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IFH 855: The Crazy Story Behind Shooting Clerks (The Clerks Biopic) with Christopher Downie · Indie Film Hustle® - A Filmmaking Podcast

• 0:03
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  Speaker 2: Welcome to the Indie Film Muscle Podcast, Episode number eight
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  Speaker 2: fifty five Cinema should make You forget You're sitting in
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  Speaker 3: And here's your host, Alex Ferrari.
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  Speaker 2: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
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  Speaker 3: I am your humble.
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  Speaker 4: Host, Alex Ferrari. Today's show is sponsored by Rise of
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• 1:49
  Speaker 4: Enjoy today's episode with guest host Dave Bullis.
• 1:54
  Speaker 3: I couldn't wait to have this guy on because he's
• 1:56
  Speaker 3: doing you know, he's doing his thing, and you know
• 1:59
  Speaker 3: we're going to talk talk all about how he got
• 2:01
  Speaker 3: Kevin to make how he got Kevin's blessing to make it,
• 2:03
  Speaker 3: you know, how he got Kevin to store in it,
• 2:05
  Speaker 3: how he got started in filmmaking. We talked about gingers also,
• 2:08
  Speaker 3: oddly enough, and you know, we talked about how we
• 2:11
  Speaker 3: handle production problems, and so much more with guests Christopher Downey, Hey, Chris,
• 2:16
  Speaker 3: thanks love for coming on the show.
• 2:18
  Speaker 5: Thanks for having me, Chris.
• 2:20
  Speaker 3: Just to get started, I wanted to ask you know
• 2:22
  Speaker 3: about you and how you found yourself in the film industry.
• 2:25
  Speaker 3: So were you always, you know, making films or did
• 2:28
  Speaker 3: you watch a lot of films as a kid growing up?
• 2:32
  Speaker 5: Yeah. In fact, my family, certain family members, namely my aunt,
• 2:40
  Speaker 5: would not mock me, but criticize me for having too
• 2:44
  Speaker 5: many films. I obviously, I grew up in the ear
• 2:47
  Speaker 5: of VHS and that's pretty much all we had. We
• 2:49
  Speaker 5: bypassed laser discione went straight to DVD, and I was
• 2:53
  Speaker 5: I was criticized for having too many. I had like
• 2:55
  Speaker 5: twenty five VHS tapes and my cousin had like nine.
• 3:00
  Speaker 5: And there was a big difference apparently, So that was
• 3:03
  Speaker 5: excessive for my aunt, but not for me. But if
• 3:07
  Speaker 5: she saw my I mean she's been in my house since,
• 3:09
  Speaker 5: but she saw my Blu ray and laser disc and
• 3:13
  Speaker 5: I mean I've got like UMDs and things like that.
• 3:18
  Speaker 5: If she saw the amount of dead technology and current
• 3:21
  Speaker 5: technology that I have regarding film, and she should blow
• 3:25
  Speaker 5: her head would just blow so yeah, very much started
• 3:29
  Speaker 5: off watching films mainly in VHS and taped off of
• 3:33
  Speaker 5: TV because my mum was single parent and we didn't
• 3:37
  Speaker 5: really go to the theater that often and get to
• 3:40
  Speaker 5: go to this the film theater, so when we did go,
• 3:42
  Speaker 5: it was a big event. And even if the film
• 3:44
  Speaker 5: was garbage, like say the Mario Brothers movie, it was
• 3:48
  Speaker 5: you know, heightened by the fact that we were going
• 3:49
  Speaker 5: to a theater to see a film instead of watching
• 3:51
  Speaker 5: it on this tiny nineteen inch portable. And then obviously
• 3:57
  Speaker 5: as I got older and technology started to catch up
• 4:00
  Speaker 5: with you know, the budget of like a single single
• 4:05
  Speaker 5: household that we were able to get like video cameras
• 4:08
  Speaker 5: and things like that. Or more importantly, my friend got
• 4:11
  Speaker 5: a video camera and then we started making films with that.
• 4:15
  Speaker 5: The film camera he had was a tony one hundred
• 4:19
  Speaker 5: pound film camera, which not that's not relating to the
• 4:22
  Speaker 5: weight of it was it was the cheapest, nastiest thing ever.
• 4:26
  Speaker 5: And you recorded on a videotape on a VCR, so
• 4:31
  Speaker 5: you had this long ac cable AV cable that you
• 4:35
  Speaker 5: connected to the back of the player, so you could
• 4:38
  Speaker 5: only really go as far as the cable would take
• 4:40
  Speaker 5: you so I started making films on that cruddy thing
• 4:45
  Speaker 5: and then eventually moved to a video camera and film school,
• 4:49
  Speaker 5: and yeah, it's just something I have to do. I
• 4:53
  Speaker 5: tried to put it down. I tried to put it
• 4:54
  Speaker 5: down once back in two thousand and ten, and here's
• 4:59
  Speaker 5: an eleven with my girlfriend at the time suggested I
• 5:02
  Speaker 5: go back to school and have a backup, so I did.
• 5:05
  Speaker 5: I did graphic design, but I still found a way
• 5:07
  Speaker 5: of sort of horn swaggling film back in there. And
• 5:12
  Speaker 5: instead of submitting mixed media, which was the brief, I
• 5:16
  Speaker 5: would be like, oh, here's a film, and they would
• 5:18
  Speaker 5: always let it slide. But yeah, a huge and important
• 5:24
  Speaker 5: part of my life. Not only enough. I haven't watched
• 5:26
  Speaker 5: many films or TV shows lately, and I have like
• 5:30
  Speaker 5: quite a lot either on Netflix or in Blu Ray,
• 5:34
  Speaker 5: and they just sit there because I'm just not had
• 5:36
  Speaker 5: any time. So some people are talking about the new
• 5:39
  Speaker 5: season of The Walking Dead or or west World. I
• 5:42
  Speaker 5: don't have a clue what they're talking about.
• 5:45
  Speaker 3: Well, I'm in the same boat with you, Chris, because
• 5:47
  Speaker 3: I honestly don't watch I Walking Dead. I really am
• 5:51
  Speaker 3: here or miss with him Westborough. I haven't started yet.
• 5:53
  Speaker 3: But you know, speaking of zombies, you know, your first project,
• 5:57
  Speaker 3: you know, was how to Survive a Zombie Attack. That
• 5:59
  Speaker 3: was short film you did. So at what point, you know,
• 6:02
  Speaker 3: were you in college when you made that short film?
• 6:07
  Speaker 5: I think, yeah, it must have been. This was I
• 6:10
  Speaker 5: went to film school two thousand and four to two
• 6:13
  Speaker 5: thousand and six. But it wasn't a dedicated film score,
• 6:17
  Speaker 5: a dedicated film department per se, because we don't really
• 6:20
  Speaker 5: have that in Scotland. We had a course that was
• 6:24
  Speaker 5: called TV operation television operations. I think there was maybe
• 6:29
  Speaker 5: documentary and television operations. There was no film in there.
• 6:32
  Speaker 5: But you got to make films. You got to make
• 6:35
  Speaker 5: you know, you got to make like a two minute
• 6:37
  Speaker 5: film and then two and then a ten minute film
• 6:39
  Speaker 5: and then you did a then it was a five
• 6:42
  Speaker 5: minute documentary, then a ten minute documentary. So it was
• 6:44
  Speaker 5: all film oriented. You got to make live shows and
• 6:48
  Speaker 5: things like that. So you did like a panel show
• 6:50
  Speaker 5: or you did a sort of talent show because we
• 6:52
  Speaker 5: had a film studio. It was rinky dink as hell
• 6:55
  Speaker 5: it was, but you know, there was a gan tray
• 6:58
  Speaker 5: and everything you can look down and everything was prog
• 7:00
  Speaker 5: ammable and things like that. But at the time, yeah,
• 7:04
  Speaker 5: that was midway through film school and I was set
• 7:07
  Speaker 5: to make another film prior. I think the year prior.
• 7:11
  Speaker 5: It was blisteringly hot down at this abandoned site where
• 7:15
  Speaker 5: there used to be a paper factory where funnel enough,
• 7:18
  Speaker 5: my dad nearly cut his hand off when he was sixteen.
• 7:21
  Speaker 5: We later found out that was the site of my
• 7:23
  Speaker 5: dad's wound on his hand. We went down there and
• 7:27
  Speaker 5: my friend brought his guitar because my parents' house was nearby,
• 7:30
  Speaker 5: and he was just sort of playing the guitar and
• 7:33
  Speaker 5: he had his hat over his eyes and he was
• 7:35
  Speaker 5: lying with his back. Then this like disused area where
• 7:39
  Speaker 5: this used to be a factory, and I was like,
• 7:41
  Speaker 5: this is an amazing area, and I thought, well, why
• 7:43
  Speaker 5: not we do like a sort of Desperado type film
• 7:45
  Speaker 5: that eventually became a Western because Desperado has been done,
• 7:49
  Speaker 5: and then he became a Scottish Western, and then a
• 7:51
  Speaker 5: post apocalyptic Western. And then we went to shoot it
• 7:54
  Speaker 5: and certain people didn't turn up, so we had to
• 7:56
  Speaker 5: can it and what we got instead was how to
• 8:00
  Speaker 5: survive a zombie attack. And the reason we did that
• 8:03
  Speaker 5: is because we had the actors. We had to do something,
• 8:06
  Speaker 5: so we basically made that film up as we did it.
• 8:09
  Speaker 5: That was one of the last times ever did that.
• 8:13
  Speaker 5: I did a follow up called how to Survive as
• 8:16
  Speaker 5: a Vampire Attack, which was improvised, but there was a
• 8:19
  Speaker 5: story and it just it made it more natural because
• 8:22
  Speaker 5: my friends aren't actors. Although Mark was in it and
• 8:25
  Speaker 5: he placed Kevin in shooting clerks and all the peripheral films,
• 8:28
  Speaker 5: but he again never considered himself an actor. So if
• 8:31
  Speaker 5: we let them just sort of improvise it and gave
• 8:33
  Speaker 5: it a sort of nice feel. Plus, since the first
• 8:36
  Speaker 5: one was fully improvised, why not. And then we got
• 8:39
  Speaker 5: to use the disused abandoned. It wasn't even one warehouse.
• 8:44
  Speaker 5: I think it was about four warehouses. There was a
• 8:46
  Speaker 5: gas station there and it was walled off and all
• 8:50
  Speaker 5: you had to do was just go up a hill
• 8:51
  Speaker 5: and then sort of jump over the tiny wall. And
• 8:54
  Speaker 5: production value.
• 8:56
  Speaker 3: So, you know, you mentioned people not showing up. You
• 8:58
  Speaker 3: know that that's a problem that I had as well,
• 9:00
  Speaker 3: you know, when I was making my student films and
• 9:03
  Speaker 3: and and you know that that's the killer because when
• 9:05
  Speaker 3: you plan something out for a while, you know, and
• 9:07
  Speaker 3: you have like everyone sort of you have, even if
• 9:09
  Speaker 3: you're whether you're using a script or not, you have
• 9:11
  Speaker 3: a plan in place to what you're going to do.
• 9:13
  Speaker 3: And when you have people know show, it's just absolutely
• 9:15
  Speaker 3: just it takes all the wind out of your sales,
• 9:17
  Speaker 3: so to speak. And it was good that you were
• 9:19
  Speaker 3: able at least to improvise and shoot, you know, how
• 9:22
  Speaker 3: to you know, shoot a short film which which ended
• 9:24
  Speaker 3: up being had to survive a zombie attack. So I mean,
• 9:26
  Speaker 3: at which point you know, I'm sure Chris, when it
• 9:29
  Speaker 3: was happening, you probably said, all right, well let's see
• 9:31
  Speaker 3: what we can do instead.
• 9:32
  Speaker 5: Right, yeah, exactly. And what we got was better than
• 9:36
  Speaker 5: the film that we eventually shot, because we did shoot
• 9:38
  Speaker 5: that film. I think it was maybe about three or
• 9:42
  Speaker 5: four months later we got a new cast and we
• 9:44
  Speaker 5: did actually end up shooting it. But the film that
• 9:47
  Speaker 5: we show instead survive a zombie attack I like a
• 9:50
  Speaker 5: lot better because it's short. There is is it's really
• 9:57
  Speaker 5: it's kind of.
• 10:00
  Speaker 4: We'll be right back after a word from our sponsor,
• 10:06
  Speaker 4: and now back to the show.
• 10:09
  Speaker 5: Offensive and when you get to the end, there's an
• 10:13
  Speaker 5: offensive joke at the end. And I like offensive jokes
• 10:15
  Speaker 5: because they make people laugh. In that way where they're
• 10:18
  Speaker 5: laughing and they're also feeling really bad and guilty about laughing.
• 10:23
  Speaker 5: So that's my best type of reaction. Whereas the film
• 10:26
  Speaker 5: that we did eventually was just, yeah, it's just this
• 10:29
  Speaker 5: really cruddy cowboy film where most of the people in
• 10:33
  Speaker 5: it have Scottish accents and ain't nobody believe in it.
• 10:38
  Speaker 3: You know what I did, Chris, when that happened, When
• 10:40
  Speaker 3: I had nobody why had some people know show? I
• 10:43
  Speaker 3: ended up just shooting some a couple of things that
• 10:45
  Speaker 3: I could, calling it the day way too early, and
• 10:48
  Speaker 3: then then if it happened again, I would try to
• 10:51
  Speaker 3: figure out a way to combine this footage. And it
• 10:53
  Speaker 3: was like two things that were like completely different than
• 10:57
  Speaker 3: nothing in common. I was like, how can I make
• 10:59
  Speaker 3: these two things something just something out of nothing? And
• 11:03
  Speaker 3: I tried to make like almost like a movie where
• 11:06
  Speaker 3: there was three intersecting storylines, and I was like, what
• 11:08
  Speaker 3: the hell am I doing? But but you know, you
• 11:11
  Speaker 3: got to think on your freedia as an independent filmmaker.
• 11:13
  Speaker 5: Yeah, you need to make use of what you have.
• 11:15
  Speaker 5: One of the things that I'm going to do eventually
• 11:17
  Speaker 5: is is I've got all the stock footage that I've collected,
• 11:21
  Speaker 5: and it's fantastic stock footage that was filmed all over
• 11:24
  Speaker 5: the world. And I'm reading a book right now. It's
• 11:28
  Speaker 5: called The rain Dance Producer's lad Low to No Budget Filmmaking,
• 11:32
  Speaker 5: and it's it's a good book. It's sometimes technical and
• 11:36
  Speaker 5: then it's something sometimes it's more creative. But there's a
• 11:39
  Speaker 5: moment in it where the author discusses other ways people
• 11:43
  Speaker 5: have made films, and he talks about the short biopic
• 11:50
  Speaker 5: about what was her name from the Carpenters I got.
• 11:54
  Speaker 5: I remember his name is Simon Hines. So the guy
• 11:58
  Speaker 5: that did Velvet gold Mine, his first film was a
• 12:01
  Speaker 5: short in which he did a biopic about the lead
• 12:04
  Speaker 5: singer from the Carpenters. But he did it with Barbie Dolls,
• 12:09
  Speaker 5: and he screened it I believe, I believe it was
• 12:13
  Speaker 5: sun Dance. God, you think I'd remember these things. So
• 12:21
  Speaker 5: he screened it at a festival and people loved it,
• 12:23
  Speaker 5: but he couldn't release it because he had all the
• 12:25
  Speaker 5: Carpenter's music in it, And ever since, I think he's
• 12:28
  Speaker 5: lost the print and he's lost all the raw footage,
• 12:31
  Speaker 5: so it only exists as is this sort of almost
• 12:34
  Speaker 5: experimental YouTube video. It's the only way you can see it.
• 12:38
  Speaker 5: So he found a way to make his first film
• 12:41
  Speaker 5: without actors. He just brought in voice actors later and
• 12:44
  Speaker 5: it's a strange watch, but you can. You can make movies.
• 12:49
  Speaker 5: There was the other the main story that I was
• 12:51
  Speaker 5: going to tell you is is there was someone who
• 12:53
  Speaker 5: used to go dum dumpster diving round the back of
• 12:56
  Speaker 5: like Paramount and things like that, and they jump into
• 12:58
  Speaker 5: the dumpster and they just find any off cuts and
• 13:01
  Speaker 5: they would take all the off cuts of foot film
• 13:04
  Speaker 5: home and they would splice it together and try and
• 13:07
  Speaker 5: make a film out of it. And then you can
• 13:09
  Speaker 5: do that. It's you just need time. You just need
• 13:12
  Speaker 5: like a conceit for every sort of jump to something
• 13:16
  Speaker 5: completely different and stark. So I feel that in challenging
• 13:21
  Speaker 5: yourself you can get something really creative. And I think
• 13:23
  Speaker 5: that's that's that sounds like an interesting idea. Have you
• 13:25
  Speaker 5: still got all this footage or have you done anything
• 13:28
  Speaker 5: with it?
• 13:29
  Speaker 3: I have everything still, Yeah, I mean I've got.
• 13:33
  Speaker 5: I've got an entire animated. It was clamation it's terrible,
• 13:37
  Speaker 5: but we did it in college because I went and
• 13:40
  Speaker 5: did six months animation as well. After doing the film course,
• 13:43
  Speaker 5: and it was poorly animated, so I always thought, well,
• 13:48
  Speaker 5: I'll take the footage back into premiere and I'll take
• 13:51
  Speaker 5: out all the dead frames and all the long takes
• 13:54
  Speaker 5: because sometimes they took four photographs instead of two and
• 13:57
  Speaker 5: blah blah blah. So I was going to go in
• 13:58
  Speaker 5: and sort of polish that. So that's waiting to be done.
• 14:02
  Speaker 5: I've got half of a third How to Survive movie
• 14:07
  Speaker 5: and I don't even know if we can ever finish that,
• 14:09
  Speaker 5: but it's it's just sat there and I'm thinking, well,
• 14:11
  Speaker 5: maybe maybe one day I've got an animated film. I've
• 14:14
  Speaker 5: recorded all the all the audio for a thirty minute
• 14:17
  Speaker 5: animated film that's just sitting there, and I don't want
• 14:20
  Speaker 5: to do anything with it because I don't feel it's
• 14:22
  Speaker 5: as good as stuff that I've done recently, so I
• 14:26
  Speaker 5: feel it would let the side down. The acting and
• 14:29
  Speaker 5: it's really good, but I think the writing's kind of bad.
• 14:31
  Speaker 5: But I might do something with that and put it
• 14:33
  Speaker 5: online because people are more forgiven online.
• 14:37
  Speaker 3: Yeah. That's also because I posted a couple of the
• 14:39
  Speaker 3: short films that I did on my YouTube channel, and
• 14:43
  Speaker 3: I don't know about the other things that I talked
• 14:45
  Speaker 3: about the things that aren't done. I probably wouldn't post
• 14:47
  Speaker 3: them up just because, you know, I think personally they're
• 14:51
  Speaker 3: awful making because again, when people don't show up, I did,
• 14:54
  Speaker 3: I'd take this guy and call the people in and
• 14:56
  Speaker 3: be like, Okay, instead of playing this role, you're playing
• 14:58
  Speaker 3: this role, instead of doing this, gonna do this. I mean,
• 15:00
  Speaker 3: it just completely changed everything. And literally I'm writing a
• 15:04
  Speaker 3: you know, I'm changing the script on the fly, and
• 15:06
  Speaker 3: it just I don't think a mesh too well. But
• 15:09
  Speaker 3: you know, we were just talking about you know, lost
• 15:11
  Speaker 3: films and stuff like that. You know what I just
• 15:14
  Speaker 3: found out which is amazing to me. Do you know
• 15:16
  Speaker 3: the Beatles?
• 15:17
  Speaker 5: Uh?
• 15:17
  Speaker 3: They actually had a TV movie called Magical Mystery Tour.
• 15:21
  Speaker 3: And I didn't know until recently that nobody that because
• 15:24
  Speaker 3: they it wasn't too well received, nobody kept a negative
• 15:27
  Speaker 3: of that actual print.
• 15:29
  Speaker 5: Mhm.
• 15:30
  Speaker 3: I mean, could you imagine that just somebody somebody.
• 15:33
  Speaker 5: For something for for for a band as igh profile
• 15:35
  Speaker 5: as the Beatles, especially when you consider how big A
• 15:38
  Speaker 5: Hard Days Night is And I think it's still to
• 15:42
  Speaker 5: this day because I've still I've not seen it yet,
• 15:44
  Speaker 5: but it's considered like like almost like a I wouldn't
• 15:48
  Speaker 5: say a modern classic is a game in the sixties
• 15:50
  Speaker 5: were got to say, but people consider it like like
• 15:53
  Speaker 5: a cult classic. So it's weird that no one would
• 15:56
  Speaker 5: hang on about that means said people lost episodes of
• 15:58
  Speaker 5: Doctor Who. We're gonna say, I think there's an at
• 16:02
  Speaker 5: least I've heard at least one or two really well
• 16:06
  Speaker 5: received scripts for Star Trek and Batman were never filmed,
• 16:12
  Speaker 5: and there's probably episodes and bits and pieces from the
• 16:14
  Speaker 5: actual show that were lost. It's crazy, like if they'd
• 16:17
  Speaker 5: hung onto that, you know, they could have done exactly
• 16:20
  Speaker 5: what we're talking about, and you could string it together somehow.
• 16:24
  Speaker 5: You could do a Star Wars Special Editions ninety seven
• 16:28
  Speaker 5: edition where you go in with some CG and sort
• 16:30
  Speaker 5: of fix the missing characters or what have you, or
• 16:35
  Speaker 5: just like establishing shots.
• 16:36
  Speaker 3: It's insane, Yeah, it absolutely It is insane when somebody
• 16:41
  Speaker 3: would throw away a print like that, because even like
• 16:42
  Speaker 3: old movies or even old TV shows, you know here
• 16:45
  Speaker 3: in America, people would say, like whoever, you know back
• 16:48
  Speaker 3: then they thought, you know, who would ever want to
• 16:49
  Speaker 3: watch these again? Because they didn't even you know, this
• 16:51
  Speaker 3: is like round, this is before TV. This is again
• 16:54
  Speaker 3: you know, all of it was theater. And back when,
• 16:57
  Speaker 3: you know, before TV was in every household, the theater
• 16:59
  Speaker 3: of the way worked in America was you'd go to
• 17:01
  Speaker 3: the theater, you get a newsreel, a cartoon, a B
• 17:03
  Speaker 3: picture than an A picture, and you could sit in
• 17:06
  Speaker 3: there for as long as you wanted to watch this
• 17:07
  Speaker 3: again and again and again. Yeah, and then you know
• 17:09
  Speaker 3: they would say, well, how are we gonna, you know,
• 17:11
  Speaker 3: how we're gonna remarkt this B picture? Everyone's already seen it,
• 17:14
  Speaker 3: so now you know. But but yeah, it's just it's
• 17:16
  Speaker 3: just shocking now when we you and I sit here
• 17:18
  Speaker 3: and talk about throwing away prints or negatives, and now
• 17:21
  Speaker 3: you know, you and I don't even have really negatives.
• 17:23
  Speaker 5: We just have master files now exactly. So you know,
• 17:27
  Speaker 5: i'd i'd l like to still people call it negative
• 17:29
  Speaker 5: because it just sounds much better, you know, if you've
• 17:31
  Speaker 5: got the I've got the uncompressed negative.
• 17:35
  Speaker 3: People still say hang up the phone here in America,
• 17:37
  Speaker 3: and there's a group of kids who are like, why
• 17:39
  Speaker 3: would I hang up a phone? You end the call?
• 17:41
  Speaker 3: What are you talking about?
• 17:42
  Speaker 5: Exactly? It's one of those words. It's just disappeared, like
• 17:44
  Speaker 5: the meaning is completely gone the context and you have
• 17:47
  Speaker 5: to think about it, you know, like yeah, yeah, used
• 17:50
  Speaker 5: to toually put the phone the receiver onto the actual phone,
• 17:53
  Speaker 5: and the weight of the receiver, the way of the
• 17:55
  Speaker 5: receiver would would would keep the phone off the hook
• 17:59
  Speaker 5: on the sorry, and then there's off the hook as well, exactly. Yeah.
• 18:03
  Speaker 6: Yeah.
• 18:03
  Speaker 5: I don't know if you guys use that in the States,
• 18:05
  Speaker 5: but like the phones off the hook is something that
• 18:08
  Speaker 5: we used to say. I mean, you can't say no
• 18:10
  Speaker 5: because if it's off the hook, it means the phone's
• 18:12
  Speaker 5: off and you'll know because you'll get a message from
• 18:14
  Speaker 5: the person.
• 18:16
  Speaker 3: Yeah, I guess, yeah, we would still we still use that.
• 18:19
  Speaker 3: Off the hook, yeah, yeah, because off the hook also
• 18:22
  Speaker 3: is American slang for something's like crazy. Yeah, but yeah Americans. Yeah,
• 18:28
  Speaker 3: there you go. See in America, it's like there's two
• 18:32
  Speaker 3: the two coasts, and then there's like the South, the
• 18:36
  Speaker 3: the Midwest, and the Midwest is basically like you know
• 18:42
  Speaker 3: where everybody tend all like filmmakers tender ignore for one
• 18:44
  Speaker 3: reason or another. But both coasts though where all the
• 18:47
  Speaker 3: like all the slang originates from. And so so I'm
• 18:51
  Speaker 3: I live in Philadelphia, so that way I'm pretty well
• 18:53
  Speaker 3: versed in all the all the slang in America now.
• 18:56
  Speaker 3: But yeah, but that was meant to be a joke.
• 19:00
  Speaker 3: You think come off as that.
• 19:01
  Speaker 5: But but the reason the reason you guys have slang
• 19:04
  Speaker 5: on the coasts is because you'll have you originally would
• 19:07
  Speaker 5: have had people from all over coming in and it's
• 19:11
  Speaker 5: like metropolitan cities with with people from all over the world,
• 19:15
  Speaker 5: and and words evolve, and that's that's essentially where we
• 19:20
  Speaker 5: get slang. And the reason they probably don't exist in
• 19:23
  Speaker 5: the center of the United States is just because they
• 19:26
  Speaker 5: don't travel well. But they've got the Like there's those
• 19:29
  Speaker 5: strange words that we have up north in Scotland, like
• 19:34
  Speaker 5: I think it's a looney, which is what is Canadian money,
• 19:39
  Speaker 5: But yeah, in Scotland, a looney is a is a boy,
• 19:42
  Speaker 5: like the Highlands of Scotland. Like I think my gran
• 19:45
  Speaker 5: took my uncles up there years ago, obviously, and somebody said,
• 19:50
  Speaker 5: oh my gosh, so Bonnie, a pair of loonies you
• 19:53
  Speaker 5: have there, And my grant said, what you just call
• 19:56
  Speaker 5: my sons? And she's like, no, no, looneyes means boys.
• 19:58
  Speaker 5: It's just boys.
• 20:00
  Speaker 4: We'll be right back after a word from our sponsor
• 20:07
  Speaker 4: and now back to the show.
• 20:10
  Speaker 5: One of our words is so weird. I mean that
• 20:13
  Speaker 5: doesn't even like bloke that that that makes sense. But looney,
• 20:18
  Speaker 5: that's just insane, no pun intended.
• 20:22
  Speaker 3: I was gonna say, a looney, yeah that that's cannad
• 20:24
  Speaker 3: you money. But yeah, because but you know, you know,
• 20:27
  Speaker 3: you know, as we talk about, you know, all these
• 20:30
  Speaker 3: cultural differences and stuff. I was just talking to somebody
• 20:33
  Speaker 3: who's who's an international distribution, and you know, he was
• 20:36
  Speaker 3: talking about how now because everything is so interconnected in
• 20:39
  Speaker 3: the world, whether you make a movie in the UK,
• 20:42
  Speaker 3: you make it in America, you know, international, you know,
• 20:45
  Speaker 3: sales are are so important now, particularly China is so
• 20:49
  Speaker 3: important now.
• 20:50
  Speaker 5: For absolutely know.
• 20:51
  Speaker 3: So you know, it's something that I wonder as we
• 20:54
  Speaker 3: keep going on, Chris, as we keep moving forward, I
• 20:57
  Speaker 3: really wonder how this is going to affect everything in
• 21:00
  Speaker 3: terms of decisions like guys like you and I make,
• 21:05
  Speaker 3: and decisions how studios make, and and even like you know,
• 21:08
  Speaker 3: keeping this the whole thing alive. I mean, I really
• 21:12
  Speaker 3: wonder if you like, let's just say, you know, obviously,
• 21:14
  Speaker 3: you know, you make a if you make a local
• 21:17
  Speaker 3: independent film and you put it on your maybe even
• 21:19
  Speaker 3: on your own website, you know, and if somebody from
• 21:22
  Speaker 3: China would have watched it, I really wonder if they
• 21:24
  Speaker 3: would actually be able to even understand half, even even
• 21:27
  Speaker 3: the half of of what we're actually saying, because because
• 21:30
  Speaker 3: of that slang. Again.
• 21:32
  Speaker 5: Yeah, well, I think that the more exports you get
• 21:37
  Speaker 5: to China, the more they start to pick up on it.
• 21:41
  Speaker 5: In my opinion, cinema, all the films I saw as
• 21:45
  Speaker 5: a kid were American cinema is cultural cultural education because
• 21:52
  Speaker 5: I wouldn't be aware of certain trends and cultural differences
• 21:58
  Speaker 5: between Britain and a man if I hadn't watched things
• 22:01
  Speaker 5: like The Sopranos, Ghostbusters, you know, all these things like
• 22:06
  Speaker 5: I'm quite well versed with the East Coast because all
• 22:11
  Speaker 5: my favorite films are set in the East Coast, all
• 22:13
  Speaker 5: my favorite TV shows, and I'm talking about factual shows
• 22:16
  Speaker 5: as well, and nonscript is stuff like comic book men
• 22:19
  Speaker 5: and practical jokers. You get an education watching that if
• 22:22
  Speaker 5: you're British. Maybe not so much when you're American, especially
• 22:24
  Speaker 5: not if you live on that coast, but you know,
• 22:26
  Speaker 5: you pick up all these different words, and it's good
• 22:29
  Speaker 5: for someone who occasionally appears in their own films because
• 22:32
  Speaker 5: the accent, you get bits and pieces of accents and
• 22:35
  Speaker 5: pronunciations that you probably wouldn't have known about back in
• 22:39
  Speaker 5: the day when you didn't have that, you'd have to
• 22:40
  Speaker 5: go to a dialect coach, probably cost you hundreds, maybe
• 22:43
  Speaker 5: even thousands of pounds. Yeah, it's great, and I think
• 22:47
  Speaker 5: the thing that exactly the same thing will apply the
• 22:51
  Speaker 5: more films go with China. And obviously they've got their
• 22:55
  Speaker 5: whole sort of thing with regards to violence and things
• 22:59
  Speaker 5: like that, hence why they didn't take Deadpool. But if
• 23:02
  Speaker 5: you tailor movies to the Chinese audience, it's not really
• 23:09
  Speaker 5: going to work. If you have a scene in it
• 23:10
  Speaker 5: set in China just for the heck of it for
• 23:13
  Speaker 5: the Chinese audience, but you can also have it in
• 23:15
  Speaker 5: the international version, that's fine. But I think to just
• 23:20
  Speaker 5: explore the film as is pretty much with Chinese titles
• 23:24
  Speaker 5: and maybe some subtitles and whatnot, then that's the best
• 23:27
  Speaker 5: thing to do because then everybody starts to understand the
• 23:30
  Speaker 5: culture and only take ten twenty years for them to
• 23:33
  Speaker 5: sort of get used to certain things and they can
• 23:35
  Speaker 5: understand the references. I mean, I don't know what TV's
• 23:38
  Speaker 5: been like out there, but we've had American TV as
• 23:41
  Speaker 5: long as I've known, and I think, you know, like
• 23:44
  Speaker 5: this sixties and the seventies is probably when we start
• 23:47
  Speaker 5: to get things like that. So I just think, keep
• 23:50
  Speaker 5: things as they are, and they should do the same.
• 23:53
  Speaker 5: They don't tailor their films for us, and there's loads
• 23:56
  Speaker 5: of stuff in Chinese films that I really enjoy and
• 23:59
  Speaker 5: is strict Chinese, especially when it comes to comedies, and
• 24:02
  Speaker 5: would not want them to change their comedies and make
• 24:05
  Speaker 5: them like British farce comedies or slapstick American comedies. So
• 24:09
  Speaker 5: I think we should always sort of remain as we are,
• 24:12
  Speaker 5: continue to grow in our own cultures, but you know,
• 24:15
  Speaker 5: explore and import and learn from each other.
• 24:17
  Speaker 3: Yeah, I always have a when I ever talk, you know,
• 24:21
  Speaker 3: to friends of mine about you know, you know, comedy
• 24:24
  Speaker 3: and culture and art and all this other stuff. You know,
• 24:27
  Speaker 3: I always say, Chris, I'm always afraid about that of
• 24:29
  Speaker 3: something becoming homogeneous, you know, of like sort of everything
• 24:33
  Speaker 3: just sort of becoming the same sort of standard. And
• 24:36
  Speaker 3: that's that's one of my fears because I'm always like,
• 24:40
  Speaker 3: you know, I when I watch a British comedy. I
• 24:43
  Speaker 3: know what I'm gonna get to some degree, you know
• 24:45
  Speaker 3: what I mean when I watch an American comedy, the
• 24:47
  Speaker 3: same thing in Chinese comedy, and you know, even some
• 24:50
  Speaker 3: of other things. That's why I'm always afraid of if
• 24:52
  Speaker 3: everything becomes a little too homogeneous, if we all start
• 24:55
  Speaker 3: looking and acting and talking the same way.
• 24:59
  Speaker 7: Yeah, I mean that that will eventually happen, but we're
• 25:03
  Speaker 7: talking quite a far bit down the line, and that
• 25:08
  Speaker 7: will be with everything, but that is a long way off.
• 25:11
  Speaker 5: And even still you will still be separated by land
• 25:17
  Speaker 5: unless you can teleports to the Internet then and that's
• 25:20
  Speaker 5: that's still going to be a contributing factor. So like
• 25:23
  Speaker 5: things are different from village to village, from house to house,
• 25:26
  Speaker 5: you've got your own words, so you're going to pick
• 25:29
  Speaker 5: up things. We're also going to continue to develop and
• 25:32
  Speaker 5: it just might be faster. But yeah, I agree, I
• 25:34
  Speaker 5: don't want things to I don't want to just when
• 25:37
  Speaker 5: you get all the you get all the colored clay
• 25:40
  Speaker 5: ekl plastic scene. So you've got the blue clay, and
• 25:42
  Speaker 5: you've got the gray clay, and you got the green.
• 25:50
  Speaker 5: Chris you there, My headphones are fully so it just
• 25:56
  Speaker 5: started playing a podcast in my ear no Pram, and
• 26:00
  Speaker 5: I thought you'd started playing it, and I was like,
• 26:02
  Speaker 5: is this my walking off music?
• 26:04
  Speaker 3: Well, Chris, it's been nice. Here you go, here's your
• 26:07
  Speaker 3: I'm playing you off, buddy now.
• 26:09
  Speaker 5: But my analogy was just it's when you're a kid
• 26:11
  Speaker 5: and okay, you stick all the clay together and make
• 26:15
  Speaker 5: it into this disgusting brown color. Nobody wants. Everybody wants
• 26:19
  Speaker 5: to be different, and everyone wants their own culture, and
• 26:22
  Speaker 5: that that should apply with with filmmaking. But everyone's different.
• 26:26
  Speaker 5: Usually unless you're a director for higher than you're you're
• 26:29
  Speaker 5: meant to be like the chameleon. You meant to be
• 26:30
  Speaker 5: able to just make make the film look a certain way,
• 26:33
  Speaker 5: mimic someone else so that no one really realizes that
• 26:35
  Speaker 5: it's a different director type of thing. But people will
• 26:38
  Speaker 5: keep their people will keep what what makes them different,
• 26:44
  Speaker 5: and that will go for taste as well.
• 26:46
  Speaker 3: You know, you just brought up a good point and
• 26:49
  Speaker 3: about you know, looking a certain way, and you know
• 26:52
  Speaker 3: we're talking about your career, and I know I'm kind
• 26:54
  Speaker 3: of jumping ahead here in your career, but you know
• 26:57
  Speaker 3: you're making shooting clerks and you know, I I was
• 27:00
  Speaker 3: fascinated by that project. I saw it on Indygogo, and
• 27:03
  Speaker 3: you know, I have so many questions for you about
• 27:06
  Speaker 3: the project, Chris, and I just wanted to ask, you know,
• 27:09
  Speaker 3: as we start to talk about it, I wanted to ask,
• 27:11
  Speaker 3: you know what, what what was you know, so you
• 27:14
  Speaker 3: know what what sort of drew you to to start
• 27:16
  Speaker 3: this project? You know, Shooting Clerks which everyone listening Shooting
• 27:20
  Speaker 3: Clerks is the biopic of Shooting Clerks, the movie by
• 27:24
  Speaker 3: Kevin Smith, which was shot in uh in eighteen ninety four,
• 27:28
  Speaker 3: I believe, so you know, Chris three ninety three. So yeah, Chris,
• 27:31
  Speaker 3: you know, so you know, so what what actually drew
• 27:33
  Speaker 3: you to sort of starting to start developing this project.
• 27:37
  Speaker 5: Oh I don't know how long your episodes normally are,
• 27:40
  Speaker 5: but I'm about to make it like half an hour longer. Right. So,
• 27:47
  Speaker 5: back when I started making films as like a thirteen
• 27:50
  Speaker 5: fourteen year old, my friend ran and bought an ex
• 27:53
  Speaker 5: rental copy of Dogma and we sat down and watched
• 27:56
  Speaker 5: it together. And he was something of a film snob,
• 27:58
  Speaker 5: really was had he considered there was high art and
• 28:02
  Speaker 5: then there was Dogma. Basically films like Dogma. He was
• 28:06
  Speaker 5: so snobby that he didn't consider Ghostbusters a good film
• 28:13
  Speaker 5: because it wasn't overly cerebral. Right now, it's a great film,
• 28:21
  Speaker 5: but he couldn't see that. Now, I know, deep down
• 28:23
  Speaker 5: inside he did think it was a good film, but
• 28:26
  Speaker 5: he tried to build himself up as this sort of,
• 28:29
  Speaker 5: you know, really really good art critic, and he would
• 28:32
  Speaker 5: apply that to film as well and get a grip
• 28:34
  Speaker 5: of yourself. But I'm glad he didn't, because he sold
• 28:37
  Speaker 5: that copy to me and had to go home and
• 28:38
  Speaker 5: I watched it like one hundred and fifty times and
• 28:42
  Speaker 5: really really dug the fact that there were characters that
• 28:47
  Speaker 5: crossed over and were mentioned. Now I didn't really know
• 28:49
  Speaker 5: that at that time, but at the end of the film,
• 28:51
  Speaker 5: obviously it says James sam Bobo return I believe in
• 28:54
  Speaker 5: Clerks too, at the end of that, and something like
• 28:58
  Speaker 5: Playgrounds sort of whispers the saddest playground whispers. You know
• 29:03
  Speaker 5: that Jane's on a bobber and another film they're in,
• 29:05
  Speaker 5: a film called Chase Namy. I was like, oh my god, really,
• 29:07
  Speaker 5: I remember taping off TV and I sat in a
• 29:09
  Speaker 5: watch I was like, this is a bit heavier than
• 29:12
  Speaker 5: Dogma was ironic because talking was about the end of
• 29:15
  Speaker 5: the world, but emotionally it's a lot heavier for a
• 29:18
  Speaker 5: fourteen year old. And I was watching it and I
• 29:21
  Speaker 5: remember being enjoying it, but thinking, where the hell or
• 29:24
  Speaker 5: James tell the Bob and then when they do turn up,
• 29:25
  Speaker 5: you'd forgotten about them, And then that just sort of
• 29:29
  Speaker 5: led me to I think the last one I watched
• 29:32
  Speaker 5: was was Mall Rats, but that eventually learned me, led
• 29:35
  Speaker 5: me to James on Bob and then obviously Mall Rats,
• 29:37
  Speaker 5: and when Jersey Girl came out, I was, you know,
• 29:41
  Speaker 5: I was thinking it was about eighteen nineteen and I
• 29:43
  Speaker 5: was going to the theater by myself. So I just
• 29:47
  Speaker 5: really liked the interconnected universe and was drawn to how.
• 29:53
  Speaker 4: He will be right back after a word from our sponsor.
• 30:01
  Speaker 4: And now back to the show.
• 30:04
  Speaker 5: Put specific actors together on numerous occasions, so I was
• 30:08
  Speaker 5: really into that as world building. It was impressive. Plus
• 30:11
  Speaker 5: his films were good. I really enjoyed them. So when
• 30:15
  Speaker 5: I started to make films, I don't think I really
• 30:21
  Speaker 5: put any Kevin Smith references into them, but when my
• 30:26
  Speaker 5: girlfriend suggested that I do have a backup, I made
• 30:30
  Speaker 5: a short film. There was meant to be my tribute
• 30:33
  Speaker 5: to a podcast called Hollywood Babylon because everyone was sending
• 30:37
  Speaker 5: in like fan art and I really liked it and
• 30:39
  Speaker 5: I just wanted to show my appreciation. So I put
• 30:42
  Speaker 5: a cast and call up on Starnaudo comm and I says,
• 30:45
  Speaker 5: looking for two actors to play the leads in this film.
• 30:48
  Speaker 5: I need someone to play Kevin, need someone to play Ralph.
• 30:50
  Speaker 5: And the description was really descriptive, you know, because the
• 30:54
  Speaker 5: people exist. I was able to describe them exactly as
• 30:57
  Speaker 5: they are, and rather hum humorously, I believe because somebody
• 31:02
  Speaker 5: emailed them the cast and call. I remember walking home
• 31:05
  Speaker 5: from work and listening to the podcast and it says
• 31:08
  Speaker 5: someone's making a film about it in Scotland. I thought
• 31:11
  Speaker 5: to myself, oh damn it, someone's beat me to the punch.
• 31:13
  Speaker 5: And at that point I decided not to do it
• 31:15
  Speaker 5: because it's a stupid idea. Why make a fan film
• 31:18
  Speaker 5: about a podcast? Who's gonna want that? And why do
• 31:21
  Speaker 5: you even want to do that? So I shut it
• 31:23
  Speaker 5: down in my head, but I didn't shut down the
• 31:25
  Speaker 5: casting call, and after they spoke about the film and
• 31:29
  Speaker 5: I made Kevin laugh with the cast and called description.
• 31:31
  Speaker 5: I decided all right, well I might as well make
• 31:33
  Speaker 5: it because they might show it. So, you know, a
• 31:36
  Speaker 5: couple of months down the line of written the script
• 31:38
  Speaker 5: and I speak to my friend who's Kevin in the film,
• 31:42
  Speaker 5: Mark Fross, and I say, Mark, do you want to
• 31:44
  Speaker 5: play Kevin? And he doesn't get excited by anything, really,
• 31:48
  Speaker 5: nothing excites him. He's very laid back. He's actually more
• 31:53
  Speaker 5: like Brian Johnson in real life. He's kind of got
• 31:55
  Speaker 5: that attitude. He'll not insult you for a reaction, but
• 31:59
  Speaker 5: he's very much got that attitude. And I told him,
• 32:02
  Speaker 5: you know, I'm going to make a film, and do
• 32:04
  Speaker 5: you want to play Kevin Smith? And I saw a
• 32:05
  Speaker 5: reaction in his face, like his eyebrow twitched and he
• 32:09
  Speaker 5: smiled slightly. So we did the film and then we
• 32:12
  Speaker 5: sent it to Kevin and Ralph and they showed bits
• 32:15
  Speaker 5: of it over the course of a couple of weeks
• 32:17
  Speaker 5: as well, with photographs and updates and things, which was
• 32:19
  Speaker 5: really touching. And then after that we did a couple
• 32:23
  Speaker 5: of more. We did get Greedo, which was the first
• 32:26
  Speaker 5: film that we released through Kevin's channel ce Smod, and
• 32:29
  Speaker 5: that that we got a huge reaction for that because
• 32:32
  Speaker 5: he did an introduction video and he put it up
• 32:34
  Speaker 5: on on Twitter and Facebook, and he thought we were
• 32:37
  Speaker 5: Australian for some reason. So at the beginning he's like,
• 32:41
  Speaker 5: these kids from Australia or New Zealand and he covers
• 32:44
  Speaker 5: his mouth and I'm like, why does he think we're
• 32:45
  Speaker 5: from New Zealand or Australia. And then we got to
• 32:50
  Speaker 5: thinking our producer Brett and I who plays Brian Johnson,
• 32:53
  Speaker 5: and get Greedo and in Shooting Clerks and then you
• 32:56
  Speaker 5: will Get Right Again, which is coming out coming out
• 32:58
  Speaker 5: ahead of the the full run of Shooting Clerks. It's
• 33:01
  Speaker 5: going to be a promo film. We were sat there
• 33:04
  Speaker 5: and discussing what we should do next, and as suggested,
• 33:08
  Speaker 5: maybe we go to film number three or four, which
• 33:11
  Speaker 5: at that point we were going to do Shooting Clerks
• 33:13
  Speaker 5: as film number three or four in the line of features.
• 33:17
  Speaker 5: And he thought, yeah, that sounds like a good idea.
• 33:19
  Speaker 5: Maybe we should do that, And that's where it started,
• 33:22
  Speaker 5: and I vowed that I would write the script that
• 33:23
  Speaker 5: summer between year one and year two of my degree.
• 33:29
  Speaker 5: It was actually a year three and year four, and
• 33:32
  Speaker 5: that's what I did. And that was the last time
• 33:34
  Speaker 5: anything ever went smoothly and straightforward on shooting Clerks. It
• 33:39
  Speaker 5: was the last time. Things are still not going specially,
• 33:43
  Speaker 5: it's just a bumpy road all the way.
• 33:46
  Speaker 3: So Chris, I wanted to ask, you know, before we
• 33:49
  Speaker 3: get into production, you know, I wanted to ask, did
• 33:52
  Speaker 3: Kevin ever directly contact you, they ever find you directly
• 33:56
  Speaker 3: to say, you know, hey, hey Chris, you know you
• 33:59
  Speaker 3: know what's going on, or or for any direct support
• 34:02
  Speaker 3: like that.
• 34:05
  Speaker 5: Well, you never said what's going on? But we speak
• 34:07
  Speaker 5: on email. You know, there has to be a reason.
• 34:10
  Speaker 5: He's he's he's too busy to care about what I'm
• 34:13
  Speaker 5: doing that specific time. And we're not overly closer or
• 34:16
  Speaker 5: anything like that. But yeah, he's he's very when he
• 34:20
  Speaker 5: gets time, he's he's very generous. You know, he'll he'll,
• 34:23
  Speaker 5: he'll he'll say something. He said some really nice things
• 34:25
  Speaker 5: that always made me feel good. Somebody put so it
• 34:29
  Speaker 5: didn't even it didn't bother me. I just thought it
• 34:31
  Speaker 5: was funny. Somebody said, I don't know, can you do
• 34:34
  Speaker 5: swearing on your on your podcast? Yeah? Right, So somebody
• 34:39
  Speaker 5: put and I'm paraphrasing, somebody put a comment under one
• 34:42
  Speaker 5: of the trailers, or maybe even one of the shorts.
• 34:44
  Speaker 5: It's like, you're not Kevin Smith, you fat piece of shit.
• 34:49
  Speaker 5: And I thought, right, well, I'm not fat, but okay,
• 34:53
  Speaker 5: you'll never be Kevin Smith. Stop fucking trying to be
• 34:56
  Speaker 5: Kevin Smith. You're a fat, fucking loser. Oh okay, well
• 35:01
  Speaker 5: that's funny. So I took a screakgrap and to put
• 35:03
  Speaker 5: it on mine. It's one of the only times Kevin
• 35:05
  Speaker 5: comments to the bomb and I was like, well, he's
• 35:07
  Speaker 5: calling me fat and he says, you're a fucking loser,
• 35:09
  Speaker 5: so you're already Kevin Smith. Fuck that guy. So he
• 35:14
  Speaker 5: gives us support like that. I remember saying like, oh,
• 35:18
  Speaker 5: you know, I was worried about something and I was
• 35:21
  Speaker 5: I think I apologized for how like a shot turned out.
• 35:25
  Speaker 5: And he's like, you know, he says, never apologize, you know,
• 35:29
  Speaker 5: and you've made a film that's incredible and you know,
• 35:31
  Speaker 5: I know I'm biased because it's about me, but you
• 35:33
  Speaker 5: should be proud, even right down to every single shot.
• 35:37
  Speaker 5: And it made me sort of feel better regarding this
• 35:39
  Speaker 5: broken shot. And we went and reshot it, restructured it
• 35:42
  Speaker 5: and added some effects to extend it to make it
• 35:45
  Speaker 5: look like the original shot and God, it it looks
• 35:48
  Speaker 5: perfect now because it's just just like a few words
• 35:51
  Speaker 5: of kindness. He's been really supportive and you know, just
• 35:55
  Speaker 5: one of the nicest guys. They always say, they always
• 35:59
  Speaker 5: they would have said this, and numerous times. I'll say
• 36:00
  Speaker 5: it till the day I die, unless he comes up
• 36:02
  Speaker 5: in a dark alley and stabs me in the back
• 36:05
  Speaker 5: with the knife. And never meet your heroes, is what
• 36:08
  Speaker 5: they always say. But that doesn't apply if your hero
• 36:10
  Speaker 5: is Kevin Smith.
• 36:11
  Speaker 3: Yeah. The reason I asked is because if he if
• 36:15
  Speaker 3: you contacted you, Chris, is because I see, you know,
• 36:18
  Speaker 3: he retweeted everything, and obviously he had to, you know,
• 36:21
  Speaker 3: at some point I'm sure you know, and you made
• 36:23
  Speaker 3: shooting clerks, you know, even before you got to the
• 36:25
  Speaker 3: whole production side. I'm sure he you know, there's a
• 36:28
  Speaker 3: whole rights thing, and there's a whole you know, copyright thing,
• 36:31
  Speaker 3: and that's why I wanted to ask about that. So
• 36:33
  Speaker 3: I'm sure at some point, maybe you know, either he
• 36:36
  Speaker 3: maybe either emailed you just to say hi and maybe
• 36:38
  Speaker 3: give you some support, or maybe he just you know,
• 36:42
  Speaker 3: or otherwise you just called to say hey, you know,
• 36:44
  Speaker 3: what's what's up, Chris.
• 36:46
  Speaker 5: Well, we were we were we we we were in
• 36:51
  Speaker 5: we were in contact with him as soon as I
• 36:54
  Speaker 5: finished in twenty and thirteen, when I finished Get Greedo
• 36:57
  Speaker 5: and I was Jason, it contacted me first and asked
• 37:00
  Speaker 5: me to contact Jordan, Jason's wife, who's head of Smart
• 37:04
  Speaker 5: Smart Cole, and then that's that's that's are like one
• 37:08
  Speaker 5: of our main contracts is is Jordan's and she again
• 37:10
  Speaker 5: very very supportive, and she's always helping us out and
• 37:13
  Speaker 5: retweeting and things like that. So we've been you know,
• 37:19
  Speaker 5: chatting with them off and once and for the last
• 37:21
  Speaker 5: three years. And when I decided to do Shooting Clerks,
• 37:25
  Speaker 5: I says, I'll email Kevin and Jordan. I said, right,
• 37:29
  Speaker 5: we're going to do We're going to do Shooting Clerks,
• 37:33
  Speaker 5: all right. And I don't remember them ever saying no.
• 37:40
  Speaker 5: But I also don't remember them ever saying yes. But
• 37:44
  Speaker 5: they're happy about the film. And it's you know, Kevin's
• 37:49
  Speaker 5: you know, said he's very touched and he never thought
• 37:52
  Speaker 5: he'd make a movie, let alone have a movie be
• 37:55
  Speaker 5: made about him, so he's all for it. And we
• 37:58
  Speaker 5: don't you know, take any you know, we don't take
• 38:01
  Speaker 5: any any pops at him or anything like that. You know,
• 38:03
  Speaker 5: we show him in a realistic manner. I don't want
• 38:06
  Speaker 5: it to be. Somebody commented that it's sick of fants.
• 38:10
  Speaker 5: The movie was somebody's subtitle because we know Kevin and
• 38:14
  Speaker 5: we've spoken with him, so we're gonna make a movie
• 38:16
  Speaker 5: in which we kiss Kevin's asked for ninety minutes. But
• 38:18
  Speaker 5: that's not the case. There are moments in the film
• 38:20
  Speaker 5: where people are wrong, people are right, people say the
• 38:23
  Speaker 5: wrong thing. There are not building them up to be
• 38:26
  Speaker 5: this big golden calf. Shall I say he's he's a man,
• 38:32
  Speaker 5: he's a person. We present him that way, but ultimately
• 38:35
  Speaker 5: he swings the way back round to be This is
• 38:37
  Speaker 5: Kevin's story, so we have to show who, show him
• 38:41
  Speaker 5: who he is. It'd be a disservice to not show
• 38:44
  Speaker 5: him who he is. Luckily, he's not an asshole, so
• 38:47
  Speaker 5: we don't have to, you know, portray him as an asshole.
• 38:50
  Speaker 5: But yeah, everything's good. We don't show anything really that
• 38:54
  Speaker 5: would get us into trouble. We don't use anything. We
• 38:57
  Speaker 5: don't have the rights to use things. There are certain things,
• 39:01
  Speaker 5: like costume pieces that have graphics on them that we
• 39:05
  Speaker 5: get around that by putting a jacket on someone so
• 39:08
  Speaker 5: you can see the middle of it, but you can't
• 39:10
  Speaker 5: see either side of it. So things like that, or
• 39:14
  Speaker 5: we just take it out and just so like if
• 39:15
  Speaker 5: someone's wearing a Yankees cap, we just get the same
• 39:18
  Speaker 5: design of cap, same style of cap, but there's no
• 39:21
  Speaker 5: Yankees logo on it. So people are just gonna have
• 39:23
  Speaker 5: to forgive us for that. It's not that accurate. So
• 39:26
  Speaker 5: we have to cover our backsides.
• 39:29
  Speaker 3: Yeah, yeah, and I think people will understand. And you know,
• 39:33
  Speaker 3: it's funny too because a front of mine you spoke
• 39:34
  Speaker 3: earlier about, you know, not meeting your heroes, and a
• 39:37
  Speaker 3: friend of mine actually met Kevin Smith one time. He
• 39:39
  Speaker 3: was when he was doing the where he goes around
• 39:42
  Speaker 3: and just talks and evening with Kevin Smith, and he
• 39:45
  Speaker 3: actually got to go up to talk to Kevin, and
• 39:48
  Speaker 3: he was so nervous because he's like, man, I don't
• 39:50
  Speaker 3: want you. You know, Kevin was hilarious during his whole
• 39:52
  Speaker 3: two hours. He's like, I don't want to talk to
• 39:54
  Speaker 3: Kevin afterwards, and Kevin just be you know, blowing me off.
• 39:56
  Speaker 4: So we'll be right back after a word from our
• 40:00
  Speaker 4: sponsor and now back to the show.
• 40:07
  Speaker 3: He finally said, you know what, I'm gonna go meet him.
• 40:09
  Speaker 3: And he told Kevin, you know, he's one of his
• 40:12
  Speaker 3: filmmaking inspirations and everything, and he said, you have any
• 40:14
  Speaker 3: advice for me? And Kevin just said, yes, don't make
• 40:18
  Speaker 3: Jersey Girl.
• 40:19
  Speaker 5: And it's one of his go to jokes. Yeah, yeah,
• 40:26
  Speaker 5: he's he's too hard of himself, Jesus. He listens to
• 40:29
  Speaker 5: the critics too much. Can Honestly, there's some films of
• 40:32
  Speaker 5: his that I'm I would watch after a Jersey Girl,
• 40:36
  Speaker 5: if you see what I mean. I quite like Jersey Girl.
• 40:39
  Speaker 5: It's it's a film, it's it does the job. And
• 40:41
  Speaker 5: I think because it's more formulaic than his other films,
• 40:45
  Speaker 5: he needs to give himself cut himself. Some slot people
• 40:48
  Speaker 5: have made way worse movies.
• 40:52
  Speaker 3: Yeah, that's very true. And uh you know, I mean
• 40:55
  Speaker 3: I have, you know, I think almost all Kevin's movies,
• 40:58
  Speaker 3: and I have even with Kevin Smith, and uh you know, yeah,
• 41:02
  Speaker 3: he's a guy. Also, I've used his inspiration and I mean,
• 41:05
  Speaker 3: I hell, I made a TV pilot and I even
• 41:08
  Speaker 3: I used used Clerks as an example of what could
• 41:11
  Speaker 3: be done. And uh, you know, you know, so so
• 41:14
  Speaker 3: you know he's he's actually done a lot and I
• 41:17
  Speaker 3: and I think, you know now, I think he's a
• 41:19
  Speaker 3: lot happier now by the way, Chris, you know, just
• 41:21
  Speaker 3: doing what he's doing now with you know, yoga, hosers
• 41:23
  Speaker 3: and tusks and all that stuff.
• 41:26
  Speaker 5: Yeah, he is, He's he Very few people will get
• 41:31
  Speaker 5: to the point where they can just do whatever they want.
• 41:33
  Speaker 5: I mean, granted, he's having trouble with Clerks three, and
• 41:36
  Speaker 5: you think that that would be a no brainer for people.
• 41:39
  Speaker 5: But he's having trouble with Clerks three and mal Brats.
• 41:42
  Speaker 5: But if he's doing something original, people seem maybe into
• 41:46
  Speaker 5: it and willing to finance it, and boom, he's off
• 41:49
  Speaker 5: to the races and he's got another film in his hands.
• 41:51
  Speaker 5: I think he should just do what he needs to
• 41:53
  Speaker 5: do and he shouldn't have to apologize for it. I
• 41:57
  Speaker 5: know he does, but I get that's where he gets
• 41:58
  Speaker 5: some most of his material. And you know, it's funny
• 42:02
  Speaker 5: the way he makes fun of himself, lambasts himself. It's funny.
• 42:05
  Speaker 5: So I don't think he really means it. He just
• 42:08
  Speaker 5: uses an excuse to poke fun of himself, because then
• 42:10
  Speaker 5: he takes the power away from fifty plus people.
• 42:14
  Speaker 3: Yeah, I concurry and you know, just as we get
• 42:17
  Speaker 3: back to you know, actually making Shooting Clerks. You know,
• 42:20
  Speaker 3: so you know, what were some of the challenges Chris,
• 42:23
  Speaker 3: that you faced while while producing Shooting Clerks. A very short,
• 42:31
  Speaker 3: short answer, I'm sure.
• 42:32
  Speaker 5: Right, oh god, some of the challenges. We lost an actor.
• 42:39
  Speaker 5: I don't mean he died, he lost an actor. That
• 42:43
  Speaker 5: was very challenging. The biggest challenge was we were trying
• 42:49
  Speaker 5: to export the film for our world premiere, for the
• 42:53
  Speaker 5: first test screening, which we had at the Orlando Film
• 42:57
  Speaker 5: Festival in Orlando, Florida in October, and everything was ready,
• 43:01
  Speaker 5: the rough cut was finally finished and we had a
• 43:04
  Speaker 5: day to export it, but it wouldn't explore. It just
• 43:08
  Speaker 5: kept crashing and crashing and crashing. And then when it
• 43:11
  Speaker 5: did start to explore and we fixed all the errors,
• 43:13
  Speaker 5: it was going really slowly. It was really really slow,
• 43:17
  Speaker 5: and I was sitting there thinking, geez, jez, come on,
• 43:19
  Speaker 5: come on, come on, I've got like four hours until
• 43:21
  Speaker 5: I have to jump on a train, then jump on
• 43:24
  Speaker 5: a plane and fly to Florida with this friggin thing
• 43:27
  Speaker 5: on a pen drive or whatever. And it just wasn't
• 43:29
  Speaker 5: happening In two hours and one hour and forty five
• 43:33
  Speaker 5: minutes until we had to leave for this bloody train,
• 43:36
  Speaker 5: and my US producer Ryan James and my on set
• 43:40
  Speaker 5: producer Brett Murray both choked that we should just put
• 43:44
  Speaker 5: the computer into a suitcase, because I thought, if I
• 43:48
  Speaker 5: take the hard drives out, there's a chance they're going
• 43:50
  Speaker 5: to get damaged because three of them are not protected,
• 43:54
  Speaker 5: they don't have cases. They would literally just be taken
• 43:56
  Speaker 5: out of the case itself. And if I take the
• 43:59
  Speaker 5: tower and all the external hard drives, because it spread
• 44:02
  Speaker 5: over seven or eight hard drives, it's so huge. If
• 44:05
  Speaker 5: I take them all and I take the computer when
• 44:08
  Speaker 5: we get there, just plug it into a monitor and
• 44:10
  Speaker 5: plug it into a mouse, just continue exploring or restart
• 44:14
  Speaker 5: the export. We had four days until the actual festival premiere,
• 44:19
  Speaker 5: because if we if we took the hard drives with
• 44:21
  Speaker 5: the project and all the files on it, the negatives,
• 44:25
  Speaker 5: then we'd have to reassociate everything on a brand new computer,
• 44:29
  Speaker 5: and then there might be problems and it'll take you know,
• 44:31
  Speaker 5: I might take us an extra day. So what we
• 44:34
  Speaker 5: would what we did is we stuck in a suitcase
• 44:36
  Speaker 5: and we took it to Florida, and it was. It
• 44:38
  Speaker 5: was nerve wracking, sat on the train thinking, geez, we're
• 44:42
  Speaker 5: gonna get stopped or I was gonna get broken. And
• 44:46
  Speaker 5: we sat waiting to get on the plane and I'm
• 44:48
  Speaker 5: the same thing going through my head. And the only
• 44:50
  Speaker 5: thing that sort of relaxed me and took my mind
• 44:52
  Speaker 5: off of was we got on the first plane, and
• 44:54
  Speaker 5: it was it was. It was a paper plane. It
• 44:57
  Speaker 5: was the crappest plane. I didn't feel secure and I
• 44:59
  Speaker 5: didn't feel all happy about this bringing plane. But when
• 45:03
  Speaker 5: we got on our KLM flight to New York, which
• 45:07
  Speaker 5: was then going to get another flight to Florida, it
• 45:09
  Speaker 5: was fantastic. You know, all this leg room TV, as
• 45:13
  Speaker 5: much entertainment as you want, We'll get free beer. And
• 45:15
  Speaker 5: we're all just sort of like laughing at the scenario
• 45:17
  Speaker 5: because we've been used to, you know, eating mac and
• 45:19
  Speaker 5: cheese out of a shoe because we were so poor,
• 45:22
  Speaker 5: and here we are, sat on this flight and all
• 45:25
  Speaker 5: this amazing stuff is happening because of the film. And
• 45:27
  Speaker 5: when we get there, for some reason, it's fine to
• 45:31
  Speaker 5: take a computer into America. They don't do it like
• 45:33
  Speaker 5: they don't in the case, and they'd slap to sorry,
• 45:36
  Speaker 5: we searched your case notice on it and then zip
• 45:39
  Speaker 5: to back up, and I thought, great, fantastic. So we
• 45:42
  Speaker 5: wait for a ride and Ryan James comes to pick
• 45:45
  Speaker 5: us up, my used producer and assembly editor, and he
• 45:50
  Speaker 5: he drives us to his apartment. We'd done her stuff
• 45:52
  Speaker 5: and everybody else goes out. So it was myself, a producer, Brett,
• 45:57
  Speaker 5: Jay Bouton who plays Dave Klein, and Risbane who plays
• 46:02
  Speaker 5: Jason Muse. So we all flew out together. So they
• 46:06
  Speaker 5: all go out to start and join America, and myself
• 46:10
  Speaker 5: and Jay Ryan James, we go to a friend's studio
• 46:14
  Speaker 5: where he works to use the facilities to hook up
• 46:17
  Speaker 5: the computer and then started the export. So we get there,
• 46:20
  Speaker 5: we hook up the computer. It's bricked, which basically means
• 46:25
  Speaker 5: that the hard drive is broken because the baggage handlers
• 46:28
  Speaker 5: had thrown it about and I forgot to have a
• 46:31
  Speaker 5: sticker put on the case saying, you know, be gentle
• 46:33
  Speaker 5: with this. So the hard drive that is broken has
• 46:37
  Speaker 5: twenty five percent of the film on it and all
• 46:40
  Speaker 5: the effects. So I start having a meltdown and James,
• 46:47
  Speaker 5: I call him James, Ryan James. He starts having him
• 46:50
  Speaker 5: held down and they're running a time because we've only
• 46:53
  Speaker 5: got the evening there, so we're there for about seven
• 46:56
  Speaker 5: or eight hours, and we have to leave in the
• 46:58
  Speaker 5: morning because people are going to come into work. So
• 47:01
  Speaker 5: he decides that we're going to go to his film school, UCF,
• 47:05
  Speaker 5: I believe. So the next day we go to UCF
• 47:09
  Speaker 5: and we go into an editing bay, and that's where
• 47:12
  Speaker 5: we remained for three four days. We were in this
• 47:15
  Speaker 5: editing bay. We slept on the floor two hours each.
• 47:19
  Speaker 5: At one point he slept on the floor while every
• 47:22
  Speaker 5: sort of like five to fifteen minutes he'd have to
• 47:25
  Speaker 5: get up fix the error while rendering, and then continue
• 47:30
  Speaker 5: rendering for another fifteen minutes and go back to sleep.
• 47:32
  Speaker 5: And he had to do this for like two hours.
• 47:34
  Speaker 5: They had to keep getting up, whereas I was kind
• 47:37
  Speaker 5: of lucky. I was in the US in the corridor
• 47:39
  Speaker 5: asleep for a full hour and then another full hour.
• 47:42
  Speaker 5: And I don't know how we managed it, but we
• 47:44
  Speaker 5: pulled the movie back from the brink of silicon hell,
• 47:47
  Speaker 5: and we replaced a lot of the special effects and
• 47:51
  Speaker 5: the footage that we'd lost. We pieced together with bits
• 47:56
  Speaker 5: and pieces that we found in the exports, so it
• 48:01
  Speaker 5: was from an earlier cut where we could see the footage.
• 48:05
  Speaker 5: It was a lesser quality because it was obviously compressed
• 48:07
  Speaker 5: and exported for youse elsewhere. I think it was the
• 48:10
  Speaker 5: cut that I showed the cast to and then we
• 48:14
  Speaker 5: screened it on the Saturday, and people seem to love it,
• 48:16
  Speaker 5: and Bob HoTT gave us a fantastic review. So it
• 48:20
  Speaker 5: was worth it. But if you asked me to do
• 48:21
  Speaker 5: it again, I'm going to lot myself into a patasel.
• 48:25
  Speaker 5: It's another be there for five days than do that again.
• 48:28
  Speaker 3: So you were able to actually save that hard drive,
• 48:31
  Speaker 3: so that was brick.
• 48:32
  Speaker 5: Well, we didn't save the hard drive. The hard drive
• 48:34
  Speaker 5: is still bricked. But we came home and I looked
• 48:39
  Speaker 5: into all the footage that we lost. We were able
• 48:42
  Speaker 5: to read download because a lot of it was stock
• 48:44
  Speaker 5: footage or footage that was sent to us from America
• 48:48
  Speaker 5: because the stuff was shot there, because a lot of
• 48:51
  Speaker 5: the film was shot in the actual locations in New Jersey,
• 48:55
  Speaker 5: so we were able to get replacement stuff and the
• 48:57
  Speaker 5: few shots here and there, we had maybe like fifty
• 49:00
  Speaker 5: shots that were gone completely. Those were reshot by my
• 49:04
  Speaker 5: second unit guy and he he saved our backside, and
• 49:10
  Speaker 5: we were able to get even slightly better shots because
• 49:12
  Speaker 5: there was there were either no cars in the new
• 49:15
  Speaker 5: shots or the lighting was less intense because it was
• 49:18
  Speaker 5: the winter. You see what I mean. His name is
• 49:21
  Speaker 5: Daniel Buckley. I though I'll just give him a shower.
• 49:23
  Speaker 5: He's always saving our backsides. He's our New Jersey second
• 49:26
  Speaker 5: unit guy. All gets all of our establishing shots like
• 49:29
  Speaker 5: it's incredible, and you know, we've got him to thinking
• 49:31
  Speaker 5: of a small way for helping us to fix the
• 49:34
  Speaker 5: latest cut which we showed in New Jersey and New York.
• 49:38
  Speaker 3: So you were actually able then, I mean, did you
• 49:41
  Speaker 3: actually film in the actual quick stop or did you
• 49:44
  Speaker 3: have to?
• 49:45
  Speaker 5: No? No, we got a set. We built a set
• 49:47
  Speaker 5: for the quick stop stuff and for RST. In fact,
• 49:51
  Speaker 5: one of my one of the things I'm most proud
• 49:53
  Speaker 5: of is most of the set for OURST.
• 49:55
  Speaker 4: Because we'll be right back after a word from our
• 49:59
  Speaker 4: sponsor and now back to the show.
• 50:06
  Speaker 5: We're able to find so we had to find like
• 50:09
  Speaker 5: space to build the set, but they had to have
• 50:11
  Speaker 5: a window because we couldn't build a set inside a warehouse,
• 50:15
  Speaker 5: then hire a generator and hire expensive lights thousands what
• 50:21
  Speaker 5: lights to blast through the window. To make it look
• 50:23
  Speaker 5: like it was daylight, we had to actually have daylight
• 50:25
  Speaker 5: on the other side, and luckily it was a summer
• 50:28
  Speaker 5: so it was relatively consistent. So that's one of the
• 50:32
  Speaker 5: sets I'm most proud of because it was a set
• 50:35
  Speaker 5: we could just shoot whenever we wanted, whereas if we
• 50:37
  Speaker 5: did it in the store, we'd be limited. Plus it
• 50:39
  Speaker 5: was really expensive.
• 50:41
  Speaker 3: Yeah, I can imagine that. That's why I assumed you
• 50:43
  Speaker 3: shot on a set, But you know, I always want
• 50:46
  Speaker 3: to ask me because it would be funny though, if
• 50:47
  Speaker 3: he did really shoot in the actual the actual quick stop,
• 50:52
  Speaker 3: and the people there could be like, you're gonna make
• 50:54
  Speaker 3: we already had to shoot here once, You're gonna shoot
• 50:56
  Speaker 3: here again?
• 50:57
  Speaker 5: Got twice? Yeah, well three times three times really and
• 51:00
  Speaker 5: selling Bob and they're going to shoot there eventually. Again,
• 51:04
  Speaker 5: I don't think the whole film set there, because I
• 51:08
  Speaker 5: know Kevin would be able to, you know, make it
• 51:11
  Speaker 5: worth their well, but I don't think they'd want to
• 51:14
  Speaker 5: shot for three weeks of production. And I don't know think
• 51:17
  Speaker 5: Kevin wants to shoot all mits again.
• 51:20
  Speaker 3: Yeah, that's where he started, That's where he got his
• 51:21
  Speaker 3: cigarette addiction was on Clerks. I remember he was telling
• 51:25
  Speaker 3: a story that to keep himself awake, he literally just
• 51:27
  Speaker 3: kept with smoke cigarettes and that was his whole thing.
• 51:31
  Speaker 5: And that's that's all done. Now he doesn't smoke cigarettes anymore.
• 51:34
  Speaker 5: He's off the tobacco.
• 51:35
  Speaker 3: Yeah. And so you know, it's funny too because right
• 51:40
  Speaker 3: down the street from me, Chris, is where they were
• 51:42
  Speaker 3: going to film All Rats Too. There's actually a mall
• 51:46
  Speaker 3: and Kevin actually took a picture of himself with this mall.
• 51:49
  Speaker 3: They were so close to being able to get this
• 51:53
  Speaker 3: deal done, by the way, but you know, because there's
• 51:55
  Speaker 3: a lot of you know, just disconflicting schedules, he couldn't
• 51:58
  Speaker 3: they couldn't film there, but but it would It would
• 52:01
  Speaker 3: just have been so crazy that right down the street
• 52:03
  Speaker 3: from me where whereas where he was going to film
• 52:05
  Speaker 3: All Rights Too. Yeah, but but now they're gonna, I hear,
• 52:10
  Speaker 3: it's gonna be a TV show anyway, and it's gonna
• 52:12
  Speaker 3: be filming somewhere else, but anyway, But you know, it's
• 52:14
  Speaker 3: just it's just, you know, it's just crazy. But you
• 52:17
  Speaker 3: know how things, you know, sort of work out. So
• 52:19
  Speaker 3: you know, as we told you know, again, just going
• 52:21
  Speaker 3: back to your shooting clerks, you know, so you were
• 52:24
  Speaker 3: able to have this premiere. So are are you? Are
• 52:27
  Speaker 3: you showing the film now? Are you sort of taking
• 52:30
  Speaker 3: it around to different locations the premiere to to show
• 52:32
  Speaker 3: at different venues.
• 52:34
  Speaker 5: We are.
• 52:35
  Speaker 3: Yeah.
• 52:35
  Speaker 5: We started with the Tescuns. It's called the Early Bird Tour,
• 52:40
  Speaker 5: and we we handed out swag bags and there was merchandise,
• 52:43
  Speaker 5: and we put a lot of effort in it because
• 52:45
  Speaker 5: because it was an exclusive tour, it had to be
• 52:49
  Speaker 5: worth your while because you were seeing a slightly unpolished
• 52:52
  Speaker 5: version of the film. We had. We had two sound
• 52:56
  Speaker 5: mixes done. We that's all we had done, and they
• 52:58
  Speaker 5: were basic sound mixes and as a said, some of
• 53:00
  Speaker 5: the effects we're missing, but even for those screeners, I
• 53:03
  Speaker 5: think we got some placeholder effects and the film we
• 53:09
  Speaker 5: actually recently sat down with my producer of Brett and
• 53:12
  Speaker 5: went over. I did editing notes, heeded effects notes, and
• 53:16
  Speaker 5: I've spent like fifteen minutes here, ten minutes there, five minutes.
• 53:19
  Speaker 5: They're not writing anything because very little needs done. The
• 53:21
  Speaker 5: film that people saw, certainly in New Jersey and New
• 53:25
  Speaker 5: York is you're never going to remember the things that
• 53:27
  Speaker 5: are different. So it's going to essentially be the same film.
• 53:31
  Speaker 5: It's almost done, but when it's fully done, we'll be
• 53:35
  Speaker 5: applying for BBFC classification so that we can show the
• 53:38
  Speaker 5: film in Britain, because unluckily, we're not allowed to show
• 53:41
  Speaker 5: an unrated film in Britain, so we haven't been able
• 53:44
  Speaker 5: screen here. But we'll be coming back to the States
• 53:47
  Speaker 5: before then because we can shoot, we can screen on
• 53:50
  Speaker 5: unrated films. We're planning a proper tour. Actually I'm speaking
• 53:56
  Speaker 5: with someone after this call actually regarding the final date
• 54:01
  Speaker 5: because we have to sort of work from Kevin's. We're
• 54:05
  Speaker 5: gonna we'll call the Homecoming tour something like that, because
• 54:09
  Speaker 5: we start in Kevin's old home and we end in
• 54:11
  Speaker 5: Kevin's new home. So we start in Jersey and we
• 54:13
  Speaker 5: do a couple of dates on the East Coast, and
• 54:14
  Speaker 5: we go to the West coast and we end in
• 54:17
  Speaker 5: Los Angeles. So that'll be a crazy and crazy tour
• 54:21
  Speaker 5: that will and then after that will do DVD, Blu
• 54:23
  Speaker 5: Ray and then vo D and then eventually Netflix were
• 54:27
  Speaker 5: anybody can watch it even if I'm not interested for
• 54:30
  Speaker 5: ten minutes and that's all we need. A SCU the demographic, Yeah,
• 54:37
  Speaker 5: I mean, that's great.
• 54:38
  Speaker 3: I honestly meant, I really, you know, I'm glad to
• 54:41
  Speaker 3: see you know, the film is is moving forward again.
• 54:45
  Speaker 3: Because I first heard of this, Chris, I actually saw.
• 54:47
  Speaker 5: The Indie Go Go and I was ago.
• 54:51
  Speaker 3: Yeah, yeah, and I saw that, I was like, well,
• 54:52
  Speaker 3: you know that that was actually really cool. And I
• 54:55
  Speaker 3: think I'm not sure if I reached out to you then,
• 54:59
  Speaker 3: or maybe I didn't. I can't remember. I may probably didn't.
• 55:03
  Speaker 3: I probably put put it in my notepile because I mean,
• 55:07
  Speaker 3: and the reason I bring it up, Chris, is because
• 55:09
  Speaker 3: I've you know, I run I've run crowdfunding campaigns and
• 55:13
  Speaker 3: it's beyond a full time job, and you get so
• 55:15
  Speaker 3: many messages. The last one I did, I got so
• 55:18
  Speaker 3: many messages from so many other people about so many
• 55:21
  Speaker 3: other things that I was like, what the hell is this?
• 55:24
  Speaker 3: You know, because I mean, I mean, like, you know,
• 55:27
  Speaker 3: people would ask, hey, Dave, could you could you help
• 55:29
  Speaker 3: me out with this? And I said, guys, I'm in
• 55:30
  Speaker 3: the middle running my own campaign. I don't have time
• 55:32
  Speaker 3: to help you with yours or you know, stuff like that.
• 55:35
  Speaker 3: So I'm sure you probably were inundated with like ten
• 55:37
  Speaker 3: thousand messages a day.
• 55:39
  Speaker 5: Yeah, we got strange messages, and people say things like,
• 55:43
  Speaker 5: if you cast me in a role, I'd be willing
• 55:47
  Speaker 5: to put a little bit of money into the film.
• 55:49
  Speaker 5: I'm like, well, I guess we could do that to
• 55:52
  Speaker 5: an extent. What role were you interested in? I want
• 55:55
  Speaker 5: to play Kevin? Right, well, we count only do that.
• 56:00
  Speaker 5: It's like, come on, mate, I'm gonna give you a
• 56:04
  Speaker 5: thousand dollars. I'm like, well, hey, we need more than
• 56:08
  Speaker 5: a thousand dollars, as the as the in the Google
• 56:11
  Speaker 5: CAMPI says, and b We've already cast Kevin and he's
• 56:15
  Speaker 5: been the same actor, has been Kevin in the shorts,
• 56:19
  Speaker 5: and he's he sends me all these head shots and
• 56:22
  Speaker 5: he's like a redhead and very obviously a redhead because
• 56:26
  Speaker 5: he's got rosetia and really pink skin, and he's and
• 56:29
  Speaker 5: he keeps saying, you know, like trust me, you know
• 56:31
  Speaker 5: I can grow a really good beard. And it's it's
• 56:34
  Speaker 5: I don't want to be mean, mate, but we've already
• 56:36
  Speaker 5: cast Kevin. We can give you a small role in
• 56:39
  Speaker 5: the film, and you can come on board as a
• 56:41
  Speaker 5: producer or something like that, because that's one of the
• 56:43
  Speaker 5: things we offer. You want to come on board as
• 56:44
  Speaker 5: producer already want to have a small walk on role
• 56:46
  Speaker 5: and support the film that way, then that's fine. So
• 56:52
  Speaker 5: it was like three months down the line and he
• 56:54
  Speaker 5: sends me a picture, is like, you're gonna be happy
• 56:57
  Speaker 5: with this, And he sends me a picture of himself
• 56:59
  Speaker 5: and he's grown somewhat of a beard, and it looks
• 57:03
  Speaker 5: like he's just gone in with a sharpie and colored
• 57:06
  Speaker 5: in his ginger beard with this sharpie. And the reason
• 57:10
  Speaker 5: I know it was a sharpie is because Mark has
• 57:13
  Speaker 5: blonde hair, and a lot of the time his beard
• 57:16
  Speaker 5: would grow in, we'd shave it down to the same
• 57:19
  Speaker 5: length it was, and then all the face that all
• 57:21
  Speaker 5: the dye was gone, all the hair dye that we
• 57:23
  Speaker 5: put in his hair, so we'd get mascara and then
• 57:26
  Speaker 5: we just touch it up and then you dry it off,
• 57:28
  Speaker 5: get any of the excess, and it looks like darker hair.
• 57:32
  Speaker 5: So he must have used a sharpie if he couldn't
• 57:34
  Speaker 5: make it look convincing. And I just remember sort of
• 57:36
  Speaker 5: put my like, my face, my hands like this guy.
• 57:40
  Speaker 5: This guy's a tough cell. And it's not gonna be
• 57:42
  Speaker 5: able to get this guy. I understand that we can't
• 57:44
  Speaker 5: put him in the movie, but he eventually lost interest,
• 57:48
  Speaker 5: and I hope he's I hope he's all right. I
• 57:49
  Speaker 5: hope he's doing well because I feel bad but we
• 57:53
  Speaker 5: couldn't replace Smart. I'm sorry. I'm sorry Simon, that was
• 57:55
  Speaker 5: his name. I'm not say the second name. I'm sorry
• 57:57
  Speaker 5: that we compute in the film. But you know, next film,
• 58:01
  Speaker 5: you can certainly be an extra Chris.
• 58:04
  Speaker 3: I will have to disagree, though, I don't think. I mean,
• 58:06
  Speaker 3: I'm in ginger myself. I don't have any roseatia, but
• 58:11
  Speaker 3: or my skin's actually pretty good looking.
• 58:14
  Speaker 5: But but there's two there's two types of red heads.
• 58:18
  Speaker 5: There is. There's they call it a day walker in yeah,
• 58:23
  Speaker 5: in South Park, which basically means that you've got this
• 58:25
  Speaker 5: like lily dark red hair, but you don't have freckles
• 58:29
  Speaker 5: and you don't have pale skin. And then you've got
• 58:32
  Speaker 5: like standard redhead people. We've got the red hair and
• 58:35
  Speaker 5: the freckles and then the occasional rosetia. I've got freckles
• 58:39
  Speaker 5: and pale skin. But I'm not even a red head.
• 58:42
  Speaker 5: I'm just I'm Scottish. So we all like that we
• 58:46
  Speaker 5: all have freckles because we're not exposed to the sun
• 58:48
  Speaker 5: and then when summertime happens and you get your four
• 58:50
  Speaker 5: hours of sunlight, your skin burns and fizzles and eventually
• 58:53
  Speaker 5: develops into freckles. And the reason my skin is pale
• 58:56
  Speaker 5: is because the rest of the day of the year,
• 59:01
  Speaker 5: I'm blue. You know.
• 59:04
  Speaker 3: It's it's funny because I actually have a friend, Chris,
• 59:07
  Speaker 3: who was.
• 59:07
  Speaker 5: Worried that you were going to say, by the way,
• 59:09
  Speaker 5: I'm Simon. He's an alternate name, and god damn you
• 59:13
  Speaker 5: for not putting me in shooting clerks.
• 59:14
  Speaker 3: Well that's what That's what I was gonna say. Next,
• 59:16
  Speaker 3: I am Simon, and you'll put me in kirks in
• 59:19
  Speaker 3: clerks because of my rose sha. No, actually a friend
• 59:22
  Speaker 3: of mine who actually looks like Kevin Smith and when
• 59:24
  Speaker 3: he wears, and the funny thing is he has the
• 59:27
  Speaker 3: black hair, black beard everything, and he has one of
• 59:31
  Speaker 3: the worst cases of roseesh you I've ever seen, And
• 59:33
  Speaker 3: like it's just like even his mom would say, like
• 59:37
  Speaker 3: one time somebody said to them, oh, your son, his
• 59:39
  Speaker 3: cheeks were so rosy today, and she goes, oh, they
• 59:41
  Speaker 3: always look like that, And she goes, oh, I thought
• 59:43
  Speaker 3: it was because he was out in the cold. She
• 59:45
  Speaker 3: goes oh no, he's got the worst case of rose
• 59:46
  Speaker 3: sha ever. And this is his own mom saying this.
• 59:48
  Speaker 3: So I'm like, yeah, so it's.
• 59:51
  Speaker 5: It's a call like you can get away with with roseesha.
• 59:53
  Speaker 5: I didn't know it was a thing. I just thought,
• 59:55
  Speaker 5: I just call it Rosie cheeks.
• 59:58
  Speaker 4: We'll be right back for a word from our sponsor
• 1:00:04
  Speaker 4: and now back to the show.
• 1:00:07
  Speaker 5: And then then someone slaps the name rosetiho and I'm like, oh, okay,
• 1:00:10
  Speaker 5: well that's it's a condition with the skin and the
• 1:00:12
  Speaker 5: blood in your skin. It's not the worst thing. He's
• 1:00:16
  Speaker 5: not gonna kill you or anything like that. But but
• 1:00:19
  Speaker 5: when when I was a kid, because so cold and Scotland,
• 1:00:23
  Speaker 5: you come in from the cold and you've got that
• 1:00:24
  Speaker 5: face a lot of the time, so rosetia, no one
• 1:00:28
  Speaker 5: really knew what ro rosetion was because everyone looked like
• 1:00:31
  Speaker 5: that basically at least one or two times of the year.
• 1:00:34
  Speaker 5: But yeah, that's it's it's it was weird that he
• 1:00:39
  Speaker 5: like he very much brought that up, and it's like,
• 1:00:41
  Speaker 5: you know, I can dye my hair. And he didn't mention,
• 1:00:43
  Speaker 5: you know, using a sharpie on his beard though he
• 1:00:46
  Speaker 5: didn't have a mustache. That was another thing. He said
• 1:00:48
  Speaker 5: he could grow a mustache, but he's willing to pay
• 1:00:50
  Speaker 5: for someone to do like a fake mustache and stick.
• 1:00:56
  Speaker 5: Oh sorry, you.
• 1:00:58
  Speaker 3: Know that happened to me too, though, you know. All
• 1:01:00
  Speaker 3: king aside, When I was doing my crowdfunding campaign, I
• 1:01:03
  Speaker 3: had people reach out to me and actually say, well,
• 1:01:05
  Speaker 3: you know, if you've cast me in this, I'll promote
• 1:01:07
  Speaker 3: it to my audience. If you cast me in this, uh,
• 1:01:10
  Speaker 3: you know, I can throw some money intowards it. And
• 1:01:12
  Speaker 3: I and I said, I really, I said, guys, I
• 1:01:15
  Speaker 3: would be so fearful. You take someone's money and then
• 1:01:18
  Speaker 3: you put them in the movie they suck or or whatever,
• 1:01:20
  Speaker 3: and then then you're like, well, what the hell do
• 1:01:21
  Speaker 3: you do?
• 1:01:22
  Speaker 5: Then?
• 1:01:22
  Speaker 3: So what I always did was I said, listen, if
• 1:01:24
  Speaker 3: you want throw some way towards this, and I can
• 1:01:27
  Speaker 3: put you as an extra or whatever else. And people
• 1:01:29
  Speaker 3: would get offended at that. They would be were like, oh,
• 1:01:31
  Speaker 3: you want me to to have to pay to be
• 1:01:33
  Speaker 3: a part of this. I should report you to SAG
• 1:01:35
  Speaker 3: And I said, wait a minute, you just told me
• 1:01:37
  Speaker 3: the other thing, you were willing to pay money for this,
• 1:01:39
  Speaker 3: And I'm like, they tell you, it's just the crazies
• 1:01:42
  Speaker 3: come out, and the desperation really comes out when they
• 1:01:46
  Speaker 3: see like a crowdfunding campaign for a project that has
• 1:01:50
  Speaker 3: not only a solid concept, but they also see that
• 1:01:53
  Speaker 3: there's some actual validity and the actual production value behind it.
• 1:01:57
  Speaker 5: Yeah, we we we cast people for smaller roles that
• 1:02:04
  Speaker 5: weren't related to clerks that we were fans of. We
• 1:02:07
  Speaker 5: got two people I really wanted to work with, Kevin
• 1:02:11
  Speaker 5: Smith and James Rolf. Now they're not the same type
• 1:02:14
  Speaker 5: of people. One of them is like an Internet icon
• 1:02:18
  Speaker 5: and the oleman is a film icon. But I really
• 1:02:20
  Speaker 5: like the angry video game nerd did pretty much anything
• 1:02:22
  Speaker 5: that Cinemasacre puts out. So I went to James at
• 1:02:26
  Speaker 5: first when we were casting all the smaller parts, and said,
• 1:02:30
  Speaker 5: would you be interested in people being a part of this.
• 1:02:32
  Speaker 5: I know you're a fan of Kevin, I'm a fan
• 1:02:33
  Speaker 5: of your work, and you're from Jersey, so your accent's
• 1:02:37
  Speaker 5: gonna sound it's gonna be one of the better accents
• 1:02:40
  Speaker 5: because you're actually from there. He actually lives in Philly now.
• 1:02:44
  Speaker 5: And he didn't get back to me because I just
• 1:02:48
  Speaker 5: assumed wasn't interested. Coming to the end of production and
• 1:02:52
  Speaker 5: I get an email and we have a sit down
• 1:02:54
  Speaker 5: and have a chat and he's very interested in doing it,
• 1:02:57
  Speaker 5: and he knocked out his scene in like two days later,
• 1:03:01
  Speaker 5: and I had it within the week, and it was
• 1:03:03
  Speaker 5: it was amazing to just be sat there with the
• 1:03:06
  Speaker 5: missing piece of a scene a last and to have
• 1:03:08
  Speaker 5: James Rolf in it so it's integrated in the film.
• 1:03:11
  Speaker 5: And of course we were like, okay, well we should
• 1:03:13
  Speaker 5: put everybody in the trailer at the end or during
• 1:03:17
  Speaker 5: the sort of montag sequence of the first trailer, which
• 1:03:20
  Speaker 5: is what we did. We even had Mike Natae in there.
• 1:03:21
  Speaker 5: He's got a very small role in it. And people said, oh,
• 1:03:25
  Speaker 5: you get James Rolf in it for James Ros's audience,
• 1:03:28
  Speaker 5: and they accused us they're putting James and Mike in
• 1:03:30
  Speaker 5: it so that we could sort of leach off of
• 1:03:33
  Speaker 5: their audience. But the fact was we did it because
• 1:03:36
  Speaker 5: I like James and I like Mike. And if you're
• 1:03:39
  Speaker 5: talking about leeching off of james audience and mike'st it
• 1:03:42
  Speaker 5: the same audience as Kevin Smith. It's the same types
• 1:03:45
  Speaker 5: of people. So there's no real truth in that. Same
• 1:03:48
  Speaker 5: people who like Kevin Smith probably gonna like James Rolf, gamers, nerds,
• 1:03:54
  Speaker 5: you film geeks. It's basically what we all essentially are.
• 1:03:58
  Speaker 3: So yeah, yeah, I agree with that, Chris. And you know,
• 1:04:03
  Speaker 3: so as we talked about no shooting clerks, you know,
• 1:04:07
  Speaker 3: and you're gonna be going around and showing this, and
• 1:04:09
  Speaker 3: you have the plans in place. You know, you actually
• 1:04:12
  Speaker 3: have about a couple other products. I just want to
• 1:04:15
  Speaker 3: ask about on your IMDb h the two are the
• 1:04:18
  Speaker 3: Twelve Steps of Jason Mues and emo keV Rides again.
• 1:04:22
  Speaker 3: Are are these playing the like? Are these sort of
• 1:04:24
  Speaker 3: like in complement of shooting clerks?
• 1:04:27
  Speaker 5: And the Twelve Steps to Jason Mues? The follow up
• 1:04:31
  Speaker 5: Undercover Lover that was shot three years ago, but we
• 1:04:35
  Speaker 5: haven't finished editing it. I actually handed editing duties over
• 1:04:40
  Speaker 5: to Brett Murray, my producer, and get place Brian Johnson
• 1:04:44
  Speaker 5: in the film because I was doing shooting clerks and
• 1:04:47
  Speaker 5: then I knew I'd be doing emo keV rdes again
• 1:04:49
  Speaker 5: after I'd finished locked picture on shooting clerks. The emo
• 1:04:56
  Speaker 5: Keve Rights again is a fall up the emo keV
• 1:04:58
  Speaker 5: of course, as a follow up to a prom as
• 1:05:00
  Speaker 5: we make at the end of the OKEV EMOKEV is
• 1:05:02
  Speaker 5: one of my favorite films that I've ever made. It
• 1:05:06
  Speaker 5: fully showcases the style that I wanted to go for,
• 1:05:10
  Speaker 5: and I developed my style funnily enough on that film
• 1:05:12
  Speaker 5: because I was able to just go slightly more artsy
• 1:05:17
  Speaker 5: with it, and I really really dug what I did
• 1:05:21
  Speaker 5: with that, and I've transferred like all the stylistic choices
• 1:05:25
  Speaker 5: in the editing choices that I made that onto Shooting Clerks.
• 1:05:28
  Speaker 5: By the end of it, I say, Kevin and Company
• 1:05:31
  Speaker 5: or Kevin and Moser will return any MOKEV Roads again.
• 1:05:34
  Speaker 5: And I was going to make it, and then the
• 1:05:36
  Speaker 5: feature came along and I thought, well, I'm not going
• 1:05:38
  Speaker 5: to do any more shorts because I don't really I'm
• 1:05:41
  Speaker 5: done doing shorts, doing shorts my whole adult life. I
• 1:05:44
  Speaker 5: want to do features now. But then I thought, well,
• 1:05:46
  Speaker 5: everyone's supported us for so long, everyone's been really nice,
• 1:05:49
  Speaker 5: and that film Ispshop specifically, has been really highly complimented
• 1:05:54
  Speaker 5: and everyone considers it our best of the shorts, So
• 1:05:58
  Speaker 5: why not do one short film that we can use
• 1:06:02
  Speaker 5: to promote Shooting Clerks and also say goodbye to all
• 1:06:06
  Speaker 5: the fans in the small on the small screen. So
• 1:06:10
  Speaker 5: Emo keV is again. It is very much a sequel
• 1:06:12
  Speaker 5: to Emo keV. But there's DNA strands from all the
• 1:06:17
  Speaker 5: other films and characters from Babylon Begins from Get Grido, Gooper,
• 1:06:24
  Speaker 5: even Mace appearance appearances from Gooper and things like that.
• 1:06:27
  Speaker 5: So we wanted to say goodbye by making this sort
• 1:06:31
  Speaker 5: of celebration and also by saying it's not really goodbye,
• 1:06:33
  Speaker 5: it's we're gonna go see Shooting Clerks. The films actually
• 1:06:37
  Speaker 5: take place at the same point. There's a wrap around
• 1:06:40
  Speaker 5: in Emo keV Rides again and we start in one
• 1:06:45
  Speaker 5: it's like Emo Keev. So we start in one time
• 1:06:47
  Speaker 5: and then we go back to the nineteen nineties when
• 1:06:50
  Speaker 5: we see you sort of early twenties Kevin Smith, and
• 1:06:53
  Speaker 5: then we flash back to the to the modern era,
• 1:06:56
  Speaker 5: and then the last frame of Emo Kev's Again, this
• 1:07:01
  Speaker 5: isn't spoiling anything. The last frame of Emo keV Rights
• 1:07:04
  Speaker 5: Again is the first frame of Shooting Clerks.
• 1:07:07
  Speaker 3: Well, that's absolutely cool. That is a nice tie in.
• 1:07:10
  Speaker 3: You know, it's kind of like what inspired you, you know, Chris,
• 1:07:12
  Speaker 3: is all those tie ins you know that Kevin was
• 1:07:14
  Speaker 3: doing with with you.
• 1:07:15
  Speaker 5: Know, Jane's Bob exactly. Yeah, and I'm big on shared
• 1:07:21
  Speaker 5: universes and things like that and hope to one day.
• 1:07:26
  Speaker 5: I mean, I've got plans for shared universes. That was
• 1:07:29
  Speaker 5: my kind of idea, was to have multiple different universes
• 1:07:32
  Speaker 5: so I don't have to sort of stick to the
• 1:07:34
  Speaker 5: rules of one world. Especially when you've got, say you
• 1:07:37
  Speaker 5: do a movie set in the real world, like shooting
• 1:07:39
  Speaker 5: clerks with real people. You can't really have your next film,
• 1:07:44
  Speaker 5: which is maybe about intergalactic war set in the future.
• 1:07:48
  Speaker 5: You can't really have those take place in the same universe.
• 1:07:51
  Speaker 5: It's not the same as Kevin's movies, where they're grounded
• 1:07:53
  Speaker 5: somewhat in reality. With exception of Dogma, I think the
• 1:07:56
  Speaker 5: only characters that transfer to anything as James on the
• 1:07:59
  Speaker 5: Bob because there's so ridiculous sometimes. So I'm working on
• 1:08:03
  Speaker 5: doing shared universe, but building up slow because you have
• 1:08:08
  Speaker 5: to do one film setting, one universe, one film setting.
• 1:08:11
  Speaker 5: They may have a film that's sent a standalone universe.
• 1:08:13
  Speaker 5: But I'm big on world building, So I studied game
• 1:08:17
  Speaker 5: design when I did my graphic design degree, and that's
• 1:08:21
  Speaker 5: one of the biggest and most important things is world building.
• 1:08:25
  Speaker 5: So I've tried to perfect that. Even when I was
• 1:08:28
  Speaker 5: doing graphic design.
• 1:08:31
  Speaker 3: Yeah, I know what you mean about, you know, the
• 1:08:32
  Speaker 3: whole world building thing, and I agree, you know, I
• 1:08:35
  Speaker 3: you know where my first you know experience with that,
• 1:08:41
  Speaker 3: especially with with the works of Bretty Soon Ellis, Brettison
• 1:08:43
  Speaker 3: Ellis and all his name, yeah, and all his his stuff,
• 1:08:46
  Speaker 3: and you would see guys coming in from other other
• 1:08:49
  Speaker 3: books and stuff like that, and I would be like, Wow,
• 1:08:50
  Speaker 3: that's absolutely amazing.
• 1:08:52
  Speaker 5: I love that. I honestly love that. I love the connections,
• 1:08:56
  Speaker 5: and it's it's tenuous like with with them. It's the
• 1:09:01
  Speaker 5: American Cycle and Roles of Attraction and those films. Love
• 1:09:05
  Speaker 5: both of those films. I know a lot a lot
• 1:09:07
  Speaker 5: of people are big on on Rolls of Attraction, but
• 1:09:09
  Speaker 5: I I and even the film which are set one
• 1:09:12
  Speaker 5: set in eighties and one set in the more near obviously,
• 1:09:16
  Speaker 5: so they didn't even go for it to bridge the gap,
• 1:09:19
  Speaker 5: but there is a there's a moment where they actually
• 1:09:22
  Speaker 5: reference Patrick Bateman. So they even tried to do it
• 1:09:26
  Speaker 5: with the films. And there's a point actually I believe
• 1:09:29
  Speaker 5: that they we're going to have a scene in and
• 1:09:32
  Speaker 5: maybe in the novel. Actually it's scene in the movie
• 1:09:34
  Speaker 5: for Roles of Attraction. Where where James Vanderbeeks's character sits
• 1:09:39
  Speaker 5: in with his brother, and it was going to be
• 1:09:42
  Speaker 5: Christian Bale playing Patrick Vaymon. I don't know how they're
• 1:09:44
  Speaker 5: going to do it, because obviously he exists in the
• 1:09:46
  Speaker 5: eighties and he's existing in the early noies. Maybe they
• 1:09:48
  Speaker 5: were going to age him up or just not explain
• 1:09:52
  Speaker 5: the fact that he doesn't look any different, because technically
• 1:09:55
  Speaker 5: he could be his dad. If you're going with that
• 1:09:57
  Speaker 5: timeline age wise.
• 1:10:00
  Speaker 4: We'll be right back after a word from our sponsor
• 1:10:06
  Speaker 4: and now back to the show.
• 1:10:09
  Speaker 3: Yeah, well, I imagine, because you know it'd be funny too,
• 1:10:13
  Speaker 3: because I think the American Cycle that Christian Bale would
• 1:10:15
  Speaker 3: have to look exactly the same, because that's the vanity
• 1:10:18
  Speaker 3: of Patrick Bateman.
• 1:10:20
  Speaker 5: Was exactly Yeah, yeah, he would have to look very
• 1:10:24
  Speaker 5: In fact, if he looked similar, you could go down
• 1:10:27
  Speaker 5: all kinds of different avenues and and Eason has got
• 1:10:31
  Speaker 5: the ability to do that. I've only ever read one
• 1:10:34
  Speaker 5: of his books, and the way he describes things for
• 1:10:38
  Speaker 5: some people can be monotonous, but I like it because
• 1:10:42
  Speaker 5: especially with the American Cycle, and he does it in
• 1:10:43
  Speaker 5: the American Cycle, mainly American Cycle because it's from the
• 1:10:47
  Speaker 5: point of view of Patrick, and he's he's a narcissistic
• 1:10:51
  Speaker 5: piece of shit. It's going to explain everything in detail.
• 1:10:55
  Speaker 5: He's very proud of everything, proud of himself, proud of
• 1:10:58
  Speaker 5: his apartment, proud of his routine, is proud of the
• 1:11:00
  Speaker 5: women he bangs and then murders. Proud of everything apart
• 1:11:03
  Speaker 5: from the fact that he's a psychopathy. I don't know
• 1:11:05
  Speaker 5: if he's overly proud about that, but yeah, you know.
• 1:11:09
  Speaker 3: It's funny. I didn't even notice this until I actually
• 1:11:11
  Speaker 3: somebody pointed it out to me. If you watch the
• 1:11:14
  Speaker 3: movie of American Psycho, the first thing Patrick Bateman says
• 1:11:17
  Speaker 3: when he's doing that narration, he doesn't tell you who
• 1:11:20
  Speaker 3: he is. He tells you where he lives, like a
• 1:11:22
  Speaker 3: status symbol. You know, this is my apartment in the
• 1:11:25
  Speaker 3: you know, and this is blah blah blah, and then
• 1:11:27
  Speaker 3: my name is Patrick Bateman. I'm like, oh, okay, because
• 1:11:30
  Speaker 3: obviously he wants you to be impressed with all his stuff,
• 1:11:33
  Speaker 3: because he.
• 1:11:33
  Speaker 5: Has exactly I think I think the one of the
• 1:11:39
  Speaker 5: best scenes in that movie because it is it's it's
• 1:11:44
  Speaker 5: the it's a fantastic piece of satire. It's when they're
• 1:11:47
  Speaker 5: comparing business cards and if you don't get it, you
• 1:11:51
  Speaker 5: want understand why why the scene exists or why it's funny,
• 1:11:55
  Speaker 5: and it's I've never seen anything like that in a
• 1:11:58
  Speaker 5: film since. I think it was ahead of his time.
• 1:12:00
  Speaker 5: I think it's even maybe ahead of its time now
• 1:12:02
  Speaker 5: nobody makes satire like that. It was because they're all.
• 1:12:06
  Speaker 8: The same, and he's flipping out and they're more impressed
• 1:12:10
  Speaker 8: by the next car, and you're like, they look the same,
• 1:12:13
  Speaker 8: and they this is not me looking at it with
• 1:12:16
  Speaker 8: uneducated eyes or non artistic eyes, fucking the same.
• 1:12:20
  Speaker 5: And he's flipping out because he's got a card that
• 1:12:22
  Speaker 5: is better than him, and.
• 1:12:22
  Speaker 8: He's and he's so he's so shallow that that a card,
• 1:12:28
  Speaker 8: even if it was drastically different, that would make him less.
• 1:12:32
  Speaker 5: Of a man.
• 1:12:34
  Speaker 3: Yeah. The card is called Bone and it's the text
• 1:12:36
  Speaker 3: is something called silly and Rail and you're like, each
• 1:12:40
  Speaker 3: fot look exactly like the other fonts.
• 1:12:42
  Speaker 5: Exactly, and it's it's incredible And I love that movie.
• 1:12:47
  Speaker 5: I recently just bought it on Blue ray. It's one
• 1:12:49
  Speaker 5: of the only Blu ray is that I own that
• 1:12:50
  Speaker 5: comes in a black box.
• 1:12:55
  Speaker 3: Yeah, the I think that film is. I think it's great,
• 1:12:59
  Speaker 3: and I actually would you know, sometimes I have friends
• 1:13:02
  Speaker 3: over and I kind of have like one of the
• 1:13:04
  Speaker 3: little movie parties, and what I do is I show
• 1:13:06
  Speaker 3: movies that they usually would never have heard of before. Yeah,
• 1:13:09
  Speaker 3: and so American Psycho was actually one I showed a
• 1:13:13
  Speaker 3: lot of people about me. They're like, wow, this is
• 1:13:15
  Speaker 3: this is phenomenal. How come we haven't heard about it?
• 1:13:17
  Speaker 3: And I said, well, they really didn't like the whole
• 1:13:19
  Speaker 3: angle of that, the fact that he's going around butchering
• 1:13:22
  Speaker 3: women and uh you know, and you know, the whole
• 1:13:24
  Speaker 3: thing at the end, and uh, you know, it didn't
• 1:13:27
  Speaker 3: sit well with a lot of people. So it was
• 1:13:28
  Speaker 3: kind of like put a touch with the sun.
• 1:13:30
  Speaker 5: That's something that I've never I mean, I understand that
• 1:13:33
  Speaker 5: if you're a bit of a dumb dumb, but I
• 1:13:35
  Speaker 5: don't think the people that had problems with it are
• 1:13:40
  Speaker 5: intellectually intellectually challenged. I just think that they couldn't really
• 1:13:44
  Speaker 5: see like the satirical turn on it. And psychopaths will
• 1:13:49
  Speaker 5: target the weak, weaker people like you know, prostitutes and
• 1:13:55
  Speaker 5: not in this instance, but children and animals and things
• 1:13:57
  Speaker 5: like that, and that is sad, but that's what happens,
• 1:14:00
  Speaker 5: so to depict it, and it's not exactly like it's
• 1:14:04
  Speaker 5: glamorizing it. It's just like trainspawing. Trainspotting doesn't glamorize being
• 1:14:09
  Speaker 5: a druddic drug addict. And you showed it in a
• 1:14:11
  Speaker 5: cartoonistic way because you have to soften the blow. It's
• 1:14:15
  Speaker 5: really dark and people die in that movie and people
• 1:14:19
  Speaker 5: lose everything and they're ill, and it's not glamorous, and
• 1:14:22
  Speaker 5: the same can be applied to American psycho. It's not glamorous.
• 1:14:26
  Speaker 5: You watch it in dread because you hit the back
• 1:14:30
  Speaker 5: of your head. You're like, God, imagin if I did this,
• 1:14:32
  Speaker 5: this is I would never be able to sleep. Imagine
• 1:14:35
  Speaker 5: if even I was this narcissistic or this sociopathic, it
• 1:14:40
  Speaker 5: would be a nightmare. And the reason you enjoy it
• 1:14:42
  Speaker 5: is because it's a fly on the wall. You're watching
• 1:14:45
  Speaker 5: this horrendous, horrible person do all these horrible things. But
• 1:14:50
  Speaker 5: it's like, this is what psychopaths do, and this is
• 1:14:53
  Speaker 5: you learning firsthand from a fictional psychopath what they do.
• 1:14:58
  Speaker 5: And to call it sexist, I mean it makes no sense.
• 1:15:01
  Speaker 5: I mean, you can you can maybe say that Brett
• 1:15:03
  Speaker 5: ellis Eastern is sexist for writing the book. I don't
• 1:15:06
  Speaker 5: think he is personally, But the film was written and
• 1:15:11
  Speaker 5: directed by two women.
• 1:15:13
  Speaker 3: So yeah, yeah, Mary Heron, Yeah, and it's uh yeah,
• 1:15:17
  Speaker 3: And I think they had to do that because again,
• 1:15:19
  Speaker 3: because of the subject matter. And I and I agree
• 1:15:21
  Speaker 3: with you completely, Chris. I think a lot of people
• 1:15:23
  Speaker 3: missed the the whole satire of of everything that goes
• 1:15:26
  Speaker 3: on there. And yeah, but yeah.
• 1:15:28
  Speaker 5: I think I think I think it was handled incredibly well.
• 1:15:31
  Speaker 5: And like you've got these I wouldn't even say that
• 1:15:34
  Speaker 5: people are a sexist, but seeing things like don't give,
• 1:15:38
  Speaker 5: don't give like a like a masculine movie was to
• 1:15:42
  Speaker 5: a woman to write, because what does she know about men.
• 1:15:46
  Speaker 5: Gwynn Turner, who wrote American Psychle is a woman. Feminine women, right.
• 1:15:52
  Speaker 5: She wrote that, granted it was based on on Brett's book.
• 1:15:55
  Speaker 5: She wrote that, and I'll watch it and I go,
• 1:15:58
  Speaker 5: that's what a man. That's all. This is a turned
• 1:16:00
  Speaker 5: up to eleven, of course, but that is the way
• 1:16:03
  Speaker 5: certain men act. And she's nailed it. You don't have
• 1:16:06
  Speaker 5: to be a man to have written the stream play
• 1:16:08
  Speaker 5: for American Cycle, So you don't have to be a
• 1:16:10
  Speaker 5: man to do a Thorn movie. You don't have to
• 1:16:12
  Speaker 5: be a man to do Captain America. You don't have
• 1:16:15
  Speaker 5: to be a man to do die Hard. I just
• 1:16:17
  Speaker 5: think that if you allow people to think that, then
• 1:16:23
  Speaker 5: they're just going to continue to believe and they're not
• 1:16:24
  Speaker 5: gonna be a cast. They're not gonna be able to
• 1:16:26
  Speaker 5: hire women to do like a like a fresh new take,
• 1:16:29
  Speaker 5: because they see us in a different way and that
• 1:16:32
  Speaker 5: that would be good to see because they understand men's
• 1:16:35
  Speaker 5: they're not idiots. Women are not idiots. Men are not idiots,
• 1:16:38
  Speaker 5: but at the same time, we are all idiots.
• 1:16:43
  Speaker 3: Yeah, very great point, Chris. You know, Chris, you know,
• 1:16:46
  Speaker 3: you know, we've been talking for about, you know, an
• 1:16:48
  Speaker 3: hour and fifteen minutes. I just want to say, you know,
• 1:16:52
  Speaker 3: just in clothes.
• 1:16:53
  Speaker 5: That on that note, ask the best question ever. Then
• 1:16:56
  Speaker 5: to finish off.
• 1:16:58
  Speaker 3: I'm already I have no more questions, no, no, So,
• 1:17:01
  Speaker 3: you know, on that note, I just want to say,
• 1:17:03
  Speaker 3: you know, I just want to ask, actually, you know,
• 1:17:06
  Speaker 3: what is next for you, Chris, in terms of you know,
• 1:17:09
  Speaker 3: what will project you're working on next?
• 1:17:11
  Speaker 6: We are doing, hopefully in the new year, We're going
• 1:17:14
  Speaker 6: to do a film called Dog and the Dead Guy,
• 1:17:17
  Speaker 6: which is about a day in the life of a deceased.
• 1:17:21
  Speaker 5: Man, a ghost, and he is stuck in the house
• 1:17:25
  Speaker 5: he died in with the new owner's dog, and the
• 1:17:29
  Speaker 5: dog can understand him, and he can understand the dog,
• 1:17:34
  Speaker 5: but no one else can see him, and no one
• 1:17:36
  Speaker 5: can see or hear hear the dog's thoughts. So they're
• 1:17:38
  Speaker 5: stuck in this sort of weird relationship. And they find
• 1:17:43
  Speaker 5: out that the old lady is going to die, so
• 1:17:47
  Speaker 5: they spend the entire day trying to lessen the stress
• 1:17:53
  Speaker 5: to comedic effect because they're trying to keep her alive,
• 1:17:57
  Speaker 5: because if she's not alive, the dog doesn't get looked.
• 1:18:01
  Speaker 5: After the dog gets taken away, the ghosts stuck in
• 1:18:03
  Speaker 5: the house with no want to talk to. So Dog
• 1:18:07
  Speaker 5: and the Dead Guy's next nuts or next feature.
• 1:18:10
  Speaker 3: Cool, And I mean imagine you'll probably get to that,
• 1:18:12
  Speaker 3: what maybe sometime late.
• 1:18:14
  Speaker 5: Next year, Yeah, hopefully, We're hoping either summer or autumn
• 1:18:20
  Speaker 5: next year. I've written the first draft of the script
• 1:18:23
  Speaker 5: and we have we have our cast, well the people
• 1:18:28
  Speaker 5: that we have in mind in place to pitch the
• 1:18:31
  Speaker 5: ideas too. So we go to cast first and then
• 1:18:33
  Speaker 5: it's off the finance and after that.
• 1:18:37
  Speaker 3: So you know, Chris, just in closing, you know, it's
• 1:18:40
  Speaker 3: a question I ask everybody, and that is is there
• 1:18:42
  Speaker 3: anything we didn't talk about that maybe you wanted to discuss,
• 1:18:45
  Speaker 3: or is there anything you want to say? This sort
• 1:18:46
  Speaker 3: of put a period at the end of this whole conversation.
• 1:18:51
  Speaker 3: I don't know any any secrets of the universe anything.
• 1:18:57
  Speaker 5: Always prepare for the worst. Always prepare for the worst,
• 1:19:02
  Speaker 5: whatever as you do. If you're a podcaster, a filmmaker
• 1:19:04
  Speaker 5: and artists, always prepare for the worst, just mentally because
• 1:19:08
  Speaker 5: when it happens, your brain is ready and prepared. And
• 1:19:12
  Speaker 5: again though, if something bad happens in your life, you'll
• 1:19:15
  Speaker 5: find a creative way to move past it. And who knows,
• 1:19:20
  Speaker 5: it might be a blessed in disguise. I guess. I
• 1:19:22
  Speaker 5: guess that's all I can always say, you.
• 1:19:25
  Speaker 3: Know, and that's you know, great advice because preparing for
• 1:19:27
  Speaker 3: the worst socially. You know, even as I find it podcasting,
• 1:19:31
  Speaker 3: you know, I didn't mention this to you though, Chris,
• 1:19:32
  Speaker 3: and I'll mention it now. I am on my sixth
• 1:19:35
  Speaker 3: iteration of recording setups just this year alone, so I
• 1:19:39
  Speaker 3: have because because you know what happened. When Windows update something,
• 1:19:44
  Speaker 3: it changes everything, so any type of software using So
• 1:19:47
  Speaker 3: I was using this piece of software and it's just
• 1:19:49
  Speaker 3: in the Windows update killed it, man. And now I've
• 1:19:52
  Speaker 3: been sort of picking up the pieces now. So now
• 1:19:55
  Speaker 3: I'm just set up now and I have a backup
• 1:19:58
  Speaker 3: recorder going at the same time, so so hopefully now
• 1:20:01
  Speaker 3: it's all good, you know, Chris, You know, I want
• 1:20:04
  Speaker 3: to say thank you very much for coming on and
• 1:20:06
  Speaker 3: just thanks for having me and where people find you
• 1:20:08
  Speaker 3: out online?
• 1:20:08
  Speaker 5: By the way, you can find me at Hoppy Downy.
• 1:20:11
  Speaker 5: So you p P I E D O W N
• 1:20:15
  Speaker 5: I E on Twitter, or you can get us on
• 1:20:17
  Speaker 5: Facebook on Shooting Clerks. And if you have any questions
• 1:20:21
  Speaker 5: regarding the film or if you want to help out
• 1:20:23
  Speaker 5: in any way or the next film, you can contact
• 1:20:25
  Speaker 5: me or one of the staff members at Old Reky
• 1:20:29
  Speaker 5: Media info at old rey Kymedia dot com.
• 1:20:33
  Speaker 3: Chris Downey, I want to say thank you very.
• 1:20:35
  Speaker 5: Much, ma'am, thanks for having.
• 1:20:38
  Speaker 3: Me, my pleasure, my friend, and I wish you the
• 1:20:40
  Speaker 3: best of luck with Shooting Clerks and Dog and the
• 1:20:42
  Speaker 3: Dead Guy and you know, all your future projects. Man,
• 1:20:45
  Speaker 3: thanks a lot anytime, buddy.
• 1:20:47
  Speaker 5: I take care you too, Paers.
• 1:20:50
  Speaker 2: I want to thank Dave so much for doing such
• 1:20:52
  Speaker 2: a great job on this episode. If you want to
• 1:20:53
  Speaker 2: get links to anything we spoke about in this episode,
• 1:20:55
  Speaker 2: head over to the show notes.
• 1:20:57
  Speaker 4: At Indie Film EFTO dot com Forward slash eight.
• 1:21:00
  Speaker 2: And if you have it already, please head over to
• 1:21:03
  Speaker 2: Filmmaking podcast dot com. Subscribe and leave a good review
• 1:21:07
  Speaker 2: for the show. It really helps us out a lot, guys.
• 1:21:10
  Speaker 2: Thank you again so much for listening to guys. As always,
• 1:21:12
  Speaker 2: keep that hustle going, keep that dream alive, Stay safe
• 1:21:15
  Speaker 2: out there, and I'll talk to you soon.
• 1:21:18
  Speaker 1: Thanks for listening to the Indie Film Hustle Podcast at
• 1:21:21
  Speaker 1: indiefilm Hustle dot com. That's I N D I E
• 1:21:24
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• 1:21:27
  Speaker 1: dot com.