Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 869: He Made 1,500 Short Films Before Hollywood Took Notice with Michael Rousselet

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IFH 869: He Made 1,500 Short Films Before Hollywood Took Notice with Michael Rousselet · 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 nine. I try to do it and you do it. Honestly,
• 0:18
  Speaker 2: you can't control people's responses.
• 0:19
  Speaker 3: Really.
• 0:21
  Speaker 4: Edgar Wright.
• 0:23
  Speaker 1: Broadcasting from the back alley in 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
• 0:32
  Speaker 1: the film biz.
• 0:33
  Speaker 4: And here's your host, Alex Ferrari.
• 0:36
  Speaker 2: Welcome, Welcome to another episode of the Indie Film Hustle Podcast.
• 0:39
  Speaker 4: I am your humble.
• 0:40
  Speaker 2: Host, Alex Ferrari. Today's show is sponsored by Rise of
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  Speaker 2: the Film Entrepreneur. How to turn your independent film into
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  Speaker 2: a profitable business. It's harder today than ever before for
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  Speaker 2: prey upon them. The odds are stacked against the indie
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  Speaker 2: That's film bizbook dot com. Enjoy today's episode with guest
• 1:52
  Speaker 2: host Dave Bullis.
• 1:55
  Speaker 4: So on on today's show, once I heard of the movie,
• 1:58
  Speaker 4: I knew I had to see it, and once I
• 2:00
  Speaker 4: saw it, I knew I had to talk to the
• 2:02
  Speaker 4: guys who made it. So on today's show, I have
• 2:05
  Speaker 4: one of those guys. The movie is due bro Punny
• 2:08
  Speaker 4: Massacre three. Yes, you heard me correctly, and the guy
• 2:11
  Speaker 4: is Michael Rousselette. Michael is not only one of the
• 2:14
  Speaker 4: writers and directors of do Bro Puddy Masacre three. But
• 2:18
  Speaker 4: he's also the main reason that The Room was such
• 2:21
  Speaker 4: a cult hit, because without him actually finding it and
• 2:25
  Speaker 4: writing all about it and telling everyone to go see it,
• 2:29
  Speaker 4: the Room probably would have died out. So this guy
• 2:32
  Speaker 4: has gotten himself into the cultural zeitgeist just by finding
• 2:35
  Speaker 4: the Room. So here we go with Michael Rousselette. Hey, Michael,
• 2:40
  Speaker 4: I want to say thank you so much for joining us.
• 2:42
  Speaker 4: How are you doing out there at we Are you
• 2:44
  Speaker 4: in now La?
• 2:44
  Speaker 3: Right? Yeah? Thanks for having me. Yeah, I'm out in La.
• 2:48
  Speaker 3: Thank you for having me. I really appreciate it. Yeah,
• 2:50
  Speaker 3: I'm in sunny California. Although I think it's kind of
• 2:53
  Speaker 3: raining right now, so that's really nice.
• 2:55
  Speaker 4: You know, it's snowing right here in Philadelphia.
• 2:57
  Speaker 3: Oh that's beautiful. You should send some of that back,
• 3:00
  Speaker 3: put in an envelope, mail it.
• 3:02
  Speaker 4: Oh you know, that's a good idea. I could make
• 3:03
  Speaker 4: like a million dollars.
• 3:04
  Speaker 3: Off selling selling snow.
• 3:09
  Speaker 4: It's funny. I was actually out in this and like,
• 3:11
  Speaker 4: every time I had a step foot outside, it was
• 3:13
  Speaker 4: getting worse and worse. I was like, it's like a
• 3:16
  Speaker 4: sitcom where the guy goes inside and it like it
• 3:18
  Speaker 4: starts to ease up just a tad and as soon
• 3:20
  Speaker 4: as he's getting ready to leave, it just comes down
• 3:22
  Speaker 4: even harder.
• 3:23
  Speaker 3: Yeah.
• 3:24
  Speaker 4: Right, So Michael, you know, I wanted to get started,
• 3:26
  Speaker 4: you know, by asking about your background. You know, I
• 3:29
  Speaker 4: want to. I always ask this one question, that is,
• 3:31
  Speaker 4: did you go to film school?
• 3:32
  Speaker 3: Yes, I did go to film school. I've been making
• 3:37
  Speaker 3: short little films ever since I got my hands on
• 3:40
  Speaker 3: my dad's little video camera in high school. And yeah,
• 3:45
  Speaker 3: I was just making stuff all through high school and
• 3:47
  Speaker 3: went to a film school at USC in the screenwriting program.
• 3:51
  Speaker 4: So when you were shooting stuff, you know, growing up,
• 3:54
  Speaker 4: were you shooting in on all sorts of like different
• 3:56
  Speaker 4: formats like VHS and and I'm sure you know other
• 4:01
  Speaker 4: formats are excaping like MiniDV and stuff like that.
• 4:03
  Speaker 3: Yeah, there was one of the really old cameras. It
• 4:06
  Speaker 3: was kind of I can't remember the name of it.
• 4:08
  Speaker 3: It was like this mini VHS it was to play
• 4:13
  Speaker 3: it on a VCR, you had to put them really
• 4:15
  Speaker 3: tiny VHS into a bigger VHS to play it on
• 4:19
  Speaker 3: the DCR. It's basically that camera that Martinnie McFly has
• 4:23
  Speaker 3: in Back to the Future, one that little red guy
• 4:25
  Speaker 3: and that's actually in dude, bro. So that's I guess
• 4:29
  Speaker 3: kind of how I started. What's with that camera? And
• 4:32
  Speaker 3: then you know, I moved up to mini DV and
• 4:35
  Speaker 3: it was like high eight mini DV and not as
• 4:38
  Speaker 3: fucking badass and sexy as the cameras are now. You know,
• 4:41
  Speaker 3: it's like, god, I feel like an old man's God.
• 4:43
  Speaker 3: Damn your kids in high school with your you know,
• 4:47
  Speaker 3: red epics and phantom cameras and four K and eight K.
• 4:51
  Speaker 3: It's nuts. Shit looks great now. But everything that you know,
• 4:55
  Speaker 3: kids growing up are shooting it just it looks with
• 4:57
  Speaker 3: professional quality.
• 4:59
  Speaker 4: Yeah, seriously, it's even even like fight videos you see
• 5:02
  Speaker 4: and some guy just pulls out his phone. Yes, it's
• 5:04
  Speaker 4: like it's like, my god, the quality is amazing. I
• 5:08
  Speaker 4: could read like the stuff in the background like it's
• 5:11
  Speaker 4: it's unbelievable. Yeah, uh, you know, I think you know,
• 5:13
  Speaker 4: I remember that we were talking about. I think that
• 5:16
  Speaker 4: was called VHSC and I think that was the yeah,
• 5:19
  Speaker 4: the way we needed a bigger VHS to put it in.
• 5:22
  Speaker 4: It was like a ship.
• 5:23
  Speaker 3: Yeah, yeah, that's what I started shooting on. You know.
• 5:27
  Speaker 3: My dad would just take home videos and he'd let
• 5:30
  Speaker 3: me run around with the camera. Uh, and I just
• 5:32
  Speaker 3: thought it was a lot of fun. Originally, growing up,
• 5:35
  Speaker 3: I wanted to be a doctor, so I studied medicine,
• 5:37
  Speaker 3: and I saved up and bought a skeleton, like a
• 5:41
  Speaker 3: anatomical like a medical like a not a real one,
• 5:45
  Speaker 3: but a fucking a full full of like five and
• 5:48
  Speaker 3: a half foot tall skeleton pulling the weeds out of
• 5:51
  Speaker 3: the backyard. And I had that in my room growing up.
• 5:54
  Speaker 3: It's kind of an odd kid, but I've always been
• 5:57
  Speaker 3: a fan of horror films in the Macabres, so I
• 6:00
  Speaker 3: thought it was kind of fanny and soothing to have.
• 6:01
  Speaker 3: And as I grew up and got older, I felt
• 6:05
  Speaker 3: I was like medicine and surgery, it's too serious for me.
• 6:09
  Speaker 3: I don't want to have that responsibility. So my other
• 6:13
  Speaker 3: passion was films and movies. So I thought that would
• 6:16
  Speaker 3: be safer instead of you know, put a camera in
• 6:18
  Speaker 3: my hand instead of scalpel. You know.
• 6:21
  Speaker 4: I actually have a friend of mine who graduated with
• 6:24
  Speaker 4: the MD. He for spinal surgery. He was gonna be
• 6:27
  Speaker 4: an orthopedic surgeon, and he started doing his residency and
• 6:35
  Speaker 4: decided he wanted to be a screenwriter.
• 6:36
  Speaker 3: Amazing and and I.
• 6:40
  Speaker 4: I mean, I ended up meeting him through the through
• 6:42
  Speaker 4: a TV pilot program and we just got to talking.
• 6:46
  Speaker 4: I'm like, what, you were an orthopedic surgeon and he's like,
• 6:48
  Speaker 4: oh yeah, He's like I can actually go right now.
• 6:50
  Speaker 4: I'm bored. Sort He's like, I'm certified and everything. Like
• 6:52
  Speaker 4: they were they were calling him to ask him if
• 6:54
  Speaker 4: he could come in and do like, hey, could you
• 6:56
  Speaker 4: come in to do some surgery on the ninth He's like,
• 6:59
  Speaker 4: no way, you kidding?
• 7:00
  Speaker 3: Oh my god. So he's just racking up student debt.
• 7:07
  Speaker 3: I just when I grew up, I just want to
• 7:08
  Speaker 3: have debt. I'm gonna go to med school and not
• 7:10
  Speaker 3: be a doctor. Then I'm gonna go to film school.
• 7:12
  Speaker 3: You know, just keep keep Oh man, that's wild. Good
• 7:17
  Speaker 3: for him. Follow your dreams.
• 7:19
  Speaker 4: Uh yeah. And so you know you're you went to
• 7:22
  Speaker 4: film school, yes, And you know you got you went
• 7:24
  Speaker 4: to USC for for writing.
• 7:25
  Speaker 3: You said green writing. Yeah. I actually didn't get accepted
• 7:28
  Speaker 3: the first time I applied. I was an idiot and
• 7:31
  Speaker 3: I only applied to one college out of high school.
• 7:33
  Speaker 3: I was like, it's USC or nothing, and I totally
• 7:36
  Speaker 3: didn't get in. And I was like gosh shit. And
• 7:39
  Speaker 3: so then I went to a community college for a
• 7:42
  Speaker 3: couple of years to build up some credits to transfer
• 7:44
  Speaker 3: into like a U C l A or u C
• 7:46
  Speaker 3: program college, and and then I decided to apply to
• 7:50
  Speaker 3: USC again out of spite. And everything I wrote was
• 7:53
  Speaker 3: pretty cynical and and and not. I wouldn't say condescending,
• 7:57
  Speaker 3: but I definitely had a sharp tongue and opinion about
• 8:00
  Speaker 3: some things. I was like, Ah, here you go, he's
• 8:02
  Speaker 3: your fucking application. And I got in and I was like,
• 8:05
  Speaker 3: what the fuck was super weird?
• 8:08
  Speaker 4: Did they say anything to you about it? Did they say, Michael, you.
• 8:11
  Speaker 3: Don't get any feedback on what you write. You just
• 8:15
  Speaker 3: get you know. I guess the best feedback you can
• 8:18
  Speaker 3: get in is getting accepted. So yeah, I did that,
• 8:21
  Speaker 3: and I think the best experience, you know, the best
• 8:27
  Speaker 3: thing I got out of film school was meeting all
• 8:29
  Speaker 3: my friends who I continue to make films with. And
• 8:33
  Speaker 3: I think, you know, you don't need to go to
• 8:35
  Speaker 3: film school to make movies. It helps, but the most
• 8:39
  Speaker 3: important thing is meeting people who are just as passionate
• 8:41
  Speaker 3: and crazy as you are about cinema, and that's who
• 8:45
  Speaker 3: you want to be working with. You know, like you
• 8:47
  Speaker 3: meet someone who has a camera and they just want
• 8:49
  Speaker 3: to be a director of photography, or someone that loves writing,
• 8:52
  Speaker 3: and someone that like sound and music, and you meet
• 8:55
  Speaker 3: actors and all these little elements come together and that
• 8:59
  Speaker 3: kind of becomes filmmaking family. For the rest of your
• 9:01
  Speaker 3: life is through these group of people. But yeah, you know,
• 9:06
  Speaker 3: watching a ton of movies and reading about film and
• 9:10
  Speaker 3: having discussions and listening to lectures certainly does help. But
• 9:13
  Speaker 3: that's something you can do on your own. Even Rocket
• 9:17
  Speaker 3: you know the website rocket Jump. Oh yeah, yeah, that
• 9:21
  Speaker 3: they have an online film school and it's fantastic. They
• 9:23
  Speaker 3: post videos on all these different techniques and in theories
• 9:28
  Speaker 3: and and they show you how to do stuff. It's great.
• 9:32
  Speaker 4: So yeah, I'm actually in talks to get Freddy to
• 9:34
  Speaker 4: come on the podcast.
• 9:35
  Speaker 3: Oh hell yeah, I love Freddie. Yeah I should. I'll
• 9:38
  Speaker 3: poke him. He's really busy. They're they're working on an
• 9:41
  Speaker 3: i think another Hulu show or those guys are Those
• 9:44
  Speaker 3: guys are machines. They just keep creating content. They're outstanding.
• 9:49
  Speaker 2: We'll be right back after a word from our sponsor,
• 9:55
  Speaker 2: and now back to the show.
• 9:58
  Speaker 4: Yeah, he actually had his own podc for a while too,
• 10:00
  Speaker 4: and at one hundred episodes, they actually said, hey, everyone,
• 10:04
  Speaker 4: this is a one hundredth episode. And by the way,
• 10:05
  Speaker 4: it's also the last episode.
• 10:08
  Speaker 3: It's fun. They're just moving on like yeah, and we're done.
• 10:10
  Speaker 3: We're gonna now, we're gonna do something else. Uh, it's great. Yeah,
• 10:13
  Speaker 3: And they also started they went to USC and I
• 10:16
  Speaker 3: knew them from back in the day. I wasn't. I
• 10:18
  Speaker 3: wasn't in the dorms with them, like Brian Farrenzi, creator
• 10:22
  Speaker 3: of Five Second Films there. They're old school dude bros.
• 10:26
  Speaker 3: But yeah, I knew about his videos on on on YouTube.
• 10:31
  Speaker 3: It was so weird how YouTube started really picking up.
• 10:34
  Speaker 3: Was it two thousand and six, and and it was
• 10:38
  Speaker 3: just odd seeing it was just such a weird time,
• 10:42
  Speaker 3: like it was starting off online and making videos on
• 10:46
  Speaker 3: YouTube was it was just it was like the wild West.
• 10:51
  Speaker 3: It was uncharted territory. And and I saw the videos
• 10:54
  Speaker 3: that Freddy did and they were just video game stuff
• 10:57
  Speaker 3: and they were really fucking funny and creative. And it
• 11:00
  Speaker 3: was so random running into him at school. I'm like, hey,
• 11:02
  Speaker 3: you're that guy. What the hell? I was like, that's
• 11:05
  Speaker 3: so weird. But yeah, I think anyway, I'm rambling. But yeah, no, no, no.
• 11:12
  Speaker 4: You're believe it. You're fine. I I have that that
• 11:15
  Speaker 4: that that effect on people. I end up making them
• 11:17
  Speaker 4: start to ramble.
• 11:18
  Speaker 3: Well, it's odd. I think I'm supposed to.
• 11:22
  Speaker 4: And now you're just keep talking, Michael, I got a full.
• 11:25
  Speaker 3: Time Yeah, if you stop talking, the podcast will blow up.
• 11:28
  Speaker 3: You know, It's like it's like that movie Speed, but
• 11:31
  Speaker 3: on a podcast.
• 11:33
  Speaker 4: I think that Kevin Smith probably has an idea about
• 11:35
  Speaker 4: that already, probably, So you know, I, I know you
• 11:40
  Speaker 4: touched on this briefly, but you know, if you could
• 11:44
  Speaker 4: go back, do you think you would do film school
• 11:46
  Speaker 4: again or do you think maybe you would maybe choose
• 11:48
  Speaker 4: another route to go.
• 11:51
  Speaker 3: I'm I'm I. I would definitely do it again because
• 11:54
  Speaker 3: I would not have met all my friends that I
• 11:57
  Speaker 3: work with today. I mean all the one us of
• 12:00
  Speaker 3: the world. I could have done my own thing and
• 12:02
  Speaker 3: then met another group of crazy people and probably made
• 12:04
  Speaker 3: something else. But no, I would I would still do
• 12:07
  Speaker 3: it because meeting Brian Frenzy and Eric Sandvil and Michael
• 12:13
  Speaker 3: Peter and all all those people that were in the
• 12:16
  Speaker 3: cinema program with me. Those that's like my filmmaking family.
• 12:20
  Speaker 3: Those are the guys I write with and we shoot
• 12:23
  Speaker 3: random videos. We did five second films for you know,
• 12:26
  Speaker 3: six years and I started in college. Uh yeah, I wouldn't.
• 12:30
  Speaker 3: I wouldn't trade that.
• 12:31
  Speaker 4: The reason I always ask I ask that question is
• 12:33
  Speaker 4: that you know, everyone sort of has their own experiences
• 12:36
  Speaker 4: in film school, and some people you know, come on
• 12:38
  Speaker 4: the podcast and they would say, you know, I don't
• 12:41
  Speaker 4: really think it's you know, I think the game has
• 12:43
  Speaker 4: changed too much now where I could actually go and
• 12:46
  Speaker 4: do it and go a different route, you know, if
• 12:48
  Speaker 4: I could, if I wanted to find crew, I go
• 12:49
  Speaker 4: on Craigslist and open up on Twitter, and it's stuff
• 12:52
  Speaker 4: like that. But I mean, you know, that's why I'm
• 12:55
  Speaker 4: always interested in everyone's experience and time.
• 12:57
  Speaker 3: I agree with that that you don't need need film school.
• 13:01
  Speaker 3: You really don't, because like Rocket Jump, they have the
• 13:04
  Speaker 3: online film school, and you know that's free. All the
• 13:07
  Speaker 3: information is on there there, you know, every frames of painting,
• 13:10
  Speaker 3: that there's so much great content out there that that's
• 13:12
  Speaker 3: incredibly insightful and educational. But I think what film school
• 13:19
  Speaker 3: allows you to do is make mistakes without anyone, you know,
• 13:24
  Speaker 3: without you can make mistakes in film school and learn
• 13:26
  Speaker 3: from them. Well, if you don't have that outlet to
• 13:31
  Speaker 3: do that, then you know, you have to be really
• 13:33
  Speaker 3: you have to be willing to make mistakes and fail
• 13:36
  Speaker 3: a lot. And that's what film school is. It's just
• 13:38
  Speaker 3: learning to fail over and over again. And then after
• 13:41
  Speaker 3: you know, four years like, hey, I think I got
• 13:43
  Speaker 3: to handle on this, but you don't need that. You
• 13:45
  Speaker 3: just you just need to keep making content. And and
• 13:48
  Speaker 3: maybe it's kind of like the safety net of a
• 13:50
  Speaker 3: film school. You feel that if you make a mistake,
• 13:55
  Speaker 3: it's not the end of the world. It allows you
• 13:57
  Speaker 3: to fail because that's why you're there. You're there to learn.
• 14:00
  Speaker 3: But you just need to have that attitude all the time.
• 14:03
  Speaker 3: If you're not in film scores, like you're making stuff
• 14:06
  Speaker 3: and you know it's you know, shit's gonna look the
• 14:08
  Speaker 3: lighting is gonna be bad. Okay, Well the next one,
• 14:10
  Speaker 3: I'm gonna do better lighting. You know, Oh I screwed
• 14:14
  Speaker 3: up on the sound on this one, Well the next one,
• 14:15
  Speaker 3: the sound will be better. And you just learn from
• 14:17
  Speaker 3: some snakes, and a lot of people say, oh, I'm
• 14:21
  Speaker 3: just gonna I do agree. The amount of debt I
• 14:23
  Speaker 3: have is absurd. I'm paying for it, But it's like, oh,
• 14:27
  Speaker 3: I could have used that to make my own fucking movie,
• 14:30
  Speaker 3: and yeah, you could, but it's such a risk because
• 14:34
  Speaker 3: you have to have to be willing to take care
• 14:37
  Speaker 3: of everything and make sure that you're not gonna make
• 14:39
  Speaker 3: those mistakes. So like you can make your first film
• 14:43
  Speaker 3: feature film, like, hey, I made a feature film and
• 14:46
  Speaker 3: it could have all these technical problems and it just sucks.
• 14:49
  Speaker 3: And if only if you just took more time to
• 14:51
  Speaker 3: plan and make the mistakes in the past, the little mistakes,
• 14:55
  Speaker 3: so you don't make the big mistake. But it just depends.
• 14:59
  Speaker 3: I mean, I think you can take film school or
• 15:01
  Speaker 3: you could leave it, but you just the most important
• 15:04
  Speaker 3: thing is like you have to make content and you
• 15:06
  Speaker 3: have to be willing to learn from your mistakes and failure.
• 15:10
  Speaker 4: So yeah, and one thing you know, Michael too, is
• 15:13
  Speaker 4: you know, cause I'm gonna go back to screenwriting because
• 15:15
  Speaker 4: you know, I'm big into screenwriting too, Like that's my specialty.
• 15:19
  Speaker 4: And you know, I know you went to school for it,
• 15:22
  Speaker 4: you know. And one thing I've always learned, well it's
• 15:24
  Speaker 4: taken me a while to learn this though, is to
• 15:27
  Speaker 4: get good at screenwriting, you actually have to write screenplays.
• 15:31
  Speaker 3: Yes, you can't. You can't.
• 15:33
  Speaker 4: You can't read books. You can't you know, watch any
• 15:36
  Speaker 4: seminars on YouTube or even go to them in person.
• 15:39
  Speaker 4: You absolutely have to write them, and that's how you
• 15:42
  Speaker 4: get better at them exactly.
• 15:44
  Speaker 3: And then you have to let people read it who
• 15:46
  Speaker 3: you trust their opinion, and not just people they're gonna say, oh,
• 15:48
  Speaker 3: it's great, I like this, I like that. Like you
• 15:50
  Speaker 3: need constructive criticism, you need note to need someone to
• 15:53
  Speaker 3: be blunt and say your whole third act is screwed up.
• 15:56
  Speaker 3: And the reason why it's screwed up is because your
• 15:58
  Speaker 3: first act and you know, I oh shit. And one
• 16:00
  Speaker 3: of the most difficult things of after graduating from school,
• 16:03
  Speaker 3: other than the crippling debt, is you don't have professors
• 16:08
  Speaker 3: and people, you know, like jumping on your back to
• 16:13
  Speaker 3: finish pages and turn in stuff because you know, it's like, hey,
• 16:17
  Speaker 3: you have to turn in your outline in these two weeks.
• 16:20
  Speaker 3: Oh you don't, well, okay, you're gonna fail, you know
• 16:22
  Speaker 3: if you don't turn in your script by the end
• 16:23
  Speaker 3: of the semester and all that stuff. But when you graduate,
• 16:26
  Speaker 3: you've got no one bugging you and you're your own
• 16:28
  Speaker 3: worst enemy and boss. So It's like you just have
• 16:32
  Speaker 3: to fucking write. You have to do it, and you
• 16:34
  Speaker 3: have to learn, and you just have to keep writing
• 16:36
  Speaker 3: and understand understand that it takes time and you just
• 16:41
  Speaker 3: got to fucking do it, that's all. It's like going
• 16:44
  Speaker 3: to a gym, you know. It's like, yeah, you can
• 16:46
  Speaker 3: buy the membership. If you don't go, it doesn't fucking help.
• 16:49
  Speaker 3: It might help if you have a personal trainer, because
• 16:52
  Speaker 3: that's going to be someone who's going to be calling
• 16:53
  Speaker 3: you and bugging you, being like, where the fuck are you?
• 16:55
  Speaker 3: Why are you not at the gym? You know, but
• 16:58
  Speaker 3: you got to pay for that, or you just be
• 16:59
  Speaker 3: discipline and you just go. You don't even need a gym.
• 17:02
  Speaker 3: You can just work out like at a park and
• 17:05
  Speaker 3: just do basic, basic exercises. You know. It's it's like
• 17:09
  Speaker 3: it's the same concept. You either want to get better
• 17:12
  Speaker 3: and folks like tune and muscle like your brain, or
• 17:14
  Speaker 3: you want to tune your butt. Both both exeat a
• 17:20
  Speaker 3: lot of shit.
• 17:23
  Speaker 4: So you know, I wanted to ask, you know, before
• 17:25
  Speaker 4: you know, I want to ask a five second films.
• 17:27
  Speaker 4: I want to ask you know, one funnel thing about
• 17:28
  Speaker 4: you know, your your time, you know, uh, in college.
• 17:32
  Speaker 4: And you know what is what is some of the
• 17:34
  Speaker 4: best things you think you've learned in film school?
• 17:36
  Speaker 3: Oh, in film school, I was like, oh, the best
• 17:38
  Speaker 3: things I learned how properly do beer bong? And no, uh,
• 17:43
  Speaker 3: film school? The best things I learned in film school. Fuck,
• 17:48
  Speaker 3: it's it's kind of an amalgamation of things that I
• 17:51
  Speaker 3: learned from my fellow students and colleagues, and it's kind
• 17:57
  Speaker 3: of like information that they get that they got from
• 17:59
  Speaker 3: their class, and it all just kind of like this,
• 18:02
  Speaker 3: it spreads around. One of them was for a good
• 18:07
  Speaker 3: editing tool and a good writing tool is what's the
• 18:10
  Speaker 3: latest you can enter a scene and the earliest you
• 18:14
  Speaker 3: can exit a scene with it's still making sense. That's
• 18:16
  Speaker 3: like as in, you don't need someone to walk in
• 18:19
  Speaker 3: through a door and have a whole beginning, Like you
• 18:22
  Speaker 3: can just jump right into the middle of the scene.
• 18:25
  Speaker 3: What is but what's the what's the latest you can
• 18:29
  Speaker 3: jump into it with it's still making sense? What's the earliest?
• 18:32
  Speaker 3: Just being get to the point faster, have a point
• 18:36
  Speaker 3: of view? Yeah, and fuck, there's so much stuff And
• 18:42
  Speaker 3: there's a lot of stuff I learned by just doing
• 18:44
  Speaker 3: because I was I was really into lighting. And I
• 18:50
  Speaker 3: was one of the only screenwriters who would just work
• 18:52
  Speaker 3: on shoots as a grip and a gaffer because I
• 18:55
  Speaker 3: just thought it was so much fun to play with lights.
• 18:58
  Speaker 3: You know, it was because and also because I it
• 19:00
  Speaker 3: was expensive equipment. It's like, ooh, how much is that light? What? Why? Oh?
• 19:04
  Speaker 3: Here's why? Oh shit, that's cool, my friend. When I
• 19:10
  Speaker 3: and here's another thing you can do when you don't
• 19:12
  Speaker 3: even need to go to film school, you can you
• 19:14
  Speaker 3: can volunteer to crew on a shoot. And that's a
• 19:18
  Speaker 3: way to learn. And so when I was sixteen or seventeen,
• 19:21
  Speaker 3: a buddy of mine went to USC older dude and
• 19:25
  Speaker 3: I wanted to help out on a shoot and I
• 19:27
  Speaker 3: just wanted to get my get my fucking hands dirty.
• 19:30
  Speaker 3: And I said, oh, I'll be a production assistant. And
• 19:32
  Speaker 3: he said, no, don't be a production assistant. It's like,
• 19:35
  Speaker 3: you're just going to learn how to like lock down
• 19:37
  Speaker 3: a set and like throw ay trash and keep craft service.
• 19:40
  Speaker 3: He's like, just come on as a grip. I go, Andrew,
• 19:43
  Speaker 3: I've never learned. I don't know how to grip. He does.
• 19:45
  Speaker 3: Just show up and you're going to learn they need grips.
• 19:47
  Speaker 3: He's like, it's basically the same thing. You're lugging shit,
• 19:51
  Speaker 3: you're moving heavy gear. You either moving water or you're
• 19:55
  Speaker 3: moving sandbags.
• 19:57
  Speaker 2: We'll be right back after a word from our sponsor,
• 20:03
  Speaker 2: and now back to the show.
• 20:06
  Speaker 3: So I'm like, okay, I'll learn about sandbags and do
• 20:10
  Speaker 3: you know what I don't know if yours listeners or
• 20:12
  Speaker 3: if you know you know what apple boxes are.
• 20:15
  Speaker 4: Yeah.
• 20:15
  Speaker 3: So my first day on a student film, I asked,
• 20:19
  Speaker 3: I'm all eager and like, oh, I want to help out.
• 20:22
  Speaker 3: I didn't even know what a c stand was. I
• 20:23
  Speaker 3: didn't know what anything was other than a sandbag. And
• 20:25
  Speaker 3: I go to the DP and I go, what can
• 20:27
  Speaker 3: I do to help you? She goes, go get me
• 20:28
  Speaker 3: a half apple. So I run the craft service, I
• 20:32
  Speaker 3: eat half an apple and I bring it back to
• 20:34
  Speaker 3: her because I thought it was for something to put
• 20:38
  Speaker 3: on this set, like production. Like. She was looking at
• 20:40
  Speaker 3: a desk. She's like, this desk needs something, and she said, oh,
• 20:44
  Speaker 3: go get me a half apple. I'm like, oh, a desk,
• 20:46
  Speaker 3: you want to have a half eaten apple? And I
• 20:48
  Speaker 3: handed it to her and she looked at me. She's like,
• 20:50
  Speaker 3: uh no, what the fuck is this? And then a
• 20:53
  Speaker 3: grip gave me. He's like, no, here's this is the
• 20:56
  Speaker 3: half apple and it's a fucking box. And I was like,
• 20:58
  Speaker 3: what the hell? And she just needed it to sit on. Yeah,
• 21:04
  Speaker 3: so I learned what a half apple was from school.
• 21:08
  Speaker 3: I don't know. Oh yeah, I lively wtch it.
• 21:13
  Speaker 4: You know, I mean that that is see that, those
• 21:15
  Speaker 4: are those experiences I'm always talking about, Michael that, you know.
• 21:18
  Speaker 4: I mean, I mean I didn't go to school for film.
• 21:20
  Speaker 4: I went to school for business and smart. I mean,
• 21:27
  Speaker 4: I always wondered if I was doing the right thing.
• 21:29
  Speaker 4: And because I went to business school, and suddenly I'm like, oh, man,
• 21:32
  Speaker 4: I really want to do movies. Am I doing the
• 21:34
  Speaker 4: right thing by being here? And the teacher was going
• 21:36
  Speaker 4: on and on and on about micro versus macroeconomics, and
• 21:40
  Speaker 4: you know, I'm just like, my god, I just want
• 21:41
  Speaker 4: to get home right, write that screenplay. But you know,
• 21:44
  Speaker 4: I mean I did make some of my own student
• 21:46
  Speaker 4: films on the side, and and and it was just
• 21:49
  Speaker 4: you know, all that stuff. Man, It was just you know,
• 21:52
  Speaker 4: just try and because you know, your first student film
• 21:55
  Speaker 4: or your first film period, you get your friends and family,
• 21:57
  Speaker 4: you know, you know, yah, and you're film putting them
• 21:59
  Speaker 4: as in rolls and stuff. Well, I shot it with
• 22:01
  Speaker 4: all friends, and we ended up getting a friend of mine.
• 22:05
  Speaker 4: His grandparents let us use two of their vacation homes
• 22:10
  Speaker 4: so we could film anywhere we wanted, all over the property.
• 22:13
  Speaker 4: Oh and we handed up, We handed up. We're filming
• 22:18
  Speaker 4: this one scene right where my what bread is getting
• 22:21
  Speaker 4: you know, quote unquote tortured. And his grandfather just walks
• 22:25
  Speaker 4: in as we got like a power droll almost go
• 22:27
  Speaker 4: into his head and he just looks in those like
• 22:30
  Speaker 4: this look in his face, like what the fuck and
• 22:32
  Speaker 4: he closes the door slowly. I didn't say a word.
• 22:36
  Speaker 3: Oh yeah, definitely, definitely. Oh man, if I had a dollar,
• 22:41
  Speaker 3: every time someone looked at me, what the fuck are
• 22:45
  Speaker 3: you filming? What is wrong with you? People? Got it's
• 22:48
  Speaker 3: so rich. We'd shoot and when we would shoot five
• 22:52
  Speaker 3: second films at our house, we'd have we'd be filming
• 22:55
  Speaker 3: on the streets and everything in our neighbors are just
• 22:56
  Speaker 3: like Jesus Christ, you fucking hipsters, you know, just running
• 23:00
  Speaker 3: around in a giant banana suit or you know, I'm
• 23:03
  Speaker 3: dressed up as a hobo chasing a whole mountain of
• 23:06
  Speaker 3: shopping carts going down down the hill and fuck, what
• 23:10
  Speaker 3: was it? We filmed like fifteen hundred films at that house.
• 23:17
  Speaker 3: There's every every nook and crannya of the house we
• 23:20
  Speaker 3: lived in once we graduated is thoroughly documented by the
• 23:25
  Speaker 3: fire firefucking Films Era.
• 23:29
  Speaker 4: So you know, I actually wanted talking to about five
• 23:31
  Speaker 4: second films. You know, so you started that in college.
• 23:34
  Speaker 4: So and then you just kept the ball rolling as
• 23:36
  Speaker 4: as you graduated, kept you know, making sure you and
• 23:38
  Speaker 4: so so did you already have like a YouTube channel
• 23:40
  Speaker 4: established before we graduated.
• 23:42
  Speaker 3: Brian Frensi. I met Brian Frensi in screenwriting and the
• 23:46
  Speaker 3: teacher was, you know, right after the summer break. And
• 23:50
  Speaker 3: the teator said, so what did you guys do over
• 23:51
  Speaker 3: the summer, And Brian said, oh, I made some five
• 23:54
  Speaker 3: second films with my friends. And I never met Brian,
• 23:58
  Speaker 3: but I you know, when you kind of have like
• 24:00
  Speaker 3: this pretentious air, you're like, oh, film school, I like
• 24:02
  Speaker 3: go Dart and true Faut and and Fellini, yes yes,
• 24:07
  Speaker 3: and I don't care about these Michael Bay short things
• 24:11
  Speaker 3: and frantic cutting. And I was like, five seconds that
• 24:13
  Speaker 3: sounds so stupid. What can you do in five seconds
• 24:16
  Speaker 3: and I saw I saw some of the films and
• 24:19
  Speaker 3: I was like, holy shit, this is hilarious. And Brian
• 24:22
  Speaker 3: was hysterical, and I was like, you're my new best friend.
• 24:25
  Speaker 3: I'm never gonna leave you alone. His five second films
• 24:28
  Speaker 3: was like the perfection, the perfection of a gag, perfection
• 24:32
  Speaker 3: of a joke, storytelling incredibly simplified and distilled. And I
• 24:41
  Speaker 3: used to keep a notebook. God, I used to it.
• 24:43
  Speaker 3: I need to keep doing it. Fell off the wagon.
• 24:45
  Speaker 3: I used to carry a musking around with me and
• 24:48
  Speaker 3: I have like ten of them, maybe fifteen. I just
• 24:51
  Speaker 3: write down downb ideas of dumb jokes, and I wouldn't
• 24:54
  Speaker 3: know what I'd do with them. I just thought like, well,
• 24:57
  Speaker 3: that's a funny idea and made me laugh. I better
• 24:58
  Speaker 3: write it down or I'll forget. And I just had
• 25:02
  Speaker 3: a whole library of all these dumb ideas and jokes
• 25:05
  Speaker 3: that we're incredibly half baked and didn't have anywhere to go, like,
• 25:09
  Speaker 3: I can't write a script about a guy who loses
• 25:11
  Speaker 3: a stapler, but I thought it was funny. And so
• 25:16
  Speaker 3: meeting Brian and getting involved with this hilarious kind of
• 25:25
  Speaker 3: filmmaking was a way to express all my creativity and
• 25:30
  Speaker 3: give these jokes a home. And so we became fast friends,
• 25:33
  Speaker 3: and we started bringing in our other friends because everyone
• 25:36
  Speaker 3: just thought it was funny. And it kind of grew
• 25:38
  Speaker 3: out of that. And then when we graduated in two
• 25:42
  Speaker 3: thousand and eight, Brian said he wanted to do a
• 25:45
  Speaker 3: website and he wanted to do a new film every day.
• 25:50
  Speaker 3: And I said, okay, that's insane, I'll help you. So
• 25:52
  Speaker 3: we did a new film every Monday through Friday, shoot
• 25:56
  Speaker 3: them on the weekend, and we did that for six years.
• 25:58
  Speaker 3: We never missed a day, and it was like something
• 26:00
  Speaker 3: like fifteen hundred plus films and yeah and so, and
• 26:06
  Speaker 3: we were just doing it for ourselves. It was never
• 26:09
  Speaker 3: it started. We did it for ourselves and our friends.
• 26:10
  Speaker 3: It never We never thought it would grow really because
• 26:14
  Speaker 3: no one was watching us. Our views were like fifteen,
• 26:18
  Speaker 3: you know, maybe thirty views if we got lucky, like hey,
• 26:21
  Speaker 3: we brooked two hundred. That's pretty crazy. And we did
• 26:25
  Speaker 3: that for six months until we made the front page
• 26:29
  Speaker 3: of Reddit for Magic Show Volunteer, one of our films,
• 26:33
  Speaker 3: and we're like, WHOA, what the fuck just started getting
• 26:37
  Speaker 3: on these subscribers and we're like Okay, I guess this
• 26:39
  Speaker 3: might be something. So we just kept doing it. And
• 26:41
  Speaker 3: it was kind of crazy because we didn't have an
• 26:44
  Speaker 3: end in sight. We didn't know when we would ever stop.
• 26:46
  Speaker 3: We knew we wanted to make a feature film and
• 26:49
  Speaker 3: do TV, but no one would ever give us the
• 26:52
  Speaker 3: time of day. So we just kept doing these short
• 26:55
  Speaker 3: films kind of like. It kept us sharp, it was fun,
• 26:59
  Speaker 3: It gave us some sort of sense of purpose, and
• 27:03
  Speaker 3: over the course of you know, a year or so,
• 27:08
  Speaker 3: it started opening up some doors for us. We got
• 27:10
  Speaker 3: some like web commercial jobs, and with that money we
• 27:14
  Speaker 3: were able to buy lights and increase our production value.
• 27:17
  Speaker 3: So we didn't really put it in our pocket. We
• 27:19
  Speaker 3: weren't really we weren't even making money, to be honest.
• 27:22
  Speaker 3: We every now and then we'd get a job and
• 27:24
  Speaker 3: get like a thousand bucks here or there, and then
• 27:26
  Speaker 3: we would just invest that into our infantstru infrastructure and
• 27:29
  Speaker 3: buy lava leiders and then we'd buy you know, Eric
• 27:33
  Speaker 3: Sandoval was working at a grip house like a studio,
• 27:39
  Speaker 3: and they would throw crappy gear away and he would
• 27:43
  Speaker 3: just take it. Like a green We had this green screen.
• 27:45
  Speaker 3: We still have it and it's huge and they threw
• 27:48
  Speaker 3: it away because they had a coffee stain, like a
• 27:50
  Speaker 3: big coffee stain in the corner. But we just hang
• 27:53
  Speaker 3: it up in our garage and it's fucking awesome. So
• 27:56
  Speaker 3: and it was. It was, Yeah, we just took over
• 28:01
  Speaker 3: our house. We made our house our little production studio,
• 28:04
  Speaker 3: and every Sunday people would come over and we'd shoot
• 28:08
  Speaker 3: and did that for six years. It's crazy.
• 28:11
  Speaker 4: I mean that that is some dedication to shoot. I
• 28:13
  Speaker 4: mean over fifteen hundred you know films. I mean that
• 28:16
  Speaker 4: that is some absolute dedication.
• 28:18
  Speaker 3: Yeah, And I mean it was. It was just obsession.
• 28:21
  Speaker 3: And I was so psychotic.
• 28:24
  Speaker 4: And was there ever a time where you just said,
• 28:28
  Speaker 4: what the fuck am I doing?
• 28:29
  Speaker 3: All? Yeah, all the time, and it's like, you know what,
• 28:33
  Speaker 3: I'm wearing a dress and I'm you know, I got
• 28:36
  Speaker 3: this huge bouffont hairstyle, and you know, I'm walking around
• 28:40
  Speaker 3: on the street filming at the park, and I'm like,
• 28:42
  Speaker 3: what the fuck am I doing? You know? But I
• 28:44
  Speaker 3: was goofing off with my friends and and we were
• 28:47
  Speaker 3: having a good time, and we were gaining an audience,
• 28:51
  Speaker 3: and you know, they liked what we were doing. We're like, well,
• 28:53
  Speaker 3: fuck it, let's just keep doing this and and the
• 28:58
  Speaker 3: whole YouTube thing. You know, YouTube allowed us to reach
• 29:02
  Speaker 3: a big audience. Now YouTube has just grown into this
• 29:04
  Speaker 3: crazy monster. Yeah, guess it has. Like it was, yeah,
• 29:09
  Speaker 3: I don't even know, man.
• 29:12
  Speaker 4: I remember when YouTube in two thousand and four, when
• 29:15
  Speaker 4: they first launched. I remember actually because I actually just
• 29:20
  Speaker 4: started college and I remember. I remember that. I was
• 29:24
  Speaker 4: like wow, I was like, you know, this is this
• 29:26
  Speaker 4: is what. That was kind of cool. And then I
• 29:28
  Speaker 4: was like you know, and then like you know, two
• 29:29
  Speaker 4: thousand and six, like you said, it started to become
• 29:31
  Speaker 4: really big. And now it's like everyone puts every cat
• 29:35
  Speaker 4: video in the world up there. Now.
• 29:36
  Speaker 3: Yeah, they have their the YouTube space. There's a big
• 29:41
  Speaker 3: studio sound stage they have in Los Angeles, kind of
• 29:45
  Speaker 3: like buy the airport and content creators can go there
• 29:50
  Speaker 3: and you know, get access to a sound stage and
• 29:52
  Speaker 3: professional equipment and gear and.
• 29:56
  Speaker 2: We'll be right back after a word from our sponsor
• 30:02
  Speaker 2: and now back to the show.
• 30:05
  Speaker 3: You know, they can hire kind of freelance crews who
• 30:07
  Speaker 3: volunteer to help out. It's it's crazy, like it's it's
• 30:14
  Speaker 3: you know, it really shook up Hollywood. It's fantastic because
• 30:17
  Speaker 3: if it weren't for YouTube, we never would have made
• 30:19
  Speaker 3: our future film because we were able to build a
• 30:23
  Speaker 3: fan base, and then we did a Kickstarter. It's like
• 30:26
  Speaker 3: we proved to so many people that we can do
• 30:28
  Speaker 3: this and we're dedicated and yeah it's it's you know,
• 30:33
  Speaker 3: I look back upon it like, holy shit, that was insane.
• 30:35
  Speaker 3: The end goal was always to make a movie. That's
• 30:37
  Speaker 3: what we always wanted to do, but no one would
• 30:40
  Speaker 3: give us money. So when the kickstarter idea crowdfunding came out,
• 30:44
  Speaker 3: that was like, well, fuck, let's let's see if we
• 30:47
  Speaker 3: can ask our fan base because at that time I
• 30:48
  Speaker 3: think we had we had like three hundred and fifty
• 30:52
  Speaker 3: thousand subscribers. Wow. Yeah, it dropped so much compared to
• 30:56
  Speaker 3: a lot of people.
• 30:59
  Speaker 4: So what was the sort of like the impetus? I mean,
• 31:02
  Speaker 4: did you write the script?
• 31:04
  Speaker 3: You know?
• 31:04
  Speaker 4: Yeah, we all and then and then I mean did
• 31:08
  Speaker 4: you like we did you write the script and then
• 31:10
  Speaker 4: pitch it to producers?
• 31:11
  Speaker 3: Yes?
• 31:11
  Speaker 4: Or we tried to do it that way.
• 31:13
  Speaker 3: First, We tried to We tried the old fashioned way
• 31:18
  Speaker 3: and we wrote this ridiculous fucking movie and no one
• 31:21
  Speaker 3: wanted to touch it. They were like, what dude, bro
• 31:24
  Speaker 3: party massacre three, Like, who the fuck? What? Where's the
• 31:29
  Speaker 3: first two? What the hell?
• 31:32
  Speaker 4: So did did they not just did they not understand
• 31:35
  Speaker 4: like the concept or do they just think like this
• 31:38
  Speaker 4: is just way too over the top for us?
• 31:41
  Speaker 3: Oh? Really, a lot of the old old the old
• 31:45
  Speaker 3: producers didn't understand it at all. They're like pass hard
• 31:50
  Speaker 3: pass uh, And but their assistants who were younger were like,
• 31:54
  Speaker 3: this is hilarious. I'm sorry they passed. They don't fucking
• 31:57
  Speaker 3: get it. And then there are other people that are like,
• 31:59
  Speaker 3: you know, it's it's a gamble to invest in. You know,
• 32:04
  Speaker 3: I know, you guys are a sketch group online, and
• 32:06
  Speaker 3: but sketch comedy doesn't really it's a risk because you know,
• 32:11
  Speaker 3: no offense. You guys are no buddies. So that's why
• 32:13
  Speaker 3: we couldn't get up. We did a bunch of pilots
• 32:15
  Speaker 3: and they never got picked up because they're like, sketch
• 32:17
  Speaker 3: comedy is really risky because you're a bunch of nobodies
• 32:20
  Speaker 3: and it's hard to invest in. It's like sorry, I
• 32:23
  Speaker 3: was like all right, whatever, So we just did it
• 32:26
  Speaker 3: on our own. We yeah, got raised a quarter million
• 32:30
  Speaker 3: dollars on Kickstarter and then an independent financier Keith Calder
• 32:37
  Speaker 3: of Snoot Entertainment reached out and said he would match
• 32:43
  Speaker 3: the funding, so he got it, and I think he
• 32:46
  Speaker 3: was really impressed with our body of work, and he
• 32:50
  Speaker 3: and the and the Kickstarter was going really well. He's like,
• 32:54
  Speaker 3: all right, well these guys, these guys got something. They
• 32:58
  Speaker 3: have an audience. So yeah, God bless him fucking So
• 33:03
  Speaker 3: he came on towards the end of the kickstarting campaign,
• 33:07
  Speaker 3: so he was he was our white Knight. God bless
• 33:10
  Speaker 3: that guy. And then and and then he financed a
• 33:12
  Speaker 3: Noma Lisa Charlie Coffin film which was nominated. So we're like,
• 33:17
  Speaker 3: oh my god, I really we really hope this wins
• 33:19
  Speaker 3: an Oscar because then dude, Bro Party Massacer three will
• 33:22
  Speaker 3: be in like that kind of like company of like Yes,
• 33:25
  Speaker 3: the Academy, a Wood winning company, Snoot and Dudebro Party
• 33:28
  Speaker 3: Massacre three.
• 33:31
  Speaker 4: It's a shame I never saw the kickstart at when
• 33:33
  Speaker 4: it was going on, because I definitely would have donated.
• 33:35
  Speaker 4: Oh thanks, because this is like like I like, you
• 33:39
  Speaker 4: know in the in the pre interview, I get this.
• 33:41
  Speaker 4: I get this movie completely, man, because even before I
• 33:45
  Speaker 4: saw it, I actually had an idea for a movie
• 33:49
  Speaker 4: not similar, but you know what I mean, like like
• 33:51
  Speaker 4: a movie where I said, you know what, it's like
• 33:54
  Speaker 4: a throwback to the eighties Slashers. But I said, I
• 33:56
  Speaker 4: don't think people would get it, if you know what
• 33:58
  Speaker 4: I mean. Like, I was always afraid that that. You know,
• 34:01
  Speaker 4: if I if I went to like a producer, they'd say,
• 34:04
  Speaker 4: what the hell is this? Dave bullis kid smoking? Get
• 34:06
  Speaker 4: him the la. Yeah. So that's why when I saw
• 34:10
  Speaker 4: Dude BROOLBERTI Mascart three, I was like, oh my god,
• 34:13
  Speaker 4: I said this, this is awesome. And that's why I
• 34:16
  Speaker 4: was actually very very excited that you were you were successful,
• 34:19
  Speaker 4: because I was like, yes, it proves it can be done,
• 34:22
  Speaker 4: So here we are.
• 34:24
  Speaker 3: I mean, I don't know successful. It was such a
• 34:27
  Speaker 3: loose word when it comes to the film industry. It
• 34:30
  Speaker 3: didn't make any money, but the reviews were great. We're
• 34:33
  Speaker 3: really happy with that. People either loved it or liked it.
• 34:37
  Speaker 3: And and you know a lot of people were just
• 34:39
  Speaker 3: like I don't fucking get this as stupid, and which
• 34:41
  Speaker 3: is fine. I'm from the internet. I've heard so many
• 34:44
  Speaker 3: worse comments, so reading reviews are actually kind of nice, Like, oh,
• 34:47
  Speaker 3: that was such a very polite, nice negative review that
• 34:50
  Speaker 3: was very sweet of them as opposed to the other
• 34:53
  Speaker 3: comments online. But yeah, I mean the fact that you
• 34:55
  Speaker 3: liked it. We're having this conversation. The movie is a success,
• 34:58
  Speaker 3: like you saw it and you didn't even I know
• 35:00
  Speaker 3: about five second films, So that is that's like the
• 35:03
  Speaker 3: best thing ever because we figured only our fans would
• 35:07
  Speaker 3: watch it and get it. So to hear that it's actually,
• 35:10
  Speaker 3: you know, I would say perfect stranger, sir, are enjoying
• 35:13
  Speaker 3: it is and discovering it is a success. Yes for me,
• 35:19
  Speaker 3: thank you.
• 35:20
  Speaker 4: Oh, you're very welcome. I mean, I mean, because it
• 35:23
  Speaker 4: proved that you could do it, because you know, you
• 35:25
  Speaker 4: didn't take no for an answer. You threw together sorry
• 35:29
  Speaker 4: through together, but you put together the kickstarter you know you.
• 35:33
  Speaker 4: I mean because you know I've been there to Michael.
• 35:35
  Speaker 4: You know, I know how hard it is to get
• 35:36
  Speaker 4: you know, movies and whatever whatever else funded, because you know,
• 35:41
  Speaker 4: you always get like you know, ninety nine no's and
• 35:44
  Speaker 4: then that one yes is what you're looking for you now,
• 35:48
  Speaker 4: and you have to just it's like an uphill battle,
• 35:50
  Speaker 4: like literally it's like you play a game like what
• 35:53
  Speaker 4: could go wrong today? Oh, okay, you know, lead actor
• 35:56
  Speaker 4: drops out. I mean, I mean, I mean, you know,
• 35:57
  Speaker 4: you got Patton Oswald in Duproparner Ask, which I thought
• 36:00
  Speaker 4: was awesome.
• 36:01
  Speaker 3: He is, He's amazing. He is a fucking saint. I
• 36:04
  Speaker 3: love that. But how we got Paton Olswell was he
• 36:08
  Speaker 3: was a fan of Five Second Films. He he tweeted
• 36:11
  Speaker 3: out a bunch of our films saying he loved them,
• 36:13
  Speaker 3: and we flipped that. We were ecstatic, and so we
• 36:16
  Speaker 3: tweeted back saying, hey, do you want to be in
• 36:18
  Speaker 3: some He said absolutely, and then that was it. We
• 36:21
  Speaker 3: set a time he was free for an hour. We
• 36:23
  Speaker 3: shot like three films in an hour, and he had
• 36:28
  Speaker 3: a great time and he loved the he thought they
• 36:30
  Speaker 3: were hilarious, and every now and then he'd come back
• 36:33
  Speaker 3: shoots more. And then when he found out we were
• 36:35
  Speaker 3: doing a kickstarter, he donated the price here to be
• 36:41
  Speaker 3: a co producer and to guarantee a cameo in the film.
• 36:44
  Speaker 3: It's like, if you donate two thousand dollars, you will
• 36:48
  Speaker 3: make an appearance in the movie and you'll get a
• 36:50
  Speaker 3: co producer credit. And we said, hey, thank you, we
• 36:56
  Speaker 3: love you. So you know, league, now you have to
• 37:00
  Speaker 3: be in our movie. He goes, you fucking better believe
• 37:03
  Speaker 3: I'm in your movie, and we gave him. You know,
• 37:06
  Speaker 3: he played the police chief and he was awesome. He
• 37:08
  Speaker 3: worked with him for one day and you know, he
• 37:10
  Speaker 3: paid to be in our movie. Like you can't. You
• 37:13
  Speaker 3: can't get any nice than that. He's the fucking man.
• 37:17
  Speaker 3: He's he's the he's such a stand up guy. But
• 37:20
  Speaker 3: I mean, you know, literally, he's a comedian. He's a
• 37:21
  Speaker 3: great guy. Yeah, I can't sing his praise is enough.
• 37:26
  Speaker 3: You know.
• 37:26
  Speaker 4: It's funny. One time he was tweeting out some negative
• 37:29
  Speaker 4: things about Philadelphia and I've retweeted it, and a bunch
• 37:32
  Speaker 4: of people who followed me were like, what are you
• 37:34
  Speaker 4: doing tweeting now negative stuff about Philadelphia before? Like, dude,
• 37:37
  Speaker 4: it's all true. He was because he said, like Philadelphia
• 37:40
  Speaker 4: is the worst city in the world, wasn't. Yeah, he's
• 37:42
  Speaker 4: got that right, you retweet.
• 37:46
  Speaker 3: It's fucking hilarious. Uh, it's great. Yeah, So you know
• 37:50
  Speaker 3: you just need that one. Yes, just keep on keep
• 37:53
  Speaker 3: on plugging away.
• 37:55
  Speaker 4: And that's the thing that I think discourages a lot
• 37:57
  Speaker 4: of filmmakers is you know, so when you're in that
• 38:01
  Speaker 4: like that midpoint because you know, like mid forties and
• 38:04
  Speaker 4: mid fifties of hearing all the nose and we're gonna pass.
• 38:07
  Speaker 4: I think that's where a lot of people well they
• 38:09
  Speaker 4: probably quit before that, but they that's where a lot
• 38:11
  Speaker 4: of people get you know that a lot of people
• 38:13
  Speaker 4: get into that valley, you know what I mean. It's
• 38:14
  Speaker 4: like it's like hills and valleys, you know. And I
• 38:17
  Speaker 4: think that's you know, where people just sort of they
• 38:21
  Speaker 4: give up. They go, look, I don't have time. I
• 38:23
  Speaker 4: might have a family, I might have you know, I've
• 38:26
  Speaker 4: got student blown debt. Uh you know, I got a
• 38:28
  Speaker 4: car payment coming through, and there's like I don't have
• 38:30
  Speaker 4: time to keep going around and trying to pitch this stuff.
• 38:34
  Speaker 4: And then you know, and then they just sort of
• 38:36
  Speaker 4: just put it away at destoy somewhere, you know. And
• 38:38
  Speaker 4: then but yeah, that's why I was saying. You know,
• 38:40
  Speaker 4: I think Due Broke pont Amasaca three is a success because, uh,
• 38:43
  Speaker 4: you got it made. And I think anything, honestly, Michael,
• 38:46
  Speaker 4: that gets made, I think it has to be a success.
• 38:49
  Speaker 4: And I know those movies like like let's for let's say,
• 38:52
  Speaker 4: for example, Michael the Room, which is a movie you know,
• 38:54
  Speaker 4: very well, I I you know, that's you know, I
• 38:58
  Speaker 4: still think that's a success because the amount of movies
• 39:01
  Speaker 4: that never get made are astronomical.
• 39:04
  Speaker 3: And that's what I say, it's weird. I do a
• 39:06
  Speaker 3: lot of I've done a lot of interviews and talks
• 39:08
  Speaker 3: about the room and lectures at colleges, and I always
• 39:14
  Speaker 3: say the same thing, like, say what you want to
• 39:16
  Speaker 3: say about Tommy Wisseau. He made a fucking movie and
• 39:19
  Speaker 3: he finished it, and he released it and we're watching it.
• 39:22
  Speaker 3: And he could have pulled the movie and hit it
• 39:25
  Speaker 3: from the public because of all the ridicule and people
• 39:27
  Speaker 3: making fun of it. But he put his money where
• 39:29
  Speaker 3: his mouth is and he kept pushing it and letting
• 39:32
  Speaker 3: people watch it. And that's that's brilliant. You know. He
• 39:36
  Speaker 3: changed it from an electrifying drama on the trailer and
• 39:40
  Speaker 3: he changes it to a quirky, dark comedy like he rebranded.
• 39:43
  Speaker 3: It's that's brilliant. That's a success. He made a movie.
• 39:46
  Speaker 3: So all those filmmakers out there that like to talk
• 39:49
  Speaker 3: shit about, you know, Michael Bay or Tommy Ussell, it's like, well,
• 39:53
  Speaker 3: are you fucking making anything?
• 39:57
  Speaker 2: We'll be right back after a word from our sponsor
• 40:03
  Speaker 2: and now back to the show.
• 40:06
  Speaker 3: Then you can't really talk shit like like fucking do it.
• 40:10
  Speaker 3: Once join the you know, once you join the club,
• 40:12
  Speaker 3: then you can talk ship.
• 40:14
  Speaker 4: I haven't.
• 40:15
  Speaker 3: I'm sorry. I think so tunabout might be coming up
• 40:17
  Speaker 3: in a minute. I can hear like the door in
• 40:19
  Speaker 3: the hallway. Oh, who's it gonna be?
• 40:23
  Speaker 4: It's almost like a horror movie right now?
• 40:24
  Speaker 3: Now? Oh, I guess no one? Yeah, all right, cool,
• 40:30
  Speaker 3: the suspense was killing me. Yeah. I'm a film projections
• 40:33
  Speaker 3: at USC, so I get to show films and I
• 40:35
  Speaker 3: get to keep listening to lectures, which is fun. But uh,
• 40:39
  Speaker 3: it's it's like that's my office job and I'm still
• 40:42
  Speaker 3: writing and film and editing, so it allows me to
• 40:44
  Speaker 3: do that while I work. So right now I'm just
• 40:47
  Speaker 3: babysitting in the booth for like the festival books. Anyway,
• 40:52
  Speaker 3: cut that out or not, I don't care, all right,
• 40:55
  Speaker 3: I think it's funny.
• 40:56
  Speaker 4: I think it's funny. If I left that in, I
• 40:58
  Speaker 4: actually just hit my mic, so I think I but uh,
• 41:01
  Speaker 4: I think it was funny though, if I if I
• 41:02
  Speaker 4: leave that in, because that was pretty cool that it
• 41:06
  Speaker 4: kind of turned into like another turned to a horror movie.
• 41:08
  Speaker 3: Right there, someone's in the boo there killed the projection.
• 41:14
  Speaker 4: This blood everywhere on the cellul lord uh and and
• 41:18
  Speaker 4: we hear Michael get you. We hear you getting killed.
• 41:21
  Speaker 4: You know like this, I just leave it in the episode.
• 41:24
  Speaker 4: I'm just like, all right, I guess I guess Michael's
• 41:26
  Speaker 4: dead like Tommy.
• 41:27
  Speaker 3: It's actually Tommy was so coming to kill me. As
• 41:30
  Speaker 3: I hear you talking about the movie again. Huh And well,
• 41:34
  Speaker 3: funny up with the room. We got Greg Cistero who
• 41:37
  Speaker 3: plays Mark and he is in Dude Bro Party Massacre three.
• 41:42
  Speaker 3: Greg Stern was the nicest guy, such a stand up guy.
• 41:46
  Speaker 3: There are a bunch of stand up guys are in
• 41:47
  Speaker 3: this movie and and uh he I became friends with
• 41:52
  Speaker 3: him because of the room. He recognized me as like, hey,
• 41:55
  Speaker 3: there's that fan that's been here since day one, and
• 41:58
  Speaker 3: started all that on sense like, hey, it's a nice guy.
• 42:02
  Speaker 3: And I just would see him at screenings. I ran
• 42:04
  Speaker 3: into him at Vegas in like two thousand and four
• 42:07
  Speaker 3: something or five, and you know, this dude taps around
• 42:11
  Speaker 3: the shoulder and he's like, hey, Michael, big smile, and
• 42:15
  Speaker 3: I'm you know, I'm a little drunk and I'm kind
• 42:17
  Speaker 3: of like, who is this guy? How does this guy
• 42:19
  Speaker 3: know me? How do I know this guy? And then
• 42:22
  Speaker 3: I was like, oh my god, it's fucking Greg Systerio
• 42:24
  Speaker 3: because he had like the big, greag shystero smile. And
• 42:26
  Speaker 3: that's when it like registered, you know, from the room,
• 42:30
  Speaker 3: and we just became friends. And he was in some
• 42:32
  Speaker 3: five second films and I said, would you like to
• 42:35
  Speaker 3: play a dude bro in Dubro Party Massacre three? And
• 42:38
  Speaker 3: he was excellent. He was great. He's genuinely a good actor.
• 42:41
  Speaker 3: You know, It's amazing what an actor can do when
• 42:43
  Speaker 3: they have a good script with coherent lines and good direction.
• 42:48
  Speaker 3: And he's great in it. And I love how he says.
• 42:52
  Speaker 3: Greg says, it's it's so refreshing to be proud of
• 42:56
  Speaker 3: a movie you're in and happily tell people and from
• 43:00
  Speaker 3: about it. He's he's yeah, he's the best. So whenever
• 43:02
  Speaker 3: he does he does room screenings, he'll usually bring the
• 43:07
  Speaker 3: duper party mascat three and do a double feature. Cool. Yeah,
• 43:10
  Speaker 3: he's the man. He's the nicest guy in the world.
• 43:13
  Speaker 3: I think probably a large percentage of our screenings around
• 43:17
  Speaker 3: the globe are because of you know, Greg Sisterio. Planting
• 43:20
  Speaker 3: the seeds of dude bro Co go to a screening
• 43:24
  Speaker 3: and they'll be like, oh, yeah, you're in Dubra, we'd
• 43:25
  Speaker 3: love to see that. I watched the trailer and they go, oh, ship,
• 43:29
  Speaker 3: let's do a double feature. God bless that guy. But anyway, Yeah,
• 43:33
  Speaker 3: what the fuck are we talking about?
• 43:36
  Speaker 4: We were talking about just you know, how how did
• 43:38
  Speaker 4: you actually a movie made?
• 43:39
  Speaker 3: And stuff? It's good because I go on a room
• 43:42
  Speaker 3: tangent and then I hate my life?
• 43:45
  Speaker 4: How did I get back there?
• 43:46
  Speaker 3: I'm talking about the Room again.
• 43:48
  Speaker 4: We were just talking, we were talking about good stuff,
• 43:50
  Speaker 4: and now we're talking about the Room again.
• 43:53
  Speaker 3: I don't want that on my tombstone. It's like, well,
• 43:55
  Speaker 3: that's why I want to. I think that's like the
• 43:57
  Speaker 3: scary thing that's chasing me is like I need to
• 44:00
  Speaker 3: rereate because I don't want to be remembered as that
• 44:02
  Speaker 3: guy that started the Room phenomenon.
• 44:06
  Speaker 4: Yeah, you know, I had a brief discussion about you
• 44:10
  Speaker 4: with my interview with Robin Paris and she was in
• 44:13
  Speaker 4: the room.
• 44:13
  Speaker 3: Yeah, she's she's great.
• 44:15
  Speaker 4: And because she's doing a like a documentary called The
• 44:18
  Speaker 4: Room Actors.
• 44:19
  Speaker 3: Where are they have a room documentary?
• 44:20
  Speaker 4: I'm actually yeah, and we talked about you because you know,
• 44:24
  Speaker 4: you found you know, you walked into that midnight screening
• 44:27
  Speaker 4: and we're like, what the hell hell keep this going
• 44:29
  Speaker 4: even midnight.
• 44:30
  Speaker 3: It was like it was like five o'clock, five pm
• 44:34
  Speaker 3: in a theater in the valley. I was like, I
• 44:36
  Speaker 3: saw a trailer for it at another theater, because when
• 44:39
  Speaker 3: once you rent a theater, yeah, you can show a trailer.
• 44:42
  Speaker 3: And I saw it and I was like, what the
• 44:43
  Speaker 3: fuck is this? I need to see this because it
• 44:45
  Speaker 3: looked like a comedy and it said it was a
• 44:48
  Speaker 3: drama and that conflict is like, that's funny to me.
• 44:50
  Speaker 3: I need to see this. So I saw it and
• 44:52
  Speaker 3: I dragged like a hundred friends saw it four times
• 44:56
  Speaker 3: in three days yep, and then it and then that
• 45:00
  Speaker 3: it's theater run. But anyway, dude, Bro Party Masacre three.
• 45:03
  Speaker 3: It was such a challenge to make.
• 45:06
  Speaker 4: Yeah, I mean because it was like, I don't want
• 45:09
  Speaker 4: to talk about the room anymore.
• 45:10
  Speaker 3: That's so sad.
• 45:12
  Speaker 4: It's like I just keep bringing it back up. But
• 45:16
  Speaker 4: but you know, so when you you actually did make
• 45:18
  Speaker 4: through Bro Party Masker three, you know, did you know,
• 45:21
  Speaker 4: did you always want to release it through your own
• 45:23
  Speaker 4: website or were you hoping, you know, you know, did
• 45:27
  Speaker 4: to go another route with it.
• 45:28
  Speaker 3: The dream was always like, Okay, we wanted to play
• 45:30
  Speaker 3: in theaters, but we're realistic and we know how the
• 45:33
  Speaker 3: industry works and how how it's changed. Uh, movies don't
• 45:38
  Speaker 3: make money in theaters unless they're like in a theatrical run,
• 45:42
  Speaker 3: unless they're big blockbusters or they're big stars in them.
• 45:47
  Speaker 3: Because of Netflix and Hulu and Amazon and all that stuff,
• 45:50
  Speaker 3: it's changed. So we we were what we wanted to
• 45:52
  Speaker 3: do was just take it to festivals and find a
• 45:56
  Speaker 3: company to do distribution to just you know, send out
• 46:00
  Speaker 3: the DVDs, get it on Netflix. And we were happy
• 46:04
  Speaker 3: with doing kind of these grassroots screenings. That's what we
• 46:08
  Speaker 3: wanted to do. So when we wanted it to be
• 46:10
  Speaker 3: in theaters, that with the intention of just taking it
• 46:13
  Speaker 3: on the road and watching it. And that's what we
• 46:16
  Speaker 3: did a lot. We did a lot last year and
• 46:20
  Speaker 3: and we and we just showed it in Paris a
• 46:22
  Speaker 3: couple of weeks ago. The Alamo Draft House was fantastic.
• 46:27
  Speaker 3: They kind of like took it on tour with us.
• 46:28
  Speaker 3: We went all the way around Texas, went to Colorado,
• 46:32
  Speaker 3: went to Virginia with Alamo. Yeah, just grassroots. That's that's
• 46:37
  Speaker 3: how we were doing it. You know, it'd be fun
• 46:40
  Speaker 3: if it was playing a week at somewhere in New York.
• 46:42
  Speaker 3: But you know that's that's not gonna. That's gonna you know,
• 46:45
  Speaker 3: we're not going to pay for that. It's a waste
• 46:46
  Speaker 3: of money because it's not going to make any money.
• 46:49
  Speaker 3: It's that's not how it works. So yeah, it's just
• 46:53
  Speaker 3: grassroots screenings and you know, fans love it and they
• 46:56
  Speaker 3: either want to download it or buy it. I think
• 46:59
  Speaker 3: we were before we released the downloads for the public,
• 47:03
  Speaker 3: we were number two or three most torrented feature film
• 47:07
  Speaker 3: that day on like pirate Bay. It was like this
• 47:11
  Speaker 3: weird like joy and like tears. It's like, oh, we're like,
• 47:16
  Speaker 3: we're so excited. There's so many people downloading our movie illegally.
• 47:20
  Speaker 3: That's so cool. Oh suh, you know, it's like, oh,
• 47:26
  Speaker 3: I'm so honored, you know.
• 47:29
  Speaker 4: I actually I had a friend of mine who would
• 47:32
  Speaker 4: what they did was when they they went to like, well,
• 47:34
  Speaker 4: I don't want to give any horn sits out, but
• 47:36
  Speaker 4: whenever they went to one of these torent sites, they
• 47:38
  Speaker 4: actually would contact the person who put up the torrent
• 47:43
  Speaker 4: and they would say, hey, look, you know, they wouldn't
• 47:46
  Speaker 4: threaten legal action. What they would say is, you know,
• 47:48
  Speaker 4: because it's anonymous anyway. So they would say like, look,
• 47:50
  Speaker 4: if you take it down, we will mail you a
• 47:53
  Speaker 4: copy of it and you know, and a shirt or
• 47:56
  Speaker 4: whatever if you just take this torrent down police because
• 47:59
  Speaker 4: it hurts us. And fifty of the time he actually
• 48:02
  Speaker 4: got a yes. And and it was like it was
• 48:04
  Speaker 4: odd and and you know, I mean, it's an interesting strategy.
• 48:07
  Speaker 4: I'm not you know, I don't know if it's quote
• 48:09
  Speaker 4: unquote the best, but it's very interesting how he was
• 48:12
  Speaker 4: able to do that though.
• 48:13
  Speaker 3: Wow. I never thought of it that way. Huh, that's
• 48:17
  Speaker 3: pretty nice. Well, I mean, I mean people are always
• 48:21
  Speaker 3: going to download that. You just can't escape it. That's
• 48:24
  Speaker 3: just how yeah. Uh you know, and I kind of
• 48:27
  Speaker 3: feel like, yeah, I've downloaded a lot of TV shows
• 48:30
  Speaker 3: and stuff, and I was like, yeah, it's kind of justified,
• 48:33
  Speaker 3: Like I get it. Like I'm just happy that people
• 48:35
  Speaker 3: are watching it and enjoying it and they want to
• 48:39
  Speaker 3: have their friends watch it. I mean, as long as
• 48:40
  Speaker 3: people are watching it, then that's a success. Like Roger Corman,
• 48:44
  Speaker 3: I met Roger Corman, who is an amazing like the
• 48:49
  Speaker 3: giant of filmmaking because he's made so many movies and
• 48:54
  Speaker 3: you know, he's made some great films, he's made some schlock,
• 48:57
  Speaker 3: but he you know, he makes movies and he started
• 48:59
  Speaker 3: so many career Here's Joe Dante, James Cameron, and I
• 49:03
  Speaker 3: asked him in an interviewer It's like, how do you
• 49:05
  Speaker 3: feel about such shows like mister Scien's Theater or people
• 49:10
  Speaker 3: watch some of your movies and they just make fun
• 49:12
  Speaker 3: of them and they kind of, you know, poke fun
• 49:15
  Speaker 3: or tear him down. And he looked at me and
• 49:17
  Speaker 3: got really serious and he goes, I'm a I'm a filmmaker.
• 49:20
  Speaker 3: I'm a producer. My job is to make movies so
• 49:24
  Speaker 3: they can be seen. And whether it's being seen a
• 49:27
  Speaker 3: drive in a movie theater or a late night television,
• 49:31
  Speaker 3: as long as people are watching it, I've done my job.
• 49:34
  Speaker 3: I'm like, oh shit, that's that's pretty pretty pretty om
• 49:38
  Speaker 3: the nose. That is correct.
• 49:39
  Speaker 4: Yeah, So and now do Brookebardy Masacre three is coming
• 49:43
  Speaker 4: out on Blu ray or think about first.
• 49:45
  Speaker 3: We're trying to get it's right now, it's just domestic.
• 49:48
  Speaker 3: We're trying to work on hopefully finding it finding international distribution.
• 49:55
  Speaker 3: So uh, we're kind of withholding sending it out international.
• 50:01
  Speaker 2: We'll be right back after a word from our sponsor
• 50:07
  Speaker 2: and now back to the show.
• 50:10
  Speaker 3: So that we're trying to work on that strategy. But
• 50:12
  Speaker 3: we're we're distributing it ourselves domestically with you know, we're
• 50:17
  Speaker 3: just shipping it out of our house, you know, because
• 50:23
  Speaker 3: I got.
• 50:23
  Speaker 4: To remember to pick up a copy of that too, by.
• 50:25
  Speaker 3: The way, Thank you, oh god, thank you. Yeah. But yeah,
• 50:34
  Speaker 3: it's it's fun. People are watching it. That's all I
• 50:37
  Speaker 3: could ever ask for.
• 50:38
  Speaker 4: Uh yeah, and you know, and that's what I mean,
• 50:41
  Speaker 4: you know, and I think, you know, if you could,
• 50:44
  Speaker 4: and I know you're gonna, you know, use all this,
• 50:46
  Speaker 4: you know, use the success again if du Brokeskar three
• 50:49
  Speaker 4: to sort of go into the next film, whether that's
• 50:51
  Speaker 4: du Brooke Punny Masker four. We're actually so Michael, you
• 50:56
  Speaker 4: know what is actually next project? Can you see I
• 50:58
  Speaker 4: can you talk about it or is it still.
• 51:00
  Speaker 3: I've written a bunch of scripts, so that's just I'm
• 51:03
  Speaker 3: kind of pushing those around. We'll see, that's it. I'm
• 51:07
  Speaker 3: just writing a lot a lot of the other Gang
• 51:11
  Speaker 3: of five Second Films is doing the same thing. They're writing,
• 51:14
  Speaker 3: or they're working on other shows, and you know, some
• 51:18
  Speaker 3: people were actually working for networks, like you know, for
• 51:21
  Speaker 3: producing and content development, which is impressive. So we're all
• 51:25
  Speaker 3: kind of like, I guess it was so traumatic of
• 51:28
  Speaker 3: six years of just constantly making content with each other
• 51:32
  Speaker 3: and then the feature felt that everyone's like we just
• 51:34
  Speaker 3: need a break, no more stuff online, just like the
• 51:38
  Speaker 3: internet is like consumed us for ten years. Basically we're
• 51:42
  Speaker 3: kind of like, all right, we just need to like
• 51:43
  Speaker 3: everyone just needed to like write and go to go
• 51:46
  Speaker 3: to like a shelter, just get over the shell shock.
• 51:50
  Speaker 3: So yeah, everyone's just working on a bunch of stuff.
• 51:55
  Speaker 3: Yeah I can't really say what because you know, things, Yeah,
• 51:58
  Speaker 3: things are in the pipeline and things fall through.
• 52:02
  Speaker 4: So so Michael, you know, I wanted to ask you know,
• 52:04
  Speaker 4: I know we're sort almost running at a time, but
• 52:06
  Speaker 4: I wanted to ask you, you know, your your writing style.
• 52:09
  Speaker 4: You know, do you you know, as you're writing, do
• 52:11
  Speaker 4: you outline a lot or you know, do you are
• 52:13
  Speaker 4: you more of a person who writes a pretty lengthy
• 52:16
  Speaker 4: treatment or so, you know, how exactly do you do
• 52:18
  Speaker 4: you you know, write your screenplays.
• 52:20
  Speaker 3: Well, everyone does it differently. How I like to do
• 52:22
  Speaker 3: it is I write. I just I kind of open.
• 52:27
  Speaker 3: I guess it's like a Google doc, and I just
• 52:30
  Speaker 3: write ideas. I have to go in knowing at the
• 52:34
  Speaker 3: very least what story I want to tell, how I
• 52:38
  Speaker 3: want it to end, or how I think it should end,
• 52:41
  Speaker 3: and how I wanted to start. So as long as
• 52:43
  Speaker 3: I can figure out how I wanted to how I
• 52:45
  Speaker 3: want to start, and how I want it to end,
• 52:47
  Speaker 3: then that's when I start just throwing out ideas on
• 52:50
  Speaker 3: a doc. And and then I kind of like put
• 52:52
  Speaker 3: those ideas in chronological order, you know, because like the
• 52:57
  Speaker 3: whole it's like five pages of just nonsense and stupid ideas.
• 53:01
  Speaker 3: Then what I do is I take those stupid ideas
• 53:03
  Speaker 3: and then you know, arrange them chronologically and then start
• 53:06
  Speaker 3: filling in the gaps of the sequential order of like, okay,
• 53:10
  Speaker 3: well if they need to go hear them, they go
• 53:12
  Speaker 3: to this scene, is there anything in the middle I
• 53:15
  Speaker 3: need to clarify and smooth over? And then by the
• 53:18
  Speaker 3: end of it, I have, which started off as a
• 53:21
  Speaker 3: bunch of scattered ideas eventually turns into kind of like
• 53:23
  Speaker 3: an outline treatment. I don't really I don't really get
• 53:30
  Speaker 3: the difference between a treatment and an outline, and I
• 53:32
  Speaker 3: guess the treatment is like really really detailed and exceptionally long.
• 53:36
  Speaker 3: But yeah, I just knock out a solid outline and
• 53:39
  Speaker 3: from there then I start attacking it in script form.
• 53:44
  Speaker 3: I also like doing note cards. My writing partner Eric
• 53:47
  Speaker 3: Sanderval from Five Second Film also loves note cards, so
• 53:49
  Speaker 3: I'll just like, we'll put note cards up on a
• 53:52
  Speaker 3: big wall and it's kind of so we can see everything.
• 53:55
  Speaker 3: And he likes to do character stars. It's of like
• 54:01
  Speaker 3: a line graph of like character relationships. They kind of
• 54:04
  Speaker 3: form a star or a triangle, and we like to
• 54:08
  Speaker 3: figure out our rising action, like what's like the climax,
• 54:11
  Speaker 3: what's the momentum building up to it? Yeah? Yeah, I
• 54:15
  Speaker 3: mean you just got to figure out who you who
• 54:17
  Speaker 3: your characters and how what do you want to put
• 54:20
  Speaker 3: them through? And how are they how are they going
• 54:22
  Speaker 3: to change or not change? They at least have to
• 54:25
  Speaker 3: learn something and be different, and you know it has
• 54:28
  Speaker 3: to be interesting. You can got like a ramble about writing,
• 54:34
  Speaker 3: and believe.
• 54:35
  Speaker 4: Me, Michael, I love to talk writing, you know, you know.
• 54:40
  Speaker 4: I again, screenwriting is that's my special How.
• 54:43
  Speaker 3: Do you do it? Everyone does it differently? How do
• 54:45
  Speaker 3: you do it? Dave?
• 54:47
  Speaker 4: I write a treatment that looks a lot like the
• 54:51
  Speaker 4: journals of the serial killer from seven, and it just
• 54:55
  Speaker 4: is like like if anybody ever saw this, they would
• 54:58
  Speaker 4: be like, what the hell it was? Basically, it's like,
• 55:01
  Speaker 4: you know, sometimes I just write almost like I'm writing
• 55:04
  Speaker 4: a short story, and but it's not a short story though.
• 55:08
  Speaker 4: It's like it's not really a novel either, but it's
• 55:11
  Speaker 4: like a lot of you know, different stuff. And then
• 55:14
  Speaker 4: all of a sudden, I'll write, like, you know, a
• 55:15
  Speaker 4: slug line and mid all of this sentence, and I'll
• 55:17
  Speaker 4: write like dialogue that means absolutely nothing availing to me,
• 55:21
  Speaker 4: and then you know, we're going back, and now it's
• 55:22
  Speaker 4: just you know, it's like a narrative in the action lines.
• 55:26
  Speaker 4: It's very odd. And then I usually get frustrated and
• 55:30
  Speaker 4: throw it in the shredder. And then I come back
• 55:33
  Speaker 4: and I start writing something else, and basically, you know,
• 55:37
  Speaker 4: that's how I write. Though is I write the treatment
• 55:39
  Speaker 4: style the other stuff I was? I was kind of
• 55:41
  Speaker 4: sort of kidding around with writing and throwing in the shredder,
• 55:45
  Speaker 4: But no, you.
• 55:46
  Speaker 3: Can't throw this. You can put it away, but you
• 55:48
  Speaker 3: got to come back to it.
• 55:49
  Speaker 4: Yes, yeah, George R. M. Martin said that. He said, yeah,
• 55:53
  Speaker 4: you have to finish everything you start.
• 55:54
  Speaker 3: Yes, Well, everyone knows that the first draft is always garbage.
• 55:58
  Speaker 3: So when you write a first draft, don't show it
• 56:02
  Speaker 3: to anybody because that's just you just have to get
• 56:05
  Speaker 3: it out. And what I've learned is you can't be
• 56:08
  Speaker 3: afraid to write down a line that you know sucks.
• 56:12
  Speaker 3: You just have to write it down. You got to
• 56:14
  Speaker 3: write that scene that sucks, like a character has to
• 56:16
  Speaker 3: convince another character not to jump off that bridge. Just
• 56:20
  Speaker 3: just write the scene, make them talk them down. It
• 56:22
  Speaker 3: could be the shittiest, hokeiest dialogue in the world. And
• 56:25
  Speaker 3: feel forced write it down and move on to the
• 56:27
  Speaker 3: next scene. And then you have a completed draft and
• 56:30
  Speaker 3: you can go back with your bullshit detector and go
• 56:33
  Speaker 3: through and be like, this is bullshit, this is bullshit.
• 56:35
  Speaker 3: I need to make this more interesting, and I need
• 56:38
  Speaker 3: to make this more original. And you know that's the
• 56:41
  Speaker 3: first draft. So when someone hands you a first draft,
• 56:44
  Speaker 3: it better be the third draft. You know what I mean?
• 56:46
  Speaker 3: They tell you we all lie. It's like, hey, it's
• 56:48
  Speaker 3: a first draft because we know there's gonna be problems,
• 56:51
  Speaker 3: but technically it's like the second, third draft. Yeah, with
• 56:54
  Speaker 3: Dude Bro Party Massacre three, we went through fuck hundreds
• 56:58
  Speaker 3: of drafts and the writing process was insane because there
• 57:01
  Speaker 3: was like twelve of us, because we were a big
• 57:04
  Speaker 3: comedy group, and it was the most I think the
• 57:05
  Speaker 3: most intense part about the whole process, other than the
• 57:09
  Speaker 3: Kickstarter campaign was the writing process because there were so
• 57:13
  Speaker 3: many jokes and it got to the point where we
• 57:16
  Speaker 3: weren't even arguing about story. We were arguing about what
• 57:18
  Speaker 3: jokes which is funnier and you know, what direction do
• 57:22
  Speaker 3: we want to take the humor in this and that.
• 57:25
  Speaker 3: So it went through a lot of fucking drafts, a
• 57:27
  Speaker 3: lot of drafts.
• 57:29
  Speaker 4: You know, I'm really happy that all the fake commercials
• 57:32
  Speaker 4: were kept in there because those, I think really added
• 57:36
  Speaker 4: that charm. Oh also, you know, because because you know,
• 57:39
  Speaker 4: like it looks like somebody recorded this off TV and
• 57:42
  Speaker 4: I thought that was awesome too, you know that let
• 57:45
  Speaker 4: me have the.
• 57:46
  Speaker 3: Kind of five second film's tone of commercials. And also
• 57:51
  Speaker 3: like when you recorded it, I don't know if kids
• 57:53
  Speaker 3: kids geesh days, you even remember back in the day
• 57:56
  Speaker 3: before DVR. We use a VCR, and you have to
• 57:58
  Speaker 3: cut out the commercials if you want to have like
• 58:00
  Speaker 3: if a movie's on and you wanted you didn't want
• 58:02
  Speaker 3: to interrupt the flow, you try to cut out the commercials,
• 58:05
  Speaker 3: but you'd always end up with a little bit of commercials.
• 58:07
  Speaker 3: So that was a way that we could poke fun
• 58:09
  Speaker 3: at the eighties and commercialism and and hokey commercials and
• 58:15
  Speaker 3: and still have a five second film feel to the
• 58:17
  Speaker 3: whole thing. That was a lot of fun.
• 58:20
  Speaker 4: And everyone, if you if you haven't seen it yet,
• 58:22
  Speaker 4: I really recommend to check out Dude, bro Party Masker
• 58:25
  Speaker 4: three and uh spoiler alert, there's no first two. So
• 58:30
  Speaker 4: if they so people, I'm sure we're probably gonna be like,
• 58:32
  Speaker 4: what the hell I haven't seen.
• 58:33
  Speaker 3: The first Yeah.
• 58:34
  Speaker 4: A friend of mine actually said that. He was like,
• 58:36
  Speaker 4: why don't I want to watch you do Broke Mascar three?
• 58:38
  Speaker 4: It's like, I haven't seen the first two. I was like,
• 58:39
  Speaker 4: trust me, it's it's part of the joke, and I
• 58:42
  Speaker 4: put it in and when he saw like, oh, it
• 58:44
  Speaker 4: was taped off, taped off a VHS, he was like, oh, okay,
• 58:49
  Speaker 4: I get it now, and then I mean he and
• 58:51
  Speaker 4: he loved the fake commercials too.
• 58:52
  Speaker 3: That's great. Yeah. It was such a dangerous decision to
• 58:56
  Speaker 3: name it the third film, you know, but we we
• 58:59
  Speaker 3: want to do that. We thought it was it's funny
• 59:02
  Speaker 3: to us, and the third part of a trilogy. I mean,
• 59:06
  Speaker 3: you know, out of a horror franchise, the third one
• 59:08
  Speaker 3: is always want to gets a little ridiculous. Yeah, then
• 59:11
  Speaker 3: we're like, fuck it, this is what we want to do.
• 59:14
  Speaker 3: So it's a very difficult film to market because people
• 59:18
  Speaker 3: look at me and they'll be like, what the fuck,
• 59:21
  Speaker 3: But we catch you up. The speed in the first
• 59:22
  Speaker 3: five minutes, which was one of my favorite things, is
• 59:26
  Speaker 3: kind of like telling the story of the first two
• 59:28
  Speaker 3: movies that don't exist in building the mythology, and that
• 59:32
  Speaker 3: was kind of an homage to Friday the thirteenth four
• 59:34
  Speaker 3: where they tell the story through all the kill montages.
• 59:37
  Speaker 3: And that was directed by Joey Scoma. He directed the
• 59:40
  Speaker 3: kill montage and the commercials, and then there was myself
• 59:45
  Speaker 3: and John Salmon who was also the director of photography,
• 59:47
  Speaker 3: and Tom Jacobson who were the other three directors.
• 59:51
  Speaker 2: We'll be right back after a word from our sponsor,
• 59:57
  Speaker 2: and now back to the show.
• 1:00:01
  Speaker 3: We kind of approached it like the Zucker Brothers there's
• 1:00:03
  Speaker 3: so it was kind of like a communal thing. We've
• 1:00:06
  Speaker 3: worked together as five second films for years that we
• 1:00:09
  Speaker 3: all know each other's style and we work great together,
• 1:00:13
  Speaker 3: and it just didn't feel right to have one director
• 1:00:15
  Speaker 3: in charge of everything. We're pretty democratic, which is great
• 1:00:21
  Speaker 3: and also kind of a nightmare because sometimes you gotta,
• 1:00:24
  Speaker 3: you know, it, get to the point when you want
• 1:00:26
  Speaker 3: to figure out a joke you have to kind of
• 1:00:29
  Speaker 3: listen to ten other people and you know, but it
• 1:00:34
  Speaker 3: helps because everyone brought their own unique style to the
• 1:00:38
  Speaker 3: writing process, and like the movie is truly a five
• 1:00:40
  Speaker 3: second film collaboration. And I don't know if you actually
• 1:00:45
  Speaker 3: know this, but do Bro Party Massacre three actually originally
• 1:00:49
  Speaker 3: was a five second film. So we shot that in
• 1:00:53
  Speaker 3: like two thousand and nine as a joke, you know,
• 1:00:57
  Speaker 3: just daily content, and a acency company was kind of
• 1:01:04
  Speaker 3: courting us and they're saying, you guys are really funny,
• 1:01:06
  Speaker 3: but can you do anything longer than five seconds? So
• 1:01:09
  Speaker 3: we made some sketches and we made a joke trailer,
• 1:01:13
  Speaker 3: and we made a joke trailer for Dubro Party Masacer
• 1:01:15
  Speaker 3: three with no intention ever of doing it as a
• 1:01:18
  Speaker 3: real film. We just did it as a as a joke.
• 1:01:21
  Speaker 3: And then years down the road when we were getting
• 1:01:24
  Speaker 3: serious about, Okay, what is our the feature film we
• 1:01:27
  Speaker 3: want to do? And I think it was Joey Scoma
• 1:01:30
  Speaker 3: said let's do Dubro Party Massacre three. I think that
• 1:01:32
  Speaker 3: would be a hilarious movie. I said, yeah, like it's
• 1:01:35
  Speaker 3: you know, we're very We're a gory group. We have
• 1:01:39
  Speaker 3: dark humor. Uh, And it just made sense like all right,
• 1:01:42
  Speaker 3: let's let's do this and yeah, and then it took
• 1:01:46
  Speaker 3: like two years to write it because we wanted to
• 1:01:48
  Speaker 3: make sure it was fucking perfect perfect being bad, you know,
• 1:01:53
  Speaker 3: like a bad like a schlock B movie.
• 1:01:56
  Speaker 4: Well, because you know, Michael, it does. It takes a
• 1:01:58
  Speaker 4: lot of talent to do something that you know exactly
• 1:02:03
  Speaker 4: looks like a B movie, you know it, you know,
• 1:02:04
  Speaker 4: and make sure that you know it doesn't turn into
• 1:02:08
  Speaker 4: something like I don't know, because because like I don't know,
• 1:02:12
  Speaker 4: it has to be Sincere, you know exactly Sincere. That
• 1:02:15
  Speaker 4: sounds like that's where otherwise.
• 1:02:17
  Speaker 3: Have you ever seen the Lost Skeleton of Cadaverra? No?
• 1:02:20
  Speaker 3: I have. I've seen a lot of the I hate
• 1:02:22
  Speaker 3: that movie. I'm so disappointed by it because I saw
• 1:02:24
  Speaker 3: the trailer a long time and it's probably like a
• 1:02:26
  Speaker 3: two thousand and something and it's black and white B
• 1:02:30
  Speaker 3: movie kind of like about it's kind of like Edwood style,
• 1:02:35
  Speaker 3: you know, it's like they're they're aliens, and then there's
• 1:02:37
  Speaker 3: like a ghost and a walking skeleton and it's all
• 1:02:40
  Speaker 3: cheap and the trailer is fantastic, and then you watch
• 1:02:43
  Speaker 3: the movie like this sucks. This sucks so bad because
• 1:02:47
  Speaker 3: it's trying hard to be bad and it's just there's
• 1:02:51
  Speaker 3: no humor and you know, it feels forced and it's
• 1:02:54
  Speaker 3: just not sincere. It just it just doesn't feel like
• 1:02:57
  Speaker 3: a sincere film. Like the why Rooms so great is
• 1:03:00
  Speaker 3: because it's very sincere. It's a very you know, like
• 1:03:04
  Speaker 3: he's pouring his heart out and it's bad. But with dude, Bro,
• 1:03:09
  Speaker 3: we like you know, Tom and Joey and I and
• 1:03:13
  Speaker 3: we we love horror films. I love them. We love
• 1:03:17
  Speaker 3: eighties horror films, so we wanted to have fun with
• 1:03:22
  Speaker 3: it but still have great gore and you know, cheesy
• 1:03:26
  Speaker 3: scares and like yeah, but you know the most important
• 1:03:31
  Speaker 3: thing is like what's the story and and and and
• 1:03:36
  Speaker 3: the characters. And the problem with do Bro is like,
• 1:03:38
  Speaker 3: there's two maybe characters, but we still had to we
• 1:03:41
  Speaker 3: still had fun telling them. And like you know, Brac
• 1:03:44
  Speaker 3: is like his he immediately tells you his motivation. I'm
• 1:03:46
  Speaker 3: not here to make friends. I'm here to find out
• 1:03:48
  Speaker 3: who murdered my dead my two win brother and get revenge.
• 1:03:51
  Speaker 3: Like that's what he's done. That's what he's doing. He's
• 1:03:54
  Speaker 3: a clear goal. He's like, oh, I'm here to find
• 1:03:56
  Speaker 3: out who murdered my twin brother and get revenge. I'm
• 1:03:59
  Speaker 3: not here to make friends. And of course at the
• 1:04:00
  Speaker 3: end he makes friends. And the big joke that one
• 1:04:04
  Speaker 3: of the smartest writing moves is alec ohen had and
• 1:04:08
  Speaker 3: he became the head writer. Towards the end, uh, he said,
• 1:04:11
  Speaker 3: the dude bros Are terrible people. They're not the good guys,
• 1:04:14
  Speaker 3: they're the bad guys. Mother face, who's the killer, is
• 1:04:17
  Speaker 3: actually the hero and doing the right by killing these
• 1:04:22
  Speaker 3: dude bros. And we're like, oh my god, you're right.
• 1:04:24
  Speaker 3: That's that's the end of the movie. That's the third
• 1:04:27
  Speaker 3: act is like these guys are monsters and and that
• 1:04:33
  Speaker 3: kind of cracked the code and opened up a lot
• 1:04:35
  Speaker 3: of a lot of interesting ideas. It was great, Like
• 1:04:40
  Speaker 3: the big confrontation between Mother Face and and uh Brent
• 1:04:45
  Speaker 3: at the end came out of that idea. We're like,
• 1:04:48
  Speaker 3: holy shit, this is this is how it's supposed to be. Yeah.
• 1:04:53
  Speaker 4: Yeah, And then there's a good piece of of of advice,
• 1:04:55
  Speaker 4: of writing advice, because you know, one thing I've I've
• 1:04:58
  Speaker 4: learned too is this running teacher Whence told me that Dave,
• 1:05:02
  Speaker 4: the antagonist of the film, is actually the person moving
• 1:05:06
  Speaker 4: the film because it's their actions that cause a reaction
• 1:05:09
  Speaker 4: from the protagonist.
• 1:05:11
  Speaker 3: Absolutely. Yeah. And the best villains are villains that don't
• 1:05:15
  Speaker 3: think they're villains, you know, you know, like I mean
• 1:05:20
  Speaker 3: other with the horror film, you know, like you know Jason,
• 1:05:23
  Speaker 3: Jason doesn't know he's a villain. He's just doing it.
• 1:05:25
  Speaker 3: He's getting revenge, you know, Freddie is evil, but he's
• 1:05:29
  Speaker 3: having fun with it, you know. And that's what Mother
• 1:05:32
  Speaker 3: Faces like. She's having fun with it. She's being a killer.
• 1:05:34
  Speaker 3: She's getting joy killing it because she's enacting revenge because
• 1:05:37
  Speaker 3: they killed her mother. And that's why she's mother Face.
• 1:05:40
  Speaker 3: She wears the face of her mother. Ah, and yeah,
• 1:05:46
  Speaker 3: she's she's actually right. The du bros are terrible people
• 1:05:50
  Speaker 3: and so the thing is like they're not likable characters.
• 1:05:53
  Speaker 4: Michael, I would definitely like to have you come back
• 1:05:55
  Speaker 4: on sometime soon, you know, do a part two where
• 1:05:58
  Speaker 4: we could even get even more in the screenwriting, you know,
• 1:06:01
  Speaker 4: and stuff like that. You know, some other guests have
• 1:06:04
  Speaker 4: done it as well, and it's really cool because we
• 1:06:06
  Speaker 4: know one topic we sort of just hit on and
• 1:06:09
  Speaker 4: we end up coming back and doing like, you know,
• 1:06:11
  Speaker 4: a part two type of deal.
• 1:06:12
  Speaker 3: Yes, yes, that'd be great.
• 1:06:14
  Speaker 4: So you know, well, then Michael, in closing, you know,
• 1:06:17
  Speaker 4: is there anything that you wanted to say or anything
• 1:06:19
  Speaker 4: anything you wanted to cover that we didn't get a
• 1:06:21
  Speaker 4: chance to to sort of put a period at the
• 1:06:22
  Speaker 4: end of this whole discussion.
• 1:06:23
  Speaker 3: Okay, yes, when you make your first film and when
• 1:06:27
  Speaker 3: you write your first script that you know you're gonna
• 1:06:29
  Speaker 3: make yourself, don't have forty speaking roles, don't have fifty locations,
• 1:06:36
  Speaker 3: don't have animals in it, don't have fire in it,
• 1:06:39
  Speaker 3: don't have water, have people swimming in a lake or
• 1:06:43
  Speaker 3: body of water. If you want to have union actors,
• 1:06:47
  Speaker 3: because you're going to have to have insurance and all
• 1:06:50
  Speaker 3: these things like stunt coordinators and technics, technicians and lifeguards
• 1:06:57
  Speaker 3: and a water truck and you know, like and we
• 1:07:02
  Speaker 3: did all of that and dude, bro, because we were
• 1:07:05
  Speaker 3: crazy and we wanted to make it our way and
• 1:07:08
  Speaker 3: it kind of was. It was a huge battle. So
• 1:07:10
  Speaker 3: if you want to do your first film, just like
• 1:07:14
  Speaker 3: three people and like in a couple of locations and
• 1:07:17
  Speaker 3: just keep it simple. No kids got to get the
• 1:07:20
  Speaker 3: studio teachers and all this shit. So if you don't
• 1:07:22
  Speaker 3: have any money, shoot shoot with what right with right
• 1:07:26
  Speaker 3: for what you have. That's my advice. So the first
• 1:07:30
  Speaker 3: film you're going to do, you know, it doesn't have
• 1:07:33
  Speaker 3: to be you know, it doesn't have to be Lawrence
• 1:07:36
  Speaker 3: of Arabia. It can be very simple, like you know,
• 1:07:39
  Speaker 3: short term twelve or something.
• 1:07:43
  Speaker 4: Yeah, you know, And that is very good advice because
• 1:07:45
  Speaker 4: I did the same thing. You know, I once, you know,
• 1:07:48
  Speaker 4: after I did my student film, my next film, I
• 1:07:50
  Speaker 4: tried to do way too much and ended up needing
• 1:07:54
  Speaker 4: needing uh you know, squibs and stuff like that. I
• 1:07:57
  Speaker 4: was and I and finally I said, what the hell
• 1:07:59
  Speaker 4: I get myself into? It ended up just becoming a
• 1:08:03
  Speaker 4: complete freaking mess. Yeah, And but that that is good advice,
• 1:08:06
  Speaker 4: But if you want.
• 1:08:07
  Speaker 3: To fucking do it, and you you just you just
• 1:08:09
  Speaker 3: have to realize that it's not going to be easy,
• 1:08:12
  Speaker 3: and it's you know, just do it. If you want
• 1:08:15
  Speaker 3: to do it, you gotta do it. But you got
• 1:08:16
  Speaker 3: to be willing to accept the bed that you have written. Yes,
• 1:08:23
  Speaker 3: So yeah, I just you know, go out there and
• 1:08:25
  Speaker 3: make movies. That's all I gotta say. Just do it.
• 1:08:29
  Speaker 4: So Michael, where can people find you? Bight online?
• 1:08:30
  Speaker 3: They can find me at m R RUSTLA m R
• 1:08:35
  Speaker 3: R O U S S E L E T or
• 1:08:39
  Speaker 3: at five s F for five Second Films and YouTube
• 1:08:44
  Speaker 3: five Second Films or five Second Films dot com. But
• 1:08:46
  Speaker 3: more importantly dude bro Party Massacre three dot com to
• 1:08:50
  Speaker 3: buy the DVD or Blu ray if you are domestic,
• 1:08:54
  Speaker 3: or you can download it on iTunes internationally or illegally
• 1:08:58
  Speaker 3: if you want to be a dick about it. But
• 1:09:00
  Speaker 3: the the iTunes, I mean the DVD and the download
• 1:09:05
  Speaker 3: on Deubro Partymasacre three dot com has a lot of extras,
• 1:09:10
  Speaker 3: commentary and a forty five fifty minute feature ed and
• 1:09:16
  Speaker 3: I've been making up process. It's bonkers. You can see
• 1:09:18
  Speaker 3: all the crazy shit we had to do. It's a
• 1:09:21
  Speaker 3: crazy film, so I think you know, if you open
• 1:09:24
  Speaker 3: up a couple of beers and watch it with your friends,
• 1:09:26
  Speaker 3: you're gonna have fun.
• 1:09:27
  Speaker 4: Yeah, and now everyone, I will link to all of
• 1:09:30
  Speaker 4: Michael's links in the show notes. Michael, I want to
• 1:09:33
  Speaker 4: say thank you so much for coming on. Like I said,
• 1:09:35
  Speaker 4: I was a big I'm a big fan of Dubrooke,
• 1:09:37
  Speaker 4: Punnymasaker three and honestly I can't wait see what you
• 1:09:40
  Speaker 4: guys come up with next.
• 1:09:41
  Speaker 3: Thanks dude, really appreciated. Dave. Thanks for having me.
• 1:09:44
  Speaker 4: Oh my pleasure, my friend. I will talk to you soon.
• 1:09:46
  Speaker 3: Yeah, and if you ever want to talk more about writing,
• 1:09:48
  Speaker 3: go ahead hit me up. I will.
• 1:09:51
  Speaker 4: I believe me. I will.
• 1:09:52
  Speaker 3: All right, rock and roll, have a great one.
• 1:09:54
  Speaker 4: I take care of my friend Bubeba.
• 1:09:56
  Speaker 2: I want to thank Dave so much for doing such
• 1:09:58
  Speaker 2: a great job on this episode. If you want to
• 1:10:00
  Speaker 2: get links to anything we spoke about in this episode,
• 1:10:02
  Speaker 2: head over to the show notes at indie film huscle
• 1:10:04
  Speaker 2: dot com. Forward slash eight sixty nine, and if you
• 1:10:07
  Speaker 2: have it already, please head over to Filmmaking podcast dot com.
• 1:10:11
  Speaker 2: Subscribe and leave a good review for the show. It
• 1:10:15
  Speaker 2: really helps us out a lot, guys. Thank you again
• 1:10:17
  Speaker 2: so much for listening. Guys, as always, keep that hustle going,
• 1:10:20
  Speaker 2: keep that dream alive, Stay safe out there, and I'll
• 1:10:22
  Speaker 2: talk to you soon.
• 1:10:24
  Speaker 1: Thanks for listening to the Indie Film Hustle podcast at
• 1:10:27
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• 1:10:31
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• 1:10:33
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