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IFH 812: How Tremors turned into a Masterclass in Storytelling with S.S Wilson · 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.
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  Speaker 2: Welcome to the Indie Film Muscle Podcast, Episode number eight twelve,
• 0:16
  Speaker 2: Cinema Should Make You Forget. You're sitting in a theater,
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  Speaker 2: Roman Polanski.
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  Speaker 1: Broadcasting from the back alley in Hollywood. It's the Indie
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  Speaker 1: Film Hustle Podcast, where we show you how to survive
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  Speaker 1: and thrive as an indie filmmaker in the jungles of
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  Speaker 1: the film biz.
• 0:32
  Speaker 3: And here's your host, Alex Ferrari.
• 0:35
  Speaker 2: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
• 0:38
  Speaker 2: I am your humble host Alex Ferrari. Today's show is
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  Speaker 2: sponsored by Rise of the Film Entrepreneur How to turn
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  Speaker 2: your independent film into a profitable business. It's harder today
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  Speaker 2: That's film bizbook dot com. Enjoy today's episode with guest host.
• 1:52
  Speaker 3: Dave Bullis my guest on today's episode. Has one of
• 1:56
  Speaker 3: the most successful horror franchises of all time. Whether you've
• 2:01
  Speaker 3: seen the first Tremors or whether you've seen any of
• 2:04
  Speaker 3: the other Tremors, or even the TV series or even
• 2:07
  Speaker 3: the new TV series that's coming out. He doesn't have
• 2:09
  Speaker 3: anything to do with the new TV series coming out,
• 2:11
  Speaker 3: but still it's based off of his of his concepts.
• 2:14
  Speaker 3: You know, there's a lot to peakle lean from this
• 2:15
  Speaker 3: episode because when they make Tremors one, you know they
• 2:18
  Speaker 3: had to watch their budget because so what do they do, Well,
• 2:22
  Speaker 3: they put their monster offscreen and underground. Then at the
• 2:26
  Speaker 3: right moment of the reveal, you know, it's revealed in
• 2:28
  Speaker 3: stages and stuff like that. It kind of reminds me
• 2:30
  Speaker 3: of Reservoir Docs. I was watching that again. Reservoir Docs.
• 2:33
  Speaker 3: You never see the bank robbery, and I think the
• 2:35
  Speaker 3: main reason for that is it's not only a really
• 2:38
  Speaker 3: nice creative choice, but also because it saves money. You know,
• 2:41
  Speaker 3: when when you're making these first movies, you know, the
• 2:45
  Speaker 3: creative choices have to rule the day. So again, this
• 2:49
  Speaker 3: is what this was all about, you know, is making
• 2:51
  Speaker 3: a monster movie where they can control the rights and
• 2:54
  Speaker 3: you know, keep everything on the budget. So how do
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  Speaker 3: you do that? Well, we're gonna find out today with
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  Speaker 3: guests SS Wilson. Hey, Steve, thanks off for coming on
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  Speaker 3: the show.
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  Speaker 4: Sir, You're welcome. You're welcome.
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  Speaker 3: So, you know, Steve, just to get started, I wanted
• 3:08
  Speaker 3: to ask what got you into the film industry. Was
• 3:12
  Speaker 3: you know, did you like films as you know, growing
• 3:14
  Speaker 3: up or is it just sort of one of those
• 3:16
  Speaker 3: things where one day you found yourself, you know, sort
• 3:18
  Speaker 3: of writing screenplays or on set somewhere well as a
• 3:23
  Speaker 3: tense to happen.
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  Speaker 4: Right. My story is a little different. I did love films.
• 3:27
  Speaker 4: I was a huge film buff as a kid, and
• 3:29
  Speaker 4: my dad supported that. And early on, when I was
• 3:32
  Speaker 4: I don't know, ten or eleven, he bought a eight
• 3:34
  Speaker 4: millimeter camera and I was one of those kids who
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  Speaker 4: made movies in the backyard and tried to do special
• 3:40
  Speaker 4: effects with gunpowder and gasoline, which he also supported. Interestingly,
• 3:45
  Speaker 4: you know. And then my dad, then when I went
• 3:50
  Speaker 4: off to college, actually changed my life. I went off
• 3:54
  Speaker 4: to college and I don't know what I should do.
• 3:56
  Speaker 4: I guess I'll be a psychologist like my dad. That's
• 3:58
  Speaker 4: what he was. And he came up after I'd been
• 4:01
  Speaker 4: there a week or so he said, you know, what
• 4:03
  Speaker 4: are your courses? And I said, oh, is what I
• 4:05
  Speaker 4: signed up for. And he said, well, this makes no sense.
• 4:08
  Speaker 4: Even making movies in the backyard for ten years, that's
• 4:11
  Speaker 4: going up. And he went to my advisors and he said,
• 4:14
  Speaker 4: do you have anything like film or movies of television?
• 4:16
  Speaker 4: And he changed my whole course schedule. This is absolutely true.
• 4:20
  Speaker 4: And I had never thought about actually trying to do
• 4:22
  Speaker 4: it for a living, even though I'd been making movies
• 4:24
  Speaker 4: for years and years and doing stop motion animation. And
• 4:26
  Speaker 4: then I you know, I never looked back. I went, oh, well, yeah,
• 4:28
  Speaker 4: because then, you know, then there were people in the
• 4:30
  Speaker 4: in the departments. We didn't have much of a film
• 4:32
  Speaker 4: program at Penn State all those years ago, like tell
• 4:37
  Speaker 4: one television course and like two film courses, and you
• 4:39
  Speaker 4: had to borrow cameras from the local PBS station whatnot.
• 4:43
  Speaker 4: But uh, yeah, but that's what happened. And then I
• 4:48
  Speaker 4: h then I got drafted that I went to USC
• 4:51
  Speaker 4: Film Graduate School, and uh and there met a lot
• 4:55
  Speaker 4: of the people that I still work with. H And
• 5:01
  Speaker 4: even though it took almost ten years from graduating USC
• 5:04
  Speaker 4: to actually break in and make short circuit, we were
• 5:08
  Speaker 4: working in the film business making short films and little
• 5:11
  Speaker 4: short animated things and films for schools and libraries, TV
• 5:15
  Speaker 4: commercials and whatnot.
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  Speaker 3: You know, it's funny, Steve, that your your dad was
• 5:19
  Speaker 3: able to change your whole curriculum because you know, I
• 5:23
  Speaker 3: actually used to work at a college and grades and
• 5:26
  Speaker 3: all that stuff were so secretive. They actually fired a
• 5:29
  Speaker 3: professor one time because he told a student's father what
• 5:32
  Speaker 3: he got in the class as a final grade before
• 5:35
  Speaker 3: the kid with the kid did, and they actually just
• 5:37
  Speaker 3: fired the professor on the spot because of it. Wow, yeah,
• 5:42
  Speaker 3: it's just but no, that just it's funny though. You know,
• 5:45
  Speaker 3: it's funny how college has changed so much. But you know,
• 5:49
  Speaker 3: you went to Penn State, and you know I've actually,
• 5:52
  Speaker 3: you know, been up there. I actually attended a Penn
• 5:54
  Speaker 3: State football game. I didn't go there for college, but
• 5:56
  Speaker 3: you know I've been there once.
• 5:57
  Speaker 4: Hitney Alliance.
• 6:00
  Speaker 3: Small world, right, because you're out in LA now right,
• 6:03
  Speaker 3: I'm actually I live in Arizona. Oh okay, you know
• 6:08
  Speaker 3: I actually have a few friends out there. To go
• 6:10
  Speaker 3: to LA went as needed, I said, So, you know,
• 6:14
  Speaker 3: just to ask this, Penn stated ever asked you to
• 6:16
  Speaker 3: come back to talk about screenwriting or directing or anything.
• 6:19
  Speaker 4: I've been bad. It's funny, ironic timing. You know, they
• 6:23
  Speaker 4: occasionally send me alumni stuff. I've never let them even
• 6:26
  Speaker 4: know what I do. I should do that, but no
• 6:29
  Speaker 4: they haven't. They haven't tracked me. Now, they have no idea.
• 6:31
  Speaker 4: You know who I am ring. I was kind of
• 6:33
  Speaker 4: an invisible student, geeky guy, and I just went through
• 6:37
  Speaker 4: and left.
• 6:41
  Speaker 3: Well, I thought me they'd have some kind of alumni,
• 6:44
  Speaker 3: you know, sort of headhunter trying to kept tracking all
• 6:47
  Speaker 3: this stuff.
• 6:49
  Speaker 4: You know, but I have I've never responded to any
• 6:51
  Speaker 4: of it, so I really actually have it on my
• 6:53
  Speaker 4: desk as we speak. I said, oh, I should let
• 6:55
  Speaker 4: them know. They probably would like to know.
• 6:57
  Speaker 3: Well, then you know, you could just an this podcast instead, say,
• 7:01
  Speaker 3: got to go back. Just listen to this podcast on
• 7:04
  Speaker 3: talking to Dave. So you know you brought up Short Circuit,
• 7:07
  Speaker 3: by the way, I watched that movie religiously as a kid,
• 7:10
  Speaker 3: by the way, So I want to ask you know
• 7:14
  Speaker 3: about your whole writing style. I'm actually always fascinated by
• 7:17
  Speaker 3: people's writing styles and their approach to their own art.
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  Speaker 3: So I wanted to ask you, Steve, how do you
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  Speaker 3: approach writing? You know? Do you know, do you subscribe
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  Speaker 3: to any sort of methods? Do you do very long
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  Speaker 3: treatments first, or do you just sort of jump right
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  Speaker 3: into writing.
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  Speaker 4: Brent and I, who have written practically everything together at
• 7:35
  Speaker 4: least certainly everything has been made, and we've been working
• 7:39
  Speaker 4: since the days at USC, both in the short films,
• 7:42
  Speaker 4: and then we wrote Short Circuit, which was our break
• 7:46
  Speaker 4: We have a very Our approach is outline, outline, outline.
• 7:52
  Speaker 4: We don't normally write a treatment for tremors. We did
• 7:55
  Speaker 4: only because we were trying to sell it and we
• 7:57
  Speaker 4: couldn't sell it as a pitch for because well we
• 8:00
  Speaker 4: couldn't and that didn't have the treatment didn't sell either,
• 8:03
  Speaker 4: by the way. But let me go back. So we
• 8:06
  Speaker 4: outline in great detail. We are not comfortable until we
• 8:09
  Speaker 4: know where the story is going, and we're very story oriented.
• 8:16
  Speaker 4: Some people can start, you know, sort of with a character.
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  Speaker 4: Don't just say, oh, there's this character and he's a
• 8:21
  Speaker 4: drug addict and he's got these problems and I'm just
• 8:24
  Speaker 4: gonna think about what he does because he's a drug addict.
• 8:27
  Speaker 4: We can't do that. We've got to know where we're going.
• 8:30
  Speaker 4: So and we can't really get excited about something until
• 8:33
  Speaker 4: we know where we're going. Even if it's a rewrite,
• 8:35
  Speaker 4: which you know, you get offered quite a bit in Hollywood.
• 8:37
  Speaker 4: It's pretty much all Hollywood doesn't anymore, even if it's
• 8:41
  Speaker 4: a rewrite, we will sit down before we even say
• 8:43
  Speaker 4: yes to a job. We'll say, okay, we got to
• 8:45
  Speaker 4: go through this movie, figure out what we would change
• 8:48
  Speaker 4: or maybe they're telling us what they want change. We
• 8:51
  Speaker 4: got to be sure that we can make that work,
• 8:53
  Speaker 4: and we got to know where it's going because your
• 8:55
  Speaker 4: ending is is so important in a movie in our opinion.
• 8:59
  Speaker 4: In fact, somebody well known, maybe one of the Zucker brothers,
• 9:03
  Speaker 4: said you're ending as fifty percent of the movie. Somebody
• 9:06
  Speaker 4: said that, and we kind of believe that. So we
• 9:09
  Speaker 4: got to know where we're going, what the surprises are,
• 9:12
  Speaker 4: where the twists and turns are so long answer to
• 9:15
  Speaker 4: that question is we outline like crazy. In fact, we
• 9:18
  Speaker 4: used to drive studios crazy. And back in the day,
• 9:20
  Speaker 4: early on when we were getting started, you used to
• 9:23
  Speaker 4: get twelve weeks was a normal time to write a script,
• 9:26
  Speaker 4: and we would outline for eight and they'd be calling
• 9:30
  Speaker 4: us him so you're writing, are you writing well now?
• 9:32
  Speaker 4: Or so outlining They're like, are you out of your mind?
• 9:36
  Speaker 4: But then we would write it and you know, four
• 9:38
  Speaker 4: weeks because it was done.
• 9:42
  Speaker 3: So you know, you mentioned tremors when you finally started outlining.
• 9:45
  Speaker 3: You know, did was there ever a sort of an
• 9:48
  Speaker 3: impetsus for that movie where you said, you know what,
• 9:50
  Speaker 3: this is where we want to take it? So you know,
• 9:52
  Speaker 3: you know what I mean? So we already know, you
• 9:54
  Speaker 3: know what the monster's going to be, and we sort
• 9:56
  Speaker 3: of know where the location is going to be. It's
• 9:58
  Speaker 3: going to be a perfection. Was that a part of
• 10:01
  Speaker 3: it or did that sort of come in during the
• 10:03
  Speaker 3: outlining phase.
• 10:05
  Speaker 2: We'll be right back after a word from our sponsor,
• 10:12
  Speaker 2: and now back to the show.
• 10:15
  Speaker 4: Well, there again, we outlined it in great detail, worked
• 10:18
  Speaker 4: on it with Ron Underwood. Because the goal with Tremors
• 10:21
  Speaker 4: was to become producers. We were frustrated that everything we
• 10:26
  Speaker 4: had written up till then we discovered naive that we
• 10:31
  Speaker 4: writers that we were, that writers aren't really welcome on
• 10:33
  Speaker 4: this slid. Once you're done with this script, they don't
• 10:35
  Speaker 4: want to hear from you again. And we would go
• 10:37
  Speaker 4: to movies and that we had written and go, boy,
• 10:40
  Speaker 4: that's that's not what I would have done. And our
• 10:43
  Speaker 4: agent told us, well, look, you guys want to produce,
• 10:45
  Speaker 4: then you want control, and to get that, you're going
• 10:48
  Speaker 4: to have to control the material from the get go.
• 10:50
  Speaker 4: You can't be rewriting the studio's material. Blah blah blah.
• 10:53
  Speaker 4: So she said, what do you have in your portfolio
• 10:57
  Speaker 4: and your piles of notes? And we came up with
• 11:00
  Speaker 4: we came out of our piles of notes with we
• 11:03
  Speaker 4: got this underground monster idea and she said, that's kind
• 11:07
  Speaker 4: of cool. I've never heard of that before. And uh so,
• 11:11
  Speaker 4: first we sat down with Ronto, We outlined the whole story,
• 11:13
  Speaker 4: figured out who the characters were, where it was going
• 11:16
  Speaker 4: to go, and then we pitched it all over town.
• 11:18
  Speaker 4: Couldn't sell it, and then she said, well, let's uh
• 11:22
  Speaker 4: maybe should write a treatment, very detailed, like twenty five
• 11:24
  Speaker 4: page treatment. Did not sell send it to everybody, so
• 11:28
  Speaker 4: she well, I guess you're going to have to write
• 11:29
  Speaker 4: it on spec. So in between you know, the regular
• 11:32
  Speaker 4: Hollywood movies we were writing, we were writing Tremors on
• 11:35
  Speaker 4: spec and uh then took that all over town and
• 11:41
  Speaker 4: there was it was a huge Our agent was a
• 11:45
  Speaker 4: huge part of getting this done. She was central. We
• 11:48
  Speaker 4: call her the Mother of Tremors. This is Nancy Roberts
• 11:51
  Speaker 4: later our partner in Stampede Entertainment. Uh uh. She handpicked
• 11:57
  Speaker 4: you know who this script was going to. She did
• 11:58
  Speaker 4: what an agent really is to do. She handpicked who
• 12:01
  Speaker 4: the scripts and she knew the studio people. She told
• 12:03
  Speaker 4: us in advance what they were going to say. You know,
• 12:07
  Speaker 4: there were there were situations where because of her relationships,
• 12:11
  Speaker 4: there were certain times if she had a spec script,
• 12:13
  Speaker 4: she couldn't not show it to certain people because then
• 12:16
  Speaker 4: they would be mad that they were shut out of
• 12:17
  Speaker 4: the process. So she said, okay, this is going to
• 12:20
  Speaker 4: be weird. I have to send this to Disney. They
• 12:22
  Speaker 4: are going to stay we we hate this because it's
• 12:26
  Speaker 4: got so much dust in it. They had dusts and
• 12:29
  Speaker 4: we're like what, Sure enough, that's exactly what came back.
• 12:35
  Speaker 4: And all of this was, of course off the record,
• 12:36
  Speaker 4: you know, under the wire. But she got off the phone.
• 12:39
  Speaker 4: I think I was there at some point. No, No,
• 12:41
  Speaker 4: she was on the phone to somebody Disney, and they
• 12:43
  Speaker 4: were passing a very polite way, Well it's not right
• 12:46
  Speaker 4: for us at this time, and she said, come on,
• 12:49
  Speaker 4: Heiser doesn't like dust on the other end. But that's
• 12:55
  Speaker 4: all here, really true. And then she handpicked Jim Jacks, wonderful,
• 12:58
  Speaker 4: wonderful executive, cloud sick, old school executive who who at Universal,
• 13:05
  Speaker 4: who loved movies, loved all kinds of movies, knew exactly
• 13:10
  Speaker 4: what Tremors was. He saw exactly it's B movie, monster
• 13:13
  Speaker 4: movie roots and she knew that Jim would get it
• 13:18
  Speaker 4: and he would fight for it at Universal, which is
• 13:20
  Speaker 4: exactly what happened. And then she enlisted Gail and herd.
• 13:23
  Speaker 4: She was going to wrought Galeen hurd In because Gail
• 13:25
  Speaker 4: Anne looked at our buddy Ron's short movies, which is
• 13:29
  Speaker 4: all he had at the time. He had not done
• 13:31
  Speaker 4: a feature when we did Tremors, and the studio was like, wow,
• 13:33
  Speaker 4: we're gonna hand off this movie to a guy who's
• 13:36
  Speaker 4: only directed films for schools and libraries. And Gail looked
• 13:39
  Speaker 4: at the movies. Fun, the guy's a filmmaker. Don't worry
• 13:41
  Speaker 4: about it. And then she shepherded us, especially at the beginning,
• 13:46
  Speaker 4: you know, made sure we weren't going off the rails
• 13:49
  Speaker 4: some way to get her in trouble. As she was
• 13:51
  Speaker 4: executive producer. She saw the dailies and said, good, is
• 13:55
  Speaker 4: it gonna work?
• 13:57
  Speaker 3: Yeah, you know, I really like Tremors. I'm gonna say why, Steve,
• 14:01
  Speaker 3: because you know, first, it's it just seems everything happens naturally,
• 14:06
  Speaker 3: you know what I mean. It's you know, and again
• 14:08
  Speaker 3: when you said you were you started with characters that
• 14:10
  Speaker 3: you know when you were working with the idea, it's
• 14:12
  Speaker 3: because you know, all those characters seem like they're real
• 14:15
  Speaker 3: people who live in that world and they all see
• 14:17
  Speaker 3: you know, and when they you know, when some of
• 14:19
  Speaker 3: them finally die, for anyone listening, I'm not who hasn't
• 14:21
  Speaker 3: seen it yet, I'm not gonna spoil it, but for anyone,
• 14:24
  Speaker 3: when they finally die, you know, you actually say, oh
• 14:26
  Speaker 3: my gosh, you know, there isn't a ton of guys
• 14:28
  Speaker 3: you know that are just getting mall. These are all
• 14:30
  Speaker 3: the characters right here. So when they finally die, when
• 14:33
  Speaker 3: not when some of them die, they go, oh my gosh,
• 14:36
  Speaker 3: you know, that actually is impactful in the story. It's
• 14:39
  Speaker 3: those escalating circumstances, you know what I mean. And even
• 14:42
  Speaker 3: with oh, well, you know, you're very welcome and uh,
• 14:46
  Speaker 3: you know, and because when when when you see the
• 14:49
  Speaker 3: worm for the first time, you think that's the monster
• 14:51
  Speaker 3: and then it becomes bigger, and you're always escalating that
• 14:53
  Speaker 3: further and further and further, and it's always, you know,
• 14:56
  Speaker 3: they they find a solution, the problem escalates, they find
• 14:59
  Speaker 3: a solution, problem escalates. I mean that that's just it's phenomenal.
• 15:03
  Speaker 3: And I don't know if you know who Red Letter
• 15:04
  Speaker 3: Media is, but they actually are a popular online review group,
• 15:10
  Speaker 3: and they actually gave it a you know, they actually
• 15:12
  Speaker 3: have this one segment where they talk about movies they like,
• 15:14
  Speaker 3: and they actually review Tremors and they said it's one
• 15:17
  Speaker 3: of their favorite movies.
• 15:17
  Speaker 4: So it's always not to hear all of the things you're saying.
• 15:21
  Speaker 4: We worked very hard on. They were all very important
• 15:23
  Speaker 4: to us. We my partner is not a B movie
• 15:26
  Speaker 4: monster fan. I saw them all up until the mid
• 15:30
  Speaker 4: seventies or so. I saw everything, and I knew all
• 15:35
  Speaker 4: the cliches we were playing with. My partner is just
• 15:38
  Speaker 4: all about character. And again and both of us it
• 15:41
  Speaker 4: was very important that yes, the characters matter, that they
• 15:47
  Speaker 4: seemed that the plot, things that happened seemed to come
• 15:50
  Speaker 4: naturally out of the situation. And and even even the
• 15:55
  Speaker 4: monsters are consistent in what they do. You know, they
• 15:57
  Speaker 4: don't change the rules, they don't suddenly become indutructor or
• 16:00
  Speaker 4: anything like that.
• 16:02
  Speaker 3: And one other compliment I want to give you too,
• 16:04
  Speaker 3: is the way that you constructed this with sound, because
• 16:08
  Speaker 3: you know what I mean, Like in the beginning, when
• 16:10
  Speaker 3: Earl and I forget Kevin Bacon's character, Uh yeah, foul yeah, uh.
• 16:17
  Speaker 3: Earl and Valen they're looking for you know, uh, the
• 16:19
  Speaker 3: the the doctor. They're you know, they're not yelling his name,
• 16:23
  Speaker 3: they're just sort of walking around and you could really
• 16:25
  Speaker 3: you know, they're hearing the planks walk, you hear the
• 16:27
  Speaker 3: bucket kick, and you're you know, and then you know,
• 16:29
  Speaker 3: valsas we know, where's that music coming from?
• 16:31
  Speaker 4: You know what I mean?
• 16:32
  Speaker 3: And you know, and and it just it always escuts
• 16:34
  Speaker 3: with that sound. And then when when you have Chang's
• 16:37
  Speaker 3: drug Store, you have that that that refrigerator that always
• 16:40
  Speaker 3: makes that noise, and then that causes you know, further conflict.
• 16:43
  Speaker 3: I mean, that's really really good writing and using that
• 16:46
  Speaker 3: audio for filmmaking.
• 16:47
  Speaker 4: Oh yes, was well, we knew sound was gonna be critical.
• 16:50
  Speaker 4: We were a low budget movie and we and that's
• 16:52
  Speaker 4: why we that's part of the reason we picked Underground
• 16:55
  Speaker 4: Monster as one of the ideas that we decided to develop.
• 16:59
  Speaker 4: We thought, oh, well, are underground most of the time,
• 17:01
  Speaker 4: we'll never see them. Heaven knows. We had endless problems
• 17:04
  Speaker 4: even even though we in theory weren't seeing them. But
• 17:07
  Speaker 4: we knew that sound was gonna be critical. We had
• 17:10
  Speaker 4: great sound people, you know, and it was you know,
• 17:12
  Speaker 4: years ago people have asked me, you know, what, what
• 17:14
  Speaker 4: is the base sound of a grab BOYD That sadly
• 17:17
  Speaker 4: I don't know, and I you know, I've lost track
• 17:19
  Speaker 4: of the people who invented that sound.
• 17:24
  Speaker 3: Yeah, you know I because for everyone that's seen the movie,
• 17:27
  Speaker 3: you know, that's that sound that they make, you know,
• 17:29
  Speaker 3: and it's you know, it just all ties them very
• 17:31
  Speaker 3: well together. And everyone I'm gonna link to Tremors in
• 17:34
  Speaker 3: the show notes to file off Amazon or Best Buy,
• 17:37
  Speaker 3: because it's right, it's totally recommended watching. I remember seeing
• 17:40
  Speaker 3: Tremors years ago, Steve, and it just blew me away.
• 17:43
  Speaker 3: But see, and I didn't know what I was watching
• 17:44
  Speaker 3: because you know, now, you know, I've I've studied filmmakers.
• 17:47
  Speaker 3: I've tell you this. When I go back, now I can,
• 17:49
  Speaker 3: I can sort of go through with a surgeon scalpel,
• 17:52
  Speaker 3: and I can pick out all this stuff. Oh, this
• 17:54
  Speaker 3: is why I found this so fascinating, you know what
• 17:56
  Speaker 3: I mean? And this is why I found it so entertaining.
• 17:58
  Speaker 3: So and then I and then I get to talk
• 17:59
  Speaker 3: to the guy who wrote it and uh, you know,
• 18:01
  Speaker 3: said made it so uh so now you can tell
• 18:05
  Speaker 3: me how wrong I am. No, I'm just kidding but no, no,
• 18:09
  Speaker 3: it's just you know, it's it's just it's a phenomenal film.
• 18:12
  Speaker 3: And that's why I'm so glad you know that that
• 18:14
  Speaker 3: the you know, I got to see U the franchise,
• 18:16
  Speaker 3: you know, they mean like Tremor's two, Tremors three. Uh,
• 18:19
  Speaker 3: you know, I know you guys you did four as well,
• 18:21
  Speaker 3: and you also did the TV series, and it was
• 18:23
  Speaker 3: always great to see you know, this sort of franchise expand.
• 18:27
  Speaker 3: And you know, you know, I always talk to you know,
• 18:29
  Speaker 3: my friends and always say, you know, some franchises, you know,
• 18:32
  Speaker 3: they they sort of go this way, some go that way.
• 18:35
  Speaker 3: H you know, I mean Friday thirteenth Night right now street.
• 18:38
  Speaker 3: But Tremor's always sort of kept it in perfection one
• 18:42
  Speaker 3: way or another because there was always you know what
• 18:44
  Speaker 3: I mean, there was always a sort of reason why
• 18:47
  Speaker 3: uh that you know, uh, you know, like like Tremor's
• 18:51
  Speaker 3: three when it's called back to Perfection, right, and that's
• 18:53
  Speaker 3: where Melvin's creating that whole town, right, and that leads
• 18:56
  Speaker 3: into the whole TV series. But it's just stuff like that,
• 18:58
  Speaker 3: you know what I mean, that's it's all organically well.
• 19:01
  Speaker 4: We yeah, it was very important to us to make
• 19:04
  Speaker 4: the world consistent, and it wasn't easy. You know, we
• 19:07
  Speaker 4: never expected even to do Tremors Too. That came along
• 19:10
  Speaker 4: years later only because of the success of the HS.
• 19:13
  Speaker 4: You know, Tremors one was not a huge hit. I mean,
• 19:15
  Speaker 4: you know, Kevin Bigan reviewed viewed it as a flop
• 19:18
  Speaker 4: and he absolutely disowned it for many, many years. And uh,
• 19:24
  Speaker 4: it wasn't a flop per se, but it but it
• 19:26
  Speaker 4: did not do nearly what the studio hoped it would do,
• 19:29
  Speaker 4: and they were disappointed. And so we were floored. And
• 19:33
  Speaker 4: we got this call from video department who said, hey,
• 19:36
  Speaker 4: what about Tremors too? He said, what about it? They said,
• 19:38
  Speaker 4: we want it? What So we all had to sit
• 19:41
  Speaker 4: down because we were busy doing all kinds of other
• 19:43
  Speaker 4: stuff at that point in our careers, and said, God,
• 19:46
  Speaker 4: can we come up with the tremors too? And then
• 19:48
  Speaker 4: you know, then we said, well, all right, the big
• 19:49
  Speaker 4: cliche is there's a queen grab boyd And we all went, Okay,
• 19:52
  Speaker 4: no way we're doing a queen grab We're not going
• 19:55
  Speaker 4: to do it. And what do we do instead of that?
• 20:00
  Speaker 2: We'll be right back after a word from our sponsor,
• 20:06
  Speaker 2: And now back to the show.
• 20:09
  Speaker 4: Then finally, I I'm gonna say it was me. I
• 20:11
  Speaker 4: think it was me. I was driving along in the
• 20:13
  Speaker 4: desert as I often am, and I said, I wonder
• 20:16
  Speaker 4: if they just turned into something small, how weird would
• 20:18
  Speaker 4: that be? And then we ran with that idea.
• 20:23
  Speaker 3: Yeah, and I remember seeing that too, because that's when
• 20:25
  Speaker 3: they were actually walking on land. I forget the name
• 20:29
  Speaker 3: that that in the movie, that that the characters give
• 20:31
  Speaker 3: them Shookers, but the Shriekers, that's right.
• 20:34
  Speaker 4: Yeah.
• 20:34
  Speaker 3: And then because it's the third that they're called ass Blasters.
• 20:37
  Speaker 4: Right, Well, that's their third incarnation that gave us that
• 20:40
  Speaker 4: told us where to go with the third one. We thought, okay,
• 20:43
  Speaker 4: well they change into a third form. And at the time,
• 20:47
  Speaker 4: again it was really important just to keep the characters consistent,
• 20:50
  Speaker 4: the rules consistent, other than but still come up with surprises.
• 20:54
  Speaker 4: You still can't you can't just do the same thing
• 20:55
  Speaker 4: over and over. So that's how we came up with
• 20:58
  Speaker 4: the ass Blasters. Uh and I. In fact, the effects
• 21:01
  Speaker 4: guys Tom Woodrofin Alla Gillis of Amalgamated Dynamics were the
• 21:04
  Speaker 4: ones who came up with ass Blasters because they were
• 21:08
  Speaker 4: just as invested in we were in protecting their monsters
• 21:12
  Speaker 4: and making them consistent, and they have a wonderful design approach.
• 21:15
  Speaker 4: It's a very real world based. They were volumes and
• 21:18
  Speaker 4: volumes of books about animals and creatures and skin textures,
• 21:21
  Speaker 4: and they literally came in one day. I say, hey,
• 21:24
  Speaker 4: or you, are you aware of the Bombardier beetle And
• 21:26
  Speaker 4: we're like, no, we're not. They said, that's a beetle
• 21:29
  Speaker 4: that mixes chemicals in its butt and makes us sound
• 21:31
  Speaker 4: like a firecracker. We're like, that's a real thing, absolutely,
• 21:35
  Speaker 4: and we think that's what ass blasters should do. And
• 21:38
  Speaker 4: we're like, we are totally on board with that. There
• 21:43
  Speaker 4: was something else I was gonna say, oh oh yes,
• 21:45
  Speaker 4: and then we got thrown a curb by Universal because
• 21:47
  Speaker 4: they said, okay, Tremer's through. It will definitely be the
• 21:49
  Speaker 4: last one. There will definitely not be anymore. We understand
• 21:52
  Speaker 4: our market perfectly and uh, and we know exactly how
• 21:55
  Speaker 4: the DVD world works and this is it. So we said, okay,
• 21:59
  Speaker 4: we'll wrap it up. That'll be that's cool. We will
• 22:02
  Speaker 4: say that this is the last form that creatures take.
• 22:04
  Speaker 4: Boom the end, Goodbye perfection, and almost immediately was well
• 22:09
  Speaker 4: we we did really much better than we thought. We
• 22:11
  Speaker 4: must have Tremors for.
• 22:15
  Speaker 3: Yeah, because I you know, I actually saw Tremors for
• 22:18
  Speaker 3: and I actually was kind of shocked because I thought,
• 22:21
  Speaker 3: you know, because I was like, oh wow, I didn't
• 22:23
  Speaker 3: know they made another one. And you know what, this
• 22:24
  Speaker 3: is funny Steve here, you know, as you can kind
• 22:26
  Speaker 3: of tell him the movie buff, I didn't even know
• 22:29
  Speaker 3: you did a TV series. I actually didn't know you
• 22:31
  Speaker 3: did a TV series until last year.
• 22:34
  Speaker 4: Well it's easy to do. I mean, there's so much
• 22:36
  Speaker 4: material now. There's a lot of stuff that I don't know.
• 22:39
  Speaker 4: I mean, the stuff that's being you know, I'm probably
• 22:41
  Speaker 4: not even up on half of Netflix's shows and all
• 22:44
  Speaker 4: this stuff. But anyway, I don't blame you.
• 22:47
  Speaker 3: Well you I mean, because you know, I'm such a
• 22:49
  Speaker 3: movie head and I'm always like, you know, looking for
• 22:51
  Speaker 3: different stuff. And I said they did a Tremor's TV
• 22:53
  Speaker 3: series before I said, wow, I didn't notice that. So
• 22:56
  Speaker 3: I actually I actually bought it offline and I actually
• 23:00
  Speaker 3: went through and I was like, oh, okay, so it
• 23:02
  Speaker 3: sets up it's you know, it's it's three into the
• 23:04
  Speaker 3: TV series and then four is a prequel.
• 23:07
  Speaker 4: Yeah.
• 23:08
  Speaker 3: Uh, you know, I had to ask, you know, when
• 23:11
  Speaker 3: you make these Tremor movies, Michael Gross seems like the
• 23:13
  Speaker 3: coolest guy in the world. Is he Is he the
• 23:16
  Speaker 3: coolest guy in the world, because I mean he just
• 23:18
  Speaker 3: seems like he would just be an awesome guy to
• 23:20
  Speaker 3: hang out with.
• 23:20
  Speaker 4: Yes, he's just a wonderful, funny, intellectual, not full of
• 23:26
  Speaker 4: himself actor. He's very He's great on the set, you know,
• 23:31
  Speaker 4: at understanding you know who has the scene. You know,
• 23:34
  Speaker 4: he's not trying to steal other people's lines or anything.
• 23:36
  Speaker 4: He's he's an actor's actor and and he's so he's
• 23:41
  Speaker 4: become you know, he became Burt. He took over Burt,
• 23:44
  Speaker 4: you know from us and Uh. And he would always
• 23:49
  Speaker 4: on Tremor's two and three and four, even though he
• 23:52
  Speaker 4: wasn't playing Burt, Uh, he would he would always come
• 23:55
  Speaker 4: to this set with little pencil delicately penciled lines in
• 24:00
  Speaker 4: the script, and then he went to sit down with
• 24:01
  Speaker 4: me and we sit down with us. Before we went
• 24:03
  Speaker 4: he said, Okay, I got this idea for a change
• 24:04
  Speaker 4: here and change here, and then we could go back
• 24:07
  Speaker 4: and forth. And said, well, if you say that, then
• 24:08
  Speaker 4: we won't know this. So oh yeah, yeah, you're right,
• 24:10
  Speaker 4: never mind. But a lot of times, you know, especially
• 24:13
  Speaker 4: with a bird character, he's he defends the character and
• 24:19
  Speaker 4: and he loves it. I thought at some point I
• 24:21
  Speaker 4: thought he was going to get tired of it. But
• 24:23
  Speaker 4: I always have to tell this quick story. You know,
• 24:26
  Speaker 4: he was a huge television star when he did Treumors one.
• 24:30
  Speaker 4: He had just finished years and years on Family Ties
• 24:33
  Speaker 4: playing a guy who could not be more different from Bert,
• 24:38
  Speaker 4: and they asked us to read him because he was
• 24:40
  Speaker 4: a big television star and they thought like that would
• 24:42
  Speaker 4: help the movie. And we went read the Father on
• 24:46
  Speaker 4: Family Ties and we go, well, okay, we'll do it
• 24:49
  Speaker 4: because they want us to do it. Well, he blew
• 24:51
  Speaker 4: us the way you know, he came in because he's
• 24:52
  Speaker 4: an actor, and he completely just Ron tells us Worth
• 24:58
  Speaker 4: that he was actually jumping up on his desk at
• 25:00
  Speaker 4: one point, being showing how far fraid he was of
• 25:02
  Speaker 4: the monster underground. Anyway, Then some years later, Michael told
• 25:08
  Speaker 4: me the story of walking down street in New York
• 25:09
  Speaker 4: and getting that look that fans get when they start
• 25:12
  Speaker 4: to recognize you, and the guy was walking toward him
• 25:15
  Speaker 4: and he sees the look he knows the fans going
• 25:18
  Speaker 4: to say it, and then the fan says, you're that
• 25:21
  Speaker 4: crazy gun guy and Michael said, yes, I finally escaped
• 25:26
  Speaker 4: Family Ties.
• 25:30
  Speaker 3: I thought you were going to say, oh yeah, I
• 25:32
  Speaker 3: was the Downe Family Ties, a crazy gun guy. Yeah.
• 25:37
  Speaker 3: You know. It's funny because I introduced a friend of
• 25:39
  Speaker 3: mine to Tremors and he actually goes, wait a minute,
• 25:41
  Speaker 3: that's the dad from Family Ties. And I said, yes,
• 25:44
  Speaker 3: he's with the Heaton family and I'm sar Keaton and
• 25:47
  Speaker 3: Heaton and I said yeah, you know, and he goes, wow.
• 25:50
  Speaker 3: He goes, this is a different role for him, and
• 25:52
  Speaker 3: I said yeah, and I said, he fits it like
• 25:54
  Speaker 3: a glove. Because one of my favorite shots of the
• 25:56
  Speaker 3: whole movie is where Reba McIntyre and my goal Gross
• 26:01
  Speaker 3: in their underground bunker and the wall starts to shake
• 26:05
  Speaker 3: and they see the grab Boy come through and they
• 26:09
  Speaker 3: they start to fire at his rifles, those Bold action rifles,
• 26:12
  Speaker 3: and they're out of AMMO very quickly, and the camera
• 26:15
  Speaker 3: just pans over to the wall of guns and they
• 26:18
  Speaker 3: literally just are pulling guns off the wall. And I mean,
• 26:21
  Speaker 3: it's it's so if again organic characters, and that fits
• 26:25
  Speaker 3: so well because I would actually be disappointed Steve if
• 26:27
  Speaker 3: they did not have a wall of guns.
• 26:29
  Speaker 4: Yes, he knew that was a key moment in the movie,
• 26:32
  Speaker 4: and it was great at the premieres, and that the
• 26:35
  Speaker 4: test screenings, you know, the audience would they would laugh
• 26:39
  Speaker 4: through the next all the way through the next scene.
• 26:43
  Speaker 3: Yeah, and you know it was you know, a phenomenal.
• 26:45
  Speaker 3: Tremors is definitely one of my favorite movies. And I think,
• 26:47
  Speaker 3: you know, when I when I go back to you know,
• 26:49
  Speaker 3: writing and writing my own stuff, you know, I always
• 26:51
  Speaker 3: like to dissect movies and I've I've watched, you know,
• 26:54
  Speaker 3: and I I like to dissect movies that I've really liked.
• 26:57
  Speaker 3: And uh, you know, and now because this podcast to
• 27:00
  Speaker 3: talk to people who've who've written great stuff that I like.
• 27:03
  Speaker 3: So you know, it's just it's you know, it's just
• 27:05
  Speaker 3: great being able to talk to you, Steve, and you know,
• 27:07
  Speaker 3: finding out these little intriticities. I think I just butchered
• 27:10
  Speaker 3: that word, by the way, but uh, but you know,
• 27:13
  Speaker 3: and I want to ask, you know, Steve, you know,
• 27:15
  Speaker 3: you have such a great career. You know, you did
• 27:17
  Speaker 3: short circuit batteries not included short circuit two tremors, as
• 27:20
  Speaker 3: we all just talked about. I did ghost dat? You know,
• 27:24
  Speaker 3: is there any sort of writing advice you could give
• 27:27
  Speaker 3: to anyone listening who's writing the screenplay right now.
• 27:30
  Speaker 4: Well, if you like our style, and that's step number one,
• 27:33
  Speaker 4: if you like the movies we've done, then do what
• 27:36
  Speaker 4: you're doing. First of all, analyze the stuff you like.
• 27:38
  Speaker 4: That's a lot of you know, pros. It will call
• 27:41
  Speaker 4: ourselves that would say that, because you won't be copying
• 27:45
  Speaker 4: the stuff that you like, you'll be learning from it.
• 27:48
  Speaker 4: You know, you you obviously understand setups and payoffs. For example,
• 27:51
  Speaker 4: it's a big thing for me and Britt bedding something
• 27:56
  Speaker 4: up early in the movie having it payoff later in
• 27:58
  Speaker 4: a surprising way. Those hard to do. It's hard to
• 28:01
  Speaker 4: do those correctly and without cheating, and a lot of
• 28:04
  Speaker 4: times to see movies cheat. Uh.
• 28:07
  Speaker 3: I feel a little at odds.
• 28:09
  Speaker 4: With kind of the current movie making steam giving anybody advice,
• 28:14
  Speaker 4: because film after film that has no plot and makes
• 28:18
  Speaker 4: no sense is wildly successful. And I've begun to wonder,
• 28:23
  Speaker 4: you know, I rail at this and I go, oh
• 28:25
  Speaker 4: my day, and blah blah blah, And yet you know
• 28:30
  Speaker 4: this is for years now, I've been seeing this. I've
• 28:33
  Speaker 4: started to think, well, the audience has really changed. I
• 28:37
  Speaker 4: think the younger audience maybe does not care as much
• 28:40
  Speaker 4: about what I think is important in storytelling, and they
• 28:46
  Speaker 4: truly do enjoy these movies. You know, part of me says, well,
• 28:48
  Speaker 4: they don't really enjoy them. It's just that's only that's
• 28:50
  Speaker 4: the only thing they you know, that's the only thing
• 28:52
  Speaker 4: on this weekend, so they go. I'm less than less
• 28:56
  Speaker 4: sure of that. But anyway, I would say, analyze the
• 28:59
  Speaker 4: stuff you like, whatever it is. You know, if it's
• 29:01
  Speaker 4: ordinary people, analyze that uh uh uh uh and uh
• 29:08
  Speaker 4: and write a lot. By the way, you'll hear this
• 29:10
  Speaker 4: too from other people. Don't get hung up on your
• 29:12
  Speaker 4: one script. But I did this. You know, early on
• 29:16
  Speaker 4: we would write a script and go over and over
• 29:18
  Speaker 4: and over and over, and then we've looked at one
• 29:19
  Speaker 4: of those earlier scripts. This is like four or five
• 29:22
  Speaker 4: scripts before a short circuit. You know, go, well, it
• 29:25
  Speaker 4: wasn't very good, and none of the versions that we
• 29:27
  Speaker 4: did it just wasn't very good. You got to you
• 29:30
  Speaker 4: got to move on, write something, get it done, say
• 29:33
  Speaker 4: goodbye to it, write something else. If you're if you're
• 29:37
  Speaker 4: a writer, you have plenty of ideas and the worst
• 29:40
  Speaker 4: worst cases, you find out, well, maybe I don't like it.
• 29:42
  Speaker 4: You know, you do four or five scripts and you go,
• 29:47
  Speaker 4: I don't like this, that's fine too, But write a lot.
• 29:51
  Speaker 4: Don't get hung up on one thing and you know,
• 29:53
  Speaker 4: and beat it to death, you know, push yourself to
• 29:58
  Speaker 4: to a degree, look out side your comfort zone.
• 30:03
  Speaker 2: We'll be right back after a word from our sponsor,
• 30:09
  Speaker 2: and now back to the show.
• 30:12
  Speaker 4: Although I do think that, you know, if you like
• 30:14
  Speaker 4: emotional Uh, what's the Julianne Moore pictures she just did
• 30:20
  Speaker 4: where she was a lady with Alzheimer's. I can't think
• 30:23
  Speaker 4: of I can't remember the name of it. That's a
• 30:26
  Speaker 4: very emotional picture that I would never try to write, right,
• 30:29
  Speaker 4: but maybe you know, other people would, they would take
• 30:31
  Speaker 4: That's exactly the kind of movie I want to do.
• 30:33
  Speaker 4: Study those and write a lot. I already said what
• 30:37
  Speaker 4: I'm gonna say.
• 30:41
  Speaker 3: You know, you know, that's great advice, you know, Steve,
• 30:43
  Speaker 3: you know, just going through and analyzing the movies that
• 30:46
  Speaker 3: you like and why you like those and like For instance,
• 30:48
  Speaker 3: I had Victor Miller on here, and Victor Miller wrote
• 30:51
  Speaker 3: Friday the Thirteenth Part one, by the way, which also
• 30:54
  Speaker 3: start Kevin Bacon by the way, Wow, yes, yes, small
• 30:58
  Speaker 3: world right, So you know, and we were talking about,
• 31:02
  Speaker 3: you know, how do you you know, how do you
• 31:04
  Speaker 3: break it down? And Victor said, listen, he goes, I've
• 31:07
  Speaker 3: been doing this for thirty years now, whatever, he said,
• 31:10
  Speaker 3: I'm still always looking for different ways of writing and
• 31:13
  Speaker 3: telling a story. He goes, so and he said to
• 31:17
  Speaker 3: me that, you know, he's always looking for a different method,
• 31:19
  Speaker 3: something to sort of crack the story or another way
• 31:22
  Speaker 3: to write. And you know, it's just it's just very
• 31:25
  Speaker 3: reassuring and unassuring at the same time to hear veterans
• 31:28
  Speaker 3: like you and him, you know, just talk about screenwriting
• 31:31
  Speaker 3: and always say, you know, they even with hits because
• 31:35
  Speaker 3: tremor you mean, because again you have you've had tremors,
• 31:38
  Speaker 3: You've had you know, short circuit, and you know, even
• 31:40
  Speaker 3: and he's you know, had Friday Thirteenth Part one, he's
• 31:42
  Speaker 3: had a few Emmy Award winning pieces, and it's still
• 31:46
  Speaker 3: it's again, it's reassuring, and it's it's a little worrisome
• 31:49
  Speaker 3: to hear that, you know, there's always they still don't
• 31:51
  Speaker 3: have it all figured out.
• 31:52
  Speaker 4: Oh you know what I mean. Oh, even if these
• 31:54
  Speaker 4: hits every script. Yes, every script has its own life
• 31:58
  Speaker 4: that it takes on and its own problems that it
• 32:00
  Speaker 4: throws at you, and you suddenly find yourself going, why
• 32:03
  Speaker 4: did I even like this idea? I feel so trapped now,
• 32:06
  Speaker 4: and you know, and sometimes you're beating your head against
• 32:09
  Speaker 4: the wall. But but you know, that's that's the great thing.
• 32:13
  Speaker 4: It is a creative process. They yeah, they do, they do.
• 32:16
  Speaker 4: Each one is different, but Brent and I are doing
• 32:18
  Speaker 4: one right now as a matter of fact, that is
• 32:20
  Speaker 4: that is very different from anything we've ever done. 'ron
• 32:23
  Speaker 4: challenged us. He said, you know what, I would really
• 32:26
  Speaker 4: like to do another little budget movie. Bno is big
• 32:28
  Speaker 4: in television right now. He's directed every TV show you've
• 32:30
  Speaker 4: ever heard of, and he goes from show to show
• 32:33
  Speaker 4: to show, and he said, you know, it'd be fun
• 32:35
  Speaker 4: to do another low budget movie like we did Tremlor's
• 32:37
  Speaker 4: Why don't you guys write a sci fi movie with
• 32:38
  Speaker 4: no special effects? And we went really wrong and we
• 32:43
  Speaker 4: thought about it. We sat down, so we actually have
• 32:46
  Speaker 4: come up with an idea. We're about, I don't know
• 32:47
  Speaker 4: halfway through the process now, our anguishing process. It was
• 32:51
  Speaker 4: really hard. I mean, we just you know, because we
• 32:52
  Speaker 4: just we just had to throw out idea after idea
• 32:55
  Speaker 4: after an idea until we came up with this idea.
• 32:58
  Speaker 4: And I don't want to talk about but anyway, yes, good,
• 33:02
  Speaker 4: good note. Yes, good writers are always questioning what they're doing,
• 33:05
  Speaker 4: and always a lot of times I think, boundering quietly
• 33:09
  Speaker 4: in their dark corners.
• 33:13
  Speaker 3: I and you know, I'm not even a professional writer yet, Steven,
• 33:17
  Speaker 3: but I you know, I often feel that way. Feel
• 33:20
  Speaker 3: I always feel like, what the hell did I start? Yeah,
• 33:22
  Speaker 3: But but you know it's funny. I actually pitched an
• 33:26
  Speaker 3: idea one time and the producer hated it, right, And
• 33:30
  Speaker 3: he came back to me later on and he goes,
• 33:31
  Speaker 3: you know what. You go back. This is late months later,
• 33:34
  Speaker 3: and he was already working on something else, but he goes,
• 33:36
  Speaker 3: you know what, I was driving down the Doubt down
• 33:39
  Speaker 3: this uh, this interstate, and he goes, you know, and
• 33:42
  Speaker 3: all of a sudden, they couldn't stop thinking about your
• 33:44
  Speaker 3: script idea. And I started laughing at myself, and he goes,
• 33:46
  Speaker 3: you know, it's a lot better than I thought it was.
• 33:48
  Speaker 3: And I said, see, it's always a rose colored.
• 33:51
  Speaker 4: Glass, rare prod.
• 33:53
  Speaker 3: Yeah, But but you know, Steve, you know We've been
• 33:57
  Speaker 3: talking for about thirty minutes now, and I just want
• 34:00
  Speaker 3: to ask you in closing, is there anything that you
• 34:02
  Speaker 3: know we we didn't get a chance to discuss that
• 34:05
  Speaker 3: you wanted to or is there any sort of thing
• 34:07
  Speaker 3: you want to say? Sort of put a period the
• 34:09
  Speaker 3: end of this whole conversation.
• 34:10
  Speaker 4: Oh, I'm writing novels now. I'd like to mention that
• 34:16
  Speaker 4: to plug them among the other things I'm trying to do.
• 34:22
  Speaker 4: But but as far as almost it seems like good.
• 34:25
  Speaker 4: Was there anything else advice wise? I would say nothing
• 34:32
  Speaker 4: springs to mind. I'm much better the.
• 34:33
  Speaker 3: Questions, Uh, where you will find you out online?
• 34:38
  Speaker 4: Oh? Well, the Stampede Entertainment maintains a website, knowing we
• 34:44
  Speaker 4: always have hopes that we will sell something of our
• 34:47
  Speaker 4: own and rambubbed into production stampedethan Entertainment dot com. And
• 34:53
  Speaker 4: then I'm on Facebook of course as S. S. Wilson
• 34:58
  Speaker 4: and and the books are available at Amazon, Tucker's Monster
• 35:02
  Speaker 4: and phrase Free.
• 35:03
  Speaker 3: Cats, and I will link to all that in the shows.
• 35:07
  Speaker 4: Everyone. You have an impressive list of podcasts. By the way,
• 35:12
  Speaker 4: there's like one hundred and fifty of them or something.
• 35:18
  Speaker 3: Yeah, like one twenty seven or eight nons.
• 35:20
  Speaker 4: Oh okay, I overstated it a little bit, but I
• 35:22
  Speaker 4: was quite impressed. And when I went to your site
• 35:24
  Speaker 4: and I listened to a few things, of course before
• 35:26
  Speaker 4: I agreed to do this, and so I was impressed
• 35:29
  Speaker 4: with your with your polished approach.
• 35:32
  Speaker 3: Oh thank you. I've actually been proud of that because
• 35:35
  Speaker 3: I had somebody I won't say who, but they came
• 35:38
  Speaker 3: on and they said, Dave, thank you for not being
• 35:40
  Speaker 3: that guy. And I said, what do you mean? They said,
• 35:41
  Speaker 3: you know, they said, like, there's so many people have
• 35:44
  Speaker 3: podcasts now, and they said, you know, they're sort of
• 35:47
  Speaker 3: like in their mom's basement and they get people on
• 35:49
  Speaker 3: the podcast and they could just like sort of like
• 35:51
  Speaker 3: be malicious, you know what I mean. And it's just like, oh,
• 35:54
  Speaker 3: so you made a movie. Huh what do you think?
• 35:56
  Speaker 3: And I'm like, no, I would never be that guy.
• 35:59
  Speaker 3: I hate people like I actually, Steve, you know, real quick,
• 36:01
  Speaker 3: I was on a podcast with a friend of mine
• 36:04
  Speaker 3: and he asked me to be on his podcast. So
• 36:06
  Speaker 3: I went to his house, which, by the way, we
• 36:09
  Speaker 3: went to his mom's basement to go with this, and
• 36:12
  Speaker 3: then he started going like, oh, so you made a
• 36:15
  Speaker 3: TV pilot and pitched it to MBC. Huh and I said, yeah, well,
• 36:19
  Speaker 3: is that is that bad? And he's like, well, I
• 36:22
  Speaker 3: didn't you know, and he said this is the podcast,
• 36:23
  Speaker 3: by the way, and he's like, oh, he could have
• 36:25
  Speaker 3: reminded me of too much of Clerks. I said, oh,
• 36:27
  Speaker 3: I said yeah. I was like and and and and. Honestly, Steve,
• 36:31
  Speaker 3: I'm I'm pretty good at thinking on my feet. So
• 36:32
  Speaker 3: what I did was I started, you know, I was like,
• 36:34
  Speaker 3: if I started insulting you right now, dude, I said,
• 36:36
  Speaker 3: believe me, I said, you would cut this all out.
• 36:39
  Speaker 3: And then finally he started to like ease up a
• 36:41
  Speaker 3: little bit after we exchange a little words. But uh
• 36:43
  Speaker 3: but yeah, I never would would It would bring somebody
• 36:45
  Speaker 3: on just to insult them. And I thank god that
• 36:47
  Speaker 3: I've never had one bad podcast. I've never had anybody
• 36:50
  Speaker 3: had bad feelings. Everything's always been great. Uh So I'm
• 36:53
  Speaker 3: proud of that.
• 36:54
  Speaker 4: Well you should be. That's that's good. That's good to hear.
• 36:56
  Speaker 4: And I'm for a warrened. I haven't had that experience yet.
• 37:02
  Speaker 3: So I can put you. Yeah, I give you that warning.
• 37:04
  Speaker 3: I'll be like the harbinger of hair of horror. You
• 37:06
  Speaker 3: know what I mean like always warning you about things
• 37:08
  Speaker 3: that are coming. Uh, kind of like old Fred and tremors.
• 37:10
  Speaker 4: But he was.
• 37:10
  Speaker 3: He didn't tell them, he just he but his dead
• 37:12
  Speaker 3: body showed them with him something right, Uh, Steve. I
• 37:16
  Speaker 3: want to say thank you very much for coming on
• 37:18
  Speaker 3: the podcast, sir, and please stay in touch with me
• 37:20
  Speaker 3: anything let me my pleasure.
• 37:22
  Speaker 4: Thank you. They take care about you. Bye bye.
• 37:26
  Speaker 2: I want to thank Dave so much for doing such
• 37:28
  Speaker 2: a great job on this episode. If you want to
• 37:29
  Speaker 2: get links to anything we spoke about in this episode,
• 37:31
  Speaker 2: head over to the show notes at Indie film Muscle
• 37:34
  Speaker 2: dot com. Forward Slash eight twelve. If you have it already,
• 37:37
  Speaker 2: please head over to Filmmaking podcast dot com. Subscribe and
• 37:42
  Speaker 2: leave a good review for the show. It really helps
• 37:45
  Speaker 2: us out a lot, guys. Thank you again so much
• 37:47
  Speaker 2: for listening. Guys, as always, keep that hustle going, keep
• 37:49
  Speaker 2: that dream alive, Stay safe out there, and I'll talk
• 37:52
  Speaker 2: to you soon.
• 37:54
  Speaker 1: Thanks for listening to the Indie Film Hustle podcast at
• 37:57
  Speaker 1: Indie film Hustle dot com. That's eye and d I
• 38:00
  Speaker 1: E F I L M h U S T L
• 38:03
  Speaker 1: E dot com.