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83: Flyover Pride · Movie Meltdown

• 0:01
  Speaker 1: The following feature has been rated R by the Motion
• 0:04
  Speaker 1: Picture Association of America.
• 0:06
  Speaker 2: It is intended for mature audiences and parental discretion is advised.
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  Speaker 3: Our nuclear reactor pumping out one million kilowatts of power.
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  Speaker 3: What's up and welcome to Movie Meltdown.
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  Speaker 4: I'm Brian and this week we're actually coming to you
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  Speaker 4: live via digital recording from the Flyover Film Festival here
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  Speaker 4: in Louisville, Kentucky. And I've got with me Ryan, who
• 1:03
  Speaker 4: works with the Louisville Film Society. I guess, what is
• 1:07
  Speaker 4: it that you guys do, or what are you trying
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  Speaker 4: to do with the Flyover Film Fest?
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  Speaker 5: Flyover Film Festival is an extension of our regular yearly programming.
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  Speaker 5: It's our kind of flagship program. program in which we
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  Speaker 5: take all the different things you're doing throughout the year
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  Speaker 5: and do them all jam-packed and really big in one
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  Speaker 5: weekend at the.
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  Speaker 4: Kentucky Center for the Arts. If people want to get
• 1:36
  Speaker 4: a hold of you guys or if they want to
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  Speaker 4: find out more about the festival or just the organization itself,
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  Speaker 4: where should they go to find out more about it?
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  Speaker 4: You can go to littlefilm.org.
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  Speaker 5: It has information about our U programming, information about flyover,
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  Speaker 5: different venues we do screenings at, etc.
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  Speaker 6: Alright, cool.
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  Speaker 4: I think that's all we need. We'll probably just go
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  Speaker 4: ahead and roll into the first interview. I think first
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  Speaker 4: we're going to do John Stahlberg, Director of High School. So,
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  Speaker 4: here's John. Alright, we're here with John. So, When exactly
• 2:15
  Speaker 4: did you become interested in film?
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  Speaker 3: When I was really young. I was really young. I
• 2:20
  Speaker 3: started watching movies all the time. It was in the
• 2:23
  Speaker 3: sort of birth of the cable boxes on top of
• 2:26
  Speaker 3: television where you had Channel 12 was MTV, 15 was Showtime,
• 2:29
  Speaker 3: 17 was Movie Channel, 20 was HBO, and then you
• 2:31
  Speaker 3: had the major networks. And I lived off Showtime, HBO,
• 2:36
  Speaker 3: and Movie Channel. And I would watch it all day.
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  Speaker 3: And there was everything from toxic Avenger, trauma films to
• 2:42
  Speaker 3: you know, really kind of horrifying movies as a kid
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  Speaker 3: to watch, like John Carpenter's remake of The Thing with
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  Speaker 3: Kurt Russell. And, you know, I would just be obsessed
• 2:50
  Speaker 3: with that stuff. Then I started watching Halloween, Friday the 13th,
• 2:53
  Speaker 3: and Nightmare on Elm Street, and all the horror movies, and,
• 2:56
  Speaker 3: you know, growing up watching comedies. And my dad's a
• 2:58
  Speaker 3: big movie fan, so even though he's a doctor, he
• 3:00
  Speaker 3: would show me movies like The Marx Brothers, and I
• 3:01
  Speaker 3: would just grow up watching Go West over and over
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  Speaker 3: and over, Duck Soup, Horse Feathers, over and over and over,
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  Speaker 3: all these movies, Night at the Opera, um, And, and then,
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  Speaker 3: you know, so it was kind of this mashup of
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  Speaker 3: like growing up on the, the kind of horror movies
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  Speaker 3: on Showtime and HBO and the comedies too. And the
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  Speaker 3: eighties comedies, like, you know, uh, Steve Martin movies, Chevy
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  Speaker 3: Chase movies, Fletch, Three Amigos, you know, that's kind of stuff.
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  Speaker 3: And it was all that just bombarding me. And then
• 3:27
  Speaker 3: I would, uh, get ahold of my dad's home movie camera.
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  Speaker 3: And I was, cause I was saying like, I was
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  Speaker 3: loving it. And it got to the point where my
• 3:33
  Speaker 3: parents were like, you need to read more. Like you're
• 3:35
  Speaker 3: watching too much TV. You're watching too many movies. This
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  Speaker 3: isn't going to amount to anything. what are you doing
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  Speaker 3: with your life? I was like a kid, you know.
• 3:41
  Speaker 3: You stop watching so much TV, get out there and play.
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  Speaker 3: I
• 4:03
  Speaker 3: would get into the horror stuff, comedy stuff. I started
• 4:05
  Speaker 3: pretending to make music videos. I would make little fake
• 4:08
  Speaker 3: music videos of Def Leppard. I would do anything. Stop motion.
• 4:12
  Speaker 3: I would do stop motion with Transformers and GoBots and
• 4:15
  Speaker 3: all that stuff. I was experimenting with the camera, experimenting
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  Speaker 3: with visual effects, using little matches in front of the camera,
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  Speaker 3: just doing anything I could, using WD-40 off camera and
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  Speaker 3: doing explosions. We did all series of movies called FX,
• 4:29
  Speaker 3: where we'd just experiment with visual effects. I'm in practical
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  Speaker 3: effects and also camera tricks, learning how to do a
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  Speaker 3: trick that if like a lock off, you know, you're there,
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  Speaker 3: then you cut the camera and you move the actors
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  Speaker 3: away or move something else there and then roll again.
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  Speaker 3: And I started learning all these little tricks and the
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  Speaker 3: funny thing is shooting backwards and doing things like that
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  Speaker 3: backwards action. I use all that stuff now, which is cool.
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  Speaker 3: So I would, I've been a long answers. I've been
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  Speaker 3: obsessed with it since I was a kid.
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  Speaker 4: Awesome.
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  Speaker 6: Yeah.
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  Speaker 7: Sadly I did.
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  Speaker 4: Yeah.
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  Speaker 3: I don't think it's a bad thing. I think, I
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  Speaker 3: think it's, it's, you know, uh, it worked out. So
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  Speaker 3: for both of us, I guess.
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  Speaker 4: Somewhere in a drawer, there's a super eight version of
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  Speaker 4: a transformer.
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  Speaker 7: Yeah.
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  Speaker 3: Yeah. It's, I'm sure it's a bummer that some of
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  Speaker 3: mine got erased. You know, Michael Bay stole my, uh,
• 5:11
  Speaker 3: he stole your idea. You got a lawsuit. Yeah.
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  Speaker 4: Um, tell me about a Mr.
• 5:15
  Speaker 3: Dramatic. Uh, Mr. Dramatic was a short film that I,
• 5:19
  Speaker 3: I wrote, directed, uh, edited, produced, basically funded it with
• 5:24
  Speaker 3: my own money, borrowed money from, from family members, friends. Um,
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  Speaker 3: And it was one of those things where I had
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  Speaker 3: been directing a lot, and then I got into developing
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  Speaker 3: movies with, you know, Goldie Hawn, Kurt Russell, Kate Hudson,
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  Speaker 3: Oliver Hudson was my producing partner. And we started developing movies,
• 5:41
  Speaker 3: and I got away from physical production. And I wanted
• 5:43
  Speaker 3: to get back into it, and I came up with
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  Speaker 3: this idea that just what if... It's a guy who
• 5:48
  Speaker 3: sort of lives in a world of cinematic cliches. He
• 5:51
  Speaker 3: just lives in a Jerry Bruckheimer movie from the late 80s.
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  Speaker 3: So everything he does is over-the-top, dramatic, extreme, and everything
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  Speaker 3: he does is in slow motion. And everyone around him
• 6:01
  Speaker 3: is totally normal. And if you just kind of collide
• 6:04
  Speaker 3: those two things, it would make a funny kind of high-concept,
• 6:06
  Speaker 3: short film. The concept allowed me to use really high
• 6:11
  Speaker 3: production value to impress people that I could direct using
• 6:15
  Speaker 3: visual effects and high-speed camera work, lots of setups, beautiful compositions,
• 6:21
  Speaker 3: and really epic. If I'm making a joke of Michael
• 6:24
  Speaker 3: Bay movies, his stuff looks great, so I had to
• 6:26
  Speaker 3: make it look great. So it was kind of twofold.
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  Speaker 3: It was funny by being so over-the-top serious and dramatic
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  Speaker 3: and cinematic, and it ended up getting me signed at CAA,
• 6:35
  Speaker 3: and I signed with a management company that was a
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  Speaker 3: big deal at the time. And it just got my
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  Speaker 3: whole career resurrected as a director, so it ultimately paid off.
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  Speaker 4: It's a short film, but it also works as your
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  Speaker 4: own promo reel.
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  Speaker 3: That's what it was. That's what it was, totally. And also,
• 6:52
  Speaker 3: even to this day, I still use it. I was
• 6:54
  Speaker 3: talking to these guys about the Farrelly brothers are doing
• 6:56
  Speaker 3: a bunch of short films put together as a feature,
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  Speaker 3: and they're directing one, and Ratner's directing one, and some
• 7:02
  Speaker 3: other guys are doing some other ones. I guess I'm
• 7:04
  Speaker 3: having a phone call with one of the guys next week,
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  Speaker 3: and one of the things my agent showed him was Mr.
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  Speaker 8: Dramatic.
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  Speaker 3: And it's funny because I use Mr. Dramatic to get
• 7:11
  Speaker 3: a feature. I did a feature, and they're still showing Mr.
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  Speaker 4: Dramatic.
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  Speaker 3: So, you know... I thought it turned out pretty well.
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  Speaker 3: Did a bunch of festival, um, runs and played at
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  Speaker 3: like Tribeca and, you know, Cinequest and, um, won all
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  Speaker 3: kinds of awards. You know, did a whole tour. I don't,
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  Speaker 3: I didn't even go to all the festivals that I
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  Speaker 3: went to. I didn't have any money. I spent it
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  Speaker 3: all on the movie. And, you know, it was one
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  Speaker 3: of those things that like, the lesson I learned is
• 7:33
  Speaker 3: that if you want to convince someone to take, uh,
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  Speaker 3: gamble on you, you have to prove that by gambling
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  Speaker 3: on yourself and succeeding first. That's kind of the lesson that,
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  Speaker 3: that I learned by that. So I, uh, you know, I,
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  Speaker 3: I kind of bet on myself doing that and it,
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  Speaker 3: you know, it was a little bit easier after I
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  Speaker 3: did that to have other people bet on me.
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  Speaker 4: How'd you get Amy Eckering though?
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  Speaker 3: Um, I think I just reached out to her manager
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  Speaker 3: and said, Hey, look, I'm doing the short with Oliver
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  Speaker 3: and he had done a few TV series for Warner
• 8:05
  Speaker 3: brothers at the time. And I said, look, you know, uh,
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  Speaker 3: Maybe she would be good for... Oh, no. The manager
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  Speaker 3: pitched her because she was doing nothing. She was sitting
• 8:14
  Speaker 3: around between TV shows or something. And he said, look,
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  Speaker 3: she's looking for something. I like her stuff from the
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  Speaker 3: stuff she'd done with Joss Whedon. And I said, look,
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  Speaker 3: she'd be good as Mrs. Dramatic at the end of
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  Speaker 3: the movie.
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  Speaker 4: And.
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  Speaker 3: Then I met with her, and then in the room
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  Speaker 3: when I met with her, she was so sort of
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  Speaker 3: sweet and innocent. Like, her picture and the stuff she'd
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  Speaker 3: done before, like, I thought she was going to be
• 8:34
  Speaker 3: kind of, like, dark and brooding. And I met her,
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  Speaker 3: and she was seriously, like, the sweetest, kind of most innocent,
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  Speaker 3: cute girl, really nice girl. And I said, you know what?
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  Speaker 3: You'd be good to play just, like, the foil, like
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  Speaker 3: the girl who is going to meet him and is
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  Speaker 3: kind of thrown off by his outrageous behavior. And then
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  Speaker 3: she said, yeah, and just did it for nothing. I mean,
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  Speaker 3: we paid her, you know, whatever it was, scale, nothing.
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  Speaker 9: Wow, that's cool.
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  Speaker 3: And she was really cool.
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  Speaker 4: Yeah, she's so likable.
• 9:00
  Speaker 3: Very likable. Very likable.
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  Speaker 4: So then I guess the big move was High School,
• 9:05
  Speaker 4: which you described at the premiere as a weed thriller.
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  Speaker 9: Yeah.
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  Speaker 4: Is that how it's going? Yeah.
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  Speaker 3: I mean, we joke around about that because that was
• 9:13
  Speaker 3: the sort of energy that we wanted to bring to it.
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  Speaker 3: We have, you know... From the cinematography of it, my
• 9:18
  Speaker 3: cinematographer is a guy named Mitchell Amundsen. Well, he's not mine.
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  Speaker 3: I mean, he's a lot of Michael Bay's and, you know,
• 9:24
  Speaker 3: all these other guys. Stephen Summers and then, you know,
• 9:27
  Speaker 3: he just shot Red Dawn and Jonah Hex and he
• 9:30
  Speaker 3: shoots a lot of big movies. And I was lucky
• 9:33
  Speaker 3: enough to work with him and apply what i wanted
• 9:36
  Speaker 3: to do was this really kind of commercial cinematic what
• 9:39
  Speaker 3: if like tony scott shot a weed movie you know
• 9:41
  Speaker 3: what i mean like shoot it like pelham 123 remake
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  Speaker 3: you know like let's do it like that you know
• 9:45
  Speaker 3: we did our color correction uh our digital intermediate company
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  Speaker 3: three with stefan sonnenfeld and like we use these really
• 9:51
  Speaker 3: great technicians we worked with and and we made we
• 9:54
  Speaker 3: gave it a look and get made it edgy. And
• 9:56
  Speaker 3: we have, you know, uh, we had cool, um, you know,
• 9:59
  Speaker 3: just like the sound design was done by Leslie Schatz
• 10:01
  Speaker 3: who did, you know, all of Gus Van Zandt's films,
• 10:05
  Speaker 3: milk and all this stuff. And, He also did Rambo.
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  Speaker 3: So we're like, perfect. Totally opposite ends of the spectrum.
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  Speaker 3: We'll just get that guy to do it. And so
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  Speaker 3: we used really cool technicians and we did it with
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  Speaker 3: an approach like we were doing a thriller or make
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  Speaker 3: it moody. And the more moody and cinematic it was,
• 10:23
  Speaker 3: we thought the funnier it could be. We thought if
• 10:26
  Speaker 3: you opened it up and shot it like... the way
• 10:29
  Speaker 3: that Judd Apatow shoots his movies, which works really well
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  Speaker 3: for what he does. A lot of, like, you know,
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  Speaker 3: kind of flat compositions and a lot of lighting so
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  Speaker 3: he can shoot a lot of improvisation with a three-shot
• 10:40
  Speaker 3: and a reverse three-shot. At the same time, you have
• 10:42
  Speaker 3: to really light the set. It's tough to get contrast
• 10:45
  Speaker 3: and make things moody and dark because... you really want
• 10:48
  Speaker 3: to shoot the reaction at the same time. I don't
• 10:49
  Speaker 3: do that. I shoot a lot of single camera stuff.
• 10:52
  Speaker 3: Even if I'm shooting with two cameras, they're pointing in
• 10:54
  Speaker 3: the same direction. So we could give it a look.
• 10:56
  Speaker 3: And you kind of have to do that if you
• 10:58
  Speaker 3: want a movie to feel moody and feel dark and
• 11:00
  Speaker 3: kind of cinematic, even if it's a comedy. And so
• 11:04
  Speaker 3: we took that approach to it and that was the
• 11:06
  Speaker 3: idea of like, if we make this score moody, you know,
• 11:09
  Speaker 3: we had Harold Faltermeyer and a friend of mine, a
• 11:12
  Speaker 3: couple friends of mine who have a band called Freesia
• 11:14
  Speaker 3: did some music for it too. And we kind of,
• 11:16
  Speaker 3: layered both of those elements into the score and, you know,
• 11:20
  Speaker 3: and just kind of took that approach to it. Like
• 11:21
  Speaker 3: we're doing kind of an 80s thriller and then we
• 11:25
  Speaker 3: then have fun with it and let the jokes kind
• 11:26
  Speaker 3: of play and let the characters be kind of insane
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  Speaker 3: but within that world. So it's kind of riding the
• 11:31
  Speaker 3: line between edgy and funny and, you know.
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  Speaker 4: It definitely works. It puts it outside of the normal
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  Speaker 4: weed movie just because it's got that other element to
• 11:41
  Speaker 4: it and it's got so much tension built into it
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  Speaker 4: that works so well.
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  Speaker 3: Yeah, I mean, I like the tension in it because
• 11:46
  Speaker 3: it kind of makes people feel what we were talking
• 11:49
  Speaker 3: about last night of that, like, sensation, if we could
• 11:52
  Speaker 3: distill it, of being too high. Yeah. You know, when
• 11:55
  Speaker 3: people feel that paranoia. In weed movies, weed is always
• 11:58
  Speaker 3: portrayed as, like, all good. Like, you smoke weed, and
• 12:00
  Speaker 3: every single time you get high, it's really fun and funny,
• 12:03
  Speaker 3: and you laugh, and it's great, and it's all good.
• 12:05
  Speaker 3: And it's like this time we wanted to portray it as, like,
• 12:08
  Speaker 3: there's also a dark side that psycho ed represents. And
• 12:11
  Speaker 3: when you get high with his stuff, it's, we wanted
• 12:14
  Speaker 3: to kind of use in, in, um, that vibe and,
• 12:17
  Speaker 3: and kind of show a film that kind of embodied
• 12:19
  Speaker 3: that vibe. And, you know, and that, that's tense. Like
• 12:22
  Speaker 3: I've been in a place where it's like, all right,
• 12:25
  Speaker 3: I wish I didn't just smoke that joint at a barbecue.
• 12:28
  Speaker 3: This barbecue went from like really relaxing and fun to
• 12:30
  Speaker 3: like a nightmare, you know? And so we, so there
• 12:33
  Speaker 3: is like a nightmarish aspect to like the bathroom scene.
• 12:36
  Speaker 3: It's a little sadistic, you know, like, yeah, And people
• 12:38
  Speaker 3: kind of laugh insecurely at it, but at the end,
• 12:41
  Speaker 3: it's kind of a little bit of a release.
• 12:43
  Speaker 7: That's one thing I was.
• 12:44
  Speaker 4: Going to ask, is it does have a feel where
• 12:47
  Speaker 4: it's sort of very open to the use of drugs,
• 12:49
  Speaker 4: but at the same time, it does really play on
• 12:51
  Speaker 4: that cautionary tale. It harkens back to the reefer madness
• 12:56
  Speaker 4: kind of thing.
• 12:57
  Speaker 3: I mean, look, the movie's not about go out and
• 13:01
  Speaker 3: smoke weed, and it's not about smoking weed is bad.
• 13:04
  Speaker 3: It's more like, you know, we talk about it just
• 13:06
  Speaker 3: being more a tale of like moderation, you know, that
• 13:09
  Speaker 3: it's like everything within moderation. And in fact, like smoking
• 13:12
  Speaker 3: weed for this kid kind of really starts to cause
• 13:17
  Speaker 3: his life to fall apart, you know, so we're not
• 13:19
  Speaker 3: saying that it's good, but in the end, ultimately. smoking
• 13:22
  Speaker 3: a little bit of weed actually loosened this kid up
• 13:24
  Speaker 3: and it was sort of the best thing that ever
• 13:25
  Speaker 3: happened to him but he did have to go through
• 13:27
  Speaker 3: a hell of a time once he did that right
• 13:30
  Speaker 3: and with the other kid the other kid sort of
• 13:31
  Speaker 3: needs to learn a little bit of responsibility and kind
• 13:33
  Speaker 3: of grow up a little bit and kind of you
• 13:35
  Speaker 3: know realize kind of who he is in in this
• 13:37
  Speaker 3: context of what he's doing with his life and and
• 13:40
  Speaker 3: so they kind of have these these um different trajectories
• 13:43
  Speaker 3: uh but neither one sort of condemns their behavior or
• 13:47
  Speaker 3: promotes it yeah it's sort of meeting in the middle
• 13:50
  Speaker 3: it's sort of moderation and that's kind of the whole
• 13:52
  Speaker 3: one of the themes of the movie I'm.
• 13:54
  Speaker 4: Like yeah the fact that he really does you know
• 13:57
  Speaker 4: they show that film and you know one joint and
• 14:00
  Speaker 4: it's all shot to head he really kind of.
• 14:02
  Speaker 3: Lives that life right and then people ask me about
• 14:05
  Speaker 3: the end we're saying well how can you show them
• 14:07
  Speaker 3: eating Bud Brownies as they walk off into the sunset
• 14:09
  Speaker 3: that's like the last shot of the movie they literally
• 14:10
  Speaker 3: spill it a Bud Brownie and people are saying isn't
• 14:14
  Speaker 3: that a big you know like fuck you to the
• 14:17
  Speaker 3: principal and all this stuff and I'm like No, it's
• 14:20
  Speaker 3: really about their friendship at that point. It's that like
• 14:22
  Speaker 3: Henry's gotten over his kind of, you know, what he's
• 14:25
  Speaker 3: had the same kind of perspective on marijuana as the principal,
• 14:28
  Speaker 3: this kind of black or white thing. It's either wrong
• 14:30
  Speaker 3: or right. And he's been judging, you know, bro and
• 14:33
  Speaker 3: putting his character in a box and kind of being
• 14:35
  Speaker 3: judgmental about it. And at the end of the movie,
• 14:38
  Speaker 3: it shows that he's kind of come full circle. He
• 14:40
  Speaker 3: doesn't really care anymore. And what he really cares about
• 14:43
  Speaker 3: at this point is like kind of he's going to
• 14:44
  Speaker 3: hang out with his friend, you know, his childhood friend
• 14:47
  Speaker 3: and have a good time.
• 14:48
  Speaker 9: Yeah.
• 14:49
  Speaker 4: It definitely has a nod to the 80s movies. You definitely,
• 14:54
  Speaker 4: as you said, grew up on them, but it kind
• 14:56
  Speaker 4: of finds a way of doing it that doesn't hit
• 14:58
  Speaker 4: you over the head with it. I think that's the
• 14:59
  Speaker 4: problem with so many movies, because it's sort of a
• 15:02
  Speaker 4: big thing with a lot of movies now to sort
• 15:03
  Speaker 4: of tie in the 80s, but they usually.
• 15:05
  Speaker 3: They do it too on the nose.
• 15:07
  Speaker 4: Well, it's almost like they're just ripping off specific scenes.
• 15:10
  Speaker 3: Right, right.
• 15:11
  Speaker 4: Yours was such a minor touch to it that it's
• 15:14
  Speaker 4: something you set out to do, I'm assuming.
• 15:15
  Speaker 3: Well, it's more like the vibe. I mean, honestly, I
• 15:18
  Speaker 3: don't think my movie is anywhere near. I don't pretend
• 15:21
  Speaker 3: to think it's anywhere near Risky Business, but I love
• 15:24
  Speaker 3: Risky Business. And I wanted to kind of go for that,
• 15:26
  Speaker 3: which is like, you know, make a funny movie, but
• 15:29
  Speaker 3: When the pimp, when Guido the Killer Pimp, Joe Paniglione,
• 15:33
  Speaker 3: comes up to the Porsche and he's got his little
• 15:34
  Speaker 3: revolver and he taps it on the glass and he says, Joel,
• 15:37
  Speaker 3: roll the window down. Joel, roll it down. And he says, Joel,
• 15:40
  Speaker 3: he's got a gun. You as the audience, that wasn't
• 15:42
  Speaker 3: played like a Saturday Night Live skit. That guy really
• 15:45
  Speaker 3: had a gun and he was going to really kill him.
• 15:47
  Speaker 3: He's very menacing in that movie when he's like, Joel,
• 15:49
  Speaker 3: let me tell you. He's got Joel by the balls
• 15:50
  Speaker 3: and he's making him buy back his furniture and you're
• 15:53
  Speaker 3: racing against the clock for the parents to come home.
• 15:55
  Speaker 3: And there's definitely a nod when he throws the egg,
• 15:58
  Speaker 3: just like sort of Henry jumping for the key. That
• 16:01
  Speaker 3: stuff of like, if this egg drops, this kid is fucked.
• 16:06
  Speaker 3: The stakes were so high because the stakes were real.
• 16:08
  Speaker 3: And really wasn't like the end of the world is
• 16:10
  Speaker 3: going to happen. It was like, no, his parents are
• 16:11
  Speaker 3: going to fucking ground his ass or kill him. You
• 16:15
  Speaker 3: know what I mean? Send him to boarding school. Like
• 16:17
  Speaker 3: whatever the real stakes are for kids growing up. It
• 16:19
  Speaker 3: felt like that. And this guy has a gun and
• 16:21
  Speaker 3: he could really shoot you. And I was trying to
• 16:23
  Speaker 3: ride that same kind of line where Joey Pants is funny,
• 16:26
  Speaker 3: but he's menacing. And we definitely went more broad than that.
• 16:29
  Speaker 3: But Adrian, when he pulls his gun out and he's
• 16:31
  Speaker 3: waving it around the school, you kind of don't... No,
• 16:34
  Speaker 3: and especially the first scene when he pulls his gun
• 16:37
  Speaker 3: and Henry's hiding behind the door. I think the audience gets,
• 16:40
  Speaker 3: you can feel it, they're a little tense like, wait
• 16:42
  Speaker 3: a minute, where's this going? This guy's got a gun
• 16:43
  Speaker 3: and it's not played like super silly. It's played like
• 16:46
  Speaker 3: a little bit kind of menacing and creepy. So we
• 16:48
  Speaker 3: wanted to go for that risky business kind of vibe.
• 16:52
  Speaker 4: And Adrian Brody is amazing in it. How exactly did
• 16:56
  Speaker 4: you convince him to do this?
• 16:58
  Speaker 3: That's the thing I was trying to say last night.
• 16:59
  Speaker 3: Like I didn't, I didn't really have to convince him.
• 17:02
  Speaker 3: We sent him the script and he told me, he
• 17:04
  Speaker 3: said at the time he'd gotten a stack of offers
• 17:06
  Speaker 3: and he picked up a few scripts and was kind
• 17:08
  Speaker 3: of flipping through the cover sheet and said, he said,
• 17:10
  Speaker 3: he looked at our script and it said in this
• 17:12
  Speaker 3: project you will be, you will be playing the role
• 17:14
  Speaker 3: of psycho ed. And he said, he's like, I just
• 17:16
  Speaker 3: had to read that. I was like, what is this character?
• 17:18
  Speaker 3: Psycho ed. He said he just, he read it. He
• 17:20
  Speaker 3: laughed so hard that he hurt his neck when he
• 17:23
  Speaker 3: was reading it. He said he, he, he had a
• 17:25
  Speaker 3: neck spasm for like a week. And his manager called me.
• 17:30
  Speaker 3: We sent him the script at 7 p.m. His manager
• 17:31
  Speaker 3: called me at noon the next day. And she's like,
• 17:33
  Speaker 3: he wants to get on the phone with you. He
• 17:35
  Speaker 3: loves it. He's really interested. And we got on the phone.
• 17:37
  Speaker 3: I thought I was going to have to convince him.
• 17:39
  Speaker 3: And he was like, all right, how do you want
• 17:40
  Speaker 3: my hair? Let's talk about the hair. He was already in.
• 17:43
  Speaker 3: We had a creative conversation. And we immediately were on
• 17:46
  Speaker 3: the same vibe. It's like, all right, this guy's cool.
• 17:48
  Speaker 3: We had a couple mutual friends, knew each other, and
• 17:50
  Speaker 3: he's from New York, and I've got a lot of
• 17:52
  Speaker 3: friends from New York. And we immediately started saying, okay,
• 17:54
  Speaker 3: it's like this guy and this guy. You know that DJ? Yeah,
• 17:56
  Speaker 3: I know him. So it's like B-boy meets rock star. Okay,
• 17:58
  Speaker 3: and we'll do like a cassette tape belt, like it's
• 18:01
  Speaker 3: a mixtape, but he'll have cornrows from the 80s. He's
• 18:03
  Speaker 3: a guy who's totally... kind of obsessed, so obsessed with
• 18:08
  Speaker 3: his weed, he's forgotten about the outside world, so he's
• 18:10
  Speaker 3: slightly outdated, but he's also kind of got this pirate vibe.
• 18:14
  Speaker 3: The guys in the movie, we call them the weed pirates.
• 18:16
  Speaker 3: They all have beards. They're like the pirates of weed.
• 18:21
  Speaker 4: They're sailing around in the minivan.
• 18:23
  Speaker 3: The dark side of weed. It's like their boat. They
• 18:26
  Speaker 3: run aground.
• 18:27
  Speaker 4: His eye twitch is.
• 18:29
  Speaker 3: It was in the script. It was in the script.
• 18:31
  Speaker 3: It was like, at one point when he finds the
• 18:33
  Speaker 3: Keef missing, it says, Ed's eye twitches uncontrollably. It was
• 18:37
  Speaker 3: just one line. And he, when we had lunch for
• 18:39
  Speaker 3: the first time in Michigan, we were talking, and he said,
• 18:42
  Speaker 3: he said, I've been working on the eye. And he
• 18:43
  Speaker 3: showed it to me. And it's something that me and
• 18:45
  Speaker 3: all my friends do, and we always try to do it.
• 18:47
  Speaker 3: Just for your reader's note, I'm doing it right now.
• 18:51
  Speaker 3: But you be the judge of it. We all work
• 18:54
  Speaker 3: at getting really good at it.
• 18:55
  Speaker 4: It's always, yeah.
• 18:56
  Speaker 3: And so he was trying to do it, and he
• 18:59
  Speaker 3: really nailed it. It's hard to have some really good control.
• 19:01
  Speaker 3: And he does it in a couple of those close-ups.
• 19:04
  Speaker 3: And he just always constantly tried to work on that
• 19:06
  Speaker 3: and get that down. It was just a schism of
• 19:09
  Speaker 3: his character, just who he was.
• 19:10
  Speaker 4: Yeah, he's really well-formed. Sort of pieced together.
• 19:14
  Speaker 3: With the tattoos and all the tattoos. They're funny for
• 19:17
  Speaker 3: the kids who watch the DVD. When you get the DVD,
• 19:19
  Speaker 3: I'll send you a DVD and you can pause it
• 19:21
  Speaker 3: and you can read all the shit all over him.
• 19:23
  Speaker 3: It's hilarious. Like he was a lawyer, so he's got
• 19:24
  Speaker 3: the scales of justice on his back, except they're weed scales.
• 19:27
  Speaker 3: And there's like weed. He's got a Philly blunt on
• 19:29
  Speaker 3: his arm that he can like hit with a cherry
• 19:31
  Speaker 3: right here. He's got the frog. His frog is on
• 19:34
  Speaker 3: his stomach. It's his whole frog is his stomach, which
• 19:36
  Speaker 3: there's all backstory to it. And the credits, the frog
• 19:38
  Speaker 3: is called Grandpa Frodo. And I played the voice. And
• 19:41
  Speaker 3: the idea was that he believes his frog is his
• 19:44
  Speaker 3: grandfather reincarnated in the frog. So he he talks that's
• 19:47
  Speaker 3: why he talks to the frog there's all kinds of
• 19:49
  Speaker 3: fun backstory that we come up with all this stuff
• 19:51
  Speaker 3: that's not in the movie and it gives it a
• 19:54
  Speaker 3: little level of kind of uh richness you know people
• 19:56
  Speaker 3: kind of wonder what the hell is he talking to
• 19:58
  Speaker 3: his frog for like that we know as a director
• 20:01
  Speaker 3: and the actor and we all on the set know
• 20:03
  Speaker 3: exactly why he's talking to his frog his grandpa I
• 20:06
  Speaker 3: think that works better.
• 20:07
  Speaker 4: I mean, you can almost feel when things are thrown
• 20:09
  Speaker 4: in random just for the sake.
• 20:10
  Speaker 3: Of being random. Or they're part of the character.
• 20:12
  Speaker 4: Yeah, or as opposed to having part of the arc.
• 20:14
  Speaker 3: And even with, that's another way to, I think, get
• 20:17
  Speaker 3: actors excited too. Like Colin Hanks. Colin Hanks, I was
• 20:20
  Speaker 3: surprised that he took a small role. I think he's
• 20:22
  Speaker 3: really funny in the movie.
• 20:23
  Speaker 4: He is.
• 20:23
  Speaker 3: You know, and he was like, okay, what is this character?
• 20:26
  Speaker 3: I don't want to just be like the sidekick. And
• 20:28
  Speaker 3: I said, no, no, no. your whole character represents the
• 20:31
  Speaker 3: barometer for how high the school gets. And so as
• 20:34
  Speaker 3: you get higher, you represent what's going on with the
• 20:37
  Speaker 3: chemical mind state of the school. And he loved that.
• 20:42
  Speaker 3: And I gave him this whole backstory. I said, you're
• 20:43
  Speaker 3: a character who was like the stud in high school.
• 20:45
  Speaker 3: You were the captain of the track team. You dated
• 20:48
  Speaker 3: this girl. Your life was great. You went to college.
• 20:50
  Speaker 3: You went to a fraternity. You started smoking a lot
• 20:53
  Speaker 3: of weed. You got into some harder stuff. You maybe
• 20:56
  Speaker 3: experimented with cocaine. Got really into it. It kind of
• 20:59
  Speaker 3: spun out of control. Your grades went south. You got
• 21:02
  Speaker 3: kicked out of school. You went to rehab. You broke
• 21:05
  Speaker 3: up with your girlfriend. Your life kind of went in
• 21:07
  Speaker 3: the shithouse. And then you started to kind of gravitate
• 21:10
  Speaker 3: towards back to the place in your life when everything
• 21:13
  Speaker 3: was great. And that was high school. And so he
• 21:15
  Speaker 3: kind of goes back to this high school. Now he's
• 21:17
  Speaker 3: the coach of the track team and he's sober. And
• 21:19
  Speaker 3: as he like gets dosed with these weed, he sort
• 21:21
  Speaker 3: of digresses, not digresses. He, what's the word? He regresses.
• 21:26
  Speaker 3: That's the word. Back to the state, you know, when
• 21:29
  Speaker 3: he was kind of falling apart and, you know, ends
• 21:31
  Speaker 3: up in Nicaragua on the beach. I don't know if
• 21:33
  Speaker 3: it's good or bad. And he's in like this 80s
• 21:35
  Speaker 3: sweat band, like dancing.
• 21:37
  Speaker 4: And then Michael Chiklis is unrecognizable.
• 21:40
  Speaker 3: Well, people have been coming up to me at this festival.
• 21:43
  Speaker 3: Two or three people have come up to me today
• 21:44
  Speaker 3: and yesterday saying, who is that character actor who plays
• 21:47
  Speaker 3: the principal? Where did you find him? He's great. And
• 21:50
  Speaker 3: I was like, it's funny that nobody recognizes Chiklis.
• 21:53
  Speaker 4: Yeah, he does such a good job. It's not just
• 21:55
  Speaker 4: the hair. The hair definitely isn't nice.
• 21:58
  Speaker 3: But he's a really funny actor. And I think he'd
• 22:01
  Speaker 3: just come off like seven years of The Shield. where
• 22:03
  Speaker 3: he was doing this really dramatic, serious, intense Vic Mackey performance.
• 22:10
  Speaker 3: It's funny because when I first met him, I was like, oh,
• 22:13
  Speaker 3: this guy's a total funny guy. He's a very smart guy.
• 22:16
  Speaker 3: He's a really good actor. I expected him to be
• 22:20
  Speaker 3: Vic Mackey from The Shield, and he's not. He's a
• 22:23
  Speaker 3: really friendly guy, really funny, cool guy, loves to have
• 22:27
  Speaker 3: a good time. And I was like, all right, this
• 22:28
  Speaker 3: guy's going to be great. And he was like an
• 22:30
  Speaker 3: explosion of all this kind of repressed stuff that he
• 22:35
  Speaker 3: loves to be on stage, and he's a performer. He
• 22:37
  Speaker 3: was a theater major, and he loves to perform, and
• 22:39
  Speaker 3: he loves to be the center of attention telling jokes
• 22:41
  Speaker 3: and stories. And it was just an absolute explosion for him.
• 22:45
  Speaker 3: And we had to kind of harness that. And that's
• 22:48
  Speaker 3: why I think people don't recognize him because it's the
• 22:50
  Speaker 3: energy of the performance and the whole thing, the voice,
• 22:53
  Speaker 3: the mannerisms, the sort of ridiculousness, and how far he
• 22:56
  Speaker 3: was willing to go. He would always say, dude, my
• 22:59
  Speaker 3: kids can never see this. This is humiliating. Under the
• 23:02
  Speaker 3: desk bit. And he's like, I cannot believe you're making
• 23:05
  Speaker 3: me do this. He was really scared about all that.
• 23:07
  Speaker 3: And then I was like, dude, you just got to
• 23:09
  Speaker 3: do it. And when he did it, he fully committed.
• 23:11
  Speaker 3: He's one of the best hand actors I've ever seen.
• 23:13
  Speaker 3: You see all that hand acting under the desk? Genius
• 23:16
  Speaker 3: hand acting. He sometimes touches his face when he's talking.
• 23:19
  Speaker 3: Great stuff.
• 23:20
  Speaker 4: Yeah, he does an amazing job in it, I have
• 23:22
  Speaker 4: to say.
• 23:23
  Speaker 3: Yeah, I think so, too.
• 23:24
  Speaker 4: Other than that, I guess I was just going to
• 23:27
  Speaker 4: ask on the dealing with the putting together the movie
• 23:31
  Speaker 4: and now having to get it distributed. That in and
• 23:35
  Speaker 4: of itself, I guess you can go into, but I
• 23:36
  Speaker 4: was also just going to ask... your, your thoughts on
• 23:39
  Speaker 4: the situation of Hollywood in general. It's, it's in a
• 23:41
  Speaker 4: weird spot now.
• 23:42
  Speaker 8: Oh yeah.
• 23:43
  Speaker 9: Yeah.
• 23:43
  Speaker 3: Hollywood's, when you look back at the history of Hollywood,
• 23:46
  Speaker 3: it's constantly in this like upheaval state. That's just how
• 23:49
  Speaker 3: Hollywood is. It's a very new industry still. It's only 110,
• 23:53
  Speaker 3: 15 years old at max. And I'm talking about like
• 23:57
  Speaker 3: avatar to like the first Nickelodeon that that's how much
• 23:59
  Speaker 3: it's come in a hundred years. That's kind of insane,
• 24:02
  Speaker 3: you know? Um, So it's always a business about reinvention
• 24:06
  Speaker 3: and upheaval and change and things are just totally changing.
• 24:09
  Speaker 3: I just watched Shutter Island last night on my iPad
• 24:11
  Speaker 3: in bed because my TV broke. And it was totally cool.
• 24:15
  Speaker 3: And that's how, ironically, we're enjoying entertainment on smaller and
• 24:19
  Speaker 3: smaller things. And we're in this kind of time when
• 24:22
  Speaker 3: we're in this post-Avatar hangover where audiences are not going
• 24:25
  Speaker 3: to get into the Greek and they're not going to
• 24:28
  Speaker 3: see I mean a few people went but it feels
• 24:30
  Speaker 3: like nobody's there's a real kind of slow summer start
• 24:33
  Speaker 3: and I think some of the movies aren't so great
• 24:35
  Speaker 3: I haven't seen get into the Greek but I hear
• 24:37
  Speaker 3: it's actually pretty funny and it's like you'd think a
• 24:39
  Speaker 3: couple years ago that would have done really well but
• 24:41
  Speaker 3: now that there's like okay I gotta go park and
• 24:43
  Speaker 3: I gotta buy two $ 15 tickets and then I gotta
• 24:45
  Speaker 3: buy dinner for me and my date and I gotta
• 24:47
  Speaker 3: do this and then I gotta buy $ 20 worth of
• 24:49
  Speaker 3: candy and drinks and popcorn and it's like $ 100 and
• 24:52
  Speaker 3: I'm gonna spend $ 100 and take a shower and put
• 24:54
  Speaker 3: on clothes and do a whole thing just to go
• 24:56
  Speaker 3: see you know, the killers with, or killers with like
• 24:59
  Speaker 3: Ashton Kutcher, no offense, but you know, well, okay, offense, offense, please.
• 25:03
  Speaker 3: You know what I mean? It's asking for it. And
• 25:06
  Speaker 3: it's like, and it's like, You know, I don't want
• 25:08
  Speaker 3: to spend all that money to go see something like that.
• 25:11
  Speaker 3: And now they're coming out with this technology where, like,
• 25:13
  Speaker 3: you know, your PlayStation 3 remote where it vibrates?
• 25:15
  Speaker 4: Yeah.
• 25:15
  Speaker 3: Where there's seats that are programmed to the movies. You're
• 25:18
  Speaker 3: watching in 3D, like, virtual reality goggles, gloves. You're in
• 25:22
  Speaker 3: the seat vibrating. It's going to be like Captain EO or, like,
• 25:25
  Speaker 3: Star Tours.
• 25:26
  Speaker 4: Or, like, returning to William Castle.
• 25:27
  Speaker 9: Yeah.
• 25:28
  Speaker 3: I'm telling you. It's, like, seriously, like, you're going through, like,
• 25:30
  Speaker 3: a roller coaster ride.
• 25:31
  Speaker 9: Yeah.
• 25:31
  Speaker 3: And so it's, like, movies are either roller coaster ride,
• 25:33
  Speaker 3: and it used to be, or small. Now it's roller
• 25:35
  Speaker 3: coaster ride or nothing.
• 25:37
  Speaker 4: Yeah.
• 25:37
  Speaker 3: Clash of the Titans made $ 450 million. Alice in Wonderland
• 25:40
  Speaker 3: is one of the highest-grossing films of all time. I
• 25:43
  Speaker 3: don't know what you think of it. It was entertaining,
• 25:45
  Speaker 3: but highest-grossing films of all time. Avatar made, I think, okay,
• 25:50
  Speaker 3: Titanic was the highest-grossing film before that, made $ 1. 7 billion.
• 25:53
  Speaker 3: Avatar's made $ 2. 7 billion. It's just changed the business, and
• 25:58
  Speaker 3: now it's like you have to make these huge, massive movies,
• 26:02
  Speaker 3: and independent film is really struggling, and it's tough because
• 26:05
  Speaker 3: there's so many cool movies that come out of Sundance,
• 26:07
  Speaker 3: and I saw a bunch of really cool movies up there, and,
• 26:10
  Speaker 3: you know.
• 26:11
  Speaker 4: In a way, I was thinking this is almost, this
• 26:13
  Speaker 4: is the chance, you know, almost to make your move
• 26:15
  Speaker 4: for independent cinema. It's like, now that people have kind
• 26:18
  Speaker 4: of lost so much, you know, respect for, you know,
• 26:22
  Speaker 4: going to the theater, you can almost find that niche of,
• 26:25
  Speaker 4: it's not going to be this big blockbuster, but this
• 26:27
  Speaker 4: has something to offer that those don't, and And especially
• 26:30
  Speaker 4: cause I think the independent people are realizing before the
• 26:33
  Speaker 4: major studios that there is this window into the home
• 26:37
  Speaker 4: and onto the iPods.
• 26:38
  Speaker 9: Right. Right.
• 26:39
  Speaker 3: So you can just go do a deal straight now
• 26:41
  Speaker 3: with iTunes or do a deal with Netflix and do
• 26:43
  Speaker 3: direct downloads and things, but then you still got to
• 26:45
  Speaker 3: market it, you know, so you've got to do an
• 26:47
  Speaker 3: online spend and buying online ad space is expensive. So
• 26:50
  Speaker 3: you need someone to finance the marketing of that, you know,
• 26:53
  Speaker 3: and now there's the DVD market is shrinking. So it's like,
• 26:56
  Speaker 3: we kind of don't know what's going to happen. It's
• 26:57
  Speaker 3: just basically VOD and, uh, you know direct downloads and
• 27:01
  Speaker 3: things like that um but it's kind of like it's
• 27:03
  Speaker 3: kind of whack i don't know how much you've gotten
• 27:05
  Speaker 3: into but i was on the plane and i ordered
• 27:07
  Speaker 3: before i got on the plane i ordered wolfman um
• 27:10
  Speaker 3: i ordered uh to rent from itunes i got wolfman
• 27:13
  Speaker 3: i got the messenger with woody harrelson and i got
• 27:15
  Speaker 3: um shutter island and i watched shutter island and today
• 27:18
  Speaker 3: i opened up my ipad and it said wolfman and
• 27:21
  Speaker 3: messengers have expired and i never watched them i only
• 27:23
  Speaker 3: had like 48 hours or something. That was it. My
• 27:26
  Speaker 3: rental is over, and now I just spent $ 5 on
• 27:29
  Speaker 3: each or $ 6, $ 8, whatever it is.
• 27:31
  Speaker 4: We're back to DivX again.
• 27:32
  Speaker 1: Yeah.
• 27:32
  Speaker 4: That's why that went up.
• 27:33
  Speaker 3: I know. It's weird. Then you've got Redbox and renting DVDs,
• 27:37
  Speaker 3: and the windows are shrinking. The business is just kind
• 27:40
  Speaker 3: of nuts.
• 27:41
  Speaker 4: As much as it changed just from the 80s to
• 27:45
  Speaker 4: the 2000s, in the last five to six years, it's
• 27:48
  Speaker 4: been amazing how much everything has revolutionized.
• 27:51
  Speaker 3: It's still in that.
• 27:52
  Speaker 7: State of flux.
• 27:53
  Speaker 3: Yeah, it's interesting. And I think that, you know, if
• 27:57
  Speaker 3: you're going to make a movie, it's got to be commercial.
• 28:00
  Speaker 3: And I don't think making a good movie and a
• 28:02
  Speaker 3: commercial movie are mutually exclusive. That's like my whole key
• 28:05
  Speaker 3: is that I want to make really good, really fun
• 28:08
  Speaker 3: commercial movies that are really well made, that are interesting
• 28:11
  Speaker 3: to watch, with great performances, with great actors. And, you know,
• 28:14
  Speaker 3: I think I sit sort of my foot in the
• 28:16
  Speaker 3: right direction with high school. It's cinematic. You know, I
• 28:19
  Speaker 3: think I got good performances. I mean, I feel really
• 28:21
  Speaker 3: happy with it. Um, it feels really commercial and really fun,
• 28:24
  Speaker 3: but at the same time, like it feels like it's
• 28:26
  Speaker 3: not a movie that's selling out or, or pandering. Like
• 28:29
  Speaker 3: it feels like it's just trying to be what it is,
• 28:31
  Speaker 3: you know? Um, and I, and I want to take
• 28:33
  Speaker 3: that to the next level. I've got these movie ideas
• 28:35
  Speaker 3: that I'm working on right now that are like, I'm
• 28:37
  Speaker 3: doing an MMA comedy. It's like the Jewish Rocky, but
• 28:40
  Speaker 3: a guy who gets seduced into the world of MMA
• 28:41
  Speaker 3: and it's like played really serious, but it's a guy
• 28:43
  Speaker 3: who goes through this ridiculous transformation into an MMA fighter.
• 28:46
  Speaker 3: You know, like imagine Seth Rogen with a faux hawk
• 28:48
  Speaker 3: and like bleached frosted tips and like tattoo on his chest.
• 28:51
  Speaker 3: You know what I mean? Like, and he's totally out
• 28:53
  Speaker 3: of place. Like, what am I doing here? But he's
• 28:55
  Speaker 3: been convinced that he's got a gift, you know, his
• 28:57
  Speaker 3: right hand. And, you know, and giving it like some
• 29:00
  Speaker 3: action and some sizzle and some reason to get you
• 29:02
  Speaker 3: in theater. And then also deliver on the laughs and,
• 29:05
  Speaker 3: you know, make it cinematic and just make a really fun,
• 29:09
  Speaker 3: good movie.
• 29:10
  Speaker 4: Those are kind of hard to come by.
• 29:11
  Speaker 3: They're hard to come by and I think there's still
• 29:13
  Speaker 3: a market for that. Good, really well executed, funny, cool movie.
• 29:18
  Speaker 3: That's what I want to make.
• 29:19
  Speaker 4: That sounds like a good point.
• 29:20
  Speaker 9: Cool.
• 29:21
  Speaker 4: As far as high school, is there a way for
• 29:23
  Speaker 4: people to, where should they go, online or something?
• 29:25
  Speaker 3: Yeah, they should go to departmentofmoralhealth.us. So it's D-E-P-T of moralhealth.us.
• 29:32
  Speaker 3: And there they can link to our Facebook page and
• 29:35
  Speaker 3: there's a YouTube page and all the pages and whatever,
• 29:37
  Speaker 3: Twitter and all that. And yeah, they can go to
• 29:40
  Speaker 3: check out the teaser and there's upcoming news and there's
• 29:42
  Speaker 3: stills and the posters, which got a lot of good
• 29:45
  Speaker 3: response at Sundance. Yeah. And, you know, there's going to
• 29:49
  Speaker 3: be news about the release soon and it's all sort
• 29:52
  Speaker 3: of in flux right now. We wanted more concrete news
• 29:54
  Speaker 3: to be able to announce.
• 29:56
  Speaker 4: Yeah.
• 29:56
  Speaker 3: But the idea is for it to come out this fall,
• 29:59
  Speaker 3: and hopefully that's still on track. But if people want
• 30:02
  Speaker 3: to go check that out and kind of give shouts
• 30:04
  Speaker 3: out and become friends and do all that stuff, it
• 30:06
  Speaker 3: always helps. The more kind of traffic we get, the
• 30:09
  Speaker 3: more of an impetus there is to release the film theatrically.
• 30:13
  Speaker 4: Definitely. We can try to spread the word and let
• 30:15
  Speaker 4: them know when it's coming.
• 30:15
  Speaker 3: Great. We'd appreciate that.
• 30:16
  Speaker 4: Definitely. But yes, thanks for talking to us today. And
• 30:19
  Speaker 4: it should be good.
• 30:19
  Speaker 3: I appreciate it, man. Thanks a lot.
• 30:21
  Speaker 4: Thank you.
• 30:21
  Speaker 3: Really appreciate it.
• 30:22
  Speaker 4: All right, thanks again to John, and look for his
• 30:25
  Speaker 4: movie High School in the near future as it gets distribution.
• 30:29
  Speaker 4: All right, we'll take a short break and be back
• 30:30
  Speaker 4: with more coverage from the Flyover Film Club.
• 30:32
  Speaker 8: Fly over, fly over Let's all go to the lobby
• 30:35
  Speaker 8: To get ourselves a.
• 30:36
  Speaker 9: Treat Delicious things to eat. The popcorn can't be beat.
• 30:58
  Speaker 10: The sparkling drinks are just dandy.
• 31:01
  Speaker 9: The chocolate bars and the candy.
• 31:04
  Speaker 10: So let's all go to the.
• 31:06
  Speaker 6: Lobby to get ourselves a treat.
• 31:10
  Speaker 4: Let's all go to.
• 31:11
  Speaker 11: The lobby to get ourselves a treat.
• 31:18
  Speaker 1: What happens to Nancy and Sheila in The Mansion of
• 31:21
  Speaker 1: the Doomed is so horrifying, we can't even hint at
• 31:25
  Speaker 1: it on this radio station. Mansion of the Doomed is
• 31:27
  Speaker 1: so shocking, it will never appear on television. Some films
• 31:31
  Speaker 1: you see, some you feel. You'll feel Mansion of the Doomed.
• 31:39
  Speaker 1: You'll never forget. Mansion of the Doomed.
• 31:43
  Speaker 6: Hey kids, are you ready for Mid-America's largest genre film festival?
• 31:47
  Speaker 6: That's right, it's time for the 6th annual Fright Night
• 31:49
  Speaker 6: Film Fest, coming to you July 30th through August 1st
• 31:52
  Speaker 6: in Louisville, Kentucky.
• 31:54
  Speaker 7: Featuring special guests, director, producer.
• 31:56
  Speaker 6: Oscar winner, and living legend, Roger Corman.
• 32:00
  Speaker 4: Plus a Dawn of the Dead reunion, a Night of
• 32:02
  Speaker 4: the Creeps.
• 32:02
  Speaker 7: Reunion, the Girls of the Nightmare on Elm Street films,
• 32:05
  Speaker 7: plus a.
• 32:05
  Speaker 6: 25th anniversary Fright Night reunion. All that plus the Georgetown
• 32:09
  Speaker 6: drive-in experience, live music, and more horror merchandise that you'll know.
• 32:12
  Speaker 7: What to do with.
• 32:13
  Speaker 6: And even an appearance from the Movie Meltdown Gang. So
• 32:16
  Speaker 6: come on out and join us July 30th through August 1st.
• 32:18
  Speaker 6: For more details on the show, up to your guest list,
• 32:21
  Speaker 6: or to get your tickets, go to Fright Night Film
• 32:23
  Speaker 6: Fest dot com.
• 32:24
  Speaker 4: Fright Night Film Fest is my favorite film festival. Hands down.
• 32:37
  Speaker 2: This is Jason sitting here with my main man, Brian.
• 32:40
  Speaker 2: We're with Movie Meltdown. Come check us out. I did
• 32:43
  Speaker 2: a little interview thing, and I don't know. Heck, you
• 32:47
  Speaker 2: might learn something.
• 33:05
  Speaker 3: All right, we're back.
• 33:06
  Speaker 4: And next up, we talk to Jack Stevenson, author and
• 33:09
  Speaker 4: film curator, who has come to the festival with an
• 33:11
  Speaker 4: assemblage of movies called Movies with Roots in Hell, the
• 33:15
  Speaker 4: Effects of Drugs on American Cinema. We're here today with Jack.
• 33:20
  Speaker 4: You're an author and a curator of film. How exactly
• 33:23
  Speaker 4: did you initially get to this point? At what point
• 33:27
  Speaker 4: did you find yourself becoming somewhat obsessed with film?
• 33:30
  Speaker 9: Well, I.
• 33:32
  Speaker 12: when I moved to Boston in the late seventies, uh, the, uh,
• 33:36
  Speaker 12: repertory and art house, uh, scene was flourishing. So that
• 33:39
  Speaker 12: was kind of, um, in a general, uh, for a
• 33:43
  Speaker 12: general level film, that was a wonderful place to be
• 33:46
  Speaker 12: at the time. And then in, uh, the mid eighties,
• 33:49
  Speaker 12: I started booking, um, shows at this dive bar in
• 33:53
  Speaker 12: Boston called Chet's Last Call. And it, um, we would
• 33:58
  Speaker 12: have like a, a film, say, uh, Female Trouble by
• 34:02
  Speaker 12: John Waters or something, and a couple of punk bands
• 34:06
  Speaker 12: before and after. And so I always lost a lot
• 34:09
  Speaker 12: of money because I had to pay a projectionist, rent
• 34:11
  Speaker 12: the film, and pay the bands. So then I realized
• 34:15
  Speaker 12: you could actually collect films and own them yourself. So
• 34:18
  Speaker 12: I learned how to run them on a 16 projector
• 34:20
  Speaker 12: and started collecting projectors and films. At that time in
• 34:23
  Speaker 12: the 80s, it was still possible. I think the prices
• 34:27
  Speaker 12: have gone up now because most everything is going through
• 34:29
  Speaker 12: eBay on an auction basis. So that's kind of the
• 34:35
  Speaker 12: humble way I got into collecting film. And then if
• 34:38
  Speaker 12: you start buying up loads of films, at the high
• 34:45
  Speaker 12: school I used to go to, they were getting rid
• 34:49
  Speaker 12: of their 16mm films at one point, so I told
• 34:51
  Speaker 12: my mother to go there and Because I wasn't in
• 34:53
  Speaker 12: town at that point, and I told her to bid
• 34:56
  Speaker 12: on them. And so somebody offered $ 11, and she bid $ 13,
• 35:00
  Speaker 12: and she got a car full of films. And I
• 35:05
  Speaker 12: know other people who collect them, and places throw them out,
• 35:07
  Speaker 12: or they give them away. A lot of places give
• 35:10
  Speaker 12: them away if you will take them. So 16mm became
• 35:14
  Speaker 12: a fairly worthless commodity. People just don't. Whenever I do
• 35:18
  Speaker 12: a show.
• 35:20
  Speaker 12: I think it's always more powerful if you have the
• 35:22
  Speaker 12: 16mm projector showing it in the auditorium. It's just something indefinable.
• 35:26
  Speaker 4: And it's something people don't see.
• 35:28
  Speaker 12: And they don't see. It's exotic now. It used to
• 35:31
  Speaker 12: be that the whole focus was to take the 16mm
• 35:34
  Speaker 12: out of the auditorium and put it in a booth
• 35:36
  Speaker 12: or put it where you couldn't see it. Now it's
• 35:39
  Speaker 12: better to actually put it in the middle of the auditorium.
• 35:42
  Speaker 4: There's going to be a whole generation of kids that
• 35:44
  Speaker 4: have no idea what that machine is.
• 35:46
  Speaker 12: Yeah, very soon. It's kind of scary.
• 35:49
  Speaker 4: Had you always been interested in film just in general?
• 35:52
  Speaker 12: Yeah, just in general. I always like going to the
• 35:55
  Speaker 12: movies and stuff, probably like a lot of people. And
• 35:59
  Speaker 12: I like showing it to people and getting reactions and stuff.
• 36:03
  Speaker 12: And then I started writing books about various aspects of it.
• 36:06
  Speaker 12: So I consider myself a film collector and a film writer.
• 36:10
  Speaker 12: And then I also operate a small theater in Copenhagen.
• 36:14
  Speaker 4: What exactly is the criteria when you cross the line
• 36:16
  Speaker 4: from collector to curator?
• 36:20
  Speaker 12: It's a good question because to put together a show
• 36:25
  Speaker 12: that doesn't give people too much and doesn't exhaust them,
• 36:28
  Speaker 12: putting together shorts in some thematic package, you can't make
• 36:35
  Speaker 12: it too long. Sometimes you can't bombard them with a
• 36:38
  Speaker 12: two- or three-hour show. So I think that's kind of
• 36:41
  Speaker 12: the art of curating, but they're very closely entwined.
• 36:47
  Speaker 3: Is it always.
• 36:48
  Speaker 4: The film medium, or is it also the accessories and
• 36:51
  Speaker 4: all the posters and collectibles that go along?
• 36:55
  Speaker 12: I'm not really a collector of posters. I wish I
• 36:57
  Speaker 12: had enough money to do that. I love them, but
• 37:01
  Speaker 12: you enter the collector's realm there, and you also don't
• 37:04
  Speaker 12: have any place to display them or to hang them,
• 37:07
  Speaker 12: so I haven't really.
• 37:09
  Speaker 4: But I am.
• 37:09
  Speaker 12: Interested in the machinery of it, and we have.
• 37:13
  Speaker 12: A film group back in Copenhagen, we sent emails to
• 37:17
  Speaker 12: all the theaters and all the schools and asked them
• 37:20
  Speaker 12: if they had any projectors that we could borrow, quote-unquote.
• 37:24
  Speaker 12: And so we were given about 15 projectors. Now we
• 37:32
  Speaker 12: monopolize or dominate the 16mm market in Denmark. But there
• 37:35
  Speaker 12: is no way you can get films there. You can't
• 37:37
  Speaker 12: rent them. You can't borrow them. So the 16mm format
• 37:41
  Speaker 12: is dead there. and a lot of people don't realize
• 37:44
  Speaker 12: the importance of the format because if you, if you
• 37:47
  Speaker 12: have a movie theater and you take out your 16
• 37:49
  Speaker 12: millimeter projector to give you more room to put in
• 37:51
  Speaker 12: digital format, you lose a possibility to show literally, uh,
• 37:56
  Speaker 12: tens of thousands of films that are not transferred and
• 37:59
  Speaker 12: never will be. 16 is still an uncharted sea of movies,
• 38:03
  Speaker 12: short movies, underground movies. I mean, they were all made
• 38:05
  Speaker 12: in that format for decades. And, uh, people think everything
• 38:09
  Speaker 12: will be transferred but it's it's not true if you
• 38:11
  Speaker 12: go to the new york film co-op or canyon cinema
• 38:14
  Speaker 12: or these kind of places there are still many many
• 38:18
  Speaker 12: films that you know that are waiting there to be
• 38:20
  Speaker 12: discovered there's.
• 38:22
  Speaker 4: Still so much stuff that most people have never even
• 38:24
  Speaker 4: seen or heard of.
• 38:26
  Speaker 12: It right right much of it in the underground or
• 38:29
  Speaker 12: the educational also educational films and So I consider myself
• 38:33
  Speaker 12: kind of an archaeologist in a way, too, because it's
• 38:36
  Speaker 12: the flotsam of history that we're talking about here. And
• 38:41
  Speaker 12: when you find a 16mm film like the Hot Dog film,
• 38:46
  Speaker 12: which is also a bit known. Somebody else has a
• 38:49
  Speaker 12: print of that, and it's ended up in a couple
• 38:50
  Speaker 12: of DVDs or something. But it's discovering, in many ways,
• 38:55
  Speaker 12: something that's totally unique here.
• 38:57
  Speaker 4: As well at one point did you i mean i
• 38:59
  Speaker 4: guess you've always liked film in general did you specifically
• 39:03
  Speaker 4: set out to start finding more obscure or just very
• 39:06
  Speaker 4: strange movies or.
• 39:08
  Speaker 12: Is it just something that happened along the way well
• 39:10
  Speaker 12: it happened along the way i also have a lot
• 39:12
  Speaker 12: of feature films i have print flash gordon and a
• 39:15
  Speaker 12: lot of spaghetti westerns and um hell's angels on wheels
• 39:18
  Speaker 12: and blaxploitation films so i like these genre films and
• 39:20
  Speaker 12: uh And I like seeing them on 35 millimeter. Of course,
• 39:25
  Speaker 12: with Tarantino and Grindhouse, it's kind of sort of um,
• 39:29
  Speaker 12: mythified or, you know, turned it into kind of an
• 39:32
  Speaker 12: ironic postmodern thing to see scratches on a film or
• 39:35
  Speaker 12: something like that. But still it's, uh, there's a difference between, uh,
• 39:39
  Speaker 12: film and DVD projection because most, if you talk to
• 39:43
  Speaker 12: the technical people, they'll say that very soon all films
• 39:46
  Speaker 12: will be, uh, video beamed, um, shown digitally and somehow
• 39:51
  Speaker 12: downloaded and shown like that. But the small theaters that
• 39:55
  Speaker 12: show the most interesting stuff, they don't have enough money
• 39:57
  Speaker 12: for good equipment. So the DVD projection will always be problematic.
• 40:02
  Speaker 12: It's not how the films are made. It's simply the projection.
• 40:06
  Speaker 12: Many of them wash the screen with white light, so
• 40:09
  Speaker 12: you lose all the nuance. So I'm still a film
• 40:13
  Speaker 12: purist and unapologetic.
• 40:17
  Speaker 4: And then the film you're touring with now, it's Movies
• 40:21
  Speaker 4: with Roots in Hell. Exactly what all would you use
• 40:25
  Speaker 4: to describe that?
• 40:27
  Speaker 12: Well, I took that title, of course, from the Dwayne
• 40:29
  Speaker 12: Esper film that we saw outtakes from, Marijuana, Weed with
• 40:32
  Speaker 12: Roots in Hell. So I wanted a kind of exploitation
• 40:36
  Speaker 12: horror movie title to it. And when I talk in
• 40:39
  Speaker 12: Europe to people about this drug cinema, they don't really
• 40:42
  Speaker 12: know what I mean, drug scare cinema, because In Europe,
• 40:45
  Speaker 12: there may be a few films that fit that category,
• 40:48
  Speaker 12: but it doesn't span decades and genres. In America, it
• 40:53
  Speaker 12: spans genres. It's underground films. It's feature films. It's mainstream films.
• 40:58
  Speaker 12: Also could be put in that category. In America, that
• 41:03
  Speaker 12: theme is wide enough to really create a show.
• 41:06
  Speaker 4: Yeah, and it went on for so long.
• 41:09
  Speaker 12: It went on, and it's still going on. They're still
• 41:11
  Speaker 12: making movies about it. It's the stuff of drama, really.
• 41:13
  Speaker 3: I mean, you know.
• 41:15
  Speaker 12: Profit, temptation, crime, morality, a lot of the exaggerated morality.
• 41:22
  Speaker 12: I mean, as we saw in this, you know, just
• 41:25
  Speaker 12: ridiculous exaggerated morality, hypocrisy.
• 41:29
  Speaker 4: Yeah, I mean, as ridiculous as some of them get,
• 41:32
  Speaker 4: at the same time it is really a snapshot of,
• 41:35
  Speaker 4: you know, America at that time. It is sort of
• 41:37
  Speaker 4: important to have them and not let them be lost
• 41:40
  Speaker 4: to the ages just, you know, because... they don't apply
• 41:44
  Speaker 4: right now, you know, it still sort of captures who we.
• 41:47
  Speaker 12: Were at that point. Yeah, yeah.
• 41:51
  Speaker 1: As far as your books, what all have you gone into?
• 41:54
  Speaker 12: Well, I wrote a compilation about erotic cinema, Fleshpot. Then
• 42:00
  Speaker 12: I wrote a book called Land of the Thousand Balconies
• 42:03
  Speaker 12: in 2003, which is a collection of essays and more
• 42:05
  Speaker 12: personal stuff. And then I wrote the drug book, Addicted,
• 42:08
  Speaker 12: The Myth and Menace of Drugs in Film. That was
• 42:12
  Speaker 12: also from 2000 And then, uh, the two films, uh,
• 42:16
  Speaker 12: three books on Danish cinema, a book on Hexen called
• 42:19
  Speaker 12: Witchcraft Through the Ages out on Fab Press, 2006. Uh,
• 42:23
  Speaker 12: Von Trier, uh, Lars Von Trier, which is the title
• 42:26
  Speaker 12: for the BFI in 2001. Uh, Dogma, uh, Uncut, 2003
• 42:32
  Speaker 12: from Santa Monica Press. Um, and then this last film,
• 42:37
  Speaker 12: Scandinavian Blue, which I spent seven years, uh, wrote it
• 42:40
  Speaker 12: over the course of seven years, so it was a
• 42:42
  Speaker 12: long time in the making. Um, Yeah, and then I
• 42:45
  Speaker 12: hope to write a book on Al Goldstein, so it's
• 42:48
  Speaker 12: completely away from the movie subject matter, who was the
• 42:52
  Speaker 12: publisher of Screw Magazine and was an important freedom of speech,
• 42:58
  Speaker 12: but is now completely vilified. But that's probably my next
• 43:02
  Speaker 12: book from Head Press, I think, in early 2011. All right.
• 43:07
  Speaker 4: So if people want to find more about you and
• 43:11
  Speaker 4: the touring that you're doing with the films and the books,
• 43:13
  Speaker 4: what's the best way to do that?
• 43:14
  Speaker 12: Well, the touring is not really advertised on the net.
• 43:16
  Speaker 12: It's just on a show-by-show basis. So each show usually
• 43:20
  Speaker 12: puts something up that can be traced on the net.
• 43:22
  Speaker 12: But the books, I would say just Google my name,
• 43:25
  Speaker 12: Jack Stevenson, and on Amazon.com, they should all be listed
• 43:29
  Speaker 12: on that. Any place that is a fairly good database
• 43:32
  Speaker 12: for what books are in print or are coming out
• 43:35
  Speaker 12: should have pretty much most of my... my stuff on it.
• 43:40
  Speaker 4: Sounds good.
• 43:42
  Speaker 12: Well, thank you for talking to us.
• 43:46
  Speaker 3: Okay, thanks a lot.
• 43:48
  Speaker 4: Thank you again to Jack. Go check out his books
• 43:50
  Speaker 4: and look for him touring around with some of the
• 43:52
  Speaker 4: films he's collected. All right, we'll take a quick break
• 43:55
  Speaker 4: and be back with director Jason Epperson.
• 44:00
  Speaker 9: Choosing a family movie is tough.
• 44:03
  Speaker 3: It seems like all Hollywood can do is make mindless
• 44:06
  Speaker 3: drivel that rots kids' brains. Who wants to see a
• 44:08
  Speaker 3: movie like.
• 44:30
  Speaker 3: The movies he grew up with are sometimes a big surprise.
• 44:33
  Speaker 4: I at times feel uncomfortable watching movies I loved when
• 44:36
  Speaker 4: I was younger with my own kids because I forgot
• 44:38
  Speaker 4: how much cursing, sex, and violence they showed back then.
• 44:42
  Speaker 2: All we want to do is watch a fun movie
• 44:44
  Speaker 2: that we all like.
• 44:45
  Speaker 10: That's why we created Family Movie Night, a podcast where
• 44:48
  Speaker 10: we review movies from an adult perspective.
• 44:51
  Speaker 3: And from a kid's perspective.
• 44:53
  Speaker 10: So you can find movies for your whole family to enjoy.
• 44:56
  Speaker 3: We review new movies.
• 44:58
  Speaker 10: Old childhood favorites, cult and foreign films.
• 45:01
  Speaker 9: And Godzilla.
• 45:02
  Speaker 3: So check out Family Movie Night on the web at fmnpodcast.com
• 45:06
  Speaker 3: or find us on iTunes. Bye! We are family.
• 45:10
  Speaker 4: We are family.
• 45:13
  Speaker 3: Popsyndicate.com.
• 45:15
  Speaker 7: Your one stop for all your unhealthy obsessions.
• 45:19
  Speaker 5: Breaking news and in-depth reviews on all of your favorite movies, music,
• 45:23
  Speaker 5: TV shows, podcasts, comics, books.
• 45:26
  Speaker 3: Popsyndicate.com. This is John Stalberg Jr. You're listening to Movie Meltdown.
• 45:38
  Speaker 3: Where are you? It's part of your problem, you know,
• 45:46
  Speaker 3: you haven't seen enough movies. All of life's riddles are
• 45:48
  Speaker 3: answered in the movies.
• 45:50
  Speaker 9: And now, on with the show.
• 45:54
  Speaker 4: Alright, we're back, and this time I sit down with
• 46:00
  Speaker 4: up-and-coming director Jason Epperson, who you may be familiar with
• 46:03
  Speaker 4: from the Steven Spielberg-produced reality series On the Lot. I
• 46:07
  Speaker 4: talked to Jason about getting into directing and his new film, Unrequited.
• 46:10
  Speaker 4: We're here with Jason Epperson, um, you grew up pretty
• 46:14
  Speaker 4: far away from the Hollywood scene. What, what inspired you
• 46:17
  Speaker 4: to go into film?
• 46:19
  Speaker 10: Um, what inspired me to go into film?
• 46:23
  Speaker 2: Honestly, uh, I have a, uh, I have a personality
• 46:28
  Speaker 2: that I just, I like a lot of, a lot
• 46:32
  Speaker 2: of stuff.
• 46:32
  Speaker 10: I like a little bit of everything.
• 46:34
  Speaker 2: And, um, when I was in, uh, when I was
• 46:37
  Speaker 2: in college trying to figure out what I want to
• 46:39
  Speaker 2: do with my life, um, I changed my major literally
• 46:42
  Speaker 2: like a dozen times.
• 46:44
  Speaker 10: So I finally got into.
• 46:46
  Speaker 2: Art and then changed to art education and then decided
• 46:50
  Speaker 2: to take a stab at broadcasting. And I like the radio.
• 46:55
  Speaker 2: I like radio and I like the production of it.
• 46:57
  Speaker 2: And then, of course, we had to take a video class.
• 47:01
  Speaker 2: I stuck a camera in my hand and next thing
• 47:04
  Speaker 2: you know, I'm I just, uh, absorbed with it. And, um,
• 47:08
  Speaker 2: I'm also, you know, the type of guy that once,
• 47:11
  Speaker 2: once I find something I like, I just, you know,
• 47:13
  Speaker 2: I dive, dive in and, um, completely, uh, uh, just
• 47:18
  Speaker 2: go all out. So, uh, you know, I got to, uh,
• 47:21
  Speaker 2: taking some of the editing classes and going out and shooting.
• 47:24
  Speaker 2: I was like, man, you know, I can, this radio
• 47:26
  Speaker 2: thing's cool, but I can, I can take his camera
• 47:28
  Speaker 2: and do so much more with it. You know, tell us, tell,
• 47:30
  Speaker 2: really tell a story. Um, I can't say really that
• 47:33
  Speaker 2: was my first experience with camera and video. When I
• 47:36
  Speaker 2: was a little kid, you know, I do remember going,
• 47:38
  Speaker 2: taking my dad's camera out, the one where you had
• 47:40
  Speaker 2: to carry a VCR around, you know, for his play record.
• 47:42
  Speaker 2: And I'd go out and I filmed all kinds of
• 47:44
  Speaker 2: crazy stuff. But, you know, when you're that young, you
• 47:47
  Speaker 2: don't really think you can make a career out of it.
• 47:49
  Speaker 10: I never thought about that.
• 47:50
  Speaker 2: So it was really college, you know, when it set
• 47:53
  Speaker 2: in and really got the fever, I guess, for it.
• 47:57
  Speaker 2: It kind of took off from there.
• 47:59
  Speaker 4: You did a lot of music videos early on. Did
• 48:02
  Speaker 4: you originally intend on going into features?
• 48:05
  Speaker 10: No, absolutely not.
• 48:06
  Speaker 2: It's funny because I've made the comment several times that
• 48:09
  Speaker 2: if I could do music videos for the rest of
• 48:11
  Speaker 2: my life, I would be happy. I love it because
• 48:14
  Speaker 2: you're telling a story in three minutes, basically three to
• 48:18
  Speaker 2: four minutes, and you can move on to the next.
• 48:21
  Speaker 2: If you're doing a feature, it's taking you at least
• 48:23
  Speaker 2: a year to do your story. So I've always been
• 48:26
  Speaker 2: real attracted to the short format. And it was, you know,
• 48:31
  Speaker 2: it's just a lot of fun. And I love music, too. Again,
• 48:33
  Speaker 2: kind of going back to the days working in radio
• 48:36
  Speaker 2: and broadcasting and stuff, I just love music. And it
• 48:39
  Speaker 2: was just a good fit for me. Fun, creative outlet.
• 48:43
  Speaker 2: And it just kind of, I really did not get
• 48:46
  Speaker 2: serious into the feature film world until I got on
• 48:50
  Speaker 2: the show. And, you know, did a few of these shows.
• 48:54
  Speaker 2: I did a few short films before the show, but
• 48:56
  Speaker 2: I'll be honest, you know, I could, a handful that
• 48:59
  Speaker 2: I could really, I wouldn't even want to show anyone, right?
• 49:02
  Speaker 10: But it wasn't until.
• 49:05
  Speaker 2: I got on the show and, you know, started getting
• 49:09
  Speaker 2: calls and people wanting me to direct features and getting
• 49:12
  Speaker 2: attached to projects here and there.
• 49:13
  Speaker 10: And, you know, I've really had.
• 49:14
  Speaker 2: To learn that business and kind of, figure out how
• 49:21
  Speaker 2: to get my mind thinking in a feature format, quite honestly,
• 49:28
  Speaker 2: when I did my first feature last year. The way
• 49:30
  Speaker 2: that I approached it was I took each scene and
• 49:33
  Speaker 2: made it like a short film. That's the way that
• 49:35
  Speaker 2: I kind of put it all together. So each scene
• 49:38
  Speaker 2: to me was like doing a little short film. And, again,
• 49:41
  Speaker 2: it worked out pretty good. I'm still learning, but I
• 49:45
  Speaker 2: love it. I love it, and I can totally see myself.
• 49:49
  Speaker 2: And again, that's my goal now is to move into
• 49:52
  Speaker 2: that category where I can just be hired out to
• 49:56
  Speaker 2: direct films. That's a pretty cool gig, right?
• 49:59
  Speaker 7: Definitely.
• 50:00
  Speaker 4: It's funny that it seems like people who want to
• 50:03
  Speaker 4: do it and just be sort of a commercially successful director,
• 50:06
  Speaker 4: I've heard it's a lot easier to do anything but
• 50:09
  Speaker 4: feature films, really, if you want to do music videos
• 50:12
  Speaker 4: or commercials. there's so much more of a market and
• 50:14
  Speaker 4: so much better pay involved and it's a lot easier.
• 50:17
  Speaker 4: So it's, it's almost like that, you know, taking that
• 50:19
  Speaker 4: step into the big feature films is, is you're sort
• 50:23
  Speaker 4: of taking a hit for it on the way there,
• 50:25
  Speaker 4: but yeah, it's artistic, you know, depends on how you
• 50:28
  Speaker 4: want to go into it.
• 50:29
  Speaker 9: Yeah. Yeah.
• 50:30
  Speaker 4: I agree.
• 50:30
  Speaker 2: I think, you know, you, as far as financially, you
• 50:32
  Speaker 2: could probably do better doing commercial, the commercial work, um,
• 50:37
  Speaker 2: commercial and corporate. And honestly, that's where I still make
• 50:40
  Speaker 2: my money. Um, I didn't get paid very much to
• 50:44
  Speaker 2: do my first feature. You know, it was just one
• 50:46
  Speaker 2: of those things that I wanted to cross that off
• 50:47
  Speaker 2: the list and do it and prove, again, kind of
• 50:51
  Speaker 2: just prove to myself that this is what I want
• 50:54
  Speaker 2: to do and hopefully that after this first film comes
• 50:59
  Speaker 2: out and, you know, it'll do well enough that we'll
• 51:02
  Speaker 2: maybe get me a few more gigs and maybe get
• 51:04
  Speaker 2: paid a little bit more the next time.
• 51:07
  Speaker 4: That would be nice.
• 51:08
  Speaker 10: That would be nice. I wouldn't hurt my feelings one bit.
• 51:11
  Speaker 4: How did you initially get involved in on the lot?
• 51:15
  Speaker 4: It's funny.
• 51:17
  Speaker 2: I swear that my mother-in-law told me about the competition,
• 51:19
  Speaker 2: but she swears that she didn't. So I don't know
• 51:21
  Speaker 2: how I found out about on the lot. Probably just
• 51:24
  Speaker 2: surfing the Internet, but. they were originally asking to submit
• 51:29
  Speaker 2: short films. There was no, again, there's no short film
• 51:31
  Speaker 2: that I would want Steven Spielberg to see. So I
• 51:34
  Speaker 2: put a music video in, um, which it was kind of, uh,
• 51:37
  Speaker 2: not asked for, but you know, for me, I figured
• 51:39
  Speaker 2: it was my best chance to get in. And sure enough,
• 51:42
  Speaker 2: it worked out pretty, you know, I guess originally producers
• 51:45
  Speaker 2: kind of cut it down to however many, there's like
• 51:48
  Speaker 2: over 12,000 people submit it. You know, I was, I
• 51:51
  Speaker 2: went to Atlanta to do the interview initially. Um, and
• 51:54
  Speaker 2: then had to go back to, uh, had to come
• 51:56
  Speaker 2: back up here to Kentucky to do a short film
• 51:58
  Speaker 2: in a week. And, again, at that point, there may be,
• 52:01
  Speaker 2: I don't know, maybe 500 to 1,000 people that they
• 52:03
  Speaker 2: cut down. And this was international, too. It was the world,
• 52:06
  Speaker 2: you know. It's just so crazy. So I got back,
• 52:09
  Speaker 2: did my short film, submitted it, and within a couple
• 52:12
  Speaker 2: weeks I got the call, you know, to come out.
• 52:14
  Speaker 10: So this is crazy, crazy.
• 52:18
  Speaker 4: Pretty much.
• 52:18
  Speaker 10: Yeah, experience.
• 52:20
  Speaker 4: How different do you think your career at this point
• 52:22
  Speaker 4: would be without that show?
• 52:25
  Speaker 2: Um, well, it's, it's pretty much did a 180. Again,
• 52:32
  Speaker 2: you know, I was pretty content beforehand just doing the
• 52:35
  Speaker 2: music videos and the commercial work. Um, I'd considered some features,
• 52:40
  Speaker 2: but it, uh, you know, it was, uh, definitely put
• 52:43
  Speaker 2: on the back burner because I was doing well with,
• 52:46
  Speaker 2: with these, um, with the, you know, the road that
• 52:49
  Speaker 2: I was heading down.
• 52:50
  Speaker 10: So, I would say 180. Uh, obviously after the show,
• 52:53
  Speaker 10: I moved out to LA.
• 52:54
  Speaker 2: I was out there for a couple of years and, um,
• 52:57
  Speaker 2: got the agent, got the manager and like, you know,
• 52:59
  Speaker 2: I got these guys representing me and, and trying to
• 53:01
  Speaker 2: get me work. And I'm going to meetings and meeting
• 53:03
  Speaker 2: with the president of dreamworks and, uh, Gary Marshall, you know,
• 53:06
  Speaker 2: I was on my cell phone. I go out to
• 53:08
  Speaker 2: eat with, uh, Vern Troyer, mini me, you know, and
• 53:11
  Speaker 2: hanging out with people like this. And it's just, uh, uh,
• 53:14
  Speaker 2: just a crazy, crazy world that I was just kind
• 53:17
  Speaker 2: of thrown right in. And, um, definitely changed. My life
• 53:22
  Speaker 2: has definitely changed since then. And it's been great. I mean, things, um,
• 53:27
  Speaker 2: were a little nuts and crazy when I was in LA. Uh,
• 53:30
  Speaker 2: there's a huge learning curve for me. Again, I, I
• 53:33
  Speaker 2: didn't go to film school. I have a degree in broadcasting,
• 53:35
  Speaker 2: but it's totally, uh, I mean, it's a totally different
• 53:39
  Speaker 2: world in film and in LA. Um, so, you know,
• 53:43
  Speaker 2: I would say those first few years was a schooling
• 53:45
  Speaker 2: process for me. Um, Ended up coming back home, and
• 53:49
  Speaker 2: it was the best decision I ever made because I
• 53:51
  Speaker 2: was getting work back home when I was out there.
• 53:54
  Speaker 2: I was doing the writer's strike, and it was a
• 53:56
  Speaker 2: mess that whole first year. So I wasn't getting a
• 53:58
  Speaker 2: lot of work and not doing exactly what I did.
• 54:00
  Speaker 2: You know, again, maybe I can answer a lot of questions.
• 54:04
  Speaker 10: I'm rambling for you.
• 54:05
  Speaker 2: But I just felt like, you know, everything that got
• 54:09
  Speaker 2: me on that show, I was able to do here
• 54:12
  Speaker 2: in Kentucky. And through the network and the people I met,
• 54:15
  Speaker 2: and there are good people here, professionals that want the
• 54:19
  Speaker 2: same type of results and goals, you know, that I did.
• 54:23
  Speaker 10: So I was able to surround myself around those people.
• 54:27
  Speaker 2: And the types of productions that I was doing here
• 54:30
  Speaker 2: is ultimately what got me on the show to begin with.
• 54:33
  Speaker 2: So for me, it was an easy decision to come
• 54:35
  Speaker 2: back home and do something here. And it really just
• 54:39
  Speaker 2: kind of fell right into the hands of when I
• 54:42
  Speaker 2: met up with a couple of the producers who wanted
• 54:44
  Speaker 2: to do Unrequited. And, again, it just made sense. They
• 54:49
  Speaker 2: had the same expectations as I did. Originally, the writer
• 54:54
  Speaker 2: and producer wanted to direct that, and then we met
• 54:56
  Speaker 2: up with me, and, again, it just made sense. They're like,
• 54:58
  Speaker 2: let's bring you on because of the exposure, because of
• 55:02
  Speaker 2: what you went through and my connections. It was just
• 55:05
  Speaker 2: a good marriage. So we all got together. We did
• 55:08
  Speaker 2: this project, and here we are today premiering it. So
• 55:13
  Speaker 2: it's been a good decision, a good ride for me.
• 55:16
  Speaker 4: It's good to see something productive come out of reality television.
• 55:19
  Speaker 4: Usually they're not sold on it.
• 55:21
  Speaker 10: No doubt.
• 55:22
  Speaker 2: It's crazy, too, because the guy who won, Will, still
• 55:24
  Speaker 2: hasn't done a feature. And a part of the deal,
• 55:27
  Speaker 2: I mean, it was like a million-dollar contract for DreamWorks,
• 55:31
  Speaker 2: but $ 500, 000 of that was supposed to go towards his
• 55:33
  Speaker 2: movie that he was supposed to make within the two-year contract.
• 55:36
  Speaker 2: And he still hasn't made one. So I haven't spoken
• 55:38
  Speaker 2: to him for a while, but I'd say that's a
• 55:42
  Speaker 2: bad thing.
• 55:44
  Speaker 4: The crown by default, like Miss America.
• 55:46
  Speaker 10: Yeah, I don't know.
• 55:48
  Speaker 2: But it's funny because I'm so competitive anyway. I always
• 55:51
  Speaker 2: said that after I got off the show, and Gary
• 55:53
  Speaker 2: Marshall even said it. If you watched the show on
• 55:56
  Speaker 2: the last episode when Will won, Gary Marshall said that.
• 56:01
  Speaker 2: Jason will be making films, but Will will be making
• 56:03
  Speaker 2: them first. And I'm like, we'll see about that. So
• 56:06
  Speaker 2: I'm really excited and proud that I was able to
• 56:08
  Speaker 2: make my first film before the guy who won the
• 56:10
  Speaker 2: show made his.
• 56:12
  Speaker 10: All respect to Will, and I love him to death.
• 56:14
  Speaker 10: He's a great friend.
• 56:15
  Speaker 4: It's good to have that competitive spirit.
• 56:17
  Speaker 3: It is, it is.
• 56:17
  Speaker 10: You've got to have a little bit of that. That's
• 56:18
  Speaker 10: why I feel like I got so far in the show.
• 56:21
  Speaker 4: Speaking of Unrequited, how exactly did that come into play,
• 56:25
  Speaker 4: or what drew you to it, if nothing else?
• 56:28
  Speaker 1: Well, the.
• 56:29
  Speaker 2: A mutual friend of the producers hooked us up and
• 56:32
  Speaker 2: got together.
• 56:33
  Speaker 10: I read the script.
• 56:36
  Speaker 2: Honestly, it takes me a while to get through some
• 56:38
  Speaker 2: of these scripts. I've gotten bombarded with people pitching me scripts.
• 56:43
  Speaker 2: I'm like, you know, 99% of them are just total crap. But,
• 56:47
  Speaker 2: you know, they gave me Unrequited. And, again, it was
• 56:50
  Speaker 2: a teen thriller. I can't tell you either what I like.
• 56:53
  Speaker 2: I just like a good story.
• 56:54
  Speaker 1: Yeah.
• 56:55
  Speaker 2: There's no specific genre that I could say that I
• 56:57
  Speaker 2: want to be fit into this category. Um, but I
• 57:01
  Speaker 2: read unrequited and I would really like, I mean, I
• 57:03
  Speaker 2: read through it one night and again, that's really unprecedented
• 57:06
  Speaker 2: for me and really enjoyed it. And I called, called
• 57:09
  Speaker 2: the guys back the next day and I was like,
• 57:10
  Speaker 2: I just, I'd love to be a part of it. Um, again,
• 57:13
  Speaker 2: I can't, I'd be lying if I sit here and
• 57:16
  Speaker 2: said that I thought that this would be, you know,
• 57:19
  Speaker 2: just the, this is the best project that ever for me,
• 57:22
  Speaker 2: you know, to do. But again, But truthfully, I felt
• 57:25
  Speaker 2: like it was the perfect project for my first film.
• 57:29
  Speaker 2: so I really, really liked it, and I really dug
• 57:32
  Speaker 2: the concept of it, and thought that I, you know,
• 57:35
  Speaker 2: could come in and, through my style, really give it
• 57:41
  Speaker 2: some flair, and I thought we could do well with it, so, again,
• 57:45
  Speaker 2: it was just, it was a really good marriage, the
• 57:46
  Speaker 2: guys are, I'm a Christian guy, the producers are Christian guys,
• 57:50
  Speaker 2: we had the same philosophy, and the same ideas of
• 57:55
  Speaker 2: how we wanted to show the film, and portray the
• 57:58
  Speaker 2: characters and the morals of it were, you know, there
• 58:02
  Speaker 2: were just things that just really added up and I
• 58:05
  Speaker 2: felt like this is where I was supposed to be,
• 58:06
  Speaker 2: this is what I was supposed to do.
• 58:07
  Speaker 10: So I did it.
• 58:10
  Speaker 4: You have a different take on films, certainly being not
• 58:14
  Speaker 4: from the Hollywood system. So now that you're getting into features,
• 58:18
  Speaker 4: what are you setting out to do with your films?
• 58:21
  Speaker 2: Again, I don't think there's anything. There's no agenda, there's
• 58:26
  Speaker 2: no With me, man, I just feel like I'm really blessed.
• 58:30
  Speaker 2: To do what I get to do for a living
• 58:32
  Speaker 2: is pretty freaking awesome. So I'm not that director that
• 58:37
  Speaker 2: you can sit here and I'm not going to tell
• 58:39
  Speaker 2: you my philosophies on films.
• 58:41
  Speaker 10: I don't have one.
• 58:42
  Speaker 2: Again, I'm happy to be able tomorrow to pick up
• 58:46
  Speaker 2: a camera and go out and shoot whatever. I'm pretty
• 58:49
  Speaker 2: humble when it comes to that.
• 58:50
  Speaker 10: So again, for me.
• 58:54
  Speaker 2: I just, I just leave, leave the book open, turn
• 58:56
  Speaker 2: the pages next day and see what drops in my lap. Um,
• 59:00
  Speaker 2: with that being said, I'm also, I'm a go getter.
• 59:04
  Speaker 2: I'm competitive and, uh, I'm always, uh, trying to push
• 59:08
  Speaker 2: the envelope a little bit. I, Again, I know that
• 59:11
  Speaker 2: you're only as good as your last film, and so
• 59:14
  Speaker 2: I hope to find those projects that push me a
• 59:17
  Speaker 2: little bit, get better, try new things, and continue this
• 59:23
  Speaker 2: career for as long as it'll let me.
• 59:26
  Speaker 4: That it's a good philosophy to have right there.
• 59:28
  Speaker 2: Well i'll go with that one yeah um do you
• 59:32
  Speaker 2: have anything lined up or anything you want to talk
• 59:34
  Speaker 2: yes yeah i'd love to talk to you um there's
• 59:36
  Speaker 2: a project uh i'm a big sucker for documentaries um
• 59:41
  Speaker 2: and i have thought i yeah you know i will
• 59:43
  Speaker 2: we'll go back a little bit and what the first
• 59:46
  Speaker 2: project i ever did was a documentary on my high
• 59:48
  Speaker 2: school basketball team my nephew played and he's like aunt
• 59:51
  Speaker 2: will you come and film our our basketball season, you know,
• 59:54
  Speaker 2: might be really, get some cool stuff. And this is
• 59:57
  Speaker 2: right when I first got, got into it. So, uh,
• 1:00:00
  Speaker 2: literally I went to the bank and got a $ 5, 000 loan. Uh,
• 1:00:03
  Speaker 2: they gave it to me for, I don't know how
• 1:00:05
  Speaker 2: that happened. They gave me the loan. I went and
• 1:00:07
  Speaker 2: got a can, a little camera, an iMac and, uh,
• 1:00:12
  Speaker 2: a microphone.
• 1:00:13
  Speaker 10: That's all I had.
• 1:00:14
  Speaker 2: I shot my, my nephews and ended up turning being
• 1:00:17
  Speaker 2: two seasons worth of footage. And I got, broke my,
• 1:00:21
  Speaker 2: broke my, uh, cherry i guess you'd say on that
• 1:00:23
  Speaker 2: project yeah so um i have a uh i'm a
• 1:00:27
  Speaker 2: big sucker for documentaries and the next project we're doing
• 1:00:30
  Speaker 2: is a documentary on the carolton bus crash um which
• 1:00:33
  Speaker 2: is a big event a lot of people know about
• 1:00:36
  Speaker 2: that tragic crash um happened back in 1988 a lot
• 1:00:41
  Speaker 2: of kids lost their life and then when the drunk
• 1:00:44
  Speaker 2: driver uh crossed over the median and uh in and
• 1:00:47
  Speaker 2: hit this school bus was filled of kids and a
• 1:00:50
  Speaker 2: few few parents but uh Just some unbelievable stories that
• 1:00:54
  Speaker 2: have come from that, and I'm really excited about this project.
• 1:00:56
  Speaker 2: We're doing it as a non-for-profit, so we're going to
• 1:00:59
  Speaker 2: go out and we're going to look for donations. We're
• 1:01:02
  Speaker 2: right now in that fundraising mode, trying to get that together.
• 1:01:05
  Speaker 2: We'd love to shoot this thing starting in the fall.
• 1:01:08
  Speaker 2: So a few months out, we'd love to get started
• 1:01:11
  Speaker 2: on it. It's called Impact, after the crash. And again,
• 1:01:15
  Speaker 2: it's based on a Carrollton bus crash. So I got
• 1:01:17
  Speaker 2: that happening. There's another project that's a... kind of a
• 1:01:23
  Speaker 2: psychological thriller also that I'm working with a producer in LA.
• 1:01:26
  Speaker 10: That's, that's also in the fundraising mode.
• 1:01:29
  Speaker 2: That's looking pretty good, but, uh, I won't say too
• 1:01:32
  Speaker 2: much about it because that's, you know, it's kind of
• 1:01:33
  Speaker 2: up in the air right now, but it's looking pretty good.
• 1:01:35
  Speaker 10: Uh, kind of knock on wood on that one.
• 1:01:38
  Speaker 2: But, um, besides that, you know, I've got, uh, I stay,
• 1:01:42
  Speaker 2: I stay just consumed with, with projects. I got a
• 1:01:45
  Speaker 2: music video we're shooting here in a few weeks here
• 1:01:47
  Speaker 2: in Louisville.
• 1:01:48
  Speaker 10: Really excited about. And, um, that's, uh, that's it for
• 1:01:51
  Speaker 10: this year.
• 1:01:52
  Speaker 2: Um, I'm working on trying to get a new agent
• 1:01:54
  Speaker 2: based on, you know, the film coming out and, uh,
• 1:01:57
  Speaker 2: one that maybe can actually find me some work. Uh,
• 1:02:01
  Speaker 2: back out in L.A., but it's good. I can't complain
• 1:02:05
  Speaker 2: one bit. It's been a lot of fun.
• 1:02:07
  Speaker 4: Is there a way for anybody to find you online?
• 1:02:10
  Speaker 10: Absolutely.
• 1:02:11
  Speaker 2: My website is epicfilms.com. That's epic with two Ps, E-P-P.
• 1:02:16
  Speaker 2: I see, because my last name's Epperson. If you want
• 1:02:21
  Speaker 2: to check out Unrequited, you can go to unrequited.com. It's U-N-R-E-Q-U-I-T-E-D.com.
• 1:02:29
  Speaker 3: What else?
• 1:02:30
  Speaker 6: What else?
• 1:02:31
  Speaker 2: Oh, one thing to note, too, this past year, this
• 1:02:35
  Speaker 2: has been a lot of fun. I've been working on
• 1:02:37
  Speaker 2: developing television shows, some reality shows, actually. That's the big thing.
• 1:02:43
  Speaker 2: I just fell into a project for, out of all
• 1:02:46
  Speaker 2: the things, a furniture company. But it's really pretty cool.
• 1:02:50
  Speaker 2: This guy pitched me this idea. He's like, man, I
• 1:02:52
  Speaker 2: think you could come and film our... furniture company we
• 1:02:55
  Speaker 2: can we have a reality show here i'm like okay
• 1:02:57
  Speaker 2: yeah whatever i've heard i've heard that before uh but
• 1:03:00
  Speaker 2: i went and checked it out and they really do
• 1:03:02
  Speaker 2: have some some pretty special i say special that's a
• 1:03:06
  Speaker 2: good word that's happening there and uh so i filmed
• 1:03:09
  Speaker 2: this uh i filmed it for like four four to
• 1:03:12
  Speaker 2: six weeks went back and cut a like a sizzle
• 1:03:15
  Speaker 2: reel together, and we did a really nice marketing campaign,
• 1:03:17
  Speaker 2: website and everything. And right now, we have a couple
• 1:03:21
  Speaker 2: production companies in L.A. that just completely love this project.
• 1:03:26
  Speaker 2: As a matter of fact, they like it so much,
• 1:03:28
  Speaker 2: the executive producer called me. and said, uh, send me
• 1:03:32
  Speaker 2: everything you got. He's like, send me more stuff. We really,
• 1:03:34
  Speaker 2: we really liked the, uh, the promo that I cut together.
• 1:03:37
  Speaker 2: And again, my background, I love editing. Editing is my thing.
• 1:03:40
  Speaker 2: I really consider myself an editor's director. Um, so I, uh,
• 1:03:45
  Speaker 2: since that first one, I've had all these people and
• 1:03:47
  Speaker 2: it's been pitching me their ideas now and I've done
• 1:03:50
  Speaker 2: four more since then.
• 1:03:52
  Speaker 10: Uh, so it's really cool.
• 1:03:53
  Speaker 2: I got one called two old rock and roll guys
• 1:03:55
  Speaker 2: in their mid uh, forties and fifties who are still
• 1:03:57
  Speaker 2: trying to make it in the music.
• 1:03:58
  Speaker 10: Industry, but, but have their daylight. There's a lot of them.
• 1:04:01
  Speaker 9: Yeah.
• 1:04:02
  Speaker 10: So I think people could really relate to that.
• 1:04:04
  Speaker 2: And, uh, I love that one. And then there's one
• 1:04:06
  Speaker 2: called the spiritual that we're working on that A &
• 1:04:09
  Speaker 2: E is very interested in right now. Uh, and that's, uh,
• 1:04:12
  Speaker 2: basically kind of just, uh, kind of in that paranormal feel.
• 1:04:17
  Speaker 2: We got, you know, a couple of hosts that are
• 1:04:18
  Speaker 2: going to go around and, um, kind of dissect, uh,
• 1:04:22
  Speaker 2: all types of spiritual, you know, things happening in the world. Um,
• 1:04:27
  Speaker 2: but again, getting a lot of, a lot of hits
• 1:04:29
  Speaker 2: off that one too. Uh, but it's, it's again, crazy.
• 1:04:32
  Speaker 2: The reality show guy developing reality shows, you know, go figure.
• 1:04:36
  Speaker 4: They're everywhere.
• 1:04:37
  Speaker 10: You can't, you can't, you can't, you got to, uh,
• 1:04:40
  Speaker 10: you gotta just, you gotta go with it.
• 1:04:42
  Speaker 8: Yeah.
• 1:04:42
  Speaker 9: Yeah.
• 1:04:43
  Speaker 10: Thank you, man.
• 1:04:44
  Speaker 4: Yep.
• 1:04:44
  Speaker 10: Appreciate it.
• 1:04:48
  Speaker 4: Thank you again to Jason for taking time to talk
• 1:04:50
  Speaker 4: with us. So look for unrequited and other upcoming films
• 1:04:53
  Speaker 4: from him. Well, that about does it here from the
• 1:04:56
  Speaker 4: flyover film fest. I want to give a big thanks
• 1:04:59
  Speaker 4: to everybody here at the Louisville film society for putting
• 1:05:01
  Speaker 4: together such a great show, specifically, uh, Sheila, Tracy, George,
• 1:05:05
  Speaker 4: and everybody who helped me out this weekend. And a
• 1:05:08
  Speaker 4: big thanks to Ryan for putting up with me, uh,
• 1:05:10
  Speaker 4: hanging around during the fest and, and basically helping us
• 1:05:13
  Speaker 4: put together this episode. So a big thanks to him. And, um,
• 1:05:17
  Speaker 4: Any questions you have about the movies we talked about
• 1:05:19
  Speaker 4: on this episode, or anything you need information on, just
• 1:05:22
  Speaker 4: email us at geeksatmoviemeltdown.com, and I'll try to pass along
• 1:05:26
  Speaker 4: any information I can.
• 1:05:28
  Speaker 9: Don't be shy.
• 1:05:31
  Speaker 10: We'd like to hear from you.
• 1:05:34
  Speaker 7: So give us a call at 502-365-5565. Or you can
• 1:05:36
  Speaker 7: email us at geeksatmoviemeltdown.com. And just stop by the website
• 1:05:46
  Speaker 7: for our frequent updates. That's MovieMeltdown.com. And while you're there,
• 1:05:51
  Speaker 7: click on the forums link and go to our message
• 1:05:53
  Speaker 7: boards at Pop Syndicate. Or go to PopSyndicate.com and go
• 1:05:56
  Speaker 7: to the forum sections and look for Movie Meltdown.
• 1:06:06
  Speaker 4: In the meantime, go find yourself some new independent films
• 1:06:08
  Speaker 4: to watch. Otherwise, that about does it. We will return
• 1:06:11
  Speaker 4: next week. Same geek time, same geek feed. Thanks for listening.
• 1:06:47
  Speaker 8: Looks like I'm running late again As the wind tips
• 1:06:52
  Speaker 8: all concrete Keep the beat Always somewhere.
• 1:06:56
  Speaker 11: To go Nowhere to.
• 1:06:59
  Speaker 8: Be I'm looking for my final mistake Those backyards.
• 1:07:09
  Speaker 11: And great lakes I gotta take.
• 1:07:11
  Speaker 3: It easy now.
• 1:07:19
  Speaker 11: Kentucky, Missouri, Illinois, Ohio The red ones and blue ones
• 1:07:25
  Speaker 11: are places that I know Look up the way you've gone,
• 1:07:32
  Speaker 11: the way you've.
• 1:07:33
  Speaker 4: Been and where you've come.
• 1:07:34
  Speaker 11: I'm in a flyover stand I've found. I'm in a
• 1:07:39
  Speaker 11: flyover stand I'm proud. Turned blocks and turned down. All
• 1:07:47
  Speaker 11: distilleries and tri-towns.
• 1:07:51
  Speaker 9: Gentlemen's farms.
• 1:07:58
  Speaker 11: It's my flight over state When I close my eyes,
• 1:08:05
  Speaker 11: babe And then it rocks me to sleep A little clearer.
• 1:08:13
  Speaker 8: Now Kentucky, Missouri, Illinois, Ohio The red ones, the blue ones,
• 1:08:21
  Speaker 8: the places that I know.
• 1:08:26
  Speaker 11: We'll come to where you're going, where you've been, where
• 1:08:29
  Speaker 11: you're from I'm in a flyover state.
• 1:08:33
  Speaker 8: I've found I'm in a flyover state I'm proud In
• 1:08:38
  Speaker 8: a flyover state Just a lovely flyover state I'm in
• 1:08:46
  Speaker 8: a flyover state.
• 1:08:49
  Speaker 3: You can't bring me down.
• 1:08:54
  Speaker 8: Living in my flyover state. Just a lovely flyover. state
• 1:09:02
  Speaker 8: I'm in a flyover state.
• 1:09:05
  Speaker 11: Don't bring me down Kentucky, Missouri, Illinois, Ohio The red ones,
• 1:09:16
  Speaker 11: the blue ones, the places that I know.
• 1:09:22
  Speaker 4: Look up to where you're going.
• 1:09:24
  Speaker 11: Where you've been and where you're from. I'm in a
• 1:09:29
  Speaker 11: flower stand I've found. I'm in a flower stand I'm proud.
• 1:09:37
  Speaker 8: I'm surprised this hasn't happened sooner.
• 1:09:39
  Speaker 7: This show is a production of Movie Meltdown, produced and
• 1:09:41
  Speaker 7: edited by Brian Renfro, with opening music performed by The Empires.
• 1:09:45
  Speaker 7: To help support the show, email producer at moviemeltdown.com for
• 1:09:49
  Speaker 7: ways that you can contribute or advertise with us.