Latest / WASD and Beyond / IT CAME FROM SCREAMBOX: Dennis Cahlo and Bethany Watson interview!

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IT CAME FROM SCREAMBOX: Dennis Cahlo and Bethany Watson interview! · WASD and Beyond

• 0:20
  Very true. All right, you guys are ready.
• 0:23
  We are ready. We.
• 0:25
  Ready. Alex and Noah.
• 0:28
  Yep, Anthony and Dennis. Yes.
• 0:32
  Oh yeah. Welcome to It Came from Scream
• 0:34
  Box. Oh man, it's been an awesome
• 0:37
  couple of weeks of us watching The Trouble with Tessa.
• 0:40
  And now for our surprise, we have the showrunners themselves
• 0:43
  on the show to talk about their show with us, Dennis Kalo and
• 0:49
  Bethany Watson. I said your last name, right?
• 0:50
  Right, guys. Yeah, Yeah, you got them right.
• 0:53
  Yeah, spot on. OK, because.
• 0:55
  This is crazy, really, what's happening right now?
• 0:57
  Fuck, I have fucked everybody. 'S last names up on the show.
• 1:01
  We had. We had WSD and beyond and it
• 1:04
  came from screen box. Had been saying that for like 4
• 1:07
  weeks in a row I feel like. What?
• 1:10
  What is What is going on? What we don't?
• 1:12
  Know what's going on so we. Don't know, we're just cruising.
• 1:15
  Basically, yeah. How this happened was the lovely
• 1:18
  people at Screen Box hit us up and we're like, hey, do you guys
• 1:21
  want to start watching a show? And it.
• 1:24
  That was like what it was. And I was like, yeah.
• 1:26
  And they're like, we'll give you more information, you know, upon
• 1:29
  like your yes or no. I said, yeah, of course we'll
• 1:32
  watch something that's new that's coming out.
• 1:34
  You know, we get the 1st 2 episodes of the Trouble with
• 1:35
  Tessa and like, wow, OK, cool. Immediately, immediately,
• 1:40
  immediately, immediately we started watching it.
• 1:43
  I said out loud during our watch party together and I was like,
• 1:45
  this is like giving me because it gave me immediate Twin Peaks
• 1:51
  X. I've said that every episode I'm
• 1:53
  like, this is giving me Twin Peaks X-Files 90s vibes that I
• 1:58
  would just sit on the couch. My mom and watch I remember
• 2:01
  being a kid waking up just running downstairs at like
• 2:04
  11/30/12 and there there she was she's like oh you can't sleep
• 2:07
  sit down so the. Immediate.
• 2:10
  Connection, immediate connection to the show and man, oh man,
• 2:16
  guys, can you please, I'm done talking for a few minutes, OK?
• 2:20
  Now I'm just waffling because I'm stoked, but could you please
• 2:24
  tell everybody in the audience who you guys are and what is the
• 2:28
  trouble with Tessa? Sure.
• 2:30
  My name is Dennis Callow. I am one of the directors and
• 2:33
  showrunners of The Trouble with Tessa.
• 2:35
  My name is Bethany Watson. I am one of the showrunners and
• 2:39
  directors of The Trouble with Tessa.
• 2:41
  And The Trouble with Tessa is a six episode series, about 22
• 2:45
  minutes a piece about a shamed documentarian who runs away to a
• 2:48
  place called Lowry, New York. It has no cell phones.
• 2:52
  It has no Internet. And just to escape and they
• 2:56
  uncover a secret in their basement, a box of tapes that
• 2:59
  leads them into the mystery of Lowry and what lies underneath.
• 3:03
  Yeah, that's. Pretty good.
• 3:04
  That was great. They should hide me.
• 3:05
  That was great. Yeah.
• 3:09
  That's good. And the the the driving ethos
• 3:11
  when we were filming it and when we were pitching it was if David
• 3:15
  Fincher directed his favorite Stephen King novel.
• 3:18
  So. Wow.
• 3:19
  Definitely a bunch of worlds kind of going in there.
• 3:24
  It works. It's a it's a crazy amalgamation
• 3:27
  of just like, again, like I said, like peak 90s Wi-Fi
• 3:30
  mystery thriller television and with with like a good mix of
• 3:34
  horror in there, which we will talk about close to the end of
• 3:36
  the episode. There's one thing that we were
• 3:40
  like, yeah, dude, that happens. Oh, yeah, we, there was a, there
• 3:44
  was a good five minute chunk of the last of the episodes, five
• 3:47
  and six that we just, we just went on and on about this
• 3:50
  effect. I can't wait to ask you guys
• 3:52
  about it. Yeah, Hell yeah.
• 3:53
  We heard, we heard that. Well, you know, I, I just want
• 3:57
  to say like, we, we, we the reason why we, OK, sorry, I'm
• 4:02
  now I'm stammering because I'm, I want to, I want to make sure I
• 4:06
  say this right. We are trying not to like like
• 4:10
  read our views kind of thing, like as directors, you want to
• 4:13
  try to stay away from that. But the excitement around this
• 4:17
  show and people like you have been talking about it.
• 4:21
  We have had so much fun listening to people like you
• 4:24
  guys talk about the show as film makers, it is a joy to listen to
• 4:30
  you guys. And like there were a couple
• 4:32
  other podcasts that did some deep dives.
• 4:34
  That's who we made the show for. You know, we did make this for
• 4:38
  an audience. We weren't trying to like
• 4:40
  Kubrick, our audience out out, out of existence.
• 4:43
  I love Kubrick, but like, come on.
• 4:45
  So like, we were like, we want to drop people in.
• 4:47
  We want them to be talking about this show every week, right?
• 4:50
  And so we're just overjoyed with this.
• 4:54
  And we could talk full spoilers too.
• 4:56
  Like we're. Oh yeah.
• 4:58
  Yeah, big spoiler warning. We got, we got the creators
• 5:01
  here. We're going to.
• 5:01
  We're getting. Into it.
• 5:02
  We're going to spoil it up. Maybe.
• 5:05
  Well, I guess to really start out the show like how did your
• 5:09
  show, how did the trouble of Tesla begin?
• 5:11
  How did this start from conception to project to actual
• 5:16
  on screen box and we're watching it.
• 5:19
  That is what I. Would like Yeah.
• 5:21
  So it started with a short film that Dennis and I did together.
• 5:26
  Dennis directed it. I starred in it called Lonely
• 5:29
  Hearts. And our supervising producer for
• 5:32
  for Tessa, Tony Walsh, is in charge and was in charge of.
• 5:37
  Program Director. Yeah, program director of Like
• 5:39
  Finding Films. And he found Lonely Hearts and
• 5:42
  put it into a block of programming on Screen Box for
• 5:44
  Bloody Bites. And so when the time came and
• 5:48
  Screen Box was like, we want to start doing original
• 5:51
  programming. Brad and Brandon tasked Tony
• 5:55
  with, like, reach out to some of the short film directors.
• 5:59
  See you who's hungry for this, See who's interested.
• 6:02
  And we were one of the groups. We reached out to you first,
• 6:05
  Dennis. We were the 2.
• 6:06
  Morons that were like, sure, we'll do it at that budget.
• 6:11
  We just saw. We saw it was a major
• 6:14
  opportunity, right? Like we were like, well, if
• 6:17
  there is one, you know, a group of people that could do it, it's
• 6:20
  Bethany and myself because I'm pretty much a one man band when
• 6:23
  it comes to like producing. So I was like, we could do 6
• 6:26
  episodes. Yeah.
• 6:27
  Well, yeah, Dennis, you know, I've said it a million Times
• 6:30
  Now, but Dennis looked like Bert at the beginning of Mary
• 6:33
  Poppins, like the one man band where he had the headphones and
• 6:36
  the slate and the camera and, you know, he used the sound he
• 6:39
  used like running different. It's it was incredible.
• 6:42
  But I knew that between US and we brought on Will Rogers, who
• 6:49
  we were working on a different project with and and I, I was
• 6:52
  like, come with us, between the four of us, with Tony, I was
• 6:56
  like, we can do this. Right.
• 6:57
  Yeah. And as we we had three pitches
• 7:01
  and we came up with three. One was called The Noise in the
• 7:04
  Attic, which became the trouble with Tessa.
• 7:07
  One was called Hide and the other one was called.
• 7:10
  It was like a Precinct 13 kind of thing.
• 7:11
  Everyone. Oh God.
• 7:13
  Oh, no cops. Yeah, it was like, it was like a
• 7:15
  contained story. Yeah.
• 7:16
  Bad title. Cops in the city.
• 7:18
  Cops, Yeah. That was the name.
• 7:23
  It was heat cops in the city. Heat colon 2 Colon more cops.
• 7:27
  In the three, Yeah. So, So noise in the attic sort
• 7:34
  of was the one that scratched the itch.
• 7:36
  And it was like the most producible one because we were
• 7:39
  able to film it in our house. We could do it all mostly in one
• 7:43
  location. And then it was, it was doable.
• 7:47
  Yeah. And it was sort of this concept
• 7:50
  that appealed to all four of us, which was this very Stephen King
• 7:54
  New England lore, fish out of water.
• 7:57
  This person goes to this town and it's, they're fish out of
• 8:01
  water and they discover a mystery.
• 8:03
  It was a very simple premise. And then like Bethany said, we
• 8:07
  brought Will on because as a director myself, like I was
• 8:11
  like, I can't do this alone. And I don't want to write
• 8:16
  everything while also having to think of everything else.
• 8:19
  So we're bringing in a writer. So we brought in Will and he was
• 8:22
  the perfect fit for this story. And he just went ham on this on
• 8:28
  this thing, man. Like he one thing Tony said was
• 8:31
  you got to have cliffhangers because we're going to make it a
• 8:33
  weekly show. And literally like Will was
• 8:37
  like, hold my beer. It really did, man.
• 8:42
  I mean every. I'll say this, Bethany and I
• 8:46
  fine-tuned the scripts with him. Like we punched up things.
• 8:50
  We developed some characters that we saw a lot of potential
• 8:52
  in, but those cliffhangers were pretty much raft one.
• 8:58
  Yeah, like everyone were like, that's fucking insane, dude.
• 9:01
  I was like, did you really just end it with that?
• 9:03
  Yeah. And then the the first episode
• 9:05
  when the the cliffhanger of the thing, the the creature being in
• 9:08
  the house with Tessa the whole time, that was that was Bethany
• 9:12
  and myself. We were like, that's the end of
• 9:13
  episode 1. And then he everything else
• 9:15
  after that was all him. Yeah, yeah.
• 9:17
  And and a collaboration of like all of us, but yeah.
• 9:20
  Those those cliffhangers were so perfect.
• 9:22
  I think every single episode ending Alex would be over there
• 9:25
  like God damn it now we have to wait.
• 9:29
  That's the perks of. Weekly.
• 9:31
  Television, it's it's a good, it makes you want more.
• 9:35
  Yes, it's so long. We are wanting more.
• 9:37
  We need a Season 2. I know you know.
• 9:41
  What that out right now bro? You're.
• 9:43
  Just. You're totally taking the weight
• 9:44
  out of my sails. I was going to wait till the end
• 9:46
  and I was going to be like, I got one more question.
• 9:48
  See, I'm just, but I don't. We're just.
• 9:51
  Going to do that now. They did.
• 9:52
  They did. Such a good fucking job with
• 9:55
  this show. Oh.
• 9:56
  Thank you, thank you, thank you. That really, truly, truly means
• 9:59
  a lot. Especially because Bethany and
• 10:02
  myself, we all gave a lot. All four of us gave a lot, but
• 10:05
  Bethany and I gave more than a lot.
• 10:10
  I mean. We and the.
• 10:13
  Most. Yeah, we gave a.
• 10:15
  We gave a metric fuck. Done.
• 10:16
  One metric fuck done. We, you know what we, we, we
• 10:20
  going in that we were just going to give it everything we had.
• 10:23
  We did not want to look back at this opportunity and have any
• 10:27
  regrets and think to ourselves if we had just pushed a little
• 10:30
  harder on that one day that we were tired.
• 10:33
  And so we, we did, we, you know, when we went into post
• 10:38
  production, Dennis was doing all of the editing and the color
• 10:41
  grading and the, the audio until the very, very end.
• 10:45
  Shout out to floodgate floodgates audio, who they
• 10:48
  brought. They killed it with the sound
• 10:50
  design. Yeah, Oh my God, like we gave
• 10:52
  them we we used art list for everything.
• 10:55
  So like the music. You could literally like watch
• 10:58
  YouTube videos and be like, oh, that's the music from the
• 11:00
  trouble attack. So really.
• 11:02
  Any true crime music videos we. Couldn't afford the person to
• 11:05
  score it, so yeah, yeah. So I had to just, I, I have art
• 11:09
  list for like my clients when I do client work.
• 11:12
  So I was like, well, we'll just use this like we use it for
• 11:14
  streaming. And I tried to piece it together
• 11:16
  so it sounded like one person did it.
• 11:18
  And you know what a full name. Well, there's a great guy named
• 11:23
  Alan Parrotz edits who's incredible.
• 11:26
  He's he's most of the soundtrack, but then there's a
• 11:29
  couple that aren't. But yeah, it was, it was, it
• 11:32
  was, it was. Yeah, yeah, that was that.
• 11:34
  Yeah, and being. On the floor of the studio I
• 11:36
  was. Sleeping I mean this is where
• 11:38
  this studio is where the show was edited.
• 11:40
  This studio is also where Aaron shot the the scenes with Aaron
• 11:43
  were shot in here the this this room in episode 1 when Tessa's
• 11:49
  getting like the tour of the house and they walked down the
• 11:52
  hall and into the bedroom. The bedroom is just on the other
• 11:55
  side of the hallway. So like if you see.
• 11:57
  This. Yeah.
• 11:59
  It's. Like, no way.
• 12:01
  We we rent it we rent. It yeah, but like we haven't
• 12:04
  changed the decor at all. Like the TV, that big box TV is
• 12:09
  in the living room. The painting of the sad with the
• 12:12
  violin is still in the living room.
• 12:13
  It's all the same. That that one scene that we're
• 12:16
  going to talk about that was filmed in our backyard.
• 12:18
  Yeah, that is. Really.
• 12:22
  Just a layout word though. Yeah, yes, luckily, yes.
• 12:26
  Yeah, he was like, as long as you put me in the credits.
• 12:29
  Yeah, and there's Dude. Like we're still finding blood
• 12:32
  in the house in places. Like I cleaned the window the
• 12:35
  other day and there was just a streak of blood I had missed.
• 12:39
  So it's. Basement.
• 12:40
  We fucked up our basement real bad.
• 12:42
  I was gonna say, how'd you get? Permission from the landlord to
• 12:44
  build a seemingly infinite tunnel in the wall.
• 12:48
  Oh yeah, that's that, that. That's the credit for Jeremy
• 12:51
  Wennick, who did all the CGI. But imagine if we actually were
• 12:55
  like, no, that's real, that's practical.
• 12:57
  I would have proved fucking. Lost it dude it looked good.
• 13:00
  I was like, oh shit. Yeah, he's great.
• 13:02
  Jeremy is a fucking genius, man. That guy is like, yeah, he's,
• 13:07
  he's amazing. But yeah, our landlord doesn't
• 13:09
  know what we did to the basement.
• 13:10
  He and he won't. He doesn't need to.
• 13:11
  It's fine. Well, if you guys, he's gonna
• 13:13
  get fed if he has too many questions.
• 13:15
  Yeah, there you. Go, but you guys could call the
• 13:17
  boys from Detroit. We'll come up and help you fix
• 13:19
  whatever I I got kind of, you know, I'm not really good at and
• 13:22
  things like that, but I'll help. I'll move.
• 13:24
  Shit, look. Is that where you take you guys
• 13:27
  are in Detroit? Yeah.
• 13:29
  In and around in and around Detroit.
• 13:31
  I've been, I've been to Detroit. I used to play in a band.
• 13:33
  We, we, we toured up there. We played.
• 13:35
  What's the big theater? You got the Majestic, we got a.
• 13:39
  Majestic. We played the Majestic Yeah with
• 13:41
  the Mooney, with the Mooney Suzuki, yeah.
• 13:44
  That's so dope. Dude, that's awesome.
• 13:47
  Me and Alex were in the music scene for quite a while in
• 13:50
  Detroit. Different like metal and
• 13:52
  hardcore bands, but yeah, then we got into podcasting like
• 13:55
  every metal and hardcore dude who doesn't play in bands
• 13:59
  anymore does. So it's interesting that you
• 14:03
  guys brought up that like, you guys gave it your all, but the
• 14:07
  other people who gave it their all was the entire cast and
• 14:09
  crew, right? A big thing for me, especially
• 14:12
  with like any genre, is you can tell when people on set are
• 14:18
  having a good time. You can tell when people are
• 14:20
  there you and you can tell when they're just there to do a job.
• 14:23
  It looked like everyone on set for the troubled Tesla was just
• 14:27
  like it's it's it's shoot day. We're going to fucking do it.
• 14:31
  And well, how do you how do you like get that morale because
• 14:35
  everyone looks stoked, But it also looked like it could have
• 14:37
  been hot as shit. Certain.
• 14:39
  Days, yes, there were a couple of days that were pretty, yeah,
• 14:42
  pretty bad. I, I will say this is that as,
• 14:47
  as the showrunners, Bethany and I have a lot, we, we have and
• 14:51
  had a lot of enthusiasm for this show.
• 14:53
  We knew it was something special from the scripts and we
• 14:57
  translated that through just through our energy to not to get
• 15:04
  all hippy, but like to, to our cast and to our well, we were
• 15:09
  the crew, but to our cast. And so is that my fucking phone?
• 15:16
  This is live, baby. Sorry, I'm so sorry.
• 15:18
  Guys. No, no, you're right.
• 15:20
  I'm so sorry mode. Why?
• 15:22
  I was trying to formulate this beautiful thing and I'm hearing
• 15:25
  this fucking buzzing. I'm like what is that?
• 15:28
  Sorry. Work mode too.
• 15:29
  I don't know why they went through.
• 15:31
  So everyone really believed in this with us.
• 15:36
  Maria, who plays Betsy, fucking phenomenal.
• 15:38
  She was like, she's still like texting us.
• 15:41
  Like my family loves this show. Like.
• 15:46
  She's like she's. Amazing.
• 15:47
  Like she's the sweetest. Woman person at all.
• 15:49
  She's not her professional job as a Cantor in a Catholic
• 15:52
  Church. Yeah, like she's.
• 15:53
  Really. Not into horror at.
• 15:56
  All yeah, she's the most unlikely like I fucking feed you
• 15:59
  bitch. Like she's like the most
• 16:00
  unlikely person to say that, but everyone just sort of got that
• 16:07
  contagious energy that we were putting out there.
• 16:10
  And and, and and the script was good.
• 16:12
  They they these are non union actors.
• 16:14
  And a lot of them were like, this was a joy to work on.
• 16:18
  And I think because the crew is so small, it was just Bethany
• 16:22
  and myself. They rallied with us and for us.
• 16:25
  Yeah. You know.
• 16:27
  And we tried to keep any stress away from them like we really
• 16:31
  wanted, we wanted them to know that we were so grateful that
• 16:36
  they were doing this. And, and one of our Denises and
• 16:39
  my rules was we wanted our set to be safe so that they felt
• 16:45
  safe taking risks. And on days where there was a
• 16:49
  lot of gore and a lot of whatever, we wanted them to feel
• 16:52
  like they were in good hands. And if they were uncomfortable
• 16:54
  with anything, they could talk about it.
• 16:56
  And they all also just gelled so quickly.
• 16:59
  So I think it was this beautiful combination of like filming it
• 17:02
  in our house. So Catherine, who plays Tessa
• 17:05
  was living next door in like in the next room and they lived
• 17:09
  with us for a month and Maria, who plays Betsy when she was
• 17:14
  filming, she lived on a a air mattress in the living room.
• 17:17
  And Corey, you know, awesome. It was like very would like
• 17:22
  summer stuff. No, it was a summer stuff.
• 17:26
  It was like, let's put on a show, you know?
• 17:27
  It was very scrappy. Yeah, it was kind of giving,
• 17:30
  like it's kind of giving like 48 Hour Film Challenge vibes, like
• 17:33
  a super gorilla. Like everybody, we're just
• 17:36
  getting together for weeks and however long it takes, we're
• 17:39
  going to get this done. That's exactly what it Yep.
• 17:42
  We basically like, push everything to the side, film a
• 17:44
  scene, push everything back, Yeah.
• 17:47
  Don't drag that on the floor dude, that's never going to buff
• 17:54
  out. That's I'm shocked that you guys
• 17:56
  did it in your house because I've heard like some of the
• 18:00
  worst thing you can do for a house is make a movie in it.
• 18:03
  Pretty much, yeah. We I think it helped that it's
• 18:06
  not our house like renting it. There's like a detachment.
• 18:10
  And I have insurance through my company so.
• 18:12
  But like we just didn't have any other option when we started
• 18:17
  going through the the budget. The second we paid any amount of
• 18:21
  money for any multiple days of shooting in a location, the
• 18:25
  budget was gone. It was the same thing with if we
• 18:28
  hired a proper sound person. And that would have been our
• 18:31
  budget. That was the full budget that.
• 18:33
  Was the full budget if we got a? Free sound person we like and we
• 18:36
  didn't want to ask people to work for free.
• 18:39
  And so we we hired what we could afford and everything else we
• 18:44
  gave like we worked for free. The house was free.
• 18:48
  The you know. There's a lot of sweat equity,
• 18:50
  you know, but it was, it was great.
• 18:52
  It's awesome. It was awesome, yeah.
• 18:54
  That's incredible. I would have never like thought
• 18:57
  because I, I, I was like, OK, I wonder if like what set this is
• 19:00
  or like I wonder like what house they rent knowing that you
• 19:04
  actually rent the house. But I was like, what house did
• 19:06
  they rent to do this in? Because this is like a pretty
• 19:08
  cool looking house and like it's got it's on land and this and
• 19:11
  that. It's like just to know now like
• 19:13
  that's where you live. That's that's so fucking wild to
• 19:17
  me. So in episode 2 where Tess is
• 19:20
  looking at the microfiche and they see a picture of the rental
• 19:23
  house and then it zooms in on that picture of the rental
• 19:26
  house. I took that picture with my
• 19:28
  phone on my morning walk one day.
• 19:30
  I was like, crap, we need a picture of the house and I'm
• 19:32
  like going out of my old lady walk and I just snapped a
• 19:34
  picture from the driveway and that's the picture.
• 19:37
  Yeah, we lost our house. Yeah, there were so many of
• 19:39
  those moments like we didn't have we didn't have a voice for
• 19:42
  the pizza guy. And so Bethany was like, hey,
• 19:45
  dad, Dad, record this line real quick.
• 19:47
  And real quick. Yeah, and was he at a funeral?
• 19:50
  Was at a funeral. Oh.
• 19:51
  My God, he's like Lowry. Pizza, Lowry Pizza.
• 19:56
  That's. Awesome.
• 19:58
  I like to imagine he's at the funeral and he's just like Larry
• 20:01
  Pizza, Okay, was that good anyway, and he gets off the
• 20:04
  phone, he's back to a funeral. Exactly.
• 20:07
  That's about what it was, yeah. And.
• 20:08
  Then we asked him. We were like, how you doing?
• 20:09
  You okay? He's like, I'm having a blast.
• 20:11
  Okay, great, awesome. Yeah, dude.
• 20:13
  That's incredible. Yeah, we love a funeral in my
• 20:16
  family. Yeah, so, so do we.
• 20:19
  So do we. We got to, we got to, we usually
• 20:21
  got to do the bend the knees up to the chest with the elbows
• 20:24
  down because we're Romanians, so we're all vampires kind of, but.
• 20:27
  Oh hell yeah. Sick dude that's.
• 20:29
  What I was told as a child and I don't, I don't think maybe
• 20:31
  that's why I'm he's right like I am the way.
• 20:33
  I mean, we did. Nick and I did go on a trip
• 20:35
  recently and we got to the hotel and he's like, where's the
• 20:37
  coffin? How am I supposed to sleep here?
• 20:40
  Yeah, I was confused. I was fucking confused.
• 20:43
  But so Lowry itself, I really want to dive into Lowry because
• 20:48
  this might lead us to figuring out which one of us were on the
• 20:52
  right path for the longest, I suppose.
• 20:54
  Where did the idea of Lowry come from?
• 20:56
  Because it's always, Lowry is a town that everybody I think can
• 21:00
  picture. But this is also got its own
• 21:04
  like twist to it because I immediately was like, oh, it's
• 21:06
  like a little bit of Children of the Corn.
• 21:09
  And then I was trying to like, Pet Sematary.
• 21:13
  And then, like, again, Stephen. Holy shit.
• 21:15
  Yeah. More Stephen King.
• 21:16
  Well, like, where for you guys did Lowry come from?
• 21:20
  Like, conceptually, is this like an experience?
• 21:22
  Because like, when I would write certain things, it was always an
• 21:26
  experience. If I ever had like, a bad
• 21:29
  experience of like, OK, then I'd write it like this house.
• 21:32
  Always like a house when I was young terrified me.
• 21:34
  I wrote about a house. Right.
• 21:36
  I can go back and go, yeah, no shit.
• 21:38
  But Lowry, was that like an experience or someplace you guys
• 21:41
  have never been to, to give you the idea for this fountain?
• 21:46
  Yes, yes, it's it's here. It's where we live.
• 21:49
  We moved up here to the Hudson Valley and we were in this very
• 21:55
  small town and air horns go air sirens go off on occasion out of
• 22:02
  nowhere, like random times during the day.
• 22:05
  They're those, so the, the stone, that cave that that opens
• 22:11
  the the the show and then bookends it at the end.
• 22:15
  Those exist. Those are real things.
• 22:17
  They're called stone chambers. They're all over Putnam County.
• 22:22
  And so we were like, this place is fucking crazy.
• 22:26
  The people are a lot like the people in Lowry.
• 22:29
  Yeah. It's very like, why are you
• 22:33
  here? Who are you?
• 22:34
  Yeah, You know, it's very like that.
• 22:37
  It's it's small town USA, man. Like we know our we go down the
• 22:41
  block to the post office. We know our post office guy.
• 22:44
  It's this tiny little town, white picket fences and white
• 22:48
  roofs and crazy like the stuff New England shit, right?
• 22:52
  That's awesome. And so it was pretty.
• 22:55
  It's environments like what you said, it's environmental.
• 22:58
  It's writing from experience, right.
• 22:59
  And. We would drive around and lose
• 23:03
  all cell signal. Oh.
• 23:04
  Yeah, that's another there's. None.
• 23:05
  There are pockets of no cell phone service.
• 23:08
  What we had to get an old Garmin at A, at a, you got a garage
• 23:12
  sale because there are just times where we don't know where
• 23:15
  we're going and we have no cell signal and so we're just lost.
• 23:18
  There was a house that we visited where they had to
• 23:21
  actually like, take out the Internet because it wasn't like
• 23:25
  hardwired. They'd have to plug like a thing
• 23:27
  into the wall. And that's how you got the
• 23:29
  Internet. So it's like truly.
• 23:32
  Yeah. And that's, you know, it was
• 23:34
  funny because we sort of had a little back and forth with Will,
• 23:37
  our writer. And he was like, I don't know if
• 23:39
  people are going to buy this. I'm like, they will because we
• 23:42
  live it like it. Literally, these towns do still
• 23:45
  exist. There are I have a we have a
• 23:47
  landline here just in case like our signal goes out.
• 23:50
  Like there are places that still have landlines and still have
• 23:54
  their own little insular things where it's like, there's not a
• 23:57
  lot of Internet. Yeah, unless you have like, you
• 24:00
  know, what is it? The satellite.
• 24:02
  One. Yeah, yeah.
• 24:03
  Elon Musk thing. Yeah, the Starling stuff.
• 24:06
  Starling, Yeah. Yeah, yeah.
• 24:08
  And then it also served this really nice narrative purpose of
• 24:11
  getting rid of technology. Yes, I hate technology.
• 24:14
  I hate watching people fucking text in movies man.
• 24:17
  And the second you, The second you.
• 24:20
  Paid money to watch people fucking text.
• 24:22
  Like, are you kidding? Me like the second you put a
• 24:24
  cell phone on screen, your, your show is aged now like so we
• 24:27
  just, we wanted to make sure that we could remove technology
• 24:31
  as much as possible. And it also gets rid of the
• 24:34
  like, why aren't you just calling the cops immediately?
• 24:37
  So it served its purpose. And it was also to bring Tessa
• 24:42
  into this world who is used to modern conveniences and sort of
• 24:46
  learn how to be a detective with new tools, right?
• 24:48
  So it's like everything that they had was on their phone, but
• 24:51
  the phone is smashed and doesn't work.
• 24:53
  So they had to use a tape recorder.
• 24:56
  And just like in sort of like the Batman Begins or even more
• 25:00
  so the comics, like where Batman's making mistakes.
• 25:04
  That was my whole vision for Tessa is that this is just their
• 25:09
  first adventure as a detective. This is their origin story.
• 25:13
  Tessa's going to have so many more adventures after this.
• 25:18
  And so yeah, it was cool to just bring in old tech because I love
• 25:23
  old tech too and just watch someone young figure it.
• 25:25
  Out. Totally.
• 25:27
  Yeah, yeah. Yeah, the Rotary.
• 25:29
  Yeah, yeah, poor Katie. Catherine didn't know how to
• 25:32
  use. It do I pick up the phone first
• 25:34
  and then dial or do I dial and then pick up the phone Yeah, it
• 25:37
  was great It was so fun to watch and laugh at them point and.
• 25:40
  Left. So I Speaking of like that older
• 25:43
  technology, like I really love all the touches with the the
• 25:46
  VHVHS tapes, something about like watching back, like even
• 25:50
  your own, like family VHS footage.
• 25:53
  It's just kind of eerie. There's just something about it.
• 25:55
  It feels like it's like a there's always like damage.
• 25:58
  It feels like, oh, this is a bit like delicate, you know, this
• 26:01
  this stuff and it really adds them atmosphere.
• 26:04
  But in in the show, is the fact that the cell service and all
• 26:09
  that doesn't work, is that because it's just remote or is
• 26:12
  that deliberate from the town deliberate?
• 26:14
  So if you spoiler alert at the end, there is Internet, but only
• 26:20
  for the privileged few and that's Betsy.
• 26:22
  Betsy has the computer in the inner basement, so they do have
• 26:26
  Internet. It's hard.
• 26:28
  It's all hardwired like how we thought it was.
• 26:30
  It was all hardwired. But with the the town, you can
• 26:34
  make outgoing calls, but the town works on A1 number system,
• 26:37
  which I believe I sent. Did I send it to you, Nick?
• 26:40
  I think so. The rules that I sent.
• 26:42
  Who did I send the rules? Yeah.
• 26:43
  Yeah. So just a quick aside, sorry is
• 26:47
  Bethany was like, you got to listen to this podcast lost and
• 26:51
  beyond. They're awesome.
• 26:52
  And I'm I'm listening to them and I'm like, we're sending them
• 26:55
  the fucking rules. I felt so bad for you guys.
• 26:57
  I was like, they deserve it. And also, again, like doing that
• 27:01
  eliminates the need for like 555 phone numbers, which immediately
• 27:06
  take you right out. Yeah.
• 27:07
  So let's find a different way to have phone numbers not be
• 27:10
  difficult. Yeah.
• 27:11
  And and having an internal system.
• 27:13
  Yeah, and it's also control. It's Lowry is about gaslighting
• 27:18
  and control. And so, so if they control the
• 27:21
  phones, they can control who uses the phone, right.
• 27:24
  And so like, that's why Tesla gets cut off, you know?
• 27:29
  So, yeah. So it's like a, it's like this
• 27:30
  this cool little like system that they have that like they
• 27:33
  converted from when there were landlines to like their own
• 27:36
  insular landlines. Yeah, yeah, yeah.
• 27:40
  Correct me if so. Wrong.
• 27:42
  But to me, Lowry felt like its own character, like the town
• 27:46
  itself was a character and almost a bigger character than
• 27:51
  most other characters besides Tessa.
• 27:53
  Like Tessa, it was awesome to see like just how much Tessa
• 27:57
  grows through each episode and like the more bullshit she has
• 28:02
  to start putting up with and just how tough she gets.
• 28:04
  And then she still stays. Tessa, though, she's resilient.
• 28:08
  She's very like, I'm doing it anyways, Like, fuck you, I'm
• 28:11
  going to get through this. But Lowry, it's just, it's like
• 28:15
  this, just like imposing fist. It's just it's on the back of
• 28:19
  your neck and it's just pressing and squeezing and pushing.
• 28:23
  I wouldn't because I felt that immediately.
• 28:25
  I was like, oh man, like we probably said, I was like, I'm
• 28:28
  not fucking going here. Ever.
• 28:31
  Like I remember being on tour and we showed up to a place in
• 28:34
  Texas. Where we.
• 28:35
  Drove into a gas station and it had those like ring the Ding,
• 28:39
  the Ding, ring the Ding. Like little bell things and.
• 28:41
  It's just like these three, I think I called them the three
• 28:45
  bubbas. They're just dudes without
• 28:47
  shirts on, like big smoking dudes, like we'll fill it up
• 28:51
  furry. And I was like, oh, no, I, I, I
• 28:53
  got that dude. They're like, like, I won't go
• 28:57
  there. I won't go to this place.
• 28:59
  But like immediately with Lowry, I was like, man, I just, it just
• 29:05
  just felt imposing and it felt like its own character, its own
• 29:09
  monster almost, I guess. Totally.
• 29:11
  Just to wait, just to piggyback real quick on that Texas story,
• 29:14
  Yo, man, we pulled when we were on tour in Texas.
• 29:17
  We pulled into this gas station and it looked like it was made
• 29:19
  out of fucking skin. I was like what the fuck?
• 29:21
  Is this shit dude? We were like right outside of
• 29:24
  Austin too and I was like what the fuck is this?
• 29:27
  And so we go in and it's just dirt.
• 29:29
  Like the whole place is dirt. And like you said 3 bubbas
• 29:32
  they're all looking at US1 spit like his tabachi out towards us.
• 29:35
  And I was like we gotta get the fuck out of here.
• 29:36
  We got our stuff and left. And as we're leaving, we hear
• 29:39
  fucking Yankees and real. I was like, oh, call us daddy.
• 29:44
  That's amazing. I'm sorry.
• 29:45
  OK, go ahead, go ahead. No, yeah, I look, we definitely
• 29:49
  wanted Lowry to be this giant imposing something or other.
• 29:52
  And, and if you know, the 1st 2 episodes are super quirky and,
• 29:57
  and kind of Twin Peaks Y and bright and pastel and Betsy's
• 30:01
  outfit is very bright and the colors.
• 30:03
  And because we, you know, Lowry wants you to come in so that it
• 30:08
  can keep you, but it has to lure you in first.
• 30:11
  It's like a vampire. It has to be all sexy.
• 30:14
  So get close to your neck and then it's going to kill you.
• 30:17
  And the, there's a line that Betsy says where I think in
• 30:21
  episode 1 where she says we need more young people to come and
• 30:24
  stick around. And that is almost verbatim from
• 30:27
  an article I read in our local newspaper here where it was
• 30:30
  talking about how in downtown there's no public bathrooms
• 30:35
  because the stores, there's like 3 stores and they can't, the
• 30:39
  septic system can't support multiple people using the
• 30:43
  bathroom in any given day. And so they're trying to figure
• 30:47
  out how to get around that. And the woman literally said we
• 30:51
  need more young people to come and stick around and like move
• 30:55
  up here for us, the sustainability of this town.
• 30:57
  But like, we can't actually support it.
• 31:00
  So it was just that push and pull of like we, we need more,
• 31:04
  but we don't want them. And like one of the just to
• 31:09
  piggyback on what Bethany was saying, one of the, the, the
• 31:12
  visual aspects of the show, like in our, in our, in my sort of
• 31:16
  visual Bible that I had was Larry during the day is
• 31:18
  beautiful. It's pastel, you know, trees,
• 31:23
  foliage, beautiful colors. Verdant.
• 31:27
  Verdant and then at night it's hell on Earth.
• 31:31
  It is hell on. It's like 2 completely different
• 31:33
  things. And I remember when we when we
• 31:34
  sent the dailies, there was some concern because they were like,
• 31:39
  this doesn't look like a horror show.
• 31:41
  And it's like pretty we're like, we know, but just trust us.
• 31:45
  You know, it's it's going to get bad.
• 31:47
  Like trust us. And they were like, I don't, I
• 31:49
  don't know, man, This, this is very bright.
• 31:51
  Yeah. They were like, I was like, I
• 31:53
  know. It has to be.
• 31:53
  It has to be like this, and that's what it is.
• 31:56
  And so this is where one of you was, right?
• 31:58
  Who is the one that said it might have been you, Noah?
• 32:02
  Who's the one that said people? It feels like people are running
• 32:06
  there because they're running from something.
• 32:10
  Who's that? I think that was Noah.
• 32:11
  Yeah, that could that could have been me think it was right
• 32:14
  because every because everybody there has like a checkered past
• 32:17
  sort of situation. So that's that I'm sorry if I'm
• 32:20
  that's disappointing, but that's that's what the person was right
• 32:23
  about is that everyone in Larry's is is hiding.
• 32:26
  I'm. Gonna make another crown boys.
• 32:28
  Forget the second crown. Yeah, it's just not the Bone
• 32:32
  King crown. You don't want to wear that one,
• 32:33
  man. It's gonna get real bad.
• 32:34
  I can't wait. Get real bad for you.
• 32:36
  Special effects and all that here shortly.
• 32:38
  Oh, we're gonna we're gonna talk about our lovely Corey, our
• 32:41
  warrior Princess. So that, that was a really
• 32:45
  interesting thing is that every person in the town, Robert has a
• 32:49
  back story. The bartender has a back story.
• 32:53
  Every person in that town has a back story of why they were, why
• 32:56
  they're there and why they were running.
• 32:58
  The only one that has is like a Lowry native is the our
• 33:01
  librarian. Yeah, yeah.
• 33:03
  Sue Ann. Yeah, our iconic red headed.
• 33:06
  And we have stories for them, like we know why they ran there
• 33:10
  and they got absorbed into the town.
• 33:13
  And that's what Lowry to me is. It's just this big imposing
• 33:17
  shadow that just feels safe. And then it sucks you in.
• 33:20
  It's like a cult, right? Like you get sucked in to this
• 33:24
  hyper controlling environment and then you just can't get out
• 33:28
  because you're gas lit into into submission.
• 33:32
  Comes your norm. It was definitely one of the
• 33:34
  things I clued into pretty quick.
• 33:36
  It would like when I thought my theory the whole time was there
• 33:39
  some kind of cult organization here going on and they bring
• 33:43
  bringing in people from the fringes.
• 33:45
  Maybe they've been like pushed out by society and you're
• 33:48
  getting them come in and it's like, hey, you're already on the
• 33:50
  outs. Yeah, why don't you just join
• 33:52
  our little cult while you're at it, and then you won't ever have
• 33:54
  to worry about that stuff. I mean, you're right, it's just
• 33:58
  not formally A cult. But that's exactly right.
• 34:01
  It's that's what the town is and that's what Betsy wants.
• 34:04
  And then it makes it plausible because sometimes you're
• 34:07
  watching horror and you're like, can't they just fucking leave,
• 34:10
  You know? And it's like, no, we wanted to
• 34:12
  make it somewhat airtight where it's like, no, they can't.
• 34:16
  Because if they leave, they got to go back to whatever legal
• 34:18
  troubles which are worse than being in this fucking town and
• 34:22
  just having a life. Hey, you got a new life.
• 34:26
  Yeah. What's wrong with that?
• 34:27
  Yeah. Everything else is gone.
• 34:28
  Imagine that. Imagine you're running from
• 34:29
  something. Everyone would take that deal.
• 34:32
  But then, as you know, when you sign a sign, a deal with the
• 34:35
  devil, the devil's going to collect.
• 34:36
  So it's like, you know, their lives become hell in itself.
• 34:40
  And I love one of you caught it, too.
• 34:42
  That was like, Robert at the very end.
• 34:45
  Yeah. Robert at the very end.
• 34:47
  The man with the limp. He's like, over it.
• 34:49
  Yep. He's like, I don't want.
• 34:50
  To Alex, I don't want to do this I.
• 34:51
  Think that was Alex? Yeah, Alex.
• 34:53
  Feet in his face. He didn't want to do nothing.
• 34:55
  He's over it. But he's, it's that whole thing,
• 34:59
  it's the play by the rules and you'll get along.
• 35:01
  And he's just been playing by the rules for seemingly a long
• 35:04
  time. He's like, I'm just, I'm just
• 35:06
  over this, like whatever, whatever the the worst thing
• 35:09
  that I'm running away from, it might not be as bad as I, you
• 35:12
  know, thought it was. Yeah, that's what the bartender
• 35:15
  told Tessa in the Was it second episode?
• 35:18
  Yeah, first, Second. Episode.
• 35:21
  Yeah. Just stick with the program and
• 35:23
  it's a nice place to live. Yep.
• 35:26
  Exactly. Yep.
• 35:27
  And we and we told so Cordell Ijoma is this he plays the
• 35:31
  bartender. He's unbelievably talented.
• 35:34
  And we I said to him, you ran away from something.
• 35:40
  What you know, figure out for yourself what you ran away from
• 35:43
  and why it's worth it for you to stay here.
• 35:46
  And the cool thing about his character, the bartender is he
• 35:50
  is like halfway assimilated now, right?
• 35:54
  So he's Tessa is, is an outsider and everyone else is fully
• 35:59
  indoctrinated into this town. Whether they're happy or not is
• 36:02
  a different story. Dave, the bartender is right in
• 36:05
  the middle. He remembers his old life.
• 36:07
  He isn't fully indoctrinated yet, but he he has chosen to
• 36:11
  stay here and he recognizes the fight in Tessa and he's still
• 36:16
  able to be like, I see that don't fight.
• 36:20
  Let me piggyback on that for a second.
• 36:21
  Yeah, he was. He was the one that lived in the
• 36:24
  house right before Tessa. Yep.
• 36:26
  So he was the last one to be assimilated from the house.
• 36:29
  And the house is like the house is the the come on in with.
• 36:33
  The crux of it all like. Yep, Yep.
• 36:35
  Come on. That's the entry point, yes.
• 36:37
  Yep, and the feeding point too. It's the only house that still
• 36:40
  has the basement that's that's not closed.
• 36:42
  Yeah. So if you notice in Episode 2
• 36:44
  when when Tessa says to the bartender, you know, I, I just
• 36:47
  moved up to the house on the Hill and he was like, oh, yeah,
• 36:50
  it's a nice house. The look on his face is kind of
• 36:53
  sad. And it's because he he was
• 36:55
  forced to move out so that Tessa could move in, like to bring the
• 36:58
  next person in. And he loved that house.
• 37:01
  He wanted to stay in this house. And he got kicked out and put in
• 37:04
  a new house. Yeah, And there's like we had
• 37:07
  him and John R Smith Junior, who plays the man with the limp who
• 37:11
  is like a phenomenal actor. We had them talking because I
• 37:16
  was like, you guys, I want you guys to talk while we're setting
• 37:18
  up talk as each other's characters.
• 37:21
  You just did some awful shit the night before.
• 37:23
  Maybe you fed some people together.
• 37:25
  Like they're sitting there like bringing bodies out into the
• 37:27
  woods, throwing people into, into the, you know, to get fed
• 37:31
  to the troubles. And yeah, they just just that.
• 37:36
  And that made that one glance so loaded when he looks at him and
• 37:40
  he's like, you need me to take care of this one?
• 37:42
  Yeah. You got it.
• 37:43
  Yeah. You know, like, it was just such
• 37:45
  a creepy, awful moment. Yeah.
• 37:48
  Yeah. Would love to be able to dive
• 37:51
  deeper into all those characters event just like at the end when
• 37:56
  we see those photographs. Yeah.
• 37:59
  That's when we're all like, that's where the big debate on
• 38:01
  our end. I was like, OK, so I think I
• 38:03
  said, OK, it looks like these are people who came here like
• 38:06
  families either been excommunicated or fed.
• 38:09
  I believe we. Is that what we determined?
• 38:11
  I think. You're right, I think.
• 38:12
  Yeah, I think that's what you said.
• 38:13
  OK, cool circles, the circles and the X out faces.
• 38:16
  Yeah, so this is what we're going to keep.
• 38:18
  This is who's being excommunicated or fed.
• 38:21
  That's like what I thought of at least.
• 38:23
  See, now I get my own crowd. You guys are at the kings of the
• 38:25
  TV. So fuck you both, Alex.
• 38:27
  You all so all of you collectively, this is where all
• 38:30
  of you need to Voltron. OK, guys, we're going to have a
• 38:32
  nice little session here. All of you, all of you.
• 38:35
  Your powers are stronger together, not separate because
• 38:37
  all of you were right about very like one of them.
• 38:40
  You would always be right about something.
• 38:41
  I'm like, he got it. He fucking got it.
• 38:44
  Yeah. So it was it was.
• 38:45
  And if if you pause, it was really funny because when we
• 38:49
  were filming that scene, first of all, that scene, kudos to
• 38:53
  Catherine Nugent, our lead who plays Tessa, They did that in
• 38:58
  one take. If you look, that's one unbroken
• 39:01
  take from when they go to the phone to when they pick up the,
• 39:06
  the, the that whole phone conversation with Aaron in
• 39:09
  episode 6 is 1 take and you don't notice it because it's so
• 39:14
  flawless. It's insane.
• 39:16
  And that's, that's their performance.
• 39:18
  Their performance is all that. But when they pick up the
• 39:21
  folder, we had this debate, but we decided to leave it as an
• 39:26
  Easter egg. If you pause on the side, it
• 39:29
  does say troubles. So the people who cause trouble
• 39:34
  are the troubles of Lowry and they get fed.
• 39:37
  So Nick, you were right. The ones who are circled, they
• 39:40
  get assimilated. The ones who X out fed.
• 39:43
  Yeah. So like, which makes, yeah.
• 39:46
  Which makes Robert's story, the Man with the Limp's so tragic
• 39:50
  because his whole family is gone.
• 39:51
  Yeah. They all got fed.
• 39:53
  That's just like it. It goes even more into the like
• 39:56
  you better. You might as well stay here
• 39:58
  because it's like, well, we, we killed your whole family and you
• 40:00
  know that, but we got this dirt on you so you can't leave.
• 40:03
  Exactly like what else is there? Exactly.
• 40:06
  He was like, I'm kind of like trapped now.
• 40:09
  Like I thought I was here of my own decision, but now, now they,
• 40:14
  they got me. I'm stuck.
• 40:15
  Uh huh. And the and the most screwed up
• 40:18
  part about that is that Betsy made him do it because she was
• 40:22
  like, you're mine. Like she wanted Robert as her
• 40:26
  sort of like whipping boy, but I mean like Patsy.
• 40:29
  Yeah. Henchman.
• 40:30
  Because he's strong and, you know, he can take care of stuff
• 40:34
  and he can do a lot of things. I and I so, yeah, that that
• 40:38
  happened. But then I also pictured them
• 40:40
  like going into the house after they're done with something
• 40:42
  awful and her being like, put flowers over there.
• 40:45
  Yeah. And clean up them.
• 40:46
  Yeah. And Robert, just general
• 40:47
  maintenance. Yeah.
• 40:49
  Yeah, exactly. Exactly.
• 40:51
  My favorite part about those photos, there's 2.
• 40:54
  So, so Robert and his family, those are our friends, Heather
• 41:00
  and her children. And that they came over just
• 41:04
  really quickly to take the photo with John and the the boys.
• 41:08
  They both have long hair, so it's sort of hard to tell.
• 41:12
  They're shy and lovely and they don't know what they don't know
• 41:14
  me terribly well because I'm fairly new in this group of
• 41:17
  friends. And I said hi boys, this is your
• 41:20
  new dad. And the boys look at John and
• 41:23
  they were like hi dad and they like cuddled up with him.
• 41:26
  That's awesome. Amazing.
• 41:28
  And then if you also notice, there's a picture with a couple
• 41:31
  and then a giant golden retriever.
• 41:35
  Those are our across the street neighbors.
• 41:37
  And the golden retriever's name is Titan, and he is the
• 41:42
  sweetest, dumbest dog you've ever met.
• 41:46
  That's my dog. He's Oh my God, just the the
• 41:50
  dumbest. He's so dumbest, so sweet, and
• 41:54
  an episode. There's an Easter egg.
• 41:56
  Believe it or not, we even tied in that dog to this fucking
• 42:00
  show. He surprised.
• 42:02
  And he better we noticed he wasn't circled or anything.
• 42:05
  We're like, we saw the dog and we're like, what happened to
• 42:07
  that dog? Yeah, he's OK His.
• 42:09
  Bark opens episode 2. Yes, you can hear a dog bark and
• 42:13
  that's him. Yeah, that's the dog that
• 42:15
  survived. So we even pulled him into.
• 42:18
  The we were gonna circle him. We went back and forth and we
• 42:20
  thought it would be too funny if we circled the dog like it just
• 42:23
  seemed like it was. Gonna be undercut, yeah.
• 42:25
  So we just sort of left him well.
• 42:27
  It's a good thing you didn't decide to cross him out because
• 42:29
  I would have just turned the show off right there.
• 42:32
  We got we got rules about animals.
• 42:35
  No animal death. We had a tough time putting the
• 42:37
  rabbit in, but we had to show the brutality of the troubles.
• 42:41
  And that scene where Tessa stumbles upon the carcass,
• 42:44
  that's a very that's a huge visual moment for the show.
• 42:49
  And I was like, I'm pretty much, I'm pretty much against you.
• 42:52
  Like animal, any kind of animal death.
• 42:54
  Yeah, I hate this. But this because we come across
• 42:56
  it so much in nature. I'm like, that is nature,
• 42:59
  though, and let's put it in. As long as it's humane, you
• 43:04
  know, we do. Everything is humane, but
• 43:08
  because it was such a strong visual moment where Tessa
• 43:10
  becomes the prey, that's a line that's drawn there.
• 43:14
  It's like, OK, now you are not safe.
• 43:16
  Yeah. Everything you thought you were
• 43:18
  doing. You don't know shit about this
• 43:20
  town and it's about to get real bad.
• 43:22
  And it's also like, how often do you see something killed but not
• 43:27
  eaten? In an unnatural way.
• 43:30
  Yeah, just yeah. And my rule is I have such an
• 43:33
  animal thing. I I'm like, no, no, no.
• 43:37
  If there is an animal, we have to ethically source an animal
• 43:40
  that has already passed and it needs to be so unnaturally dead.
• 43:46
  So like, I wanted it nearly unrecognizable.
• 43:49
  And Corey is amazing and just like exploded like tripe and
• 43:55
  exploded it and whatever killed that thing, didn't eat it.
• 43:59
  It just for fun. It just killed it.
• 44:00
  For it was in trouble, it was done by a trouble, and it was
• 44:03
  there like overnight. But it was an ethically sourced.
• 44:08
  The. Real natural, yeah.
• 44:10
  So wow, yeah. So Corey is also an animal
• 44:13
  lover, and so she. Corey to Aunt Cowley, Yep she
• 44:16
  plays our trouble and she is also the makeup special effects
• 44:20
  ours. Please follow her if you guys
• 44:22
  like the special effects in the show.
• 44:24
  She does some metal fucking shit man.
• 44:27
  She is like, she's also big into death metal and stuff, so we had
• 44:30
  great conversations. So, so she found an ethical
• 44:33
  taxidermist who takes animals that, you know, Rd. killer or
• 44:37
  people's pets who passed naturally.
• 44:39
  And we, we purchased the ethically taxidermied rabbit
• 44:43
  from this ethical taxidermist, brought it in, thanked it, sent
• 44:47
  it. I mean, like we did a whole
• 44:48
  thing and then and then bought, you know, some, I think it was
• 44:53
  some tripe and then Corey poured blood all over it and did her
• 44:56
  magic. But.
• 44:57
  Yeah, and then we got like flies.
• 44:58
  I mean, it was awful, but but yeah, my rule is I, I will not.
• 45:04
  I don't want any animals killed. I don't want to.
• 45:06
  I don't want to grow attached to an animal.
• 45:08
  I don't want to be worried when I see an animal that's
• 45:11
  something's going to happen. No, I mean that's we've all seen
• 45:16
  Cannibal Holocaust, right? I can't watch it for that time
• 45:19
  I. I I thought, I, I thought I was
• 45:21
  going to be a tough guy when I was young.
• 45:23
  Yeah, I could. That's like me.
• 45:24
  And then I was like. No.
• 45:27
  No, no, yeah. When we were I, I mean, I'm, I'm
• 45:31
  48, so I'm, I'm there, you know, like that's where I am.
• 45:37
  You're, you're a very beautiful 48.
• 45:39
  Thank you. Thank you, Nick.
• 45:43
  So, like when when we were kids, it was like, go, I got faces of
• 45:46
  death. Yeah, you know, I got cannibal
• 45:47
  Hall goes, you know, that's I spit on your grave.
• 45:49
  You wanna watch? I spit on your grave.
• 45:50
  And I remember just leaving my friend's house is like trauma
• 45:53
  fucking comedies. Like, what the fuck did I just
• 45:56
  watch? Like stabbed and and horrified.
• 45:59
  Like yeah, those movies fucked me up, man.
• 46:01
  Down to rotten.com one time and I was like, I was, I was out.
• 46:06
  I couldn't. I was just no way.
• 46:09
  Yeah. Now to get away from all of the
• 46:13
  dramas of our past. How much?
• 46:15
  Left and I think Noah, you might have a question coming up
• 46:18
  because it looks like you do, but story is still here because
• 46:23
  it seems like there's a lot you guys have in the Canon that
• 46:28
  maybe we're not seeing. Obviously we're not seeing on
• 46:31
  screen, right. How much left in Lowry is there?
• 46:34
  How much is there still with Tessa?
• 46:36
  Because again, Tessa's like character exploration is the the
• 46:42
  ups and downs, the ups and downs, the growth, the drops,
• 46:44
  the growth, the drops and the ultimately rise above.
• 46:48
  How much left is there in Lowry to tell, and how much more of
• 46:51
  Tessa's story that you guys have?
• 46:54
  May I? Please yes, the film is yours.
• 46:58
  So I have two divergent paths in terms of stories, and one of
• 47:03
  you, again, I think it might have been you.
• 47:05
  Nick was absolutely correct. Where I have the story of Lowry
• 47:13
  should be told backwards. So Tessa was sort of the
• 47:17
  downfall of Lowry. But I want to go back in two
• 47:20
  parts, so make it a trilogy. So Tessa would be the first.
• 47:24
  The next one would be Should I say it?
• 47:29
  Yeah, we're about to get an exclusive announcement.
• 47:31
  Yeah. The the next one would be the
• 47:33
  trouble with Betsy and we see Betsy's rise to power and why
• 47:36
  she came to be because she's she is she's such a fascinating
• 47:41
  character. I fell in love with writing her
• 47:43
  and like you, you understand what she became.
• 47:47
  And then the third one is like the Witch, like we go that far
• 47:50
  back to understand what how the troubles began.
• 47:54
  But divergently. I have grown so attached to
• 47:59
  Tessa. Tessa goes off and then has
• 48:02
  weekly or every season is a sub genre of horror.
• 48:07
  So the second season is pretty much Empire Strikes Back.
• 48:10
  It's a little bit darker. We're going to see Tessa grow as
• 48:14
  a detective and become more wise.
• 48:17
  They're going to have like the glove on the hand just.
• 48:19
  Like hands, all gross. And it's all fucked up.
• 48:22
  That's wear like tight, tight suits, jello style.
• 48:26
  And it is a sub genre of horror that I have always wanted to to
• 48:30
  do and I'm so excited. I mean, look, even if it doesn't
• 48:35
  get greenlit, I just want to write it because it's it's so
• 48:38
  cool. Like and it also the fucking
• 48:42
  Cliff. I mean the the end of episode 1
• 48:46
  is Bethany hates me. It she's like, how dare you, but
• 48:50
  it is so fucked up It's. Like so if we end up when?
• 48:53
  No, no, I just told him. I'm spoilers.
• 48:57
  Dennis is I'm I want to produce the next one.
• 49:00
  I don't want to direct it. Dennis is going to be directing
• 49:02
  it himself. But I that that day that we
• 49:04
  would be shooting the thing he wants to do that I don't want to
• 49:06
  do. I'm going to go on set and just
• 49:09
  be a menace. She's just going to have pots
• 49:11
  and pans. Nothing can get done or shot
• 49:13
  because I oppose it. I hate it.
• 49:17
  So yeah, so that's my we got to. I can't wait.
• 49:19
  That's my dream. If we had unlimited money, like
• 49:21
  the last podcast we were on asked if you had unlimited
• 49:25
  money, what would you do? I'm like that.
• 49:27
  We would do that. We would do the, the Divergent,
• 49:29
  the prequel of Lowry, because people love Lowry.
• 49:32
  And I don't want to leave that group of people out in the dust.
• 49:36
  And I, I think I, what I would like to do is, is we write it
• 49:39
  and then another team directs that.
• 49:41
  And I want to continue Tessa story because I love, I lived
• 49:43
  with Tessa in this room for nine months.
• 49:46
  And I love that character. They have so much in them in
• 49:51
  terms of what they can become and the detective that they
• 49:57
  could become. And I, I just, I love it.
• 50:00
  I, I love telling their stories. Yeah.
• 50:03
  And in in episode 6 when Betsy pushes Tessa up in front of the
• 50:08
  fireplace hole and then leans up against the wall and says, I've
• 50:12
  only ever watched one of these before.
• 50:13
  I can't wait to watch my second. We know the first one that Betsy
• 50:18
  saw, and so that would be part of the story of The Trouble with
• 50:22
  Betsy is the first one. You.
• 50:25
  Guys, this had somebody's got a green this if they don't green,
• 50:30
  green light. If screen box and Syniverse and
• 50:33
  them don't green light this, we might have to crowdfund this
• 50:35
  thing because I have to. I have to see.
• 50:37
  That wait, yeah. I mean.
• 50:39
  We would I would travel wherever you guys are.
• 50:41
  We I would travel and hold up signs yo-yo.
• 50:45
  There is such a Midwest contingency of this show.
• 50:49
  Like so. I'm from Wisconsin, my family's
• 50:51
  in Minnesota. Tony Washer, supervising
• 50:54
  producer, is based in Chicago. The sound house Floodgates audio
• 50:58
  is in Chicago. Casey Hartnett, who plays
• 51:03
  Amelia, is in Chicago, or was at the time.
• 51:06
  So like, there, there's definitely a Midwest sensibility
• 51:09
  to this show. And so we just caravan all up,
• 51:13
  you know, it'd be great, yeah. Let us know Awesome with signs.
• 51:17
  I'll go vandalize. Billboards.
• 51:18
  I don't give. A hell yeah.
• 51:20
  That's big Tesla billboards with the QR code.
• 51:24
  Well, The funny thing. Yeah, exactly.
• 51:26
  Spray painting a QR you. Scan it, it's just.
• 51:28
  A love that it's going to be perfect.
• 51:30
  Yeah, you scan the QR code and it says give them the damn
• 51:32
  money. I I would fuck it up so bad it
• 51:36
  would take you to like porn site.
• 51:38
  Or something dot. Comrotten.com Yeah, stupid
• 51:40
  rotten like you. Manage like I don't know you.
• 51:45
  Know he's the first man to ever paint AQR code freehanded.
• 51:48
  It's amazing. It took him 14 years, you know,
• 51:54
  QR code wise. Is it helped yet?
• 51:59
  But yeah, that would be the dream.
• 52:01
  Yeah, that would be the dream. But also, when we did this, I
• 52:04
  was like, maybe Tess is A1 and done.
• 52:07
  And then I'm sitting here in this room nine months like a mad
• 52:10
  scientist, and Bethany's in the other room.
• 52:12
  And I go, I got it, I got it. I know it's due.
• 52:15
  And then I tell her, and she's like, oh, this is perfect, you
• 52:18
  know? Yeah.
• 52:19
  We know. We have the, we have, we have
• 52:21
  the plan. We just need the the resources.
• 52:23
  The funded, yeah. Yeah, we need it to happen.
• 52:25
  So those listening go tell screen box, we need more Tesla,
• 52:29
  we need more of Lowry. That's ridiculous.
• 52:32
  No, there's no excuse. This can't happen.
• 52:34
  It's. Oh, I, I hope.
• 52:37
  And I think when enough people have seen this.
• 52:40
  They're loving it on screen box you're hopefully.
• 52:41
  Going to have no trouble I. Bet #2 on screen box right
• 52:46
  there. You go look at that it it writes
• 52:49
  itself. What was that, Alex?
• 52:52
  It's #2 on screen box right now, right?
• 52:54
  Yeah, it is. It's been there from like week
• 52:58
  1, which blows our minds because yeah, yeah, it's, it's just,
• 53:02
  it's just been this amazing like kind of grassroots support
• 53:09
  that's been, it's been. Wild.
• 53:10
  Yeah, I've, I, I grew up like, like you guys, I grew up in the
• 53:15
  hardcore punk rock scene here in New York in the 90s.
• 53:18
  And so, like, our bands used to hand out our Flyers, right?
• 53:21
  And that's what this was. We just started handing out our
• 53:23
  flyer. And then the cool part about it
• 53:26
  is like, you know, you go to this band's show and you're
• 53:28
  like, you know, these guys are pretty fucking good, man.
• 53:31
  I can't wait for their album, right?
• 53:32
  That's what this felt like for me because it's like no one we
• 53:37
  have no Rotten Tomatoes score. We had no huge like big
• 53:43
  announcement fucking trailer. Well, we had like a trailer drop
• 53:47
  on blade. Disgusting was fun like all that
• 53:48
  stuff was really fun. Not saying that they didn't do
• 53:51
  their part, but like we were come, we came out when together
• 53:55
  came out Superman, like all this stuff, like all the toxic.
• 53:59
  Avenger. Toxic Avenger, our own, our own,
• 54:02
  our own company that we work with is Pump pumping up for
• 54:05
  Toxic Fantasia Film Festival, all these things, Shelby Oaks
• 54:10
  that was finally getting announced, all this stuff.
• 54:14
  And somehow this little show with barely anyone talking about
• 54:19
  it goes to fucking #2 and stays there.
• 54:22
  And we got #1 for one day. And I think that that's a
• 54:25
  testament to you could pay for everything that you want, right?
• 54:29
  You could pay for all the attention you want.
• 54:32
  But a good show is a good show. And that's it.
• 54:35
  And like, I think that and I hope the take away is that you
• 54:41
  can just make a good show and it will it will be watched, you
• 54:46
  know, and you, you don't have to make something that, you know,
• 54:49
  people made meant for people to be on their phones to.
• 54:52
  So I don't know. I hope, I hope that's really
• 54:55
  what I hope it does. Yeah.
• 54:56
  In the long run. Yeah, yeah, I agree.
• 54:58
  I. We hope so too.
• 55:00
  I love this. It's just we always on this,
• 55:06
  like, show love talking to people who actually, you know,
• 55:10
  when someone's bullshitting you, you know, when someone's like,
• 55:13
  well, this is this is my art. It's like, yeah.
• 55:17
  All right. Yeah.
• 55:17
  So like nice Armani. But like, you know, like.
• 55:21
  It's it's so obvious that you guys poured everything into this
• 55:26
  heart and soul, money aside, like it's just obvious.
• 55:31
  And that's why I like, I love talking to people like both.
• 55:35
  It's just it's important for other people to hear how you
• 55:38
  guys did this. How there was struggles, right?
• 55:42
  I'm sure there were days where it was like, fuck this, hold the
• 55:46
  plug. But it's always that mind over
• 55:49
  matter. OK, Left foot in front of the
• 55:52
  right foot. Yes, Yep, Yep.
• 55:53
  And it's just, I love hearing about stories.
• 55:57
  I just love this shit. This is why we love doing the
• 55:59
  show, because we get to talk to amazing people like you.
• 56:03
  We loved the trouble with Tessa. We loved it so much.
• 56:07
  That it makes us and. That's why we made it.
• 56:08
  Yeah, it makes us so happy because you're right.
• 56:10
  And I think with anything, there are going to be absolutely hard
• 56:14
  days. And there were days where the
• 56:17
  hard thing about this, especially to people who come
• 56:20
  from more of a live performance world, is you're making this in
• 56:23
  a vacuum and you don't have contact with your audience yet
• 56:28
  and you are just hoping that someone likes it.
• 56:31
  And there were days where we were like, is, is, is this worth
• 56:36
  it? And it went down to breath by
• 56:38
  breath, like, OK, we're going to keep the next breath and the
• 56:44
  next breath and we're just going to keep doing it.
• 56:46
  And whenever we felt like we couldn't hold each other up,
• 56:51
  freaking Maria, who played Betsy, would.
• 56:54
  That woman is tapped into something cosmic because she
• 56:57
  would reach out randomly when Dennis and I were both, like,
• 57:00
  crying with exhaustion. And she would suddenly text and
• 57:03
  be like, I was thinking about you both.
• 57:05
  Are you OK? And Corey and Corey, same thing.
• 57:08
  There's this cosmic connection. And Corey would suddenly send us
• 57:11
  a voice text and be like brother.
• 57:13
  Shut the fuck up. Just there was something so
• 57:17
  special going on during this. So even at our darkest moments,
• 57:21
  like our families would jump. It was just, it was it was an
• 57:24
  exhausting and wonderful experience.
• 57:28
  It was just incredibly special. And then to have you guys, like
• 57:32
  the first time we listened to your episode and I was like,
• 57:35
  God, I don't know. And then you started saying
• 57:37
  these things like you were picking up these things that we
• 57:40
  were hoping people would pick up.
• 57:41
  And it just, it was just such a, a wonderful like sigh of relief,
• 57:48
  I think. And we, we really, we, we fought
• 57:51
  for you guys. Like when the notes came back
• 57:55
  and they were like, no one's going to understand this.
• 57:58
  We fought and we were like, they will, people will pay attention.
• 58:02
  And it wasn't a they really were great with giving us all the
• 58:06
  creative freedom that we wanted. There were notes and some of
• 58:11
  them were like, you really sure you don't want to change this,
• 58:14
  you know, because you might fucking lose people here.
• 58:19
  We were like, no, we trust our audience.
• 58:21
  We trust our audience and we kept saying that that was our
• 58:23
  ethos throughout the whole thing.
• 58:25
  And that's why we love you guys and everyone else that have like
• 58:32
  gotten this show where we were like, wow, we, we did it, you
• 58:36
  know? And there were definitely notes.
• 58:38
  There were notes they gave that we were like, oh, yeah, no,
• 58:40
  that's a really good note. Yeah.
• 58:41
  We were like, yeah. We should shorten this fucking
• 58:43
  scene. Yeah, yeah.
• 58:45
  Well, that that like respect for the audience.
• 58:47
  Like you can tell people are so like people are so clued in on
• 58:51
  that cuz you can really tell when a project is like
• 58:54
  explaining to you or talking down to you.
• 58:56
  But this really let you like run with it, do your own theories
• 59:01
  and some stuff like never fully got explained, which is I have a
• 59:04
  few questions about but. Floor is yours.
• 59:08
  We really like wait, I we just I just really appreciate it when a
• 59:12
  show doesn't like stop dead to explain everything that's going
• 59:15
  on it It's just like it shows like a real like respect for the
• 59:19
  audience and I really appreciate seeing that.
• 59:21
  But and. Really quickly, I just want to
• 59:23
  say, and that also is a testament to screen box because
• 59:27
  yes, a lot of the over explaining in shows and movies,
• 59:30
  I think are studio notes and screen box again, they were
• 59:34
  like, if you don't want to do it, you don't have to.
• 59:36
  And, and so I don't think that we would have been able to give
• 59:41
  the audience that much to chew on if if screen box had been
• 59:44
  like really heavy-handed. And what I was saying to Bethany
• 59:48
  and what I say to everyone is like, you know, we had final cut
• 59:52
  in our contract, but we weren't immune to notes.
• 59:55
  And, you know, we're, we're saying no to stuff from the
• 1:00:00
  producer of VHS. He's like, we're like, you know,
• 1:00:04
  I'm like, no, sorry, sorry, Brad, we're not doing that.
• 1:00:07
  Like, and I'm like, are we allowed to do this?
• 1:00:10
  Sorry. But I think that there was a
• 1:00:12
  level of respect there for what we were creating.
• 1:00:15
  And I think that they were like, look, for better or for worse,
• 1:00:18
  let them have it, you know, And we are very grateful that.
• 1:00:23
  Yeah, that they let that they, they gave us that privilege and
• 1:00:29
  and honor to sort of do that. Yeah.
• 1:00:33
  But also, I understand as like a person who loves media, what I
• 1:00:36
  don't want to fucking see. Yeah, and.
• 1:00:38
  What I'm like tired of. You want to be conversated with,
• 1:00:41
  you don't want to be talked at. Like it's exactly.
• 1:00:45
  What Noah was saying, like Alex and Noah and myself are like,
• 1:00:48
  yeah, it's it's the show is talking to me.
• 1:00:51
  It's we're having a conversation.
• 1:00:52
  It's a dialogue. It's not just yelling.
• 1:00:54
  This is the facts. This is what this is.
• 1:00:57
  And like, yeah, exactly. It's it's also like I don't need
• 1:01:01
  to know everything exactly. Like there's definitely stuff
• 1:01:03
  that I want to lay. I would look further into it,
• 1:01:06
  but I don't need to be told everything.
• 1:01:08
  We can leave some stuff up for a speculation because it's
• 1:01:11
  perfect. It leaves, you know, room for
• 1:01:13
  maybe the prequel series to explain it.
• 1:01:18
  If you guys are cool, I want to I want to ask some specifics.
• 1:01:22
  Hell yeah. Please.
• 1:01:23
  That's right here. Yeah.
• 1:01:25
  So you referred to the the troubles and maybe the like the
• 1:01:30
  creatures and stuff that are causing some of the ruckus
• 1:01:34
  around town. Is it multiple creatures or is
• 1:01:37
  it all one Bone King? That was one of the things I was
• 1:01:40
  curious about. So the Bone King is the name of
• 1:01:44
  the legend. That's the name of the.
• 1:01:48
  Like the urban legend. That's the urban legend.
• 1:01:50
  That was the thing to scare the kids.
• 1:01:51
  But I love that everyone has adopted our main trouble.
• 1:01:55
  Who's played again by Corey? Dan Cowley, calling her the Bone
• 1:02:01
  King. I love that because I'm like,
• 1:02:03
  that's great. Yeah.
• 1:02:04
  The legend grows. If so, we, because of our
• 1:02:08
  limited budget, we couldn't have all the troubles we wanted.
• 1:02:12
  So it's all sound design. So all those whooping those are
• 1:02:18
  all the troubles calling to each other.
• 1:02:21
  They're Yeah. They're actually at the very if
• 1:02:24
  you. So this was crazy.
• 1:02:26
  They're in episode 1 the second shot night shot outside of
• 1:02:31
  Tessa's house. You hear one calling to the
• 1:02:34
  other. So in the left hand speaker you
• 1:02:36
  hear and. Then you hear like.
• 1:02:43
  On the other side, so all those whoops and hollers and calls,
• 1:02:47
  they're all, that's all the troubles that are in the
• 1:02:50
  surrounding forest. And by the way, the Troubles
• 1:02:53
  were voiced by two death metal singers.
• 1:02:56
  Yeah, Cheney's Crab and Crab Thunder cunt of a memory.
• 1:03:02
  Anthios. Yep.
• 1:03:02
  Sorry, Yep. Yep.
• 1:03:10
  She's she's dating the drummer from Animosity, also in anthios.
• 1:03:14
  Sorry. Awesome, awesome.
• 1:03:16
  Those two women, those two women absolutely killed it.
• 1:03:21
  They sent us the most amazing vocalizations, and that was
• 1:03:26
  Denny's idea. He was like, we should get 2, we
• 1:03:28
  should get female death metal singers to do these voices.
• 1:03:31
  Yeah, I was like, I was doing it in the mic and I'm going.
• 1:03:35
  I said, yeah, I said fuck this. I was like Corey, you know, some
• 1:03:38
  death metal singers. Fuck yeah, brother.
• 1:03:40
  Corey's big into the death metal scene.
• 1:03:42
  Yeah, that's Corey is always saying hell yeah, brother.
• 1:03:45
  So. So she's like, hell yeah,
• 1:03:47
  brother. I'm on it.
• 1:03:47
  I got a text like immediately. They're like, yo, you need some
• 1:03:50
  vocals? And I'm like, yes, who's this?
• 1:03:51
  She's like Thundercunt, Miss Thundercunt, Queen Thundercunt.
• 1:03:54
  Oh, my. Great, she got she like got into
• 1:03:57
  a fucking car accident and then she's like do it.
• 1:04:00
  She did those growls those like she did that in her fucking car
• 1:04:05
  man, like iPhone. We couldn't use one of them
• 1:04:08
  because you hear her door Ding. You're like Ding.
• 1:04:15
  But dude, they were, they were amazing.
• 1:04:18
  And the only, the only time it wasn't one of them is when the
• 1:04:22
  creature is, I think it's episode 4.
• 1:04:25
  We see the it's the POV of the creature.
• 1:04:27
  We see the palette and then push it down 5 and you hear the
• 1:04:30
  breathing. We pitched down Dennis because
• 1:04:33
  he had COVID. I got COVID during.
• 1:04:35
  Editing And so Dennis was COVID breathing and then we just
• 1:04:38
  pitched it down and that was the creature.
• 1:04:40
  Every time you hear the breathing, that's me with COVID.
• 1:04:42
  That's fucking insane. So yeah, so so now that's
• 1:04:47
  another little treasure trove that people.
• 1:04:49
  And it was tough because that was one of the notes is like,
• 1:04:52
  how are people going to know these are all different?
• 1:04:54
  I'm like, it's sound. They're all over the forest.
• 1:04:57
  But then I realized, like some of Cheney's sounds sounds like
• 1:05:01
  foxes. It sounds like.
• 1:05:02
  And I'm like, oh shit, that does sound like a fox.
• 1:05:04
  Because I told someone who had the same question, like they
• 1:05:06
  were like, there's multiple. I'm like, yeah, they're all over
• 1:05:09
  the forest. They were like, oh, I thought
• 1:05:10
  those were like foxes or animals.
• 1:05:12
  I'm like, no, those are the troubles.
• 1:05:13
  And they were like, yo, that's fucked.
• 1:05:15
  That makes it fucked up. Another really cool sound design
• 1:05:17
  thing for you guys to listen out for.
• 1:05:20
  The show's really cool in headphones.
• 1:05:23
  Every time a trouble is near, you won't hear insects or birds.
• 1:05:27
  So in episode 3, all the insects, you'll know the trouble
• 1:05:31
  is near because all the insects, while Freddy's yelling at Tessa,
• 1:05:36
  they all start to go quiet because that's what happens when
• 1:05:40
  predators are around is they all go away.
• 1:05:43
  So it's so we can assume pretty safely that the troubles are
• 1:05:46
  always somewhere they're always watching.
• 1:05:49
  Nocturnal creatures and so and, and at the very beginning when
• 1:05:53
  you're going into The Cave, you hear a vault door open.
• 1:05:57
  So there's a system in there. So you hear a.
• 1:06:01
  So they're not just, they're not just running, they're
• 1:06:03
  intelligent. They're I yes, I, I, yes.
• 1:06:11
  They are actual. They're actual beings.
• 1:06:14
  I loved the whole idea of the. The Wendigo.
• 1:06:19
  Or the yes, that's and the supernatural stuff where like
• 1:06:22
  one of you said and I was like, wait, that's pretty fucking
• 1:06:24
  cool. I wish we had them in some of
• 1:06:26
  the meetings. Was that like, maybe Amelia
• 1:06:29
  became the Bone King? Yeah.
• 1:06:31
  And that was Alex, that was. Alex.
• 1:06:33
  Yeah, that was Alex. That was cool, man.
• 1:06:35
  I was like, wait, that's fucking cool.
• 1:06:37
  I was like, why didn't we think of that?
• 1:06:39
  But, but, but I will say, all respect to Corey, that is not
• 1:06:44
  Amelia. That's that is a separate
• 1:06:46
  trouble. But they are connected to Amelia
• 1:06:49
  in some way. And it is answered through the
• 1:06:52
  necklace and the Amelia tapes in Episode 4.
• 1:06:56
  Yeah, 55 when Amelia is like something's coming into this
• 1:07:02
  house. Yes, yes, yes, yeah.
• 1:07:04
  All right, we are going to be having a rewatch soon, boys.
• 1:07:06
  Yeah, we're. Going to have to go back.
• 1:07:08
  And do this. Yeah, I want to.
• 1:07:10
  I want to give you guys the clues because you can really
• 1:07:13
  piece it together. It's it's everything is
• 1:07:17
  answered. Yeah, like everything is
• 1:07:19
  answered. We didn't want to make it so
• 1:07:21
  that it's like it wasn't and everything's pretty much, pretty
• 1:07:25
  much answered. Not in a neat bow.
• 1:07:27
  You got to figure it out. Yeah.
• 1:07:28
  Yeah. Gave everyone a homework.
• 1:07:29
  You have to, yeah, you have to read, you have to do some
• 1:07:31
  reading. But yeah.
• 1:07:33
  So it felt like to me like when we were getting sort of to the
• 1:07:36
  end of the series and we were seeing stuff like the bone king,
• 1:07:40
  like leaving out those like when it left out the necklace, that's
• 1:07:45
  when Alex was like, we were like, oh, we're sure, like it's
• 1:07:48
  got to be her. But sounds sounds to me like the
• 1:07:52
  Bone King keeps trophies that little souvenirs.
• 1:07:58
  Ding, Ding, Ding. The interesting thing is that in
• 1:08:03
  God, it's all a blur now. Is it episode?
• 1:08:06
  Is it episode 4? Where yes, where where Tessa is
• 1:08:10
  in the basement and this creature throws the tape before?
• 1:08:14
  Yep, Yep. If you hear, you hear tinkling,
• 1:08:18
  you hear like a metal on metal and that that you know, metal
• 1:08:27
  tinkling isn't necessarily the most natural sound in the world.
• 1:08:30
  It's not something you would necessarily hear naturally.
• 1:08:34
  So one might say it's objects. You know, I want to say I do
• 1:08:39
  because I really want to shout out skill loose.
• 1:08:42
  Yes. And her mom?
• 1:08:43
  Should we just? Here's what I'm going to say.
• 1:08:46
  So should I bring up the the cloak or no?
• 1:08:49
  Yeah. OK, yeah, go get it.
• 1:08:51
  Go ahead and entertain. Sorry guys, if you need to go
• 1:08:53
  just let us. Know so we haven't so OK we
• 1:08:56
  haven't you know we haven't shown anyone this stuff before
• 1:09:01
  or but we have yeah no truly. And I also like I sent you guys
• 1:09:05
  you guys are the only people besides production who have seen
• 1:09:09
  unredacted articles and I have them and I've been trying to
• 1:09:13
  figure out how to give them out so I think I will just be sort
• 1:09:16
  of like handing them to people That's so fucking cool It's it's
• 1:09:21
  really fun and and all of the articles in episode 2 in the
• 1:09:24
  microfiche are fully written articles you can pause the
• 1:09:26
  screen and watch and read and there's even a hint as to Betsy
• 1:09:33
  coming to power in one of the articles.
• 1:09:35
  If you blink, you'll miss it, but if you pause you'll see it.
• 1:09:39
  But we have the full outfit that Corey wore and it is just this
• 1:09:47
  amazingly beautifully designed piece of art that was done by a
• 1:09:52
  mother and daughter named Sandy and Bree who did the the cloak
• 1:09:56
  in the the outfit and then the crown.
• 1:10:03
  Done. By this.
• 1:10:04
  Woman, Oh my God, look at. It look.
• 1:10:06
  At it, dude, that is incredible. Yeah, dude.
• 1:10:10
  So the so the, and the cloak, which we're going to show you.
• 1:10:15
  So it has tin can lids and soda tabs and little razors and all
• 1:10:25
  of these pieces that were found and attached.
• 1:10:32
  So going back to these creatures being intelligent, these are
• 1:10:37
  things that they have picked up along there's travels.
• 1:10:41
  And that is so cool. So, but yeah, this is the, this
• 1:10:45
  is the crown. It's meant to look, which is
• 1:10:48
  amazing. So it's so it's porcupine
• 1:10:51
  quills, it's sticks bones, it's bones.
• 1:10:55
  There's teeth on the front, human teeth.
• 1:10:59
  It's meant to look like almost like a bug from the front, cuz
• 1:11:03
  there's some eye sockets. And then if you look from the
• 1:11:07
  top, there's actually another face.
• 1:11:10
  That's a face. Because we were like, OK, so
• 1:11:15
  this this creature is going to be running through the tunnels
• 1:11:19
  head down because tunnels are tight.
• 1:11:20
  So they're going to be going down like this with their head
• 1:11:24
  forward, the top of their head forward.
• 1:11:25
  So it would make the most sense to have like another face there
• 1:11:29
  to try and scare away predators or this was all like came from,
• 1:11:34
  you know, how it would be the best for them to actually live
• 1:11:38
  and work. And then these are so each thing
• 1:11:41
  is we, when we were designing this, I wanted to make sure
• 1:11:43
  everything was functional. So the mechanics of the caves or
• 1:11:48
  the tunnels, like the tunnel, the tunnel is a feeding tube,
• 1:11:51
  the one that goes into Tessa's house.
• 1:11:54
  So the mechanics of it, and I know that one of you mentioned
• 1:11:56
  like how the hell can she get in there?
• 1:11:58
  The suit compresses in and out, and then she can grab onto the
• 1:12:03
  walls with this as well as kill with them.
• 1:12:07
  So that's everything's functional.
• 1:12:08
  So she could pull herself like this forward and like squeeze
• 1:12:12
  through. And then, spoiler alert, when
• 1:12:15
  Betsy's getting fed at the end, she's throwing.
• 1:12:18
  She's pulling pieces of Betsy off and throwing it down the
• 1:12:21
  feeding tube to the other trouble.
• 1:12:23
  So all those whooping sounds at the end are the troubles
• 1:12:25
  feeding? Yeah.
• 1:12:27
  And then Bethany's going to grab the.
• 1:12:30
  So this is the that's. The cloak.
• 1:12:32
  This is what Corey is wearing. So this is the actual clothes.
• 1:12:36
  So you can see it's like makeup, tins, bottle caps, cans, and
• 1:12:42
  it's just things that this. Yeah, that might give you some
• 1:12:45
  hint as to like this specific Trouble played by Corey has a
• 1:12:52
  story and now there are some clues for you.
• 1:12:58
  We are diving, That is so cool. We're back in.
• 1:13:02
  That is so cool. You can watch it and keep
• 1:13:05
  finding stuff. It's pretty cool.
• 1:13:08
  Yeah, my. God, well, we're here now, so
• 1:13:11
  let's talk about some special effects before we put a nice bow
• 1:13:14
  on this show because it is late. It's not really it's 8:00 you
• 1:13:18
  guys. Let me know when you guys, but
• 1:13:20
  let's talk about. That's fine.
• 1:13:22
  Yeah, Dennis. Like I'm good.
• 1:13:24
  Bethany's like this is great like.
• 1:13:26
  No, I'm thrilled. I so.
• 1:13:28
  Haven't showed we haven't even posted pictures of this yet.
• 1:13:31
  You guys are the 1st and like cuz you guys deserve it man.
• 1:13:34
  Like you guys put in so much just love into watching it.
• 1:13:38
  I'm like, yeah. You guys.
• 1:13:40
  Yeah, and these guys fucking deserve it, man.
• 1:13:42
  This. Is a joy.
• 1:13:44
  So let's dive deep into special effects then.
• 1:13:48
  Yeah. Alex, do you want to start with?
• 1:13:51
  You want to start with it bud. Megan.
• 1:13:55
  Let's go. Here it go.
• 1:13:57
  You talk about you were we were all stoked on it, but you were
• 1:13:59
  very. Stoked on it I mean cuz First
• 1:14:05
  off, what was Tesla's wrist wrapped with?
• 1:14:10
  Those are metal, metal zip ties, so.
• 1:14:13
  Metal. Just a metal zip.
• 1:14:14
  Tie yeah so we we were originally going to use zip
• 1:14:16
  ties, but as I think most women know, if your hands are zip tied
• 1:14:20
  in the front, most women know how to get those off because we.
• 1:14:23
  Have. To yeah.
• 1:14:25
  So we had to make it something that Tessa couldn't easily get
• 1:14:29
  off and and that was still pliable enough to do special
• 1:14:33
  effects with. So it's just metal zip ties?
• 1:14:36
  But like we one of you said something really cool that it
• 1:14:39
  was like. Like a.
• 1:14:41
  Wire like yeah, like mechanics or of mechanical.
• 1:14:43
  It looked like a like a hose clamp.
• 1:14:45
  Hose clamp. Yeah.
• 1:14:46
  Like that's what we wanted it to feel like, like something like
• 1:14:50
  industrial. Yeah.
• 1:14:51
  But what they really are just. Yeah.
• 1:14:54
  The metal zip. Yeah, the metal zip ties because
• 1:14:55
  it was we were able to peel. Well, Alex, I'll let you in the
• 1:14:59
  honors. Well, don't.
• 1:15:02
  Even. He's so how to?
• 1:15:03
  Start with it. It's y'all did so well with the
• 1:15:07
  Steve loving scene and like making having Tessa just just
• 1:15:14
  have to do it you there's no way around it.
• 1:15:19
  Just. The fucking tear, the tear.
• 1:15:23
  I don't know how do you have to. Everyone has to go watch this
• 1:15:26
  damn show but like I don't even know how to do this dude.
• 1:15:35
  I know. It's just, it is so like I'm
• 1:15:38
  good. Alex, walk me through your
• 1:15:40
  emotions. What do you?
• 1:15:41
  Feel like high emotions? Yeah, walk me through.
• 1:15:44
  Excitement. Yeah, excitement.
• 1:15:48
  Nervousness. Cuz who here could honestly do
• 1:15:55
  that? Oh, there's no realistically.
• 1:15:58
  I'm those for the rest of my life.
• 1:15:59
  Yeah, yeah, I I think that that's, that's exactly it, Alex.
• 1:16:05
  And and that's that's why we did it.
• 1:16:07
  Could you do it? Tessa was in this unbelievable
• 1:16:10
  situation. She had to make a fucking
• 1:16:14
  choice. Yeah, right.
• 1:16:15
  It's almost like that choice in God, not Sophie's choice.
• 1:16:20
  I'm just saying no, I'm not. I need that one.
• 1:16:24
  Fuck was oh oh the one, the one with the Franco brother, the bad
• 1:16:29
  one that went. To prison 127 hours a. 127 hours
• 1:16:33
  where he's got to cut his fucking leg off.
• 1:16:34
  Right arm, I think. Arm, arm.
• 1:16:36
  Yeah, yeah, get. His arm stuck.
• 1:16:37
  Yeah, he gets arm stuck, so he just fucking takes it off,
• 1:16:39
  right. Would you do it?
• 1:16:41
  And so like, I'm like, what are we can, what can we do to Tessa,
• 1:16:44
  you know, or what, what what, what does Tessa have to face?
• 1:16:48
  And it's just like such an extreme situation, you know?
• 1:16:53
  I don't know if I'd do it. I'm like, fuck it, I'm running
• 1:16:56
  with these things. Yeah, I'd be like, I live here
• 1:16:59
  now. This is just what?
• 1:17:00
  I'm dense. Yeah, I've died.
• 1:17:02
  I would have stayed in Larry. I would have been like, do I
• 1:17:04
  have to pay taxes? Yeah, that was my rent paid or.
• 1:17:06
  Go ahead and clip these off me dude.
• 1:17:08
  I'm. Done.
• 1:17:08
  If I if I swear my fealty to the Bone King, Yeah.
• 1:17:13
  Could I get some Internet? Just a little bit.
• 1:17:16
  Just a little, you know, just a little.
• 1:17:18
  Yeah, how does one, how does one just, you know, just just get
• 1:17:21
  online for like 5? It's like that up to the South
• 1:17:23
  Park when they lose Internet. Yeah, I heard you guys had some
• 1:17:26
  Internet. Go to California Way.
• 1:17:31
  The password for the Internet is actually just Hail Bone King.
• 1:17:35
  Yeah, yeah. Yeah, all lower case.
• 1:17:38
  You know, for the majority of the show, though, and I think I
• 1:17:40
  I think I may have said it, it's a lot of what you don't see.
• 1:17:44
  And that's I've always said this too, what you don't see scares
• 1:17:47
  you more. Yeah.
• 1:17:48
  So this show, not it had its gore moments though.
• 1:17:52
  It like had it here and then it had it there and I was like,
• 1:17:55
  that's all we need. Like you didn't need.
• 1:17:57
  It if you. It was perfect the way it was
• 1:17:59
  done, yes. Thank you.
• 1:18:01
  Thank you. Just to piggyback on that or to
• 1:18:05
  add to add to that two things. First being my favorite scene in
• 1:18:10
  Seven is when they've got the guy after he's taken in from the
• 1:18:15
  brothel and they throw the Polaroid down and you don't see
• 1:18:19
  it. And he said he made me put that
• 1:18:21
  thing on and he made me fuck her.
• 1:18:22
  He made me fuck her. Oh, God, I fucked her.
• 1:18:24
  So I fucked her. And then you just cut to the
• 1:18:27
  picture of it. And then you in your mind, you
• 1:18:30
  go, oh, no, that's scarier than seeing it.
• 1:18:35
  Yes, yeah, it's the. Implication of it.
• 1:18:38
  It's the implication of it, yeah, So the implication.
• 1:18:41
  So. But we also wanted to give to
• 1:18:45
  horror fans because I'm a huge fan of gore.
• 1:18:47
  I love Bolchi and I love Mario Bava and all the Italian stuff.
• 1:18:52
  So I want gore, but it has to be earned if you, and this is no
• 1:18:58
  shade to any movie, I think like I think not just because we're
• 1:19:02
  in the same company, but I think Terrifier is brilliant because
• 1:19:05
  that's what that movie is. And it's an being able to do
• 1:19:08
  practical gore is. Damien's an.
• 1:19:11
  Artist. Yeah, it's.
• 1:19:12
  An artist, and that is in itself its own thing, right?
• 1:19:18
  But but with what we do with what I do as a filmmaker or what
• 1:19:22
  we did as film makers is we wanted it to be earned and it to
• 1:19:26
  be part of the story, not just for the sake of it, right.
• 1:19:30
  So it had to, everything was intentional and motivated.
• 1:19:32
  Yeah. And I I think that's that's also
• 1:19:34
  just proper storytelling, right. And I think that horror shows be
• 1:19:39
  like the Flanagan's like that too.
• 1:19:40
  He it's always earned with him. It's never just like, oh, here's
• 1:19:44
  a fucking scary thing. Like, look, he's great.
• 1:19:48
  Yeah. And also not sorry to interrupt.
• 1:19:51
  No, that's fine. I think the great thing about
• 1:19:54
  the thing you don't see is the scariest is that that's also
• 1:19:57
  budgetarily friendly. And so we definitely leaned into
• 1:20:02
  that knowing that OK, we can do some gore.
• 1:20:06
  We have Corey in town for a week.
• 1:20:08
  So we're going to shoot the Corey gore stuff in one week.
• 1:20:13
  And then the rest of the time we are going to do, you know,
• 1:20:16
  atmosphere. We're going to do dread.
• 1:20:18
  We're going to do implied. And it it it, it is one of the
• 1:20:23
  reasons that you can do low budget horror so much better
• 1:20:28
  than you can do any other low budget genre, because it lends
• 1:20:31
  itself to that imagination which saves you so much money and is
• 1:20:38
  scarier than anything. And yeah, Alex, I want to go
• 1:20:40
  back to your, the, the gloving moment is and, and, and talk
• 1:20:44
  about Corey for a second because she's, we, we were, we weren't
• 1:20:48
  able to talk about her a lot in the in our earlier interviews
• 1:20:53
  because all the episodes hadn't come out.
• 1:20:55
  But now that they are, and hopefully everyone's watched
• 1:20:56
  them, her skill and talent at making it look so real is like
• 1:21:03
  unmatched. She's amazing.
• 1:21:05
  She knows anatomy, right? So she got like the interior.
• 1:21:10
  Yeah. The tendons, the veins, the
• 1:21:13
  muscle strictures and like all of these things.
• 1:21:16
  And you know, when Tessa, we, we, we had, we had one shot at
• 1:21:21
  that and that was it. We, there were no reshoots.
• 1:21:24
  We had a butt. And I said, OK, don't worry
• 1:21:26
  about it. And it was warm that day.
• 1:21:28
  It was very humid. And poor Corey, we, we were
• 1:21:33
  setting up and Katie was wearing something and it was a sweater.
• 1:21:40
  And so we had to cut it off because they forgot to take it
• 1:21:43
  off. Yeah.
• 1:21:44
  Oh, no, yeah. And so this.
• 1:21:46
  And meanwhile, the fucking latex is shrinking because it's so
• 1:21:50
  humid. Corey comes up to me and it's
• 1:21:53
  like this. Guy gets all fucked up, this
• 1:21:55
  guy. Is so I I said, I said hey, hey,
• 1:21:57
  hey. I said look at me look at me.
• 1:21:58
  I was like, trust your director we're going to be OK watch this
• 1:22:02
  watch OK we're going to be all right go outside.
• 1:22:05
  Everything's going wrong. I mean, everything that could
• 1:22:07
  have gone wrong was going wrong. Camera, camera took.
• 1:22:10
  We had two cameras that day. Lovely guy named Phil Ortiz was
• 1:22:13
  helping me out. Shoot, we're shooting, I'm
• 1:22:16
  shooting 1 camera, he's shooting the other.
• 1:22:17
  Everything's going wrong. The fucking gags not working the
• 1:22:20
  it's not pulling off right. Finally we just get some usable
• 1:22:26
  take right and we got it. And then we got another one
• 1:22:29
  where we show the skin flap and it just, and it and it just sort
• 1:22:32
  of half peeled off and just, it made it so much more realistic
• 1:22:36
  that it would only come off that much.
• 1:22:39
  And it was awesome. It was such a happy accident.
• 1:22:43
  Meanwhile, we shot that broad daylight.
• 1:22:45
  I had to. I had to pull it to make it look
• 1:22:47
  like dusk. Sunny as hell, so.
• 1:22:49
  We're looking, we're looking at the raw footage and, you know,
• 1:22:55
  Corey's seeing all the flaws and she's just like near tears.
• 1:22:59
  And I say, guys, everyone hang out here for a second.
• 1:23:02
  Grab the footage, bring it back in put it in.
• 1:23:07
  I graded it really fast. I said Corey, get in here.
• 1:23:10
  I said look at that. She goes that's fucking dude.
• 1:23:13
  I was like right, right. I put the music to it.
• 1:23:16
  I fucking show and I was like that's don't worry about it.
• 1:23:19
  That's what you can do She but she's so like unbelievable at
• 1:23:24
  showing the interior of the body of like getting it right and her
• 1:23:29
  page is filled with it. Her Instagram is like filled
• 1:23:31
  with it so. And that again is like also.
• 1:23:34
  Then the last step of that was Joe and Colin, who are from
• 1:23:38
  Floodgates Audio and they did our post production like sound
• 1:23:42
  mixing and all that stuff. And we were like make this juicy
• 1:23:47
  and goopy. And they and they were like,
• 1:23:50
  yeah, so they just they added all this stuff and they sent it
• 1:23:54
  back and we were like, that's amazing.
• 1:23:56
  Yeah. And then they just.
• 1:23:58
  Scary. I wanted to hear, I said make it
• 1:24:00
  sound like paper. Just RIP it in half.
• 1:24:02
  And they and they, the thing they came back with, we were
• 1:24:05
  like, what amazing. So it was just this beautiful
• 1:24:08
  combination of everything. And I still have the skin flap
• 1:24:13
  that that Corey made. It's still in my do you want to
• 1:24:17
  see it? I can go bring it in.
• 1:24:18
  If you bring it out, bring it out you.
• 1:24:20
  Guys, you guys are getting everything, man.
• 1:24:24
  But yeah, I can't I can't recommend Corey enough for for
• 1:24:28
  all special effects of because she comes from I mean, we we we
• 1:24:32
  recorded you guys talking about that.
• 1:24:35
  It was better than the boys degloving and we sent it to her
• 1:24:38
  and she was like, oh, motherfucker, what?
• 1:24:40
  That's crazy. I was like, you see, you see,
• 1:24:42
  you're so good. Like she's so she's so talented.
• 1:24:45
  We talked. To her, she reached out to the
• 1:24:48
  page after she reposted. I was like, hey, like that.
• 1:24:51
  What you did was awesome. Just so you know, she's she's
• 1:24:53
  great love. Talking about her.
• 1:24:55
  Already. Yeah.
• 1:24:56
  She's awesome. If you ever if you want to bond
• 1:24:58
  about death metal, she's the woman to do it with.
• 1:25:00
  She's. Great.
• 1:25:02
  Yeah. Look at this little trouble
• 1:25:04
  with. Oh, look at that.
• 1:25:06
  It's like a little piece of Tessa Jerky, dude.
• 1:25:10
  Gross. Yeah.
• 1:25:12
  Pull, pull. Oh, Bronco.
• 1:25:13
  Yeah, yeah. So this was, yeah.
• 1:25:15
  I mean, so it's just like I was and I was so proud of Corey.
• 1:25:18
  So after the scene was done, I just like yoink to this little.
• 1:25:21
  I was like, I'm gonna save this forever.
• 1:25:22
  Yeah, I got out of that. It's like in Nosferatu where
• 1:25:25
  they gave Nicholas Holt the like the the penis for us, yeah.
• 1:25:30
  They really. Yeah, he has it in like a like
• 1:25:33
  the the scariest looking frame you've ever seen.
• 1:25:35
  Well, it's like Rasputin's penis that they have on frame
• 1:25:38
  somewhere. There's like, yeah, like
• 1:25:40
  Rasputin's Dong somewhere. Whatever.
• 1:25:42
  If you guys, if you guys ever want a pair of ears earlobes, I
• 1:25:45
  have earlobes for your next project.
• 1:25:47
  Do you really? Yeah, I have.
• 1:25:48
  No, you can't. Those are your real ear.
• 1:25:50
  I know, dude. You can't send that in the mail.
• 1:25:52
  Wait, yeah, you could send what? Earlobes, right?
• 1:25:54
  I had recent organs surgery. Oh amazing.
• 1:25:58
  Just did you have gauges or two? 2 1/2 inches, yeah.
• 1:26:02
  Holy shit, so. You have like the skin.
• 1:26:05
  Yeah, in a jar, yeah. That would be.
• 1:26:07
  Hell yeah. That would be the strangest
• 1:26:10
  credit receive excuse the next year.
• 1:26:14
  As a as a thank you for your guys support on this first one,
• 1:26:17
  if we get any kind of second season or whatever, I'll put
• 1:26:19
  your fucking earlobes in something.
• 1:26:21
  Hell yeah. Whatever we do next, I'm putting
• 1:26:23
  your fucking earlobes in the. Yeah, dude, yeah.
• 1:26:26
  By the way, you're. Gonna have like someone's sneeze
• 1:26:29
  and be like and it's just like an ear the same out of their
• 1:26:32
  nose like. Bree.
• 1:26:34
  Bree, one of the women who worked on the costume, she put
• 1:26:37
  her baby teeth in a little jar and strung them onto the
• 1:26:42
  costume. So like, everyone's donating
• 1:26:44
  body parts here. That's incredible.
• 1:26:46
  There you go. Yeah.
• 1:26:47
  There you. Go.
• 1:26:48
  We're all going to like Tessa eventually.
• 1:26:50
  It's cool. It's cool.
• 1:26:51
  Absolutely. Yeah.
• 1:26:52
  We're all weirdos here. Dude.
• 1:26:55
  Is there anything else, Noah and Alex, that you wanted to ask
• 1:26:58
  before we? Wrapped this I had to show up.
• 1:27:01
  Well, we already talked about what's, you know, what's coming
• 1:27:04
  up. I just I I really hope we get to
• 1:27:07
  see some more from you guys see some more from Lowry and more of
• 1:27:10
  Tessa's adventures. I can't say enough good about
• 1:27:14
  this. Everything, even the way you
• 1:27:17
  guys made it, it's like really feels like guerrilla filmmaking
• 1:27:20
  is back with this, the with the process that you guys went
• 1:27:24
  through. I just, I really, I can't say
• 1:27:26
  enough good. I just want to see more.
• 1:27:29
  Thank you. Thank you.
• 1:27:30
  Yeah, we, we, we hope that this leads to more.
• 1:27:32
  We really love doing this. And you know, I will say that
• 1:27:36
  everyone up here in the Hudson Valley that we approached for
• 1:27:40
  help was so open and so wonderful.
• 1:27:43
  And you know, the library that we shot at the Reed Memorial
• 1:27:46
  Library, the two different bars, just everybody is wonderful and
• 1:27:52
  is so down to help. So, so this was just, it was
• 1:27:57
  sort of life affirming and and a wonderful, stressful, wonderful
• 1:28:02
  process. Yeah, and to have film makers
• 1:28:03
  out there and to studios like, like, I hope this show shows
• 1:28:09
  people you don't need a lot to make to make a good show.
• 1:28:14
  And like, just, I don't know, I hope people just trust their
• 1:28:16
  audience, you know, that if there's one thing that the show
• 1:28:19
  does, I just hope it we can show people that that we don't have
• 1:28:22
  to. We don't have to keep doing it
• 1:28:24
  the way we're doing it because we're not getting good stuff
• 1:28:26
  right now. Yeah.
• 1:28:27
  We're not No, we're not, but luckily we do have the trouble
• 1:28:31
  with Tesla. We have things like this to
• 1:28:33
  shine a light on just what it can be again, again for the last
• 1:28:38
  time. This made me feel like I was
• 1:28:41
  watching television and. And just excited, like when
• 1:28:45
  Peak's excited, X-Files excited. And this was a good time.
• 1:28:50
  It made me feel fantastic to after each episode, all three of
• 1:28:55
  us going. What do you think that was?
• 1:28:57
  Yeah. Like we were all just trying to
• 1:29:00
  like we would. It would be late and we'd be
• 1:29:01
  like time for bed and the conversation would go on and on.
• 1:29:05
  It's like, OK, but next week, right.
• 1:29:09
  Tuesday, right. Yeah, we'll be here.
• 1:29:11
  Yeah. And it's just.
• 1:29:12
  It was amazing. This was a great experience that
• 1:29:15
  I have not had with television in a very, very, very long time
• 1:29:19
  and I thank you guys so much for really bringing this show on
• 1:29:24
  together. And we were running out of
• 1:29:25
  fucking. We have a lot of movies we could
• 1:29:27
  watch, but how much schlock can I really?
• 1:29:29
  Can we all, really? Wade through you.
• 1:29:31
  Know it's like we love screen box, but it's like this was
• 1:29:34
  presented to us and I was pumped on it.
• 1:29:37
  So on the plane I was like, it's him.
• 1:29:41
  The gym. We were we were driving, we were
• 1:29:45
  driving down the the highway in California and Nick is is all
• 1:29:48
  quiet, I suppose, like hold on. Wait.
• 1:29:51
  Hold on, something's happening. Is incredible.
• 1:29:55
  Well, you guys, thank you for being so thoughtful as you
• 1:29:59
  watched it too. You know, I mean, it's, it's
• 1:30:01
  really fun to have people give it the attention that we really
• 1:30:05
  wanted it to get. And you guys were so smart and
• 1:30:08
  so thoughtful about it and it was just such a joy to listen to
• 1:30:12
  you. And we, I definitely kept
• 1:30:14
  refreshing my iTunes feed waiting for your 3 and 4 episode
• 1:30:18
  to come out like a big dork. As excited as you are, we were
• 1:30:21
  excited to hear what your theory for and I hope with all the new
• 1:30:25
  information you have, that'll help you put together more
• 1:30:29
  pieces of the puzzle, you know? Fucking Oh yeah.
• 1:30:31
  Pumped. Absolutely.
• 1:30:33
  So pumped before we close out, is there anything you guys
• 1:30:36
  wanted to leave our audience off with?
• 1:30:38
  And all I'm going to say is go watch Trouble with Tesla right
• 1:30:41
  now on screen box and I believe you can buy it on Amazon Prime.
• 1:30:44
  Yeah, you can. Yep, Yep, and.
• 1:30:45
  ITunes and if you have a YouTube, I believe it's YouTube
• 1:30:48
  primetime subscription. It's free and you could also buy
• 1:30:52
  it off of YouTube as well. So there's so many ways to
• 1:30:54
  enjoy. Yeah, yeah, yeah.
• 1:30:57
  I mean, I think the only thing I want to leave people with is
• 1:31:00
  just please watch it. And it's only two hours.
• 1:31:03
  The full season is a little over 2 hours.
• 1:31:05
  So it's low commitment. And if you like it, please tell
• 1:31:10
  someone. This is very much, you know, a
• 1:31:13
  grassroots campaign screen box is obviously killing it on our
• 1:31:17
  socials and. And they're doing amazing work,
• 1:31:19
  but they have a lot on their plate and are spread really
• 1:31:22
  thin. So we're trying to help them out
• 1:31:24
  and as as much additional grassroots support as we can get
• 1:31:30
  the better. That sticker, I'm so sorry.
• 1:31:31
  That sticker is incredible. We're Joe.
• 1:31:34
  Bob, Joe Bob for president. Yes, I would.
• 1:31:37
  I would rather, I would rather him than anyone else.
• 1:31:40
  Yeah, yeah. I just also want to say to
• 1:31:44
  Robin, Camilla and Alex over at Bloody Disgusting, they have
• 1:31:48
  been the ones who have been doing the PR work for us and
• 1:31:52
  like trying to get this show and we, we all work together as a
• 1:31:55
  team. Bethany and I worked really hard
• 1:31:58
  on on, on on on getting things, you know, getting the word out
• 1:32:02
  and they, they've been so wonderful and so amazing.
• 1:32:07
  Like I said earlier, like we don't have, we're not in every
• 1:32:10
  major publication. You're not going to hear about
• 1:32:12
  us in Fangoria. You're not going to hear about
• 1:32:14
  us in the room morgue. You're going to hear about us
• 1:32:18
  from a friend. And I think that that's the most
• 1:32:22
  wonderful way to hear about a show.
• 1:32:25
  And then one day, hopefully Bango will say something and Rue
• 1:32:29
  Morg might say something. And then for now, just keep
• 1:32:33
  telling your friends, keep posting about it.
• 1:32:36
  Go write a review on Letterbox, IMDb, Rotten Tomatoes, audience,
• 1:32:40
  All those things help. And we just, I hope we can do
• 1:32:44
  this again and, and bring you something new that everyone can
• 1:32:50
  enjoy and love. Yeah.
• 1:32:53
  Please everybody, go watch the trouble with Tesla right now on
• 1:32:56
  Scream Box. Go watch it on you just find it.
• 1:32:58
  Find the show and watch the show.
• 1:33:00
  Tell your friends, explore the mysteries of Lowry.
• 1:33:03
  This was a blast. We loved having you guys on the
• 1:33:07
  show. Thank you guys so much.
• 1:33:08
  This was on the island with us. We can't wait to have You guys
• 1:33:11
  are great. Anytime.
• 1:33:13
  We would love, I would love to come back.
• 1:33:15
  You guys are absolutely fantastic.
• 1:33:17
  Thank you so much. You're a joy, a joy to be
• 1:33:19
  around. You remind me of my friends I
• 1:33:20
  grew up with SO. Yeah.
• 1:33:23
  Thank you. Friends.
• 1:33:24
  I would have grown up with them. Awesome.
• 1:33:28
  Thank you, Dennis and Bethany, everybody else, have a great
• 1:33:32
  night and take it easy. Be safe.
• 1:33:34
  Thank you, Scream Box. Thank you, Scream.
• 1:33:36
  Box, thank you, Scream. Box bye, guys.