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Gren Wells and the Road Within · Movie Meltdown

• 0:18
  Speaker 1: This is Amy Simons, and you're listening to Movie Meltdown.
• 0:23
  Speaker 2: That was me melting down.
• 0:36
  Speaker 3: It's showtime. The following feature has been rated R by
• 0:39
  Speaker 3: the Motion Picture Association of America. It is intended for
• 0:43
  Speaker 3: mature audiences and parental discretion is advised.
• 0:47
  Speaker 4: Our nuclear reactor pumping out one million kilowatts of power.
• 1:18
  Speaker 5: Have you ever heard of Tourette's Syndrome?
• 1:25
  Speaker 6: Involuntarily shouting profanity?
• 1:28
  Speaker 2: It's exceptionally rare.
• 1:39
  Speaker 5: What's up, and welcome to Movie Meltdown.
• 1:41
  Speaker 2: I'm Brian, and this week we're joined by a special guest... actress, writer,
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  Speaker 2: and director, Miss Grin Wells. Now, Grin has been fighting
• 1:48
  Speaker 2: the good fight in Hollywood for quite a few years now,
• 1:51
  Speaker 2: but she seems to have done something right, because she
• 1:53
  Speaker 2: not only got her independent film made, even more impressive,
• 1:56
  Speaker 2: she seems to have done it the way she wanted to.
• 1:59
  Speaker 2: Making a film without compromising it into oblivion is a
• 2:02
  Speaker 2: feat in and of itself. But it's probably even more
• 2:04
  Speaker 2: of a challenge when you're trying to make a film
• 2:06
  Speaker 2: about three teens with mental development problems. A guy with Tourette's,
• 2:09
  Speaker 2: a man with OCD, and an anorexic woman going on
• 2:12
  Speaker 2: a road trip. Sounds like the setup for a bad
• 2:14
  Speaker 2: and probably offensive.
• 2:15
  Speaker 3: Joke, right?
• 2:16
  Speaker 2: But in actuality, it's a pitch for an ambitious independent film.
• 2:19
  Speaker 2: One that Grin not only got made with an amazing
• 2:21
  Speaker 2: cast of actors, but also seemingly got made her way.
• 2:25
  Speaker 2: But rather than having me tell you about it, let's
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  Speaker 2: just talk to Grin herself, as we sit down with
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  Speaker 2: her to discuss the path that led her to filmmaking,
• 2:32
  Speaker 2: her thoughts on working in the industry, and just how
• 2:34
  Speaker 2: this particular film came together. All right. So I think
• 2:54
  Speaker 2: it's interesting that this film is about a journey, literally
• 2:58
  Speaker 2: and figuratively. So I guess I was going to treat
• 3:00
  Speaker 2: this whole, I usually try to do these segments as
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  Speaker 2: sort of your journey journey. As to how you got
• 3:05
  Speaker 2: to where you are at this point anyway. So I
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  Speaker 2: guess starting at the beginning, you are actually from Louisville?
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  Speaker 4: I am.
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  Speaker 2: And I guess what is the path that led you to,
• 3:14
  Speaker 2: you're now in LA, right? Correct.
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  Speaker 4: By way of New York.
• 3:19
  Speaker 2: It's usually the stop off, it seems like. Everybody's like,
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  Speaker 2: and then I spent a few years in New York.
• 3:24
  Speaker 6: And then I end up in LA.
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  Speaker 4: I think there was something about the coasts in those
• 3:30
  Speaker 4: two cities that drew me. Because of the mindset. They're
• 3:35
  Speaker 4: a bit more accepting of being different. And yeah, so
• 3:41
  Speaker 4: I was drawn to both places. I still love coming home.
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  Speaker 2: We're getting more and more different here, if that helps.
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  Speaker 7: Yes.
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  Speaker 2: We're very different, but we're a different kind of different.
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  Speaker 4: Yes.
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  Speaker 2: Well, I guess as you got into it early on,
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  Speaker 2: were you... Interested in film or did it start off
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  Speaker 2: in the arts in general or how did you come
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  Speaker 2: to this?
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  Speaker 6: I guess what were your interest early on?
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  Speaker 4: I was directing plays in my basement that my dad
• 4:10
  Speaker 4: would film since when I was like six years old.
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  Speaker 4: So I always had a taste for that and for
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  Speaker 4: the arts. I ended up going to school for theater. And, uh,
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  Speaker 4: and then I ended up, uh, transferring and doing film
• 4:26
  Speaker 4: classes and stuff at NYU. Um, and it just, I
• 4:29
  Speaker 4: don't know. It was always, it was always this idea
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  Speaker 4: that I wanted to try to make a living at it,
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  Speaker 4: but coming from Kentucky, you don't, and not knowing anyone
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  Speaker 4: in the industry.
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  Speaker 2: You don't think it's an option.
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  Speaker 4: Exactly. So I was doing it more for pleasure. And
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  Speaker 4: then once I started meeting people who were in the industry, um,
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  Speaker 4: that's when I realized like, oh, there is, you can
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  Speaker 4: make a living doing this. It is a true job.
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  Speaker 3: Yeah.
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  Speaker 8: Yeah.
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  Speaker 2: There are plenty of people out there that are just
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  Speaker 2: working actors and directors that just do different jobs and
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  Speaker 2: get by and don't ever hit the like super, you know,
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  Speaker 2: high end of that list, but they're always continually working
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  Speaker 2: and making a living at that. And it is one
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  Speaker 2: of those, I think if you're not in the industry,
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  Speaker 2: you don't realize that part exists for people. It's just
• 5:14
  Speaker 2: a list or you work at a normal job, but.
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  Speaker 1: Right.
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  Speaker 5: Yeah, yeah.
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  Speaker 2: So you started off kind of getting into acting, though?
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  Speaker 4: I did just, you know, once again, looking for the
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  Speaker 4: way in.
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  Speaker 7: Yeah.
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  Speaker 4: So did a bunch of indie films in New York.
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  Speaker 4: One of them ended up winning Best Short at Sundance
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  Speaker 4: in 97, and I had a feature at Slamdance the
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  Speaker 4: same year. So I thought, great, I'm ready for L.A.
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  Speaker 4: This is it. And then moved out to L.A. and
• 5:41
  Speaker 4: realized no one gave a fuck about indie film. It
• 5:43
  Speaker 4: was like before Sundance was truly Sundance.
• 5:45
  Speaker 2: Well, and it's changed massively since it became Sunday.
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  Speaker 4: Yeah, there were no free shit parties at that point.
• 5:53
  Speaker 4: But it was good because that's when I really started
• 5:56
  Speaker 4: to decide, okay, what do I want to do? And
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  Speaker 4: that's when I realized I wanted to write and direct.
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  Speaker 4: Acting was definitely a way in and it was a
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  Speaker 4: lot of fun and I'm glad I did it because
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  Speaker 4: it gave me the perspective of directing actors how I
• 6:08
  Speaker 4: would want to be directed and the notes that I
• 6:11
  Speaker 4: would want to get.
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  Speaker 2: Yeah. you probably found more of a calling in the
• 6:15
  Speaker 2: writing part. And then as you got into that, was
• 6:18
  Speaker 2: it an easy transition? Is it something that you fell
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  Speaker 2: into okay?
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  Speaker 4: Well, I moved out there to write and direct. My
• 6:25
  Speaker 4: first script, Earthbound, I was going to direct, but then
• 6:28
  Speaker 4: a very big actress started circling it, and my agent said,
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  Speaker 4: you're not going to direct it anymore.
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  Speaker 2: This is the better plan now.
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  Speaker 4: Well, she said, look, you have two options. You can
• 6:38
  Speaker 4: sell the script to a studio, and you'll make, some
• 6:43
  Speaker 4: money and you will also start to have a career
• 6:45
  Speaker 4: or you can keep it and, and try and do
• 6:47
  Speaker 4: it yourself. And it may or may not ever get made.
• 6:50
  Speaker 4: So I chose door number one and it was, it
• 6:52
  Speaker 4: was great because it did lead me to the past
• 6:55
  Speaker 4: 15 years. I've had a very successful writing career, but.
• 7:00
  Speaker 4: it would probably be a better story if the film,
• 7:03
  Speaker 4: if that film had turned out the way I wanted
• 7:05
  Speaker 4: it to. And it was just so hard. I mean,
• 7:08
  Speaker 4: obviously this is an age old story in Hollywood about
• 7:10
  Speaker 4: how the screenwriter is not happy with how the movie
• 7:12
  Speaker 4: turned out, but it just, there are a lot of
• 7:15
  Speaker 4: people that love that film and that's great. It just
• 7:17
  Speaker 4: was different than how I intended it to be. So
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  Speaker 4: I knew that if I wanted to see something all
• 7:23
  Speaker 4: the way through, I had to write and direct it myself.
• 7:25
  Speaker 4: And there were others that I tried to get going
• 7:27
  Speaker 4: in the past 15 years and they didn't come together
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  Speaker 4: either financing wise or script wise or actor wise, what
• 7:34
  Speaker 4: have you until the road was in.
• 7:35
  Speaker 2: Yeah. See, I think, I don't know. I've come to
• 7:38
  Speaker 2: find that stuff almost as interesting as the success stories,
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  Speaker 2: because I feel like there are so many people out
• 7:44
  Speaker 2: there working as screenwriters that may sell scripts for 10
• 7:49
  Speaker 2: years and never have a movie made, but they have
• 7:51
  Speaker 2: a career because they're selling their screenplays. And like that, That, again,
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  Speaker 2: is something I don't think people on the outside understand
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  Speaker 2: at all. That you cannot make movies and be somewhat
• 8:01
  Speaker 2: of a successful screenwriter. And that's something that's interesting as well.
• 8:05
  Speaker 4: Unproduced rom-coms bought my house.
• 8:07
  Speaker 2: Oh, yeah. That's, yeah, you kind of tap into that marketing. However,
• 8:13
  Speaker 2: there's so many things that get bought and never made
• 8:15
  Speaker 2: that it's kind of amazing when something actually pans out
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  Speaker 2: and comes together the way you want it to.
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  Speaker 3: Right.
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  Speaker 2: Yeah, I think those stories along the way are equally
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  Speaker 2: as interesting, I feel like. It's just not always a
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  Speaker 2: success story, but always more interesting.
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  Speaker 3: I think.
• 8:31
  Speaker 9: This isn't something you can cure, but you can learn
• 8:34
  Speaker 9: to manage it.
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  Speaker 4: I'm sorry.
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  Speaker 9: I think it's best for you to have a roommate,
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  Speaker 9: not to be alone. Alex, this is Vincent.
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  Speaker 2: Take your shoes off!
• 8:44
  Speaker 4: He's going to be your roommate for a while.
• 8:46
  Speaker 2: Hi.
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  Speaker 9: What would you do if you could better control your tics?
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  Speaker 2: It's never really mattered.
• 8:57
  Speaker 9: Matters now.
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  Speaker 1: Hi, Marie.
• 9:00
  Speaker 4: I'm supposed to show you around the clinic. Computer room,
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  Speaker 4: but the internet blows. TV room, no cable. Game room,
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  Speaker 4: but they're all stupid.
• 9:10
  Speaker 1: Done.
• 9:11
  Speaker 2: Well, then you can go.
• 9:12
  Speaker 4: Why don't you eat?
• 9:13
  Speaker 2: Vincent, relax. Relaxing is pretty much the one thing.
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  Speaker 6: I cannot do.
• 9:19
  Speaker 2: You okay?
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  Speaker 9: If you could go anywhere in the world, where would
• 9:24
  Speaker 9: you go?
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  Speaker 1: The ocean.
• 9:30
  Speaker 4: Your son is gone.
• 9:31
  Speaker 2: What do you mean, gone?
• 9:32
  Speaker 9: He stole my car. He and two other patients are missing.
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  Speaker 9: I was embarrassed by him.
• 9:43
  Speaker 8: I don't think he'll ever forgive me for that.
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  Speaker 4: I have a lot to offer, but these stupid rituals
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  Speaker 4: just take over everything.
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  Speaker 2: Yeah, well, I think I'm fat. I guess we all
• 9:52
  Speaker 2: have issues. What if it sucks? What if it's amazing?
• 9:57
  Speaker 2: What if it's dangerous? What if it's exciting?
• 9:59
  Speaker 1: What if we die?
• 10:00
  Speaker 4: Well, what if we live?
• 10:10
  Speaker 9: Can't I get one advantage out of this illness?
• 10:14
  Speaker 2: You just said, like, four sentences without ticking once.
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  Speaker 5: But he swore, like, ten times. What's the difference?
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  Speaker 2: Should I guess? getting to The Road Within, what led
• 10:22
  Speaker 2: you to this story?
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  Speaker 4: So I saw a trailer online for a German film
• 10:29
  Speaker 4: and got very excited because it just, I figured if
• 10:33
  Speaker 4: they could pack that much heart and humor into two minutes,
• 10:35
  Speaker 4: that the movie was probably amazing.
• 10:37
  Speaker 2: This was just the trailer you already sold. Nice.
• 10:40
  Speaker 4: And so my husband and I optioned it. And luckily,
• 10:45
  Speaker 4: we were right that the film was fantastic and ended
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  Speaker 4: up winning the German Oscar for Best Film and Best Actor.
• 10:52
  Speaker 4: And it's a beautiful movie. And luckily, we optioned it
• 10:57
  Speaker 4: when we did because otherwise Harvey Weinstein or whoever would
• 11:00
  Speaker 4: have gotten it.
• 11:01
  Speaker 2: The fight begins.
• 11:02
  Speaker 4: I never would have gotten to direct it. But it
• 11:07
  Speaker 4: spoke to me because it was about outsiders.
• 11:09
  Speaker 2: Yeah.
• 11:10
  Speaker 4: I look, we were all weirdos in some way or another,
• 11:15
  Speaker 4: and whether it's on the outside or on the inside,
• 11:18
  Speaker 4: which is, uh, why the breakfast club, John Hughes movie
• 11:21
  Speaker 4: is such a classic because it doesn't matter if you're
• 11:23
  Speaker 4: the jock, the prom queen, the weirdo, the nerd, everyone
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  Speaker 4: feels like an outsider at some point. And so that
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  Speaker 4: universal feeling is what initially struck me, uh, that, that
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  Speaker 4: made me say, I want to tell this story.
• 11:37
  Speaker 2: And kind of coming from the outside of the industry
• 11:39
  Speaker 2: as well and trying to find your way in there.
• 11:43
  Speaker 2: So I guess what was the process as far as
• 11:46
  Speaker 2: you making it your own? Because you also then wrote
• 11:48
  Speaker 2: what became the screenplay.
• 11:51
  Speaker 3: Right.
• 11:51
  Speaker 4: Well, luckily, the structure in the original is perfect. Pretty
• 11:56
  Speaker 4: damn good. Um, I moved some stuff around just for
• 11:58
  Speaker 4: emotional effect and, and in the, uh, uh, adapting process. Uh,
• 12:04
  Speaker 4: but I, I also firmly believe a lot of people
• 12:06
  Speaker 4: change stuff just to change it.
• 12:08
  Speaker 5: Yeah.
• 12:09
  Speaker 4: And if it's working, why, why would you, they.
• 12:11
  Speaker 2: Want to put their own stamp on it. It feels
• 12:14
  Speaker 2: like a lot of times. And I'm like, but if
• 12:15
  Speaker 2: you're doing it wrong, it's still wrong. Regardless of it's
• 12:19
  Speaker 2: you're wrong or not.
• 12:20
  Speaker 6: It's still wrong.
• 12:20
  Speaker 4: And somebody actually made a comment. They were like, wow,
• 12:22
  Speaker 4: they didn't even change the names. I'm like, Well, why
• 12:26
  Speaker 4: would I?
• 12:26
  Speaker 2: Yeah, it's like, how does that change the character?
• 12:29
  Speaker 4: So Vincent is an awesome name for this character. But regardless,
• 12:35
  Speaker 4: the biggest work that I did was actually on the characters.
• 12:39
  Speaker 4: I did feel like Alex in the original, the one
• 12:43
  Speaker 4: with OCD, that he was comic relief. And I wanted
• 12:47
  Speaker 4: to go deeper with that because all of the research
• 12:50
  Speaker 4: that I did about OCD, it's a really paralyzing thing.
• 12:54
  Speaker 4: disorder that this one man who I met, um, Chad Fess,
• 12:58
  Speaker 4: sometimes he couldn't get out of his door to go
• 13:01
  Speaker 4: to work in the morning because he couldn't open the
• 13:02
  Speaker 4: door correctly. Now there's, there's no obviously correct way to
• 13:07
  Speaker 4: open a door, but to.
• 13:09
  Speaker 2: Him, his mind.
• 13:10
  Speaker 4: And so that's how powerful his disorder was. And so
• 13:13
  Speaker 4: I wanted to show that underbelly. And I think Dove
• 13:16
  Speaker 4: Patel just did a brilliant job portraying it because you
• 13:19
  Speaker 4: truly just love that character. And then similarly with Marie,
• 13:25
  Speaker 4: I was anorexic and bulimic growing up, and so I
• 13:27
  Speaker 4: wanted to bring a bit more reality to that character
• 13:31
  Speaker 4: and show that it is the number one psychiatric disorder,
• 13:36
  Speaker 4: the highest number of deaths. That's right. So just bringing
• 13:40
  Speaker 4: that into the ether and having people talk about it
• 13:45
  Speaker 4: was a huge, huge mandate of mine.
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  Speaker 2: I mean, that is something that still, as long as
• 13:50
  Speaker 2: it's been... sort of brought to the public for 30
• 13:54
  Speaker 2: years or more, but it's something that people really don't
• 13:56
  Speaker 2: talk about. So it is interesting to see somebody not
• 13:59
  Speaker 2: only treat it seriously, but who has some insight into
• 14:02
  Speaker 2: doing it possibly the right way.
• 14:04
  Speaker 3: Right.
• 14:04
  Speaker 4: And it has been done, obviously, in lifetime movies and specials.
• 14:09
  Speaker 6: Again, not the best treatment problems.
• 14:11
  Speaker 4: Yeah, because they gloss over a lot of the reality.
• 14:14
  Speaker 4: And we chose to do it very authentically. it will
• 14:19
  Speaker 4: be triggering to some people who are currently in the
• 14:21
  Speaker 4: throes of it because it's a no-holds-barred look at it,
• 14:26
  Speaker 4: which is also why it was so important for Zoe
• 14:29
  Speaker 4: to lose the weight and look like a true anorexic
• 14:34
  Speaker 4: because it was... I mean, look, that scene in particular
• 14:38
  Speaker 4: where we see her body and how much she has
• 14:41
  Speaker 4: wasted away, that's the scene that will trigger people, 100%.
• 14:45
  Speaker 4: But we also said that the reality of showing what
• 14:50
  Speaker 4: it does to the body is far more important to
• 14:53
  Speaker 4: bring out into a discussion because I don't think people
• 14:56
  Speaker 4: realize how serious it is.
• 14:59
  Speaker 6: I think you need that.
• 15:00
  Speaker 2: It shows the stakes that you're dealing with, that it
• 15:02
  Speaker 2: is something that will lead to death if you don't
• 15:05
  Speaker 2: deal with it.
• 15:05
  Speaker 7: Exactly.
• 15:07
  Speaker 2: And you mentioned those two disorders that you're dealing with,
• 15:10
  Speaker 2: but then the Tourette's, I think you Did a lot
• 15:13
  Speaker 2: of studying on that one as well.
• 15:15
  Speaker 4: Yes, we did. Six months working with Robert Sheehan, my
• 15:20
  Speaker 4: lead actor, and Jackson Kramer, a young man with Tourette's.
• 15:24
  Speaker 4: And Jackson is just the most giving, open, honest, beautiful
• 15:28
  Speaker 4: person because he truly said, he said, awareness and education
• 15:32
  Speaker 4: are the only things to combat the misinformation out there.
• 15:35
  Speaker 4: And obviously it has been the butt of jokes and
• 15:38
  Speaker 4: the way it has been portrayed in most media. And
• 15:42
  Speaker 4: so we wanted to do a real portrayal. Now, obviously,
• 15:45
  Speaker 4: Vincent's case is very severe because he has coprolalia, which
• 15:49
  Speaker 4: is where you vocalize and say inappropriate things. And only
• 15:53
  Speaker 4: about 10% of Tourette's sufferers actually have coprolalia. But we
• 15:58
  Speaker 4: didn't necessarily want to make a movie about a guy
• 15:59
  Speaker 4: who blinked a lot. I mean, the stakes wouldn't be
• 16:02
  Speaker 4: as high. And the social isolation of someone with coprolalia
• 16:06
  Speaker 4: is so much bigger because they can't go back. To
• 16:11
  Speaker 4: the movies. They get kicked out of restaurants. All of
• 16:14
  Speaker 4: those things that are mentioned in the movie, getting kicked
• 16:15
  Speaker 4: off of planes, those all happened to Jackson. So I
• 16:20
  Speaker 4: do think that it was important for the character to
• 16:23
  Speaker 4: have that severe case. And by the way, we met
• 16:25
  Speaker 4: people whose cases were actually worse. So it is interesting
• 16:30
  Speaker 4: when people say, oh, that's not real. It is 100% real.
• 16:35
  Speaker 4: And we really, really took it to heart to make
• 16:38
  Speaker 4: sure Uh, that's why, uh, Robbie, I moved them in together,
• 16:42
  Speaker 4: Robbie and Jackson for a month.
• 16:44
  Speaker 2: That's quite an undertaking for an actor.
• 16:46
  Speaker 7: Yeah.
• 16:46
  Speaker 4: And by the way, Robert Sheehan did all of this
• 16:49
  Speaker 4: for no pay, like the six month rehearsal process. First
• 16:53
  Speaker 4: of all, it's impossible to get an actor. to dedicate
• 16:56
  Speaker 4: that kind of time and if you're not paying them
• 16:59
  Speaker 4: you know through the moon he's.
• 17:00
  Speaker 2: A really hot actor at this point so yeah to
• 17:03
  Speaker 2: pin him down for that much time is impressive on
• 17:05
  Speaker 2: your part really.
• 17:06
  Speaker 4: Well it's because he also he wanted to make sure
• 17:09
  Speaker 4: that he portrayed it with authenticity and all of my
• 17:12
  Speaker 4: actors did and I got very very lucky now granted
• 17:15
  Speaker 4: I met with them and it was a requirement because
• 17:19
  Speaker 4: the making sure that the portrayals were authentic was number.
• 17:24
  Speaker 2: One yeah you can't phone those performances.
• 17:26
  Speaker 7: Yeah.
• 17:26
  Speaker 4: And by the way, nobody should know how to do Tourette's.
• 17:30
  Speaker 4: They shouldn't have it in their back pocket. So when
• 17:32
  Speaker 4: I first met with everyone, it, no one, they weren't auditions.
• 17:36
  Speaker 4: We sat down and had coffee and I was looking
• 17:38
  Speaker 4: for more of an energy level more than anything else,
• 17:41
  Speaker 4: because I knew I needed someone who was already hyper
• 17:44
  Speaker 4: to begin with just in the resting state, because that
• 17:47
  Speaker 4: way you wouldn't see the ticks come up.
• 17:50
  Speaker 8: Yeah.
• 17:50
  Speaker 4: Now, you know, I met with some incredible actors who
• 17:52
  Speaker 4: had a very low energy level and I instantly knew
• 17:55
  Speaker 4: they wouldn't work because of the fact that you would
• 17:58
  Speaker 4: see it.
• 17:59
  Speaker 2: Yeah, it becomes a performance more than anything.
• 18:02
  Speaker 4: Exactly. So, you know, it was just, it was really
• 18:06
  Speaker 4: important to me and Robbie Sheehan had all of the
• 18:09
  Speaker 4: qualities that I was looking for.
• 18:10
  Speaker 3: Nice.
• 18:11
  Speaker 2: Well, then you did, I'm assuming you're working with a...
• 18:14
  Speaker 2: relatively limited budget you put together.
• 18:16
  Speaker 4: A great cast so.
• 18:19
  Speaker 2: Again i i'm yeah giving you the benefit of the
• 18:21
  Speaker 2: doubt there you we're not gonna throw numbers out but
• 18:24
  Speaker 2: but to bring in even you know the the three
• 18:27
  Speaker 2: younger actors is impressive enough but you bring in some
• 18:30
  Speaker 2: pretty established you know robert patrick has been doing this
• 18:33
  Speaker 2: a long time kira cedric is pretty well established so
• 18:36
  Speaker 2: it's I guess, how did you bring in those names
• 18:39
  Speaker 2: as well?
• 18:40
  Speaker 4: They fell in love with the script.
• 18:41
  Speaker 6: Yeah.
• 18:42
  Speaker 4: And I got very, very lucky. I remember Kira actually going,
• 18:46
  Speaker 4: I'm begging you. And I was like, you're Kira Sedgwick.
• 18:48
  Speaker 4: You don't have to beg. You're the closer. But no,
• 18:52
  Speaker 4: she's amazing. I love her so much. And RFP, which
• 18:57
  Speaker 4: stands for Robert fucking Patrick, is just, I love that man.
• 19:02
  Speaker 2: I've heard some stuff with him. He is quite a character.
• 19:05
  Speaker 2: So I can imagine being on set with him all day.
• 19:08
  Speaker 4: He actually said to me once, because his part actually
• 19:12
  Speaker 4: only shot for two weeks. And so we did all
• 19:15
  Speaker 4: of it in a very confined time period. But after
• 19:18
  Speaker 4: the first week, he said, you know what? You are
• 19:20
  Speaker 4: seriously like one of the top three female directors I've
• 19:23
  Speaker 4: ever worked with. And I said, wow, thanks, RP. It
• 19:27
  Speaker 4: was like, how many have you worked with? He goes, three.
• 19:31
  Speaker 2: That sounds more like him than anyone.
• 19:33
  Speaker 4: So, no, he's fantastic.
• 19:37
  Speaker 2: Well, then I guess what I was wondering is then
• 19:40
  Speaker 2: you then functioning as the director and dealing with people
• 19:44
  Speaker 2: on kind of opposite ends. Not that the younger cast...
• 19:48
  Speaker 2: is not well established. They've all been working since childhood,
• 19:51
  Speaker 2: it seems like. But do you approach it differently when
• 19:54
  Speaker 2: you're working with somebody like Robert Patrick, who's been doing
• 19:57
  Speaker 2: it for so much longer?
• 19:58
  Speaker 6: Do you direct differently?
• 20:00
  Speaker 2: Them differently or how, how do you approach the, the performances?
• 20:04
  Speaker 4: I mean, look, because the, the kids and I, uh,
• 20:07
  Speaker 4: and my kids, I mean, Robbie, Kevin, Zoe, um, We
• 20:11
  Speaker 4: had rehearsed for so long at that point that they
• 20:13
  Speaker 4: came in and we could only do three takes per setup.
• 20:18
  Speaker 4: We just didn't have time. We shot this in 23 days.
• 20:20
  Speaker 2: Dealing with the limited budget. That's impressive as well.
• 20:25
  Speaker 4: So they were just on it. And it's true that
• 20:28
  Speaker 4: the majority of Kira and Robert Patrick's scenes were separate.
• 20:34
  Speaker 4: But they are such pros. They come in knowing their
• 20:37
  Speaker 4: lines and knowing their characters and nailing it. Uh, there
• 20:41
  Speaker 4: was really and truly only a handful of times where
• 20:43
  Speaker 4: I had to, uh, help them through a problem moment. Um,
• 20:49
  Speaker 4: I remember this one, it was actually just a reaction
• 20:51
  Speaker 4: shot that I needed from, from Robert Patrick, uh, based
• 20:54
  Speaker 4: on something that Kira was saying. And, and he, he,
• 20:58
  Speaker 4: he just didn't understand what I was, what I was
• 21:00
  Speaker 4: going for. Cause there wasn't a line. It was just
• 21:02
  Speaker 4: a facial expression. And so we, we did two takes and,
• 21:06
  Speaker 4: and he wasn't, I wasn't getting what I needed. And
• 21:09
  Speaker 4: so he said, you got to help me, like, just
• 21:11
  Speaker 4: tell me what to do. And I literally said, blue cheese.
• 21:15
  Speaker 4: And he looks at me with this quizzical look on
• 21:17
  Speaker 4: his face. I was like, exactly. That's the look I need.
• 21:20
  Speaker 4: Cause he was just something so random that I just needed.
• 21:23
  Speaker 4: And so in next take, he went in and he
• 21:26
  Speaker 4: thought blue cheese and got, I got what I needed. So,
• 21:29
  Speaker 4: so in moments like that, obviously you just have to be, uh,
• 21:32
  Speaker 4: you know, quick on your feet and think of something
• 21:35
  Speaker 4: to help them through it because you uh, obviously he just,
• 21:39
  Speaker 4: I wasn't clear enough to begin with to tell him
• 21:42
  Speaker 4: exactly what I needed. And I don't ever like doing
• 21:44
  Speaker 4: line readings or, or facial expressions. Exactly. I want them
• 21:47
  Speaker 4: to find it on their own because that's, that's what
• 21:50
  Speaker 4: we're paying for in the little bit of money that
• 21:52
  Speaker 4: we pay them. That's what we're paying for.
• 21:54
  Speaker 2: That's what they bring to the table.
• 21:55
  Speaker 4: Yeah. So, um, but no, we, they were just a
• 21:59
  Speaker 4: pleasure to direct, uh, because they, like I said, they
• 22:02
  Speaker 4: came prepared.
• 22:04
  Speaker 2: Well, that's, I think what I'm, have been noticing so
• 22:06
  Speaker 2: much over the years is that it's not, the director
• 22:09
  Speaker 2: is not so much there to direct them in the
• 22:12
  Speaker 2: acting sense all the time, but almost more to string
• 22:16
  Speaker 2: all these pieces together, because especially in a film, you're
• 22:19
  Speaker 2: shooting out of sequence, so it's like you're the one
• 22:21
  Speaker 2: that's got to keep track of, okay, this comes at
• 22:23
  Speaker 2: this point, and your character is, you know, been through
• 22:26
  Speaker 2: this much, and they need to be at this state,
• 22:28
  Speaker 2: so it's like they can kind of deliver the acting
• 22:30
  Speaker 2: if they're professionals, but Yeah, you're the one keeping track
• 22:33
  Speaker 2: of everything.
• 22:34
  Speaker 1: Right.
• 22:34
  Speaker 5: So, yeah.
• 22:35
  Speaker 4: It really was tone more than anything.
• 22:37
  Speaker 5: Yeah.
• 22:39
  Speaker 4: Especially with the Tourette's, Robbie and I went through beforehand
• 22:42
  Speaker 4: and we numbered each scene as to where the Tourette's was. Now,
• 22:45
  Speaker 4: obviously it fluctuated even within a scene, but the beginning
• 22:48
  Speaker 4: of the scene we said, okay, it starts at a
• 22:50
  Speaker 4: three and it will end at a six. And then
• 22:53
  Speaker 4: the next scene, you know, depending on if it's immediately
• 22:55
  Speaker 4: afterwards or whatnot, it might be higher, lower, according to
• 22:58
  Speaker 4: what's happened right before.
• 22:59
  Speaker 7: Yeah.
• 23:00
  Speaker 4: There's only two tens in the whole movie, and that
• 23:02
  Speaker 4: was the funeral and the fight at the end. Because also,
• 23:06
  Speaker 4: there's no way the audience could sustain watching that. It
• 23:11
  Speaker 4: would be too much. It's funny, I've joked, I said,
• 23:16
  Speaker 4: I didn't want to make a two-hour Tourette's drama, but
• 23:18
  Speaker 4: I don't want to watch that, let alone make it.
• 23:20
  Speaker 2: That's a lot to deal with.
• 23:22
  Speaker 4: So that's why humor was also so important to inject
• 23:25
  Speaker 4: into it, because laughing is breathing. And so you're giving
• 23:30
  Speaker 4: the audience a chance to breathe by injecting humor. And
• 23:33
  Speaker 4: I just, I mean, look, my favorite movies are old
• 23:36
  Speaker 4: Jim Brooks movies, Mike Nichols, John Hughes. And I think
• 23:39
  Speaker 4: that they did such a brilliant job combining the two.
• 23:42
  Speaker 2: When it, when you meet people that have dealt with
• 23:45
  Speaker 2: that their whole life, usually they have a really good
• 23:47
  Speaker 2: sense of humor anyway, because they would lose it. If not,
• 23:51
  Speaker 2: it's like they learn to deal with it. And humor
• 23:53
  Speaker 2: is such a good way for even them to try
• 23:55
  Speaker 2: to process what they're going through. So I, I would
• 23:58
  Speaker 2: think that would be a little true, too, that they
• 24:00
  Speaker 2: need to use humor as they go through life, basically.
• 24:04
  Speaker 4: Well, it's so interesting, 100%, because, look, I don't read reviews.
• 24:08
  Speaker 4: I learned early on from my predecessors and stuff who've
• 24:14
  Speaker 4: been doing this a lot longer, and they all said,
• 24:17
  Speaker 4: just don't, because it's one person's opinion, and so much depends.
• 24:21
  Speaker 4: Usually they're watching it in a vacuum, in their house,
• 24:24
  Speaker 4: on their computer, what have you, And it just, it
• 24:27
  Speaker 4: doesn't matter because that one person's bad day can, can
• 24:31
  Speaker 4: destroy everything that you've been working for. And it can
• 24:34
  Speaker 4: change the way you think about your movie, which, you know,
• 24:36
  Speaker 4: I love my film and I know it has changed
• 24:38
  Speaker 4: people's lives. I've been told by, by audiences all over
• 24:42
  Speaker 4: the world. So, so I don't want to let someone
• 24:45
  Speaker 4: else's opinion affect mine, but I have heard some people
• 24:49
  Speaker 4: who have said that they didn't like the way that
• 24:51
  Speaker 4: we combined humor and with these disorders that we didn't
• 24:54
  Speaker 4: give it the, we didn't treat it with the respect
• 24:57
  Speaker 4: that it deserves. And I was like, who the fuck
• 25:00
  Speaker 4: are you?
• 25:01
  Speaker 3: Yeah.
• 25:02
  Speaker 4: To say that just because you have a disorder that
• 25:04
  Speaker 4: you have to be serious all the time. What are
• 25:06
  Speaker 4: you wearing a fucking banner?
• 25:07
  Speaker 2: And what life do you lead that like, there is
• 25:10
  Speaker 2: no humor in my life ever at any point. Like
• 25:12
  Speaker 2: I go through my day, like how horrible life must
• 25:15
  Speaker 2: you have, which is probably why you had this terrible
• 25:18
  Speaker 2: review of things. You probably have terrible reviews of everything.
• 25:21
  Speaker 9: Right.
• 25:21
  Speaker 6: Your life's miserable.
• 25:22
  Speaker 1: Yeah.
• 25:24
  Speaker 4: But I do find it interesting because the people that
• 25:26
  Speaker 4: get it are the people who are actually going through it.
• 25:29
  Speaker 4: And I don't think we've had one person with Tourette's
• 25:32
  Speaker 4: anorexia or OCD who has watched this film and didn't say,
• 25:36
  Speaker 4: like jumping up and down, this is my life. Oh
• 25:38
  Speaker 4: my God, thank you. And those are the people that
• 25:41
  Speaker 4: I would rather listen to anyway.
• 26:00
  Speaker 3: It's intermission time. So how about taking a break, get
• 26:03
  Speaker 3: out and stretch a little, and relax before the show
• 26:07
  Speaker 3: begins again. And why not make it refreshment time, too?
• 26:10
  Speaker 3: We have lots of tasty, delicious treats waiting for you
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  Speaker 3: at the refreshment center. There's hot popcorn, so golden good
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• 26:27
  Speaker 5: Ice cream so smooth.
• 26:28
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• 26:36
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• 26:50
  Speaker 5: Want some music for your ears? Doo-Wop Shop makes it
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• 26:56
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• 26:59
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• 27:02
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• 27:08
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• 27:13
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• 27:17
  Speaker 2: Hey guys, look what I've got. Check out these awesome
• 27:20
  Speaker 2: earbuds I'm using right now.
• 27:22
  Speaker 3: Look at that.
• 27:23
  Speaker 6: That's wood right there.
• 27:24
  Speaker 5: That's actual wood. Why would you use wood to make technology?
• 27:28
  Speaker 2: Because they're... It's like... They're steampunk. Is steampunk really wood?
• 27:35
  Speaker 6: I thought it was more of a brass thing.
• 27:36
  Speaker 2: Well, you got to work the wood in to hold
• 27:38
  Speaker 2: the brass together. These are the fancy high-end steampunk versions
• 27:42
  Speaker 2: with a mic built in, mind you. But yeah, where
• 27:46
  Speaker 2: would I get these you wonder? Tweaked audio.
• 27:51
  Speaker 5: Way to pitch. You want to hear more, you say?
• 27:57
  Speaker 2: Tweakedaudio.com. Hey, they are available in three styles and seven colors,
• 28:02
  Speaker 2: and they sound pretty damn good. I kind of forgot
• 28:04
  Speaker 2: because I hadn't had my old pair in a while,
• 28:07
  Speaker 2: and I was using the knockoff crappy ones I bought
• 28:09
  Speaker 2: at the store. And I got these and put them in.
• 28:12
  Speaker 2: I was like, oh, shit, that's right. These are actually
• 28:14
  Speaker 2: really good. So they are professional.
• 28:16
  Speaker 5: Quality earbuds, mind you.
• 28:17
  Speaker 2: And, you know, noise reducing, compatible with your iPods and
• 28:23
  Speaker 2: Most phones, unless you have a dumb phone. You should
• 28:25
  Speaker 2: really get a smart phone, not a dumb phone. So anyway,
• 28:29
  Speaker 2: the basic rundown here. If you need yourself some earbuds, tweakedaudio.com.
• 28:34
  Speaker 2: And if you go there, there's a deal. There's a
• 28:37
  Speaker 2: Meltdown deal. If you go, there's a discount code, and
• 28:40
  Speaker 2: you put in Meltdown, you get 33% off and free shipping.
• 28:44
  Speaker 5: You guys are excited, right?
• 28:46
  Speaker 2: Yeah. As well you should be. tweakedaudio.com.
• 28:50
  Speaker 6: Use the Meltdown code.
• 28:51
  Speaker 5: That's all I'm saying.
• 28:53
  Speaker 1: If it be not today, may the bluebird drop his
• 29:04
  Speaker 1: feather to the ground.
• 29:07
  Speaker 4: Hi, this is Martha Stevens, and you are listening to
• 29:10
  Speaker 4: Movie Meltdown.
• 29:12
  Speaker 2: Sing my song.
• 29:15
  Speaker 8: Sing my song.
• 29:20
  Speaker 1: Sing my song.
• 29:25
  Speaker 5: It's part of your problem, you know.
• 29:26
  Speaker 3: You haven't seen enough movies. All of life's riddles are.
• 29:29
  Speaker 5: Answered in the movies.
• 29:32
  Speaker 3: And now, on with the show.
• 29:33
  Speaker 2: Well then, I guess, doing what you have to do
• 29:52
  Speaker 2: on this film, you also try to bring some of yourself.
• 29:55
  Speaker 2: What is your visual style that you're going for with
• 29:59
  Speaker 2: something like this?
• 30:00
  Speaker 4: So I definitely took pieces of The Wizard of Oz
• 30:06
  Speaker 4: just because I wanted color to help tell the story.
• 30:09
  Speaker 4: So it starts very muted and then slowly as the
• 30:14
  Speaker 4: movie goes on and the kids, especially once they get
• 30:17
  Speaker 4: on the road, the color palette changes because their life
• 30:19
  Speaker 4: starts to change. Their outlook on life starts to change
• 30:22
  Speaker 4: and they realize that anything is possible. So it keeps
• 30:26
  Speaker 4: getting more and more saturated until the top of Yosemite,
• 30:29
  Speaker 4: which is the pinnacle for them. This is where they've
• 30:32
  Speaker 4: actually accomplished something in which their whole lives they've been
• 30:35
  Speaker 4: told that they they're not capable of, of anything. So
• 30:39
  Speaker 4: this is a very pivotal moment. And in that, in
• 30:40
  Speaker 4: that moment, the color is almost like a painting. It's
• 30:43
  Speaker 4: so saturated. And then in the third act, once they
• 30:46
  Speaker 4: come back to reality to realize like, okay, life wasn't
• 30:49
  Speaker 4: like it was at the beginning. It also wasn't, isn't
• 30:52
  Speaker 4: like how it was in the middle. there are realities
• 30:55
  Speaker 4: that you have to face with and then the color
• 30:56
  Speaker 4: becomes very natural. And so it's subtle, but obviously I
• 31:01
  Speaker 4: do think it helps tell the story, uh, that of
• 31:05
  Speaker 4: their emotional state at each moment. So, um, Chris Baffa, my,
• 31:10
  Speaker 4: my DP and I talked about it and just how,
• 31:13
  Speaker 4: how we wanted that to, to play throughout. Uh, we
• 31:16
  Speaker 4: also played with, um, partially for budgetary reasons, but a
• 31:20
  Speaker 4: lot of, a lot of wide shots just so we
• 31:23
  Speaker 4: wouldn't have to go in for coverage.
• 31:25
  Speaker 2: Yeah. It's strategy at some points.
• 31:28
  Speaker 4: At some points, yes. But it ended up working out
• 31:31
  Speaker 4: well in terms of starting to have a look to
• 31:34
  Speaker 4: the film because I didn't I don't personally like films
• 31:37
  Speaker 4: that go for close-ups every other moment. It's like, otherwise
• 31:40
  Speaker 4: you're telling the audience like, oh, you're supposed to feel here. Oh,
• 31:42
  Speaker 4: and you're supposed to feel here. Because that's what a
• 31:43
  Speaker 4: close-up is. It's going in on the emotion of the face.
• 31:46
  Speaker 2: And pay attention to what they're saying right now.
• 31:47
  Speaker 8: Yeah.
• 31:48
  Speaker 4: And so I like the fact that in some of
• 31:50
  Speaker 4: those shots, you don't know what to watch necessarily. And
• 31:53
  Speaker 4: it also allows for repeat viewing.
• 31:55
  Speaker 3: Yeah.
• 31:55
  Speaker 4: Because you can go back and actually find something different. So,
• 31:59
  Speaker 4: and all that stuff was orchestrated. And, you know, so
• 32:02
  Speaker 4: we slowly go in throughout the films. until the, you know,
• 32:05
  Speaker 4: one of the final shots of Vincent is the closest
• 32:07
  Speaker 4: we've ever seen him. And, and I like it that
• 32:10
  Speaker 4: way because it's, you are following this journey. You're getting
• 32:14
  Speaker 4: to know him. And finally at the end, you do
• 32:16
  Speaker 4: feel like you've got a really good base for, for
• 32:18
  Speaker 4: who this character is and his whole life, what he's
• 32:21
  Speaker 4: been through. And at that moment, he's okay. So.
• 32:24
  Speaker 2: That's again, anybody who puts that kind of thought and
• 32:28
  Speaker 2: that's why filmmaking is an art form is that people
• 32:31
  Speaker 2: put that much time and effort into just the planning
• 32:34
  Speaker 2: and the, concept of what they're doing so that's yeah
• 32:37
  Speaker 2: i any of that is always appreciated on mine um
• 32:43
  Speaker 2: the other one i was going to ask you again
• 32:45
  Speaker 2: we've mentioned the budget so i'm assuming you've shot digital
• 32:48
  Speaker 2: yes so my question is i this is one of
• 32:51
  Speaker 2: those that's kind of a talking point in our world
• 32:53
  Speaker 2: now what is your thought on 35 millimeter just the
• 32:57
  Speaker 2: fact that you know, now that you live in LA,
• 32:59
  Speaker 2: you're surrounded by an industry that it's almost a fight.
• 33:02
  Speaker 2: And there's a handful of directors holding on to this
• 33:05
  Speaker 2: love of 35 millimeter. But as a practical working director,
• 33:10
  Speaker 2: I'm assuming digital is the way that most people have
• 33:13
  Speaker 2: to go. So I don't know what your thoughts were.
• 33:15
  Speaker 4: I mean, obviously film, I think any director would say, yes, please.
• 33:20
  Speaker 2: The romanticized 35 millimeter.
• 33:24
  Speaker 4: But it's also just the difference between listening to a
• 33:27
  Speaker 4: record and or a CD. It is different. Obviously, only
• 33:34
  Speaker 4: the fine-tuned ear can truly hear the difference, but in
• 33:39
  Speaker 4: my film, we had to do some pickup shots with
• 33:41
  Speaker 4: a RED camera we shot on the Alexa, and I
• 33:43
  Speaker 4: can see the difference. It's glaring to me, as a
• 33:46
  Speaker 4: matter of fact, but most people can't.
• 33:48
  Speaker 2: This is when you spend a lot of time in
• 33:50
  Speaker 2: the editing bay.
• 33:51
  Speaker 9: Exactly.
• 33:52
  Speaker 4: But no, the 35mm has a warmth. as similar to
• 33:56
  Speaker 4: a record that, that, uh, I think it, it does
• 34:00
  Speaker 4: however small the degree is that, that the audience would
• 34:04
  Speaker 4: pick up on it emotionally. I don't know if anyone
• 34:07
  Speaker 4: could see the difference visually, but, but I think it's
• 34:10
  Speaker 4: more that all of the directors that are using it
• 34:13
  Speaker 4: and continue to use it have been using it for 20,
• 34:15
  Speaker 4: 30 years. So I don't think if I came out
• 34:19
  Speaker 4: on my first film and said, I'm shooting 35, that's.
• 34:21
  Speaker 2: A hard, fuck myself, you know? As long as you're
• 34:27
  Speaker 2: bringing this 35 with you and paying for it out
• 34:29
  Speaker 2: of pocket, feel free.
• 34:30
  Speaker 4: Exactly. So hopefully at some point in my career, I
• 34:33
  Speaker 4: will get to shoot something on film.
• 34:36
  Speaker 2: But the, as far as you, you've finished this film
• 34:39
  Speaker 2: and just that in and of itself is amazing. And
• 34:42
  Speaker 2: then you edit it together. Like you, like all of
• 34:44
  Speaker 2: that is like, as I said earlier, it's like such
• 34:47
  Speaker 2: an uphill battle. And that is a fight just to
• 34:49
  Speaker 2: get all that done. Then my question is, how has
• 34:52
  Speaker 2: the process been? Now you've got to get it out
• 34:54
  Speaker 2: to the world. So that is its own new battle
• 34:57
  Speaker 2: that starts. So I don't know, how has that process
• 35:01
  Speaker 2: been and the steps that you have to go through
• 35:04
  Speaker 2: now that, again, it's a very different landscape than it
• 35:06
  Speaker 2: was even 20 years ago.
• 35:08
  Speaker 4: So most of that fell onto the producers and the
• 35:12
  Speaker 4: financiers' shoulders because obviously that's their area of expertise. But
• 35:17
  Speaker 4: we premiered at the LA Film Festival and we sold there.
• 35:20
  Speaker 4: So that was fantastic because obviously distribution is... More than
• 35:25
  Speaker 4: half the battle.
• 35:25
  Speaker 6: Yeah.
• 35:27
  Speaker 4: And Well Go USA came on board. They were the
• 35:31
  Speaker 4: most passionate about the film. A lot of people were
• 35:33
  Speaker 4: very worried about the language, about it being rated R,
• 35:36
  Speaker 4: which is fucking ridiculous.
• 35:38
  Speaker 2: In this day and age, really.
• 35:40
  Speaker 8: I know.
• 35:40
  Speaker 2: Especially since everyone's streaming stuff into their home and they're
• 35:44
  Speaker 2: all watching whatever they want.
• 35:45
  Speaker 6: It's like, yeah, that's a very strange.
• 35:47
  Speaker 2: But I mean, I run into that a lot too. Obviously,
• 35:50
  Speaker 2: I gave you the green light. But it's funny how
• 35:52
  Speaker 2: many times people will seem like they have a problem
• 35:54
  Speaker 2: with that. I'm like, what do you watch or listen
• 35:56
  Speaker 2: to or anything that doesn't have that language in it?
• 35:59
  Speaker 2: But they still seem like they have to have that.
• 36:02
  Speaker 2: They feel like they're supposed to have that reservation.
• 36:06
  Speaker 4: But it's only in the U.S.
• 36:07
  Speaker 8: Yeah.
• 36:07
  Speaker 4: Because when we showed the film in Rome at the
• 36:09
  Speaker 4: Rome Film Festival and we won best film, our jury
• 36:13
  Speaker 4: was 14 to 18 years old.
• 36:15
  Speaker 1: Nice.
• 36:15
  Speaker 9: And so.
• 36:16
  Speaker 6: Every one of those kids talks like that.
• 36:18
  Speaker 3: Yeah.
• 36:18
  Speaker 2: I hate to tell their parents. But my parents do too.
• 36:21
  Speaker 4: But by the way, they actually, it's reversed where violent
• 36:24
  Speaker 4: things get the R rating or get the more adult rating.
• 36:28
  Speaker 4: We don't have that. And yeah, I mean, here you
• 36:30
  Speaker 4: can blow someone's head off and it still is PG-13,
• 36:32
  Speaker 4: but God forbid you say, fuck you more than once.
• 36:37
  Speaker 4: So it is ridiculous because this film could actually help
• 36:41
  Speaker 4: open the discussion with teenagers. to talk about having compassion
• 36:46
  Speaker 4: and understanding towards someone with mental health issues. So the
• 36:49
  Speaker 4: very people that should be seeing it are being prevented
• 36:52
  Speaker 4: because some fucking archaic society, a.k.a. the MPAA.
• 36:57
  Speaker 2: Which sort of outlived its usefulness, but whatever.
• 37:00
  Speaker 4: And I just, I think it's ridiculous. I think that
• 37:03
  Speaker 4: parents should be making that decision. And by the way,
• 37:05
  Speaker 4: there's some very mature 13-year-olds and some very immature 17-year-olds.
• 37:09
  Speaker 4: So therefore, it should be the parents' decision. My older
• 37:13
  Speaker 4: sister is actually bringing her 14-year-old son tonight to see
• 37:15
  Speaker 4: the film, but the 13-year-old sister is not coming because
• 37:22
  Speaker 4: she feels that just emotionally she's not ready.
• 37:26
  Speaker 2: She knows the difference because she's their parent.
• 37:28
  Speaker 4: Parenting is the key.
• 37:32
  Speaker 2: That doesn't always happen.
• 37:33
  Speaker 4: Yeah, but I do think that it should be the
• 37:36
  Speaker 4: parent's decision because it's a very sweet... movie underneath the
• 37:42
  Speaker 4: cursing and and just to be fully uh uh above
• 37:46
  Speaker 4: board you do see zoe kravitz nipples for about 2.3
• 37:48
  Speaker 4: seconds but what person hasn't seen nipples.
• 37:52
  Speaker 2: Again in america we have an issue with that right
• 37:55
  Speaker 2: which i'm assuming anywhere else you go with the film
• 37:57
  Speaker 2: nobody's gonna even notice really right.
• 38:00
  Speaker 4: And it's not sexual in any way it's it's so
• 38:04
  Speaker 4: um so parents.
• 38:06
  Speaker 2: When if you're listening, just be aware. Well, check it
• 38:10
  Speaker 2: out and do your job.
• 38:11
  Speaker 3: Yeah.
• 38:11
  Speaker 4: Check it out. Watch it. If you think your kid
• 38:13
  Speaker 4: is mature enough, watch it with them and then talk
• 38:17
  Speaker 4: to them about it afterwards. Because I really believe that,
• 38:20
  Speaker 4: that if they see this film and they are at
• 38:23
  Speaker 4: least exposed to these disorders, then the next time they
• 38:27
  Speaker 4: actually see someone out in society with this problem, there'll
• 38:30
  Speaker 4: be that much more understanding.
• 38:32
  Speaker 2: You have a window into, they're not, just this thing
• 38:35
  Speaker 2: that I don't understand. Oh, remember that movie where they
• 38:38
  Speaker 2: actually were a real person and I got to care
• 38:40
  Speaker 2: about them. And yeah, I think it does give you
• 38:42
  Speaker 2: that opportunity, especially for a kid who doesn't know that stuff.
• 38:46
  Speaker 2: It's not, they, they aren't biased initially. They're just kind
• 38:49
  Speaker 2: of frightened by it sometimes, especially if it's something loud
• 38:53
  Speaker 2: or like something they just don't understand that. Yeah. If
• 38:56
  Speaker 2: you give them a reason to understand it, it's, it
• 38:59
  Speaker 2: makes it a lot easier.
• 39:00
  Speaker 3: Right.
• 39:01
  Speaker 4: But back to distribution. So we were released in theaters
• 39:05
  Speaker 4: on April 17th in New York and L.A. I have
• 39:09
  Speaker 4: no idea what day today is, but it's Sunday.
• 39:12
  Speaker 2: Oh, April. In the internet, it's all forever. From here
• 39:17
  Speaker 2: on out, go look for it.
• 39:18
  Speaker 4: But we are in eight other cities this weekend. And
• 39:23
  Speaker 4: we are also on iTunes, Amazon, Vudu, Xbox, pretty much
• 39:27
  Speaker 4: every cable VOD thing that you can imagine.
• 39:29
  Speaker 7: Yes.
• 39:30
  Speaker 4: And we know that that's where the majority of people
• 39:32
  Speaker 4: are going to to see it because that's just indie
• 39:35
  Speaker 4: film these days um but the whole point of why
• 39:38
  Speaker 4: i thought it was so important to have a theatrical
• 39:41
  Speaker 4: opening was that it the experience that you actually have
• 39:45
  Speaker 4: when you when you go in a theater and you're
• 39:47
  Speaker 4: watching it with 100, 200, 300 other people, is that,
• 39:51
  Speaker 4: especially in a film like this, where you're not sure
• 39:54
  Speaker 4: if it's okay to laugh, someone else, everyone else is
• 39:57
  Speaker 4: feeling the same thing, and it's the first person to
• 39:59
  Speaker 4: break and actually let that release come. It's an automatic approval,
• 40:05
  Speaker 4: it's okay for everyone to laugh. And that's exactly how
• 40:09
  Speaker 4: we structured this. It's like the first few minutes of
• 40:11
  Speaker 4: the film are very difficult to watch. And that's on
• 40:14
  Speaker 4: purpose because, first of all, no one said going to
• 40:16
  Speaker 4: the movies should be easy. It should challenge you. And
• 40:20
  Speaker 4: I wanted to give people a small taste of what
• 40:23
  Speaker 4: it's like to have Tourette's Syndrome and how uncomfortable it
• 40:25
  Speaker 4: can be. And I don't do that for very long,
• 40:29
  Speaker 4: but like I said, it's a small taste. And then
• 40:31
  Speaker 4: it quickly moves into a movie that you can sit
• 40:34
  Speaker 4: and really enjoy watching. Like, for instance... yes, there's a
• 40:38
  Speaker 4: lot of curse words. We, I have jokes that we
• 40:40
  Speaker 4: were going to win the award for most use of
• 40:41
  Speaker 4: the word cunt ever on film. Um, but my father,
• 40:45
  Speaker 4: who's a very, very religious conservative man, he came out
• 40:48
  Speaker 4: to the editing room, uh, when I was editing in
• 40:51
  Speaker 4: LA and he sat down and started watching it. I
• 40:53
  Speaker 4: thought he was going to get up and walk out
• 40:56
  Speaker 4: just because he doesn't curse. He doesn't like cursing. He
• 40:59
  Speaker 4: doesn't like when I curse. So, um, Five minutes into
• 41:03
  Speaker 4: the movie, he says, stop, stop, stop. Meanwhile, I'm thinking,
• 41:08
  Speaker 4: here we go.
• 41:09
  Speaker 2: I'm in trouble now.
• 41:10
  Speaker 4: And he said, I'm fully invested in the story. I
• 41:14
  Speaker 4: love the characters. I think it's beautiful. Okay, go. Meanwhile,
• 41:17
  Speaker 4: I'm like, who the fuck are you? You're not my dad.
• 41:20
  Speaker 4: How did this happen? He realized it's not a movie
• 41:24
  Speaker 4: about cursing. That's not what this is about. This is
• 41:27
  Speaker 4: about a character who can't help it. So I would challenge,
• 41:30
  Speaker 4: once again, any people who are religious or just have
• 41:34
  Speaker 4: a thing against cursing, this movie is not a cursing movie.
• 41:40
  Speaker 4: And my father is proof of that, the fact that
• 41:43
  Speaker 4: he saw it for what it is. It's a movie
• 41:45
  Speaker 4: about an affliction in which a guy can't help it.
• 41:48
  Speaker 2: Well, and there is a way to use it right.
• 41:50
  Speaker 2: I mean, there are people who just write it in
• 41:52
  Speaker 2: there because it's easy, or whatever. it's the cheap laugh sometimes,
• 41:56
  Speaker 2: but there is a way where it is true to
• 41:58
  Speaker 2: your character and whether it's involuntary or not, there are
• 42:02
  Speaker 2: plenty of times where it's voluntary and it still is
• 42:05
  Speaker 2: very true to the character. So I think, you know,
• 42:08
  Speaker 2: it shouldn't be a either or like you'd kind of
• 42:10
  Speaker 2: have to understand going in, you know, why it's being used.
• 42:14
  Speaker 2: And yeah, some people are still very reluctant to go
• 42:17
  Speaker 2: into those.
• 42:18
  Speaker 5: Movies, but.
• 42:20
  Speaker 2: Um, yeah, I guess I also try to just sort
• 42:23
  Speaker 2: of get a feeling for people as far as taste.
• 42:26
  Speaker 2: You've mentioned a few of yours, but what, what type
• 42:28
  Speaker 2: of movies I guess are your favorites?
• 42:33
  Speaker 4: I love movies that you laugh and cry and sometimes
• 42:36
  Speaker 4: at the same moment. Uh, Jim Brooks, I think is,
• 42:41
  Speaker 4: is one of the greatest filmmakers of all time. I
• 42:43
  Speaker 4: just think, you know, when I look back to the
• 42:45
  Speaker 4: movie going experiences that I've had where, where I did
• 42:48
  Speaker 4: have an outpouring of emotion, um, In terms of endearment.
• 42:52
  Speaker 7: Yeah.
• 42:52
  Speaker 4: Is a perfect film. And he is a master at
• 42:57
  Speaker 4: combining the two emotions. So, not that I don't love
• 43:01
  Speaker 4: a good popcorn flick.
• 43:02
  Speaker 9: Yeah.
• 43:03
  Speaker 4: I like going and eating popcorn as much as the
• 43:05
  Speaker 4: next person.
• 43:05
  Speaker 2: Again, there's room for all of it.
• 43:07
  Speaker 4: But, yeah, if I have the choice, I just love dramedies.
• 43:11
  Speaker 1: Yeah.
• 43:12
  Speaker 2: I'm telling you, broadcast news.
• 43:14
  Speaker 3: Oh.
• 43:14
  Speaker 2: I think back and it's like every once in a
• 43:17
  Speaker 2: while I'm like, I need to watch that again. It's
• 43:18
  Speaker 2: been too long because it's so well written.
• 43:21
  Speaker 4: I love it when Albert Brooks is like, is it
• 43:24
  Speaker 4: ever just so hard to be the smartest person in
• 43:27
  Speaker 4: the room?
• 43:27
  Speaker 9: She's like, yes.
• 43:28
  Speaker 2: It's just the pairing of his writing and those actors
• 43:34
  Speaker 2: is just, yeah, it's so hard. And then have you
• 43:38
  Speaker 2: seen anything lately? I'm assuming you're touring around so much now,
• 43:41
  Speaker 2: but maybe at any of these events, have you, any
• 43:45
  Speaker 2: film fest or?
• 43:46
  Speaker 4: Well, I did, I was at Sundance because my husband,
• 43:49
  Speaker 4: who's a producer on this, Brent Emery, was premiering his movie,
• 43:53
  Speaker 4: The Stanford Prison Experiment. So that is brilliant. Not just
• 43:59
  Speaker 4: because it was produced by my husband.
• 44:00
  Speaker 2: But that's a convenient thing. Yeah. I should also mention,
• 44:04
  Speaker 2: by the way.
• 44:06
  Speaker 4: But no, it's an extraordinary film based on, obviously, the
• 44:10
  Speaker 4: Stanford Prison Experiment in 1971. And it is coming out
• 44:14
  Speaker 4: July 17th. Plug.
• 44:15
  Speaker 5: Extra.
• 44:16
  Speaker 2: Double plug.
• 44:19
  Speaker 4: But no, I mean, it's just... It's a film that
• 44:22
  Speaker 4: makes you think.
• 44:25
  Speaker 4: The acting is astonishingly good. Uh, the cast they got was,
• 44:29
  Speaker 4: was just incredible. So yeah, uh, that was really good. Um,
• 44:34
  Speaker 4: I've been catching up cause I've been on a lot
• 44:36
  Speaker 4: of airplanes lately.
• 44:37
  Speaker 2: I would assume, yeah, this is a whole different process.
• 44:42
  Speaker 4: I have been in the last six weeks to Sweden, Ireland, uh, Cleveland, Vermont,
• 44:49
  Speaker 4: New York, three times West Palm beach, Sarasota, uh, Uh,
• 44:55
  Speaker 4: Oh goodness. And back and forth to LA, you know,
• 44:58
  Speaker 4: I mean, just in six weeks.
• 44:59
  Speaker 2: So sometimes that's why I throw out that question to
• 45:01
  Speaker 2: people in that situation. Cause it's all flights and hotel
• 45:04
  Speaker 2: rooms and sometimes that's all you can do.
• 45:06
  Speaker 3: Right.
• 45:07
  Speaker 5: Yeah.
• 45:07
  Speaker 4: But yeah, I mean like, like, and especially honestly at the,
• 45:11
  Speaker 4: at the festivals, I'm seeing some incredible films. Uh, there
• 45:14
  Speaker 4: is a film by, uh, a girl from Louisville, Kim Levin, uh,
• 45:18
  Speaker 4: Kimberly Levin and, her movie is runoff and it's, it's beautiful.
• 45:23
  Speaker 4: And it's just, you know, and so it's been really
• 45:26
  Speaker 4: exciting to, to meet other filmmakers, first of all, all
• 45:29
  Speaker 4: over the world and to see their films. So yeah, go,
• 45:33
  Speaker 4: go to more film festivals. Not every movie gets distribution.
• 45:38
  Speaker 4: And so sometimes that is the only place you can
• 45:40
  Speaker 4: see them.
• 45:40
  Speaker 2: That's yeah. That's things I will hear from like, Oh,
• 45:43
  Speaker 2: two years ago at the LA film festival, this movie
• 45:46
  Speaker 2: premiered and I've heard about it and it's awesome.
• 45:47
  Speaker 6: And it never gets distribution.
• 45:49
  Speaker 2: It's like, How frustrating that has to be to have
• 45:53
  Speaker 2: done everything else right and then still nobody gets to.
• 45:56
  Speaker 5: See your movie.
• 45:57
  Speaker 4: But there are so many avenues now.
• 45:59
  Speaker 2: Again, it is a very different landscape.
• 46:00
  Speaker 4: I mean, you can release your own film on Vimeo
• 46:03
  Speaker 4: now and self-distribute. You can try to book it into
• 46:07
  Speaker 4: theaters by yourself. You can actually hire a booker. You
• 46:10
  Speaker 4: don't need a distribution company necessarily. Obviously, it helps to
• 46:15
  Speaker 4: get a wider release and more people to see it,
• 46:17
  Speaker 4: but But there are so many avenues nowadays that it just,
• 46:23
  Speaker 4: where there's a will, there's a way.
• 46:24
  Speaker 1: Yeah.
• 46:25
  Speaker 2: Is that something you may take advantage of? You'd definitely
• 46:28
  Speaker 2: be up for doing something completely independent if it serves
• 46:32
  Speaker 2: the purpose.
• 46:33
  Speaker 3: Yeah.
• 46:34
  Speaker 4: I mean, in the future, I definitely, I can't do
• 46:37
  Speaker 4: another budget this low for a while because I called
• 46:40
  Speaker 4: in every favor and all.
• 46:42
  Speaker 2: The people are, That's how it works.
• 46:44
  Speaker 4: Won't talk to me again until I find them a
• 46:46
  Speaker 4: job with some money. Uh, but, but no, I mean,
• 46:49
  Speaker 4: obviously everybody gave with their hearts with this film and,
• 46:53
  Speaker 4: and just was gave 150%, but my next one definitely
• 46:58
  Speaker 4: has to have a bigger budget. Cause it just, it
• 47:00
  Speaker 4: is that hard. You're doing everything yourself and, um, it's
• 47:05
  Speaker 4: nice to be able to pay people like, you know,
• 47:07
  Speaker 4: we're artists, we're, we're professionals. So we all deserve to
• 47:11
  Speaker 4: get paid.
• 47:12
  Speaker 2: It would be nice.
• 47:13
  Speaker 4: Myself included.
• 47:14
  Speaker 2: Ideally, it would be nice.
• 47:14
  Speaker 4: I would love to get a paycheck.
• 47:16
  Speaker 2: I'm working on that one myself. I don't know. You've
• 47:21
  Speaker 2: given all the best ways to find this film? Or
• 47:24
  Speaker 2: is there anything else that's a good way? Websites or
• 47:28
  Speaker 2: anything else to plug? Yes, no.
• 47:31
  Speaker 4: Look, like I was saying before about seeing a movie
• 47:33
  Speaker 4: in a theater. And if you want, you can go
• 47:37
  Speaker 4: to tug.com. That's T-U-G-G.com. And you can actually request that
• 47:42
  Speaker 4: this movie gets played in your local theater. They have
• 47:45
  Speaker 4: already partnerships with theaters in most cities. And if yours
• 47:50
  Speaker 4: is not listed there, you can request that they contact
• 47:52
  Speaker 4: them and set it up. And then it works kind
• 47:56
  Speaker 4: of like a Groupon where if enough people buy a
• 47:59
  Speaker 4: ticket and credit cards are not charged until that magic
• 48:03
  Speaker 4: number of people, most of the time it's around 100 people.
• 48:05
  Speaker 4: sign up for it, then that is when the credit
• 48:07
  Speaker 4: cards are all charged and the movie then gets tugged
• 48:10
  Speaker 4: to your city and you get to actually experience it
• 48:12
  Speaker 4: in the theater. It's brilliant.
• 48:15
  Speaker 2: I mean, it is interesting that that kind of stuff
• 48:17
  Speaker 2: has popped up now. And it's, you know, for all
• 48:19
  Speaker 2: the ills of the internet, it brings a lot of
• 48:22
  Speaker 2: really good and interesting new avenues that like you couldn't
• 48:25
  Speaker 2: even imagine before that. But the fact that you can
• 48:27
  Speaker 2: just go ask for this and if enough people get
• 48:31
  Speaker 2: behind it, you can actually create your own event. Which, again,
• 48:35
  Speaker 2: is unheard of before, you know, a couple years ago.
• 48:37
  Speaker 3: Right.
• 48:38
  Speaker 4: But it works great for theaters because a lot of
• 48:40
  Speaker 4: times during the week they have empty screenings.
• 48:43
  Speaker 2: Yeah.
• 48:43
  Speaker 4: And this guarantees that they're making money.
• 48:46
  Speaker 2: There's a hundred people waiting to come to your theater.
• 48:48
  Speaker 4: And the people that want to see the film. So
• 48:50
  Speaker 4: everybody wins.
• 48:51
  Speaker 6: Yeah.
• 48:52
  Speaker 2: And that's kind of the upside I've said of like
• 48:54
  Speaker 2: your Kickstarter ideas, which I don't know what your feelings
• 48:57
  Speaker 2: are on that. That seems like a lot of people
• 48:59
  Speaker 2: that work in the industry really don't.
• 49:01
  Speaker 6: Like when people are using that to finance things.
• 49:04
  Speaker 2: So to me, it's giving people what they want and
• 49:08
  Speaker 2: just allowing them to pay for it ahead of time.
• 49:11
  Speaker 2: You're still going to get what you're going to get.
• 49:13
  Speaker 2: It's just a different way of setting up the payment
• 49:16
  Speaker 2: structure that people just aren't used to. But I don't know,
• 49:20
  Speaker 2: it seems like most people that I know of working
• 49:23
  Speaker 2: in LA do not like trying to do that sort.
• 49:26
  Speaker 4: Of funding for it. I, the way I look at it,
• 49:29
  Speaker 4: if you can get it funded that way, fantastic. I,
• 49:33
  Speaker 4: I do hear both sides of the argument where if
• 49:35
  Speaker 4: somebody can afford to make a movie themselves, why are
• 49:38
  Speaker 4: they asking everyone else to pay for it? Uh, yes. Um, but,
• 49:43
  Speaker 4: but then again, there was obviously a huge response to
• 49:46
  Speaker 4: his film and millions of people did contribute.
• 49:49
  Speaker 2: So that's my thing. As much as everybody makes fun
• 49:52
  Speaker 2: of him for that, I'm like, but he had that
• 49:55
  Speaker 2: many people who wanted him to make a movie. I mean, it, it, Exactly.
• 49:58
  Speaker 2: Why would you not make your fans happy and, like,
• 50:01
  Speaker 2: do it the best way that it will, you know,
• 50:03
  Speaker 2: serve them as well as get your project made? I
• 50:06
  Speaker 2: don't know. I see a little of the other side
• 50:09
  Speaker 2: of it, but I feel like as long as everybody
• 50:12
  Speaker 2: comes out okay, it's like, what's the downside?
• 50:15
  Speaker 4: Exactly.
• 50:15
  Speaker 1: Yeah.
• 50:17
  Speaker 2: Well, if that's the best way, tell people to do
• 50:20
  Speaker 2: that or any website to plug or.
• 50:22
  Speaker 4: Uh, well, you know, if you're curious, uh, to learn
• 50:25
  Speaker 4: more about our film, go to www.theroadwithin-movie.com. We're also on
• 50:32
  Speaker 4: Facebook slash, uh, the road within Twitter at the road
• 50:36
  Speaker 4: within Instagram at the road within movie. Uh, but you know,
• 50:43
  Speaker 4: it's complicated. It really is.
• 50:45
  Speaker 2: I know. It comes up right away.
• 50:47
  Speaker 4: We're the only movie about Tourette's and Rexy and OCD.
• 50:50
  Speaker 2: I promise.
• 50:50
  Speaker 4: Um, But, but no, I mean, it's, it is one
• 50:54
  Speaker 4: of those things where word of mouth is so powerful
• 50:57
  Speaker 4: and we don't have the marketing money. So we are
• 50:59
  Speaker 4: depending on people talking about this film and seriously, 99.9%
• 51:05
  Speaker 4: success rate of getting out to people when they see
• 51:07
  Speaker 4: the film, they, they are changed. They are moved. They,
• 51:11
  Speaker 4: they are educated because the best medicine tastes like candy.
• 51:14
  Speaker 4: So if we can educate them while we're entertaining them
• 51:17
  Speaker 4: all the better. And, and I, I defy anyone to
• 51:20
  Speaker 4: leave this movie and not feel changed in some way.
• 51:24
  Speaker 4: So we're all super, super proud of it. And just
• 51:26
  Speaker 4: please go see it support indie film. Uh, I promise
• 51:30
  Speaker 4: you'll have a great time. You'll laugh. You'll cry. Um,
• 51:32
  Speaker 4: I always say to, to the, to the young boys
• 51:35
  Speaker 4: who have girlfriends, um, you're going to go and, uh, uh,
• 51:39
  Speaker 4: your girlfriends are gonna want to have sex with Robert
• 51:41
  Speaker 4: Sheehan because he is so cute. But they will end
• 51:44
  Speaker 4: up having sex with you.
• 51:45
  Speaker 2: But they're not with you, so we'll make do.
• 51:49
  Speaker 4: Yeah. But no, I mean, it's a beautiful movie, and
• 51:53
  Speaker 4: it's about real issues that young people are facing.
• 51:57
  Speaker 2: Well, and then to round out the whole journey theme here, again,
• 52:00
  Speaker 2: you've been on a whole ride along the way. Do
• 52:03
  Speaker 2: you feel like this is where you needed to be? Like,
• 52:06
  Speaker 2: the whole thing has come full circle to you creating
• 52:09
  Speaker 2: this movie?
• 52:11
  Speaker 4: Yeah, because I... I'm extremely proud. I made the movie
• 52:15
  Speaker 4: that I wanted to make. And yes, we could have
• 52:17
  Speaker 4: gone the studio route and would have been given a
• 52:20
  Speaker 4: lot more money to make it, but I would have
• 52:21
  Speaker 4: had to have made accommodations and probably made a PG-13 movie,
• 52:25
  Speaker 4: which it would.
• 52:27
  Speaker 2: Not have been the same. Would not tell the story
• 52:29
  Speaker 2: you need to tell, yeah.
• 52:31
  Speaker 4: Because we did have a lot of interest from people
• 52:33
  Speaker 4: who said, if only it was PG-13. And I'm sorry,
• 52:36
  Speaker 4: but that's not.
• 52:37
  Speaker 2: They're very.
• 52:38
  Speaker 6: narrow-sighted me.
• 52:39
  Speaker 4: Exactly um so i'm you know like i said we're
• 52:42
  Speaker 4: all super super proud of it and a lot of
• 52:45
  Speaker 4: uh heart and and sweat and blood and tears went
• 52:49
  Speaker 4: into it uh and yeah i mean and on the
• 52:52
  Speaker 4: flip side i'm also excited to move on to my
• 52:54
  Speaker 4: next one yeah that's.
• 52:55
  Speaker 2: The thing it's it's it's not a journey that's over
• 52:58
  Speaker 2: you've still got plenty of road ahead of you so
• 53:00
  Speaker 2: it will be interesting to see where you go next
• 53:03
  Speaker 2: well thank you for joining us thank.
• 53:04
  Speaker 4: You this was amazing very.
• 53:16
  Speaker 2: Alright, thank you once again to Grin for sitting in
• 53:18
  Speaker 2: with us this week. And as we said once or
• 53:20
  Speaker 2: twice there, go check out The Road Within. If it
• 53:23
  Speaker 2: isn't playing in your town, it is streaming online right now,
• 53:26
  Speaker 2: so go look for it. And to round things out here,
• 53:28
  Speaker 2: we're going to go out on a song that is
• 53:30
  Speaker 2: featured in the movie. This is Get It Right from
• 53:32
  Speaker 2: the band Oh Honey. You can find out more about
• 53:34
  Speaker 2: the band at ohoneymusic.com, and not only is Get It
• 53:38
  Speaker 2: Right featured in the movie, but Grint also directed the
• 53:40
  Speaker 2: music video for this song, so you can go watch
• 53:43
  Speaker 2: that as well. But for now, here's the song. Otherwise,
• 53:46
  Speaker 2: that about does it. We will return next time, same
• 53:48
  Speaker 2: geek feed. Thanks for listening.
• 54:02
  Speaker 8: You're next to me, but I'm alone.
• 54:04
  Speaker 4: Can't shake this rush.
• 54:06
  Speaker 8: Can't shake this rush.
• 54:08
  Speaker 4: Darling, I don't like your tone. Darling, I don't like
• 54:11
  Speaker 4: your tone.
• 54:12
  Speaker 7: Have we lost touch? I would rather I'm alone.
• 54:20
  Speaker 4: You're breaking my heart.
• 54:22
  Speaker 7: I'm holding on. Someday we'll get it right. Someday we'll
• 54:27
  Speaker 7: get it right.
• 54:28
  Speaker 4: I'd call you my darling, but.
• 54:30
  Speaker 2: You put up a fight.
• 54:32
  Speaker 7: Someday we'll get it right. Someday we'll get it right.
• 54:36
  Speaker 3: Oh, oh. Here we go again singing.
• 54:40
  Speaker 7: Someday we'll get it right. Someday we'll get it right.
• 54:44
  Speaker 8: So close tonight. Oh, someday we'll get it right.
• 54:49
  Speaker 5: So come on, dream girl.
• 54:53
  Speaker 4: I'm giving you another shot. Don't think we've had enough.
• 54:59
  Speaker 7: Don't think we've had enough.
• 55:02
  Speaker 4: We're feeling this up to.
• 55:06
  Speaker 7: The top. You're breaking my heart. I'm holding on. Someday
• 55:11
  Speaker 7: we'll get it right. Someday we'll get it right.
• 55:14
  Speaker 4: I call you my darling, but you.
• 55:17
  Speaker 7: Put up a fight. Someday we'll get it right. Someday
• 55:21
  Speaker 7: we'll get it right.
• 55:22
  Speaker 1: Oh no.
• 55:23
  Speaker 7: Here we go again. Someday we'll get it right Someday
• 55:28
  Speaker 7: we'll get it.
• 55:29
  Speaker 8: Right So close tonight Someday we'll get it right Hold
• 55:36
  Speaker 8: me close love Keeping me safe Cause most days I've
• 55:41
  Speaker 8: felt strange And I've got weight here Stuck on my shoulders.
• 55:47
  Speaker 7: You are worth the pain Cause you are worth the
• 55:53
  Speaker 7: pain
• 56:17
  Speaker 7: .
• 56:18
  Speaker 8: .
• 56:22
  Speaker 7: .
• 56:25
  Speaker 2: Oh, someday we'll get it right.
• 56:30
  Speaker 4: Now, is this something cursing?
• 56:33
  Speaker 2: Oh, feel free to.
• 56:34
  Speaker 4: Okay. Shit-eating son of a bitch!
• 56:37
  Speaker 3: Bastard!
• 56:38
  Speaker 2: Douchebag! Twat!
• 56:40
  Speaker 7: Num-nut!
• 56:41
  Speaker 3: Dickhead!
• 56:42
  Speaker 7: Bitch!
• 56:44
  Speaker 6: Why exactly are you doing this?
• 56:47
  Speaker 2: If I fake it, then I don't have it.
• 56:49
  Speaker 5: This episode is a production of Movie Meltdown, produced and
• 56:52
  Speaker 5: edited by The Oddity Studios. with opening music performed by
• 56:55
  Speaker 5: the Empires. For more on how to sponsor or support
• 56:58
  Speaker 5: the show, email producer at moviemeltdown.com.
• 57:01
  Speaker 3: Talk hard!