Latest / Arroe Collins Like It's Live / Actor James Paxton And His Brilliantly Funny Western Movie Last Train To Fortune

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Actor James Paxton And His Brilliantly Funny Western Movie Last Train To Fortune · Arroe Collins Like It's Live

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  Speaker 1: It's actually been one of the greatest adventures to create
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  Speaker 1: a network of podcasts that give you the power of
• 0:05
  Speaker 1: choice because I know what it's like to be in
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  Speaker 1: the front seat of your car and the podcast that
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  Speaker 1: you checked into when you took off from house was like,
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  Speaker 1: Oh God, this again, I think I've heard this before.
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  Speaker 1: Where am I going to go? Well, instead of hitting
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  Speaker 1: every single platform that's available to man, just go to
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  Speaker 1: one place, arrow.net, A-R-R-O-E.net. Enjoy your exploration. James, I've experienced
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  Speaker 1: this movie. I literally cannot wait to stand outside of
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  Speaker 1: theaters right now and to really listen to what people
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  Speaker 1: are going to be saying. Because my wife and I
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  Speaker 1: were laughing. We had such a great time with this movie.
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  Speaker 1: And this is what she says. She says, that was
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  Speaker 1: one of the sweetest movies I've ever seen. And I
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  Speaker 1: love that because you guys really did make a real
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  Speaker 1: authentic Hollywood movie here.
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  Speaker 3: Oh my gosh, Arrow. Thank you.
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  Speaker 2: God, I can't even tell you how much I appreciate that.
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  Speaker 2: And your wife's reaction. That's incredible. That's exactly what I'm
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  Speaker 2: hoping people take from it. You know, it's this wonderfully
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  Speaker 2: fun film. It feels like it's timeless. It could exist
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  Speaker 2: in any era. It's got something positive to say. And
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  Speaker 2: it's got comedy. It's got heart. I hope it makes
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  Speaker 2: people laugh and cry and think.
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  Speaker 3: And I just thank you so much. I appreciate the
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  Speaker 3: glowing review.
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  Speaker 1: There's so many things in this movie that I know
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  Speaker 1: are going to become clickbait or memes for people way
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  Speaker 1: later on. I mean, one of my favorite scenes, and
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  Speaker 1: people are going to go, what? Because they haven't seen
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  Speaker 1: it yet. But when the thing goes, you got a horse?
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  Speaker 1: And all of a sudden, your reaction when you lower
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  Speaker 1: that mask, all of a sudden, I feel like I
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  Speaker 1: should be at an outdoor movie theater in Billings, Montana
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  Speaker 1: right now experiencing this moment because it just blew me away.
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  Speaker 2: Oh, man, you paint a picture. I would love to
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  Speaker 2: see it at an outdoor movie theater in Billings. I've
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  Speaker 2: been through Billings. It would exist perfectly like that. No,
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  Speaker 2: you know, it was so humbling and exciting to get
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  Speaker 2: to make a small offering to such a genre that
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  Speaker 2: raised me and so many others. I mean, it really
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  Speaker 2: kind of the birth of the epic, you know, in
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  Speaker 2: film history is the Western. And so to get to
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  Speaker 2: do one in time travel back to 1873 was just
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  Speaker 2: so special.
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  Speaker 1: Well, there's such an invisible subplot here, and that is
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  Speaker 1: the books. The books are so, so important and the
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  Speaker 1: way the books are protected. I mean, I'm an author,
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  Speaker 1: a published author. I was cheering for you all the way, man.
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  Speaker 1: I mean, it gets you emotionally what happens to these books.
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  Speaker 3: Yes, it really does. Thank you. That's so cool.
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  Speaker 2: You know, I loved the aspect of this film being
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  Speaker 2: such a love letter to great teachers and authors and mentors.
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  Speaker 2: I mean, Yeah, Malcolm's character is this, you know, fish
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  Speaker 2: out of water in the Old West. He's an English
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  Speaker 2: schoolmaster who comes to take a position as a teacher
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  Speaker 2: in the budding frontier town of Fortune. And, you know,
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  Speaker 2: he's very book smart. He's bringing briefcases full of Dickens
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  Speaker 2: and Whitman and all kinds of books. And he's so
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  Speaker 2: excited to teach the youth of the West, but he
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  Speaker 2: doesn't realize that, you know, well, they're not quite as book,
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  Speaker 2: they're not as like book enthusiasts yet really out there.
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  Speaker 2: You know, these young kids are kind of growing up
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  Speaker 2: in this little two bit town and And he's expecting
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  Speaker 2: to come and get this warm welcome. Well, he misses
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  Speaker 2: the last train that's going to take him the last journey,
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  Speaker 2: the last leg. And he's like freaking out because he
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  Speaker 2: needs to get there by Monday morning's bell. And he
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  Speaker 2: gets held up by a young outlaw that I play,
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  Speaker 2: Jedediah Dooley, at the train station. But because Malcolm is
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  Speaker 2: educated and has the gift of gab and he's kind
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  Speaker 2: of ignorant to the realities of the Old West, he
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  Speaker 2: convinces me to kind of broker a deal to take
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  Speaker 2: him to the last like two days like journey on
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  Speaker 2: my horse to Fortune to get him there in exchange
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  Speaker 2: for the upfront on his salary. And my character, and
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  Speaker 2: he's trying to, he's talking about all these books and
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  Speaker 2: these authors and my character has no idea what.
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  Speaker 3: He's talking about. My character's illiterate. He couldn't care less.
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  Speaker 2: You know, he, in his mind, he goes, I live
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  Speaker 2: out these adventures that you're talking about. You know, I'm,
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  Speaker 2: you know, and, but, but by the end, you know,
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  Speaker 2: they both teach each other something and it's so wonderful. And, and,
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  Speaker 2: you know, I love reading growing up and I have
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  Speaker 2: so many great teachers and I felt like, Gosh, this
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  Speaker 2: is such an opportunity to make something that has a
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  Speaker 2: positive thing to impart on the world in a non-preachy
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  Speaker 2: way and just in a fun way. Um, and gosh,
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  Speaker 2: it was, it was a real pleasure getting to do that.
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  Speaker 1: Well, as an instructor, one of my favorite things to do,
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  Speaker 1: and I'll talk about this a lot is I love
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  Speaker 1: it when a student pops. And what I mean by
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  Speaker 1: that is, is when they finally get it. And this
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  Speaker 1: movie features that pop because the second that you walk
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  Speaker 1: into that classroom, I don't want to spoil it, but
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  Speaker 1: my God, as an instructor and as somebody who loves books,
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  Speaker 1: that was a popping moment and you made it come so,
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  Speaker 1: so authentic and that we feel it in so many
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  Speaker 1: different invisible ways.
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  Speaker 3: Gosh, thank you.
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  Speaker 2: Gosh, I'm really humbled by what you're saying, because I
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  Speaker 2: really appreciate that. You know, I wanted to really do
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  Speaker 2: this story justice because, you know, well, I want to
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  Speaker 2: say the director, Adam Rifkin, his mother, Michelle Rifkin, she
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  Speaker 2: was a retired television writer, but she was also a
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  Speaker 2: teacher for many, many decades. And she combined her love
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  Speaker 2: of teaching and her love of old Western films in
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  Speaker 2: and wrote this script and she entered it in 1986
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  Speaker 2: in a PBS screenwriting competition and she won. But, and
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  Speaker 2: the winner was supposed to be able to get their
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  Speaker 2: film produced, but they said, well, this film is a
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  Speaker 2: little too expensive for us to make. You won, but
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  Speaker 2: you know, we're going to make the runner up. And
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  Speaker 2: so it kind of went into, it was shelved for
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  Speaker 2: a while and then they were trying to make it
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  Speaker 2: in the early nineties with a great director named Lindsay
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  Speaker 2: Anderson who worked with Malcolm early in his career who
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  Speaker 2: wanted to do it and Malcolm wanted to do it. And,
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  Speaker 2: and then, uh, Lindsay passed and the thing got shelved again. And, and,
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  Speaker 2: you know, it was like a lifelong dream for Adam to,
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  Speaker 2: to honor his, his mother and her legacy as a
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  Speaker 2: teacher and a writer to make this film. And so,
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  Speaker 2: and I wasn't aware of this film, like before my
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  Speaker 2: dad passed, they, they approached me about it, uh, but,
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  Speaker 2: and said, you know, your dad was interested in, in
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  Speaker 2: making this film too with Malcolm. I go, really?
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  Speaker 3: I'd never heard of this script.
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  Speaker 2: And, and, uh, I'd been acting, you know, professionally for
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  Speaker 2: over 10 years at that point when they came to
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  Speaker 2: me with it. And, um, I was like, wow, this
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  Speaker 2: is a really cool way to honor family and, and, and,
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  Speaker 2: and great mentors and teachers and all these wonderful things.
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  Speaker 2: Like this is a special project and, and, and, and
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  Speaker 2: a difficult one to make in today's day and era,
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  Speaker 2: to be honest with you. It's, it's, it's, it's kind
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  Speaker 2: of hard to make something that is, is not just
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  Speaker 2: entertainment for entertainment sake. You know, I'm like, there's, there's, there's,
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  Speaker 2: there's a little bit of violence in the film, but
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  Speaker 2: it's not gratuitous and it's not for no reason. You know,
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  Speaker 2: everything is kind of illustrate something and builds, uh, to,
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  Speaker 2: to a greater lesson. And so, uh, but thank you.
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  Speaker 2: I felt a lot of responsibility to be, to be really, um,
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  Speaker 2: you know, careful in some ways with how I portrayed
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  Speaker 2: the character because he's got pride and, and it's, it's
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  Speaker 2: a lot, it's hard for him at the end in
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  Speaker 2: a way to, to lower that pride and realize, wow,
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  Speaker 2: you know, I really, I really appreciate what, what old Cecil,
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  Speaker 2: you know, Malcolm's character was trying to try to impart
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  Speaker 2: on me, you know, maybe I should give this a shot,
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  Speaker 2: you know, like, and I love that, you know, Malcolm's
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  Speaker 2: character says, books can take you on any adventure in
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  Speaker 2: any era, you know, and I feel like books do that.
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  Speaker 2: Movies can do that. It was my form of time traveling,
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  Speaker 2: you know, back to 1873. And I was really nerding
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  Speaker 2: out about all the West. Yeah, it was really great.
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  Speaker 1: I would love to be a fly on the wall,
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  Speaker 1: or I wish I would have been during the campfire scene,
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  Speaker 1: because now that I heard that the school teacher and
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  Speaker 1: the writing of the books and everything like that, to
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  Speaker 1: hear Cecil reading that story around the campfire, now it's
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  Speaker 1: got a new meaning. Now that's a classic moment that,
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  Speaker 1: oh my God, now, and I was touched by it
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  Speaker 1: in the first place. Now it's got even a deeper purpose,
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  Speaker 1: because there was some truth inside those storytelling.
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  Speaker 2: Yes, yes, absolutely.
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  Speaker 3: Absolutely. No, there really was.
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  Speaker 2: And it's funny you brought up those campfire scenes were
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  Speaker 2: great because that's actually the stuff that Malcolm and I
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  Speaker 2: started the shoot with. And we were so entrenched in
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  Speaker 2: our characters and so flowing with each other that... And because,
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  Speaker 2: you know, the, the, the, it's very verbose, like the
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  Speaker 2: writing in terms of like Malcolm's character, he's, he, you know,
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  Speaker 2: there's a lot we had to cut out because his
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  Speaker 2: character is so, uh, you know, expressive and, and he's
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  Speaker 2: a chatterbox. Um, and, and so we would, we would
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  Speaker 2: do these, like these takes that felt like, you know,
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  Speaker 2: uninterrupted for, you know, maybe 10 minutes. And then one time,
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  Speaker 2: you know, we cut and Adam goes, guys, do you
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  Speaker 2: guys know how long I let, I let that run for?
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  Speaker 2: And Malcolm and I go, no, it was like 10,
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  Speaker 2: 12 minutes. He goes 42 minutes. I was like, this
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  Speaker 2: is me. I was like, this is a, this is
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  Speaker 2: like a two man stage play for a second there. And, and,
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  Speaker 2: and it could be, and it, and you know, it's great,
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  Speaker 2: incredible thing that I wanted to mention that I actually
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  Speaker 2: haven't mentioned on any interviews yet, but, um, Malcolm, I'm sorry. Uh,
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  Speaker 2: Adam Rifkin has a nephew, um, who wrote, uh, an adaptation,
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  Speaker 2: a book adaptation of the, he combined the screenplay, the, his,
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  Speaker 2: his grandmother's original screenplay with, and his uncle's film in
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  Speaker 2: last train of fortune into a book, a novelization. And they're, they're,
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  Speaker 2: they're going to publish it and it's coming out, um,
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  Speaker 2: be available to read. And, and so it's like another
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  Speaker 2: layer of family kind of legacy and honoring and, and, uh,
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  Speaker 2: it's just so cool. Um, he's a budding author and
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  Speaker 2: a really talented kid. Uh, I think he's like 21
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  Speaker 2: or something, 22.
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  Speaker 1: Please don't move. Actor, singer, songwriter, James Paxton is coming
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  Speaker 1: right back. The name of the movie, Last Train to Fortune.
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  Speaker 1: And please don't forget that James Paxton also has music.
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  Speaker 1: Please look him up on Spotify, iHeartRadio, or even YouTube.
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  Speaker 1: We are back with James Paxton. When you speak of
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  Speaker 1: these 42 minutes that you were doing filming, you've got
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  Speaker 1: to tell me that one of the things that came
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  Speaker 1: out of that was when you guys were talking about whales. Because,
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  Speaker 1: I mean, as you know you've got to really pay
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  Speaker 1: attention to the writing on that but was he talking
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  Speaker 1: about whales in the ocean or whales as in where
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  Speaker 1: Cecil was from but it was still such a play
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  Speaker 1: on words and I thought those creative little monkeys they
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  Speaker 1: are sitting here toiling with my imagination.
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  Speaker 2: Yeah arrow actually it's so funny that you brought up
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  Speaker 2: that moment because you okay. So first of all, like
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  Speaker 2: we were very, we wanted to do really, um, precise
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  Speaker 2: justice to the story to, for, for Michelle Adams, mother who, uh,
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  Speaker 2: unfortunately she was, um, bedridden and in the hospital while
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  Speaker 2: we were filming. And, um, she was kind of at
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  Speaker 2: the end of her life and, and, um, And, you know,
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  Speaker 2: we didn't really improv too much. I mean, Malcolm a
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  Speaker 2: little bit more than me, but the whale, when I
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  Speaker 2: say the big fish in response, Malcolm, that was one
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  Speaker 2: of the like two improv moments that I brought to
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  Speaker 2: it that wasn't in the script originally. Uh, same with
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  Speaker 2: like at the end where I'm kind of like where
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  Speaker 2: I look up and I think we're about to die
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  Speaker 2: at the campfire and I go like, I'll see you soon, mama.
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  Speaker 2: As I referenced, that was also something I put in
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  Speaker 2: there that, but you know, we didn't do anything that
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  Speaker 2: we didn't think that Michelle, Adam's mother would, would like.
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  Speaker 2: And we ran everything by her. And the biggest compliment
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  Speaker 2: that Malcolm and I got the entire time making this
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  Speaker 2: film was one day we were filming at Melody Ranch
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  Speaker 2: and we FaceTimed with Michelle because she couldn't visit the set.
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  Speaker 2: And she was emotional and we were emotional. And she
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  Speaker 2: said it was like when she saw us in costume,
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  Speaker 2: she said it was like we walked right um, out
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  Speaker 2: of her imagination, up off the page and into the
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  Speaker 2: real world. And it was a long time coming, you know, uh,
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  Speaker 2: and it was just really the only compliment that I ever,
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  Speaker 2: that I ever personally really needed. Cause I really wanted
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  Speaker 2: to honor her in this, um, in this film. And, and, and,
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  Speaker 2: and then, you know, she got to see the finished
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  Speaker 2: film right before she passed away.
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  Speaker 3: It was incredible.
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  Speaker 1: One of the scenes that had to be total improv,
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  Speaker 1: you sitting down in that tiny itty bitty desk inside
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  Speaker 1: that classroom. Come on now, dude. I was laughing my
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  Speaker 1: ass off.
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  Speaker 3: Yeah, that is pretty funny.
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  Speaker 2: I do watch that and kind of chuckle at that
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  Speaker 2: a little bit.
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  Speaker 3: All these little kids. Yeah. I'm like six three walking in.
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  Speaker 1: Yeah.
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  Speaker 3: Yeah, yeah.
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  Speaker 1: And do I need to wake up my real father
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  Speaker 1: and tell him that he needs to come to the
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  Speaker 1: set so he can show you guys how to mount
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  Speaker 1: a horse?
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  Speaker 3: Because, you know, Cecil. Oh, I know, I know, I know.
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  Speaker 1: Come on, tell me you weren't laughing your butt off
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  Speaker 1: when you were putting that scene together.
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  Speaker 3: Come on. I really was.
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  Speaker 2: I was like, how in the world are we going
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  Speaker 2: to pull this off? I mean, because there are these hilariously...
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  Speaker 2: like silly moments that bring a lot of levity to
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  Speaker 2: the film, but are just like, so almost like, like the,
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  Speaker 2: like cartoonish moments. And I was like, how do we
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  Speaker 2: make this, this, this fun and stuff? Um, you know, and,
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  Speaker 2: and somehow we, well, the way we did it was,
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  Speaker 2: you know, we had a great stunt coordinator, um, who also, uh,
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  Speaker 2: owned all the horses that we used and his sons
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  Speaker 2: were like Malcolm stunt double and, and different stunt doubles.
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  Speaker 2: And they all worked on the film and they, they
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  Speaker 2: really worked that out. You know, they would work it
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  Speaker 2: out on their ranch and, and do like these videos
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  Speaker 2: of like previs to show Adam and us and be like,
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  Speaker 2: this is kind of how it's going to go. And
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  Speaker 2: I'm like, you expect me to do that? Like swing
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  Speaker 2: Malcolm up on backwards onto a horse. Uh, all right, we'll, we'll, we'll,
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  Speaker 2: we'll try. I, luckily I grew up horseback riding since
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  Speaker 2: I was about eight years old. So I was comfortable
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  Speaker 2: on the horse. I had to brush up cause I
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  Speaker 2: hadn't ridden a few years before, um, shooting the film, but, but, uh, Malcolm, Malcolm,
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  Speaker 2: Malcolm's a little bit, um, afraid of horses. He would
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  Speaker 2: admit that he admitted it at the Q and a
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  Speaker 2: last night. So he, uh, so yeah, we, um, he
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  Speaker 2: kind of took some, some, uh, getting used to for him. Actually, we,
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  Speaker 2: we did some closeups on a mechanical horse that this
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  Speaker 2: really smart guy that Adam met named, uh, Brad Mays made.
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  Speaker 2: He literally invented this. He's kind of like this MacGyver
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  Speaker 2: type who invented a mechanical horse. So we could do
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  Speaker 2: that on, on, on green screen in closeups. So Malcolm,
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  Speaker 2: you know, so we didn't have to, so we could
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  Speaker 2: get in close on Malcolm, you know, and it's not
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  Speaker 2: a stunt double. So it was a combination of a
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  Speaker 2: mechanical horse and real horses.
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  Speaker 1: I've got to give you kudos on Dooley. And the
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  Speaker 1: reason why is because you really come across as a
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  Speaker 1: badass when you first appear in that movie. And then
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  Speaker 1: all of a sudden, we turn into compassion. We have
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  Speaker 1: empathy for you. And Dooley becomes a big star in
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  Speaker 1: this movie because you're trying to figure his story out.
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  Speaker 1: And the more and more that you learn about him,
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  Speaker 1: the more and more you embrace him. I love the
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  Speaker 1: way that you really are an equal in this movie,
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  Speaker 1: that you're not just, you know, one of the bad guys,
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  Speaker 1: that there is a real story here and that you
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  Speaker 1: allow us to have it a little bit at a time.
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  Speaker 3: Thank you. Yeah.
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  Speaker 2: I just got to credit the writing for all of
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  Speaker 2: that because there was, I was like, there's almost a
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  Speaker 2: performance within a performance of my character from when you
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  Speaker 2: first meet him and there's more than meets the eye.
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  Speaker 2: But as you see, as it goes along, there's like
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  Speaker 2: layers to the onion and it kind of peels back.
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  Speaker 2: And as an actor, that's so nice to get to
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  Speaker 2: do because you want to do something that's multi-layered and
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  Speaker 2: complex and has an arc to it. And But that's
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  Speaker 2: all that was all there on the page. And I
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  Speaker 2: was just like, OK, let me just make sure I
• 15:02
  Speaker 2: really I really put that forward and and and show that.
• 15:07
  Speaker 3: And so thank you. Gosh, I just really appreciate you.
• 15:09
  Speaker 1: Now, let's let's talk about about the accent and the
• 15:11
  Speaker 1: reason why, because I've had more conversations about this. And,
• 15:14
  Speaker 1: you know, people go, oh, he had that southern accent now.
• 15:16
  Speaker 1: Being from Montana and growing up on the ranch in Wyoming,
• 15:19
  Speaker 1: I don't see it as a Southern accent. I see
• 15:21
  Speaker 1: it as a real, honest to God, cowboy accent or
• 15:24
  Speaker 1: a ranch hands accent. Because there are things that we
• 15:27
  Speaker 1: say up there on those open fields of Montana that
• 15:29
  Speaker 1: people in the South would go, you what? They wouldn't
• 15:32
  Speaker 1: get it because there is an accent. Now, which one
• 15:34
  Speaker 1: was it? Was it because you're a cowboy or was
• 15:37
  Speaker 1: it that you were giving us some Southern twang in there?
• 15:41
  Speaker 2: Yeah, I didn't want to do like a caricature of
• 15:43
  Speaker 2: any kind of accent. I felt like, you know, like
• 15:46
  Speaker 2: so I grew up in California, but my dad was
• 15:48
  Speaker 2: from Texas. Oh, yeah. You know, you could get that
• 15:51
  Speaker 2: Texan accent. And I kind of grew up with like
• 15:54
  Speaker 2: this mix. I have a natural little bit of a draw.
• 15:57
  Speaker 2: So I didn't push it that much. I just wanted
• 15:59
  Speaker 2: to push it enough to to where it felt like
• 16:03
  Speaker 2: it could exist in the time in the time period.
• 16:05
  Speaker 2: You know, I was watching all these different Westerns. So
• 16:07
  Speaker 2: I was just kind of taking. other actors, inspirations and,
• 16:10
  Speaker 2: and trying to figure, figure it out, but I didn't
• 16:12
  Speaker 2: want to overdo it in any kind of way, you know,
• 16:14
  Speaker 2: but it's just saying like little things like Sunday, you know,
• 16:17
  Speaker 2: instead of Sunday and things like that, little, little things. So, uh, yeah,
• 16:22
  Speaker 2: I appreciate, uh, it's just a small attention to detail, but, um,
• 16:25
  Speaker 2: I felt like it's an easy thing for me personally
• 16:27
  Speaker 2: to stretch into just because of my, my dad, from
• 16:30
  Speaker 2: Texas my mom's from uh England funnily enough I grew
• 16:32
  Speaker 2: up saying mom so when I'm filming I have to
• 16:35
  Speaker 2: remember to say mom uh when I'm playing an American
• 16:39
  Speaker 2: but uh yeah so yeah thanks I just I just
• 16:42
  Speaker 2: wanted to make it feel authentic um and not not
• 16:44
  Speaker 2: you know kind of some dumb You know, like a
• 16:48
  Speaker 2: stereotypical thing.
• 16:49
  Speaker 1: Well, you're spot on about that when it comes to
• 16:51
  Speaker 1: those words from being, you know, like from Texas and
• 16:53
  Speaker 1: stuff like that. Because when I came down from Montana
• 16:55
  Speaker 1: in 85, they spent hours with me trying to get
• 16:58
  Speaker 1: me to get rid of my Montana accent. Now people go,
• 17:01
  Speaker 1: there's no accent out there. Yes, there is an accent
• 17:03
  Speaker 1: out there. And so but they would they would take
• 17:06
  Speaker 1: a word like because I would say Friday and they
• 17:08
  Speaker 1: say it's not Friday.
• 17:09
  Speaker 3: It's Friday.
• 17:10
  Speaker 1: No, it's Friday.
• 17:12
  Speaker 3: And so there's a difference. Yeah, there is. There is.
• 17:15
  Speaker 1: And so then then. So what is it like for you, though,
• 17:18
  Speaker 1: to be able to transition into these characters because you
• 17:20
  Speaker 1: have to break those habits and do they stick to you?
• 17:25
  Speaker 3: Yeah, they do.
• 17:26
  Speaker 2: I'm a big fan of just walking around my place
• 17:31
  Speaker 2: and just speaking them out loud over and over again.
• 17:33
  Speaker 2: You got to hear them out loud before you step
• 17:36
  Speaker 2: on the set. You have to do a lot of
• 17:39
  Speaker 2: foundational stuff before you ever get to the set. And
• 17:42
  Speaker 2: And you got to know it back to front so
• 17:44
  Speaker 2: you can, in some ways, you can throw it away
• 17:46
  Speaker 2: once you're there because the foundation is there. But when
• 17:48
  Speaker 2: you're on the day, then you can live in it.
• 17:51
  Speaker 2: You're not thinking about it all the time. It's more
• 17:54
  Speaker 2: secondhand and it's like recall in some ways. And then
• 17:57
  Speaker 2: you're thinking more about the character specifically. So you're not concerned.
• 18:01
  Speaker 3: Because if you're really overly concerned.
• 18:03
  Speaker 2: About an accent or something or some character affectation and
• 18:06
  Speaker 2: you don't really have that down pat before stepping on
• 18:09
  Speaker 2: the set, then you're not really focusing on the most
• 18:12
  Speaker 2: important things, which are what is going on really with
• 18:16
  Speaker 2: the character and the moment and the scene and where
• 18:18
  Speaker 2: he's at. So that stuff has to kind of become
• 18:21
  Speaker 2: second nature. So really it's just repetition and a lot
• 18:26
  Speaker 2: of prep work.
• 18:28
  Speaker 3: I got to tell you something.
• 18:29
  Speaker 1: I know we've been talking about the movie today, but
• 18:30
  Speaker 1: I also want to set up a time with you
• 18:32
  Speaker 1: where I can break down the music with you because
• 18:33
  Speaker 1: you are really into music. And I do have notes
• 18:36
  Speaker 1: here about the song Count On Me, but I know
• 18:38
  Speaker 1: I want more than just a couple of seconds. So
• 18:41
  Speaker 1: I'm going to reach out to you. I want to
• 18:42
  Speaker 1: break down your music and I want to promote your
• 18:44
  Speaker 1: music because it is so in touch with where we
• 18:48
  Speaker 1: are as listeners and that you just really do speak
• 18:51
  Speaker 1: a street that is something that we can all pull in.
• 18:55
  Speaker 3: Thank you. Thank you, Arrow.
• 18:56
  Speaker 2: I would love to talk to you about that sometime.
• 18:58
  Speaker 3: I would be honored.
• 18:59
  Speaker 1: Absolutely. Please come back to this show anytime in the future.
• 19:02
  Speaker 1: The door is always going to be open for you.
• 19:04
  Speaker 3: I sure will. Thank you so much. I appreciate it.
• 19:07
  Speaker 3: I hope I get to meet you in person sometime.
• 19:08
  Speaker 3: You bet, dude. You be brilliant, okay? Thank you. You
• 19:12
  Speaker 3: as well. You as well. Thank you.