a problem. speaker-0: We're gonna have to roll with it. Shit. Sorry about the speaker-1: she's a forensic photographer. and it's sort of a field of work that she's found herself in because you know, she's a photographer, it's what she's good at, but she's also sort of struggling with the nature of the job in terms of, you know, seeing some pretty nasty, you know, real world stuff. but she feels as though that she has to stay there because her and her partner in the film want adoption and that's something that they're struggling to afford and she feels like, well, if I can't, if I leave the job, then you know. but fortunately or unfortunately I guess she meets this rich couple and starts doing some freelance photography work for them and they sort of develop this weird relationship, yeah, with one another. and and the requests which start out as like let do a maternity shoot for us sort of become increasingly more sinister as as time goes on. and it's sort of yeah at the at the end of the day I wrote it as a sort of a a story about the exploitation of of artists. And I don't know, maybe something that you pick up when you watch it or maybe not, but that was I guess sort of my inspiration for it was that. speaker-0: Then tell me about your characters. speaker-3: me. gosh. so Arthur is yeah, he's Rich husband. we don't know exactly what he does. He's kind of secretive. slimy. Slimy. He he's slimy. which was like when Jacob was getting me into the the role 'cause I hadn't acted in a while. So it was like, here's this character I want you to play and I'm reading him like he this guy's a piece of shit. Awful human being. But like I was so interested in this character as well because I I felt like I could I guess bring it justice even though he's a terrible character. but speaker-1: It I think sorry, go ahead. Sorry. speaker-3: And there's just like this uncaring nature about him that you can see throughout the movie that is it's just very uncomfortable, because it's not like I w I look at that performance and I'm like, that's not that character is not me at all. Which was really cool. speaker-1: Well and I think when I pitched you the character I said something to the effect of this is an individual who, you know, is rich and has always been that way and like as he states to Jen, has never wanted for anything. And when you I because of that and because he's never had to really like fight for anything or struggle, I feel like he's a very bored individual and almost views the people and the situations around him as that's where he has his fun. And unfortunately that's where he and Jen where he finds Jen, I guess. Yeah, speaker-0: Privileged world as his playground. speaker-1: yeah speaker-2: Great, excellent quote. There's something to be said about literally the nicest people you know playing the most like nefarious, evil, scary people. Like and they're always like, How did you do it? Blah blah blah blah. And it's like I feel like because those people are so nice, I don't want to speak on your behalf, but because you know you are such a kind person, like that's like your outlet. evil and like anything mean that you wanted to do, you get to be speaker-3: Like I I I had a situation at work a couple of weeks ago where they were like, Wow Taylor, I never heard you yell before and I'm like, Yeah, 'cause I'm not that kind of person but then I switched into Arthur and I'm speaker-1: Well it's like after the CFF world premiere we did like a panel afterwards and one of the in one of the reviews they said we stayed for the Q and A and and it's it's comedic how different you two were from well I think they said everyone 'cause Casey was up there as well, how different you guys are from from your characters. You specifically. I think Sam I think I think Sam was like we were in the Sam was the guy who c hosted the Q and A. We were like backstage and I think didn't he say something how like like You're really like you y you really chill, you know. speaker-3: I think like my character. speaker-0: That means you did good. speaker-3: Yeah. speaker-1: Did your job. More about your character. speaker-2: so Jen is a forensic photographer by day or I guess maybe by night, depending on when the crime scene happens. But during you know, she wants to be a freelance photographer, so she wants to, you know, do portraits and landscapes and this, that, whatever. and she's struggling obviously because her and her partner Lucy, they want to save up for adoption. And adoption is not cheap and it's not an easy process. So she has this You know, deep desire to be a mom, a deep desire to be not where she is because the job that she is doing is make speaker-1: Chipping away at her mental state. speaker-2: It's being her very distressed. so she's kind of like a lost a lost soul, I feel like. She's like she knows what she wants, but she doesn't feel like she has any way of getting those things. So, she's definitely desperate at the start. and definitely mentally distressed, disturbed. speaker-1: Yeah. you kinda get to the to to a point in her journey where you see that some of the damage that she's endured in the beginning that by the end you don't know if she's the most reliable narrator or not. compounded with Arthur's nefarious activities. She defin speaker-2: Ultimately hits hits a wall so to speak and kinda stops feeling sorry for herself and starts making some decisions. Some critical decisions. speaker-0: Whew, I like the setup a lot. I really like the setup a lot. yeah, I wanna see it. so how many where did you film it and how many days did you film and you know, t talk us a bit through the the process. Did you edit yourself, like share some of the speaker-1: Sure. So yeah, principal photography started in January of twenty twenty five and lasted about six months. What do we wrap in in in May? Late late May. speaker-3: We had like eighteen, nineteen days total of filming. speaker-0: Like evenings and weekends kind of speaker-1: yeah, we shot what Sundays? until whenever we speaker-3: Sundays from like noon until speaker-1: got Sundays. Only Sundays. Well we did like two one of the perks of having your wife be the lead actress is I could say, Hey, can you come shoot this real quick? speaker-2: Like they would do random little pickup things here and there as needed during the week or whether speaker-0: Do you have to like for continuity like cut cut your hair like every month or something? speaker-2: was I was cutting my own bangs for sure. I did let like my hair was kind of dyed like I had some highlights but I just let it grow out and I mean it seemed to look normal. So I was like I'm just gonna give I'm gonna see what it looks like and it seemed to be fine so speaker-3: that time we're like all working like regular job. You were still at the theater at that point I believe. speaker-1: yes I was. speaker-3: so usually when we do our movies it's like we can only film like once a week. Right. So you just everybody has to like schedule, hey this we need off this day and we speaker-1: Well and it sucked for like sigil when it like half of the crew all worked at the movie theater because our our boss or my boss at the time was like I can't give you all you know, half of you guys aren't working like speaker-0: Right, if you're all at the same job. So did you do the same rough schedule for sigil too? It was like one day a week? speaker-1: yeah. But we were on where were we on Mondays for that watches. Yeah, speaker-0: I didn't realize that. speaker-1: 'cause now that I think about it, 'cause we had Liam and Isabella coming from down from New York and I think Liam was at Home Deep. We all we all worked like weird like like odd and end jobs. She worked at Tim Hortons, like I don't know. We just Monday was the day. Super the speaker-0: Roles again that like Liam and that was okay, speaker-1: That was sigil, yeah. speaker-0: and Isabel was the other lead. Correct. Okay, got it, got it, got it. Okay. Understood. Alright, so it was that process. Then you wrapped filming, are you editing like while it's speaker-1: Yeah, so with with sigil in particular, I was editing during the week. and then I would shoot, you know, at I I didn't want to do that again because it was you know not only that, but like I was also storyboarding and prepping for the next Monday. Whereas with Photo Negative, not only did I storyboard the entire film prior to production, but I also w I don't know, just didn't I didn't want to pressure myself with like editing it, you know, during like I just wanted to focus on you know, what what we had coming that Sunday, yeah. So, no, with this film, after rapping I I I started editing it pretty immediately and then we were on to like ADR and stuff like that in July. July. Liam who records our sound also mixes everything. so when I was done with the portion it would go to him. And yeah, I wanna say that it was like when did when did we have like our casting crew screenings? speaker-3: It was like late at September. I think it was October though. speaker-1: Yeah, so so as a total it took what nine months. Yeah. Nine months to well and that doesn't include pre production, but but yeah. Yeah. And I and and I do yeah, yeah, edit all all the portions myself. I'm a like I mentioned, I'm a final cut a final cut boy. speaker-0: Fast. speaker-1: Yeah. Yeah. And I use have you used motion? Mm-hmm. I use that for some from text and animation as well. So yeah. No, no, I've I've come I've come a long way. I don't write guns in the script now because I know I can't do good visual effects. speaker-0: Who does like your posters and yeah, who does your posters? speaker-1: I do, yeah, yeah. graphic design is something that I somewhat learned in in in college when I was doing journalism. because they you they taught you like the layout of the the the page and everything. But I mean I was doing like weird fiction posters prior to that anyways. Sigil speaker-2: We had creepy dogs. speaker-1: Sigil was creepy duck, yes. I guess I was talking photo negative in specific I did the poster for. are you familiar with Creepy Duck? No speaker-0: No, he's a man. speaker-1: Creepy Duck, what's he did one for did he do the official Scream seven? speaker-3: I think so, but he's been doing like he's been getting picked up more for like official poster art. yeah, hi creepy speaker-1: He's fantastic. speaker-3: duck design. I remember I sent him your cause you saw his posters and we reached speaker-1: Yeah. speaker-3: out to him about doing the poster and he was all on board and the poster's awesome for Sigil. speaker-1: Yeah. Yeah. I remember we took like those those pictures of like the girls like in like you looking like in the certain shots. speaker-2: Had speaker-1: Up in the office like like yeah, yeah. I can just imagine him like getting the files and it's just girls in the middle of a room like doing like you know what I mean. Yeah. But it worked. It worked, yeah. speaker-0: Well then shout out to them. speaker-1: Shout out, yeah, shout out. speaker-0: Awesome. Okay, so all right, so we went through yeah, were there any challeng how many different locations did you have in Photom? speaker-1: We had Jen's house, we had the two crime scenes, Arthur and Madison's house, the author speaker-3: And the the psychologists. But they were the same thing. speaker-1: So it was like five five total locations. I think we probably spent the most time at Arthur and Madison speaker-3: Yeah. Which was a speaker-1: Which they're they're a rich couple, so we This is your house. Yeah. A majority of the budget went to getting a rich person house. But I don't know. Well actually I told this story on the panel. The first day that we got there, I'd like gone and like like scouted it prior. and I didn't notice this at the time, but anyways we go back for first day of of shooting there and they had like a big pentagram hanging outside. Wow. Like on the wall speaker-3: It was like makeshift out of like I don't even I can't remember It was speaker-1: No, I mean not bones. speaker-3: awesome though. speaker-0: You knew they were gonna let you film a horror. speaker-1: Right. Right. Yeah. And that's something I don't know if if I mentioned but like I don't know how it is, you know, other places like LA or or or Atlanta, like, you know, big big film cities, but here in the middle of nowhere, if you want a location you have to rent it like in Airbnb. and d y have you done that at all? Or no, you just how how do you how do you do locations? speaker-0: different ev every time, I guess. Yeah, it's different every time. But I I don't know, it's usually conversation with the owner and I don't know, maybe people are more on to it now. I feel like before I some places I could just be like a hundred bucks and they'd be like, Yeah speaker-1: Yeah, they will build the value. I like I'll I'll find a place on Airbnb and I'll I mean I'm very like open with what we're gonna be speaker-0: So the places on Airbnb. Well yes, then they're definitely the that the whole first speaker-1: Yeah, you're framework. But I still like book through the site as well. Like I'll meet with them and I'll really? Yeah, yeah. Okay. I mean speaker-0: That's cool. Never done that before. speaker-1: it's very it's very costly. If if anyone wants to drop me a a tip on how to cut that it'd be great. Yeah. speaker-0: But the last places I filmed at were like operational farmhouses. So they weren't on Airbnb. So so I guess I speaker-1: Operational, was that difficult? Like shooting around or sound or anything? speaker-0: Yeah yeah. Filmed around no, we use the all the location sounds. did Yeah. speaker-1: Okay. speaker-0: But when we filmed schism at an operational long term care facility, now that was challenging. speaker-1: Ooh, 'cause they probably have like very strict like hippothem. speaker-0: All kinds of hip hop like the families would have to sign because that was we shot it like a docudrama, and a lot of the people that were extras were residents. like most of the extras were residents. Yeah. But then we had to have the families sign off on the releases. Okay. They we filmed it at Brevlier Village. They were extremely helpful. They kept track of who was allowed to be filmed and who wasn't each time we were there. But that for the sound in those facilities you You have like heating blasting. Right. So like we had we had to re dub the entire we had to ADR the whole film, basically. speaker-1: Yeah. That's that would be a nightmare. I'm sure it sounds great. 'Cause that's like the the Alzheimer's. speaker-0: Kind of made it like steamy and kind of fit with the Alzheimer's one where you're not sure if ever anything's really happening or not because it's from the perspective of the afflicted. So having the sometimes dreamy feel of that pristine audio everywhere made speaker-1: Yeah. speaker-0: it like Yeah, kinda made it more surreal. speaker-2: Yeah. speaker-0: Yeah. speaker-1: This is all shit. Yeah. That's speaker-3: Damn. speaker-1: shit. Yeah. speaker-0: Okay, so alright. Yeah, I guess I'm sure the next time that I'm making a film I will encounter the same thing where people are all used to Airbnb now and speaker-1: I don't know if that's the way. That's just I was like, how do I f I'm I'm so tired of shooting at my townhouse apartment or like my parents' house or your house like you know speaker-0: Well it sounds like this one you needed a special location for. speaker-1: For Arthur and Madison's for sure. Yeah, yeah, yeah. One of the problems that we encounter, this is like a technical thing. That's all right. You're familiar with with like visual banding, like with your shutter speed. Yeah. there was there was moments in Jen's apartment where she's particularly in distress in this small laundry room that we had to shoot what two I feel like some shots were like three times. speaker-2: Three times, yeah. Like we we did it the first time, we had to go back and do it the second time and then we looked again and it was still a problem for some of and then we had to do it a third time. speaker-0: Something did you l use location lighting or something? What was causing the speaker-1: I was using location lighting and and even still I was like I would I speaker-0: Look at that, we queued the speaker-1: know I felt speaker-3: Red lighting. speaker-1: bad number one because I've been a cinematographer for how many years now and that I mean the thing is with banding though, you don't really notice it unless you speed the footage up. You know, and you just see the little like ripple. speaker-2: Sometimes you'd have to like get it on your monitor at home to like even see. speaker-1: yeah, like blown up. Yeah, yeah. Damn. But no so not only was I disappointed in myself as far as that was concerned, but also the fact that she had to be in distress multiple times. lots of distress. Well and then it it eats away at the schedule 'cause you gotta reshoot, you know stuff. But yeah, visual What is the fix? I just had to increase my shutter. but yeah. speaker-0: Happens. We're all learning. Yeah. That's why we're gonna pause right now and take a quick look at We'll be back next time. speaker-1: The same one.