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Cinematographers: The Art Of Getting The Shot · Artists on Artists on Artists on Artists

• 0:04
  Speaker 1: Welcome back to artists on Artists on Artists on artists.
• 0:08
  Speaker 1: Snap camera roll, it's time to record, but you're behind
• 0:12
  Speaker 1: the camera.
• 0:12
  Speaker 2: That's right.
• 0:13
  Speaker 1: We're talking to famous cinematographers who have all recently just
• 0:17
  Speaker 1: been nominated for OSCAR.
• 0:20
  Speaker 3: You've heard the phrase lights, camera action, and one of
• 0:24
  Speaker 3: those things is very essential to these four individuals.
• 0:28
  Speaker 4: And I bet you can guess what it is.
• 0:30
  Speaker 5: It's camera cinematographers also known as directors of photography, and
• 0:36
  Speaker 5: they're also known as dp's. They've got a lot of
• 0:39
  Speaker 5: names where they've got one job to make things look good.
• 0:43
  Speaker 6: Now, get comfortable, stand on a rig and listen in.
• 0:53
  Speaker 4: Well this is this is so good to be here.
• 0:56
  Speaker 2: This camera shit, this camera shit. Man.
• 1:00
  Speaker 4: Well, I'm working with a webcam, are you.
• 1:03
  Speaker 2: Guys, I'm working with a webcam. Yeah.
• 1:04
  Speaker 5: I try to get my black Magic to film on
• 1:06
  Speaker 5: this pod, but they wouldn't let me bring it in.
• 1:08
  Speaker 2: It's too hot, it's too heavy.
• 1:09
  Speaker 6: That's so funny.
• 1:10
  Speaker 7: You don't have the MacBook Air that has the attachment
• 1:12
  Speaker 7: to add the black Magic on top.
• 1:14
  Speaker 2: No, I don't have the black Magic MacBook. I don't
• 1:17
  Speaker 2: have that.
• 1:17
  Speaker 4: Yeah, that black Magic itld weighs the computer down so much.
• 1:21
  Speaker 2: I heard it distorts the screen.
• 1:25
  Speaker 6: No, no, if.
• 1:26
  Speaker 7: You get used to typing with the big thing on
• 1:28
  Speaker 7: top of it, it's actually really wonderful.
• 1:30
  Speaker 6: We have them in Vienna, really Austria.
• 1:33
  Speaker 2: Oh cool.
• 1:34
  Speaker 5: I always I was nervous that it would distort my
• 1:37
  Speaker 5: screen because I see the when people try to close them,
• 1:41
  Speaker 5: it looks like someone got water on a book, because
• 1:43
  Speaker 5: they're always are always like bent, those MacBooks after you
• 1:47
  Speaker 5: use a black magic on them. I don't know, man,
• 1:49
  Speaker 5: Maybe I'll give it a shot, but otherwise, forgive my garbage.
• 1:53
  Speaker 1: Have you guys considered the Sony A seven s it's.
• 1:56
  Speaker 5: Not, dude, and not talk about Sony here. We don't
• 1:59
  Speaker 5: talk about son Dude, I'm not talking about Sony.
• 2:01
  Speaker 3: Listen, is Adobe or I walk Adobe camera?
• 2:06
  Speaker 8: Yeah?
• 2:07
  Speaker 3: Yeah, No, I'm a Sony man myself. I am a
• 2:12
  Speaker 3: legiond to Sony crew and no way, that is what
• 2:17
  Speaker 3: we are rocking with, and that is what I rocked
• 2:19
  Speaker 3: with for forty Knights.
• 2:21
  Speaker 1: The movie Nights was amazing, and I could tell it
• 2:24
  Speaker 1: was shot on a Sony It just I could do. Yeah,
• 2:27
  Speaker 1: I thought like it might have been shot on the
• 2:30
  Speaker 1: new Adobe camera. But of course we're talking about Adobe
• 2:34
  Speaker 1: editing sheets camera.
• 2:35
  Speaker 4: They have a photo shot built into the camera as well.
• 2:39
  Speaker 4: You could get the whole suite. You can do it
• 2:42
  Speaker 4: all on there. It's very interesting.
• 2:44
  Speaker 7: Yes, I mean my movie is the first movie to
• 2:46
  Speaker 7: be shot on an Adobe camera and to be edited
• 2:49
  Speaker 7: with a cannon.
• 2:50
  Speaker 9: Yeah.
• 2:51
  Speaker 2: I can't I can't wait.
• 2:54
  Speaker 3: Started from Adobe two the Canon camera viewfinder.
• 3:00
  Speaker 2: That's what I heard. Yeah, that's what I heard.
• 3:01
  Speaker 5: I heard it's completely ready to go, but you can't
• 3:05
  Speaker 5: figure out how to take it out of the Adobe camera.
• 3:08
  Speaker 2: I heard the exporting has been an issue.
• 3:10
  Speaker 1: Okay, there's always an issue with those things. You know.
• 3:12
  Speaker 7: Obviously you were all you're all very connected, and you know,
• 3:16
  Speaker 7: you know my business.
• 3:17
  Speaker 1: Let's all, let's all get to know each other's business.
• 3:19
  Speaker 5: Before I gotta say first business, I gotta say first
• 3:23
  Speaker 5: speaking of each other's business. I can't believe I'm on
• 3:26
  Speaker 5: a freaking interview with two people who are Sony ponies.
• 3:30
  Speaker 5: I feel like I'm in the Twilight Zone. I feel
• 3:32
  Speaker 5: like my ratio is sixteen to nine because it is
• 3:35
  Speaker 5: nuts to me right now that you guys love Sony.
• 3:38
  Speaker 5: As you guys know, I'm a cannon man and That's
• 3:41
  Speaker 5: that's who I am.
• 3:41
  Speaker 2: That's why I've always.
• 3:42
  Speaker 1: Been, which is so funny to me because Canon has
• 3:45
  Speaker 1: always felt twenty ten. It's it feels like you're a
• 3:49
  Speaker 1: little stuck in the past. But I don't mind that.
• 3:51
  Speaker 6: Perfly, it's the premiere editing software.
• 3:54
  Speaker 2: Now.
• 3:55
  Speaker 7: It was the premiere camera and now I'm using it
• 3:57
  Speaker 7: as an editing software.
• 3:58
  Speaker 6: We'll get to that later, I.
• 4:00
  Speaker 2: Guess we will. Can't wait for that one and tease.
• 4:02
  Speaker 2: My man, the.
• 4:04
  Speaker 1: People listening to this must be riveted with that sentence,
• 4:07
  Speaker 1: just waiting for that.
• 4:09
  Speaker 6: Oh, let's go around.
• 4:12
  Speaker 5: Yeah, I only know you by your shots. I want
• 4:14
  Speaker 5: to hear who you guys are as people.
• 4:16
  Speaker 4: Well, of course I am. My name is Ralph, Ralph
• 4:20
  Speaker 4: Jenkins from Oslo. Jenkins. Jenkins is what we're going with.
• 4:27
  Speaker 1: Such a Norwegian last name, that's insane. Jenkins.
• 4:30
  Speaker 3: It's uh Norwegian by way of Michigan, by way of
• 4:34
  Speaker 3: back to Norway.
• 4:35
  Speaker 4: Again. We sort of did an immigration.
• 4:38
  Speaker 1: Uh you started Norway, went to Michigan, Michigan, got the.
• 4:45
  Speaker 4: Last name, and came back, went back to Oslo. Then
• 4:49
  Speaker 4: we immigrated, got our accents back, immigrated back to Los
• 4:53
  Speaker 4: Angeles this time.
• 4:55
  Speaker 5: That's a big European trend just moving to Michigan.
• 4:58
  Speaker 2: For the last name. I'm hearing lot about that.
• 5:01
  Speaker 4: Well, yes, it has time to you know, we want
• 5:03
  Speaker 4: to fully get.
• 5:05
  Speaker 3: Into that American culture and it is a good way
• 5:08
  Speaker 3: to just pick him up. They let him, They let
• 5:11
  Speaker 3: you pick them up really easy. Now it is like
• 5:14
  Speaker 3: Michigan is the new Ellis Island for Scandinavian people.
• 5:19
  Speaker 4: Anyway, So my name is Rolf Jenkins.
• 5:23
  Speaker 6: What a teat my man.
• 5:25
  Speaker 5: I don't think we're going to be returning to that,
• 5:27
  Speaker 5: but yeah, sure, what a tea.
• 5:31
  Speaker 4: I don't think we're going back. I don't think we're
• 5:34
  Speaker 4: going back.
• 5:34
  Speaker 1: I will. I gotta say I absolutely adored the way
• 5:39
  Speaker 1: that you captured your movie Forty.
• 5:42
  Speaker 6: Nights or forty Night is gorgeous.
• 5:44
  Speaker 4: Yes, thank you.
• 5:45
  Speaker 3: And of course I was working with the director Chris
• 5:50
  Speaker 3: Myers very closely, and something we really wanted to do
• 5:54
  Speaker 3: was code time in different shots right. And so what
• 5:58
  Speaker 3: I'm mean by that is, if the character is perceiving
• 6:03
  Speaker 3: reality correctly, it is shot in cpiatone. If it is
• 6:07
  Speaker 3: a flashback, we are doing inverted colors. If it is
• 6:13
  Speaker 3: a flash forward, we are doing black and white. And
• 6:17
  Speaker 3: if it is open to interpretation. We are doing glitter fancam,
• 6:24
  Speaker 3: so it is the sort of code that the audience
• 6:27
  Speaker 3: must learn as they watch the story of forty Nights,
• 6:31
  Speaker 3: which is of course a harrowing tale about the inventors
• 6:34
  Speaker 3: of the nerf gun.
• 6:36
  Speaker 1: That's amazing. So I've got a question right off the bat,
• 6:38
  Speaker 1: really quick. Did you shoot those in camera like or
• 6:41
  Speaker 1: those added effects later? Did you set for black and white?
• 6:44
  Speaker 1: Did you set for CPIA, did you set for glitter fancam.
• 6:48
  Speaker 4: Oh? Of course, of course we have to set for
• 6:50
  Speaker 4: those things. That was one of the.
• 6:52
  Speaker 3: Big struggles of television stations when they had to go
• 6:56
  Speaker 3: from black and white to color right, they had to
• 6:58
  Speaker 3: paint the sets differently. They had to light everything differently.
• 7:01
  Speaker 3: And I tell you what, it is very difficult, difficult
• 7:04
  Speaker 3: to light for fancam. We have to coordinate with the
• 7:08
  Speaker 3: makeup team, make sure everybody's cheeks look rosebud rosy red
• 7:13
  Speaker 3: and adorable. Eyelash is huge for it to make sense
• 7:16
  Speaker 3: within the esthetic, So there are lots of precautions you
• 7:19
  Speaker 3: have to take.
• 7:20
  Speaker 5: Ralph, my question is because I feel like I'm dealing
• 7:22
  Speaker 5: with it. I got I got three kids that are
• 7:24
  Speaker 5: obsessed with the Internet. They're obsessed with TikTok and they
• 7:28
  Speaker 5: always you know, I feel like all the colors and
• 7:31
  Speaker 5: filters that you just mentioned they could do in thirty seconds.
• 7:34
  Speaker 5: So I want I want you to tell me, you know,
• 7:38
  Speaker 5: so they can finally hear why our job is so
• 7:42
  Speaker 5: difficult and what they're doing isn't what we do, Like,
• 7:46
  Speaker 5: can you explain that because I really need help?
• 7:48
  Speaker 3: I mean there, and I'm so glad you brought this up.
• 7:51
  Speaker 3: I'm so glad you brought this up because there is
• 7:53
  Speaker 3: such a difference between any blowjob who gets on cap
• 7:58
  Speaker 3: cut and puts on some itter onto a video. They
• 8:01
  Speaker 3: are not making art.
• 8:03
  Speaker 5: Sure, don't call my kids blowjobs, but I totally understand your.
• 8:06
  Speaker 1: No, I agree, I kind of agree with Golf here.
• 8:09
  Speaker 1: Your kids could sound like blowjobs.
• 8:10
  Speaker 6: Kids are is a blowjob like we do in Vienna,
• 8:13
  Speaker 6: a sucking.
• 8:14
  Speaker 1: Park whoa new hat?
• 8:15
  Speaker 7: Okay, okay, I forgot I forgot that.
• 8:22
  Speaker 6: I'm here as an ambassador for Cannon.
• 8:24
  Speaker 2: Oh you are on my side.
• 8:28
  Speaker 4: Out the window.
• 8:29
  Speaker 6: No, I shot the movie on the Doobe. I edited
• 8:32
  Speaker 6: it on Cannon.
• 8:33
  Speaker 1: So they gave you permission to edit too. As the
• 8:35
  Speaker 1: cinema talk you know what. We're teasing me too much
• 8:37
  Speaker 1: about too much.
• 8:39
  Speaker 3: They just like to apologize really quickly. I did not
• 8:43
  Speaker 3: mean to refer to your specific children as blowjobs. I
• 8:47
  Speaker 3: meant to refer to any specific random bozo as a blowjob.
• 8:52
  Speaker 3: There is no direct harm to your family I intended.
• 8:56
  Speaker 5: Yeah, and my family safe for sure. I don't think
• 8:58
  Speaker 5: there's any direct harm happening. I'm not saying that, but
• 9:01
  Speaker 5: I appreciate your apology.
• 9:03
  Speaker 6: Protect your blowjobs.
• 9:05
  Speaker 5: No, they're my kids. Let's stop saying that here. My
• 9:08
  Speaker 5: kids aren't blow jobs. In fact, they are. There are
• 9:11
  Speaker 5: results of penetrative sex, if anything, so, so I wouldn't
• 9:15
  Speaker 5: call them blowjobs.
• 9:16
  Speaker 4: Oh, we are getting into the weeds of this. We
• 9:19
  Speaker 4: might me move on forgetting.
• 9:21
  Speaker 6: And also I can move on.
• 9:23
  Speaker 7: We have four dp's around the table, and now we
• 9:25
  Speaker 7: are already talking about benetrative six classic.
• 9:30
  Speaker 4: We truthfully have not gone here in a while.
• 9:32
  Speaker 3: We have not gone here in this direction in some time,
• 9:36
  Speaker 3: not since I was shooting some maybe different stuff for
• 9:41
  Speaker 3: maybe a different Awards season.
• 9:43
  Speaker 1: Anyway, go ahead, another great tease. Cannot get into a
• 9:47
  Speaker 1: good tease.
• 9:52
  Speaker 6: Hello, sorry, my computer.
• 9:55
  Speaker 7: With the black magic on top of it. Sometimes I
• 9:57
  Speaker 7: can't see you guys have to push it up.
• 10:00
  Speaker 6: Hello.
• 10:01
  Speaker 7: I am Glitter skunkin Vandi goodwts from Vienna, Scone.
• 10:06
  Speaker 2: So what's your first name? Glitter?
• 10:07
  Speaker 5: Does it?
• 10:07
  Speaker 2: Glitter Skunk? Glitter Glitter?
• 10:10
  Speaker 1: Okay, one more time for me, just one more.
• 10:12
  Speaker 6: Time, Glitter Squonty Scone, It's Glatty. I'm from Vienna, sCOD.
• 10:16
  Speaker 1: Yeah, it feels like it changes.
• 10:18
  Speaker 7: Fuck you anyway, I'm from Austria. I am am.
• 10:25
  Speaker 3: Oh the way I could tell by the sound of
• 10:28
  Speaker 3: your voice that you were from Austria. Of course, it
• 10:30
  Speaker 3: sounds so different from the way I'm speaking, which is Norway.
• 10:34
  Speaker 6: Of course, Yes, Vienna one second, okay sometimes yes, So anyway,
• 10:42
  Speaker 6: I Glitter is my first name.
• 10:49
  Speaker 7: And I am nominated this year because we're doing we're
• 10:52
  Speaker 7: breaking grounds with the first Adobe camera and shooting on
• 10:57
  Speaker 7: the interface, the editing software, and then I am editing
• 11:01
  Speaker 7: with my editor on the cannon and it's it's it's new,
• 11:05
  Speaker 7: it's groundbreaking. And the movie. The movie is called Pluck
• 11:08
  Speaker 7: and it's the story of I mean this nominated. Everyone knows.
• 11:11
  Speaker 6: Here's a story.
• 11:12
  Speaker 7: Sir Sharonan plays a girl who makes a guitar out
• 11:15
  Speaker 7: of a stove.
• 11:16
  Speaker 2: Yeah, I saw that movie.
• 11:19
  Speaker 1: Absolutely riveting movie. She I mean the way it was edited,
• 11:24
  Speaker 1: and I'm so glad we finally got to the teasing part.
• 11:26
  Speaker 1: The way it was edited. You really, because a movie
• 11:29
  Speaker 1: like that sounds that outlandish, but when you see it,
• 11:32
  Speaker 1: it's absolutely impactful. It's absolutely heart wrenching. It's absolutely devastating
• 11:39
  Speaker 1: in so many different ways. Her making a guitar out
• 11:42
  Speaker 1: of a stove, it is devastating.
• 11:45
  Speaker 3: Yeah, she has nothing else by which to make her music.
• 11:49
  Speaker 4: It is very sad.
• 11:50
  Speaker 7: She sacrifices cooking for her family to make a guitar
• 11:54
  Speaker 7: and make music. And I think that is what DP,
• 11:56
  Speaker 7: that's what it to be a DP is. And that's
• 11:58
  Speaker 7: what I did with my first family. I made a
• 12:00
  Speaker 7: guitar out, I made a camera. Excuse me, I made
• 12:03
  Speaker 7: a camera out to the tissue box.
• 12:05
  Speaker 6: And that's when my family was like, this girl should
• 12:08
  Speaker 6: be shooting film.
• 12:10
  Speaker 7: And yes, I'm I'm from Australia where we do where
• 12:13
  Speaker 7: we make films a little unconventionally. That's why Canon decided
• 12:16
  Speaker 7: to do this. I emailed Cannon and I asked if
• 12:19
  Speaker 7: we could do this and they said, are you on drugs?
• 12:20
  Speaker 7: And I said yes, in Vienna, we are on drugs.
• 12:24
  Speaker 2: By and large. Huh.
• 12:26
  Speaker 6: Yes, well, I mean me and my friends.
• 12:27
  Speaker 7: We are all good looking and gorgeous and wear big boots.
• 12:31
  Speaker 2: Oh cool.
• 12:32
  Speaker 1: So talking about the editing process, I mean, I've watched
• 12:34
  Speaker 1: a couple of your interviews and you kind of talk
• 12:37
  Speaker 1: about how you would edit it. You would shoot it
• 12:39
  Speaker 1: on an Adobe camera, then use the chip from the
• 12:42
  Speaker 1: Adobe camera, plug it into a cannon, and then use
• 12:45
  Speaker 1: the viewfinder on the cannon to slowly edit your clips
• 12:47
  Speaker 1: down until they were sequenced in the right way, and
• 12:49
  Speaker 1: then you would just give that hard drive basically to what.
• 12:54
  Speaker 6: Wow, basically you did the work for me. Thank you
• 12:56
  Speaker 6: for explaining it.
• 12:58
  Speaker 1: I knew that you've talked about it so much.
• 13:01
  Speaker 6: I just wanted to That's exactly it. And it was
• 13:03
  Speaker 6: so nice to take a break.
• 13:05
  Speaker 7: But yeah, you know, I did this and after that's
• 13:08
  Speaker 7: why I do have an editing credit on the movie.
• 13:10
  Speaker 6: I work with our editor.
• 13:11
  Speaker 7: It's the first time I've edited on my own, but
• 13:13
  Speaker 7: it's only because I know the camera, and our editor
• 13:16
  Speaker 7: didn't know how to edit on a camera, and I
• 13:18
  Speaker 7: knew the camera, so it was interesting.
• 13:21
  Speaker 5: My other question, you know, I have some buddies who
• 13:24
  Speaker 5: were in some other departments on Pluck and they said
• 13:30
  Speaker 5: they had to schedule time, you know, because the Adobe
• 13:34
  Speaker 5: the camera also you know, audition was open for sound,
• 13:37
  Speaker 5: and the graphic designers and all the marketing and all
• 13:41
  Speaker 5: the posters were in photoshop on that camera. I heard
• 13:44
  Speaker 5: it was more of a logistical NIGHTMMB where you had
• 13:45
  Speaker 5: to edit your the schedule time to use the camera.
• 13:49
  Speaker 5: And I wanted to know what that process was like.
• 13:53
  Speaker 7: The movie took eight years and what we did was
• 13:56
  Speaker 7: we basically kept we treated it was what was gorge
• 14:00
  Speaker 7: was our director.
• 14:02
  Speaker 6: Clocking back.
• 14:04
  Speaker 7: Clocking Back gave he Clucking Buck made.
• 14:09
  Speaker 3: Clucky Buck and Sar Sharonan are such a wonderful duo.
• 14:15
  Speaker 6: They worked again deal. Thank you, Ralph. Yes, that's why
• 14:18
  Speaker 6: it was.
• 14:19
  Speaker 7: It was a lifelong project that Klukybuck wanted to work
• 14:21
  Speaker 7: on and he and his inspiration was remember back then
• 14:24
  Speaker 7: when we had to travel the film and we had
• 14:27
  Speaker 7: to travel it from place to place it around and
• 14:30
  Speaker 7: now we just have the dropbox or you know, so
• 14:34
  Speaker 7: I so this time it was like, why don't we
• 14:36
  Speaker 7: go back into the old days and we each will
• 14:37
  Speaker 7: get the camera for a couple of months at a time.
• 14:40
  Speaker 9: Use it.
• 14:41
  Speaker 6: Even Sara Sharonan used it for a little bit.
• 14:48
  Speaker 7: She she taped the script to the back of the
• 14:50
  Speaker 7: camera and she used it like a lucky script.
• 14:53
  Speaker 1: So how did that work? Because if she's in front
• 14:56
  Speaker 1: of the camera and the script is taped to the
• 14:58
  Speaker 1: back of the camera, was that just a man her lines?
• 15:00
  Speaker 8: Like?
• 15:01
  Speaker 6: It was just to memorize the lines on the camera?
• 15:04
  Speaker 7: The camera has a beautiful way of being like a
• 15:05
  Speaker 7: music sand for an actor.
• 15:07
  Speaker 2: Oh, it has a tripod that comes out of the bottom.
• 15:11
  Speaker 7: Yes, the stand and then yes, so she would put
• 15:14
  Speaker 7: the script there and she'd have it.
• 15:15
  Speaker 6: So that's two eight years pluck.
• 15:17
  Speaker 3: I heard people were able to play Solitaire on the
• 15:21
  Speaker 3: camera to they have some pretty basic iPhone games as well.
• 15:24
  Speaker 7: Yes, that's when we had to start to get regulating
• 15:26
  Speaker 7: with who gets the camera for how many hours because
• 15:29
  Speaker 7: some of the people, some of the grips, were playing games. Yeah,
• 15:33
  Speaker 7: and it wasn't And that's why I think we lost
• 15:35
  Speaker 7: a good two years.
• 15:36
  Speaker 6: I think we could have made this movie in six years.
• 15:39
  Speaker 3: I think the behind the scenes set photos say it all. Really,
• 15:44
  Speaker 3: it's a picture of you behind the lens of the
• 15:46
  Speaker 3: camera and then a line of eighty people behind you
• 15:50
  Speaker 3: waiting to use the camera.
• 15:51
  Speaker 5: It looks like a great depression photo. It's crazy to
• 15:54
  Speaker 5: look at. I also wanted to say I heard that
• 15:57
  Speaker 5: because some of my kids are school with I think
• 16:02
  Speaker 5: the sound mixer on Pluck and they said, one day
• 16:08
  Speaker 5: in calculus, uh, they pulled out the Adobe camera as
• 16:12
  Speaker 5: a T I eighty three, as a as A as
• 16:14
  Speaker 5: a graphic calculator.
• 16:15
  Speaker 1: It's insane that you guys hired that kid to be
• 16:17
  Speaker 1: your sound designer.
• 16:19
  Speaker 5: The sound designer, I think the sound mixer took it
• 16:22
  Speaker 5: and gave it to the kid because there was some
• 16:24
  Speaker 5: sort of trigonometry test.
• 16:25
  Speaker 6: They sent us back three weeks.
• 16:28
  Speaker 7: And what people don't say is when you're working on
• 16:29
  Speaker 7: a movie for eight years three weeks, there's lots of
• 16:31
  Speaker 7: time and which doesn't sound like it.
• 16:34
  Speaker 6: But yes, yes, a little kid by the name of Leonardo.
• 16:38
  Speaker 7: In Austria took the took the camera from our sound
• 16:40
  Speaker 7: mixer and brought it to school for three weeks and
• 16:42
  Speaker 7: no one noticed.
• 16:43
  Speaker 2: Yeah. Yeah, my kids go to school in Austria with
• 16:46
  Speaker 2: their with their mother.
• 16:48
  Speaker 6: Well, that sounds like a blow job in a school.
• 16:50
  Speaker 2: You that's enough, that's enough.
• 16:52
  Speaker 5: A blowjob in a school uniform. Absolutely not. What's up, guys.
• 16:59
  Speaker 5: My name is Sam Cipher. I am a cinematographer. It's
• 17:03
  Speaker 5: so good to see all of you guys. They call
• 17:06
  Speaker 5: me the Sandman because I am really good at shooting deserts.
• 17:10
  Speaker 5: That's where I am on location right now. I'm in Tunisia,
• 17:14
  Speaker 5: and I just I'm I'm I'm the Sandman.
• 17:18
  Speaker 4: I'm I to you, the sand Man.
• 17:21
  Speaker 3: I think famously, Adam Sandler is known as the sand.
• 17:25
  Speaker 5: Now there's two d's on mine because my first name
• 17:28
  Speaker 5: is Doug sand Demand sand They call me. Yeah, well
• 17:34
  Speaker 5: that's and that's my that's my vanity plate. That's my
• 17:36
  Speaker 5: vanity plate, Sandaman. And uh and that's actually s A
• 17:40
  Speaker 5: N D A M A N Sandaman.
• 17:43
  Speaker 7: And I have to say my favorite film of yours
• 17:46
  Speaker 7: was Second Sex and the City the movie too.
• 17:49
  Speaker 2: Yes, I did that.
• 17:50
  Speaker 5: I was already in Abu Dhabi when they showed up
• 17:52
  Speaker 5: and they said, let's go. We hadn't thought we needed
• 17:55
  Speaker 5: one of these, and I think we're ready to do it.
• 17:58
  Speaker 5: So yeah, I just I love sand I always have
• 18:01
  Speaker 5: my whole life. I grew up in South Padre Island
• 18:03
  Speaker 5: in Texas, right by the beach and I've just been
• 18:07
  Speaker 5: just out here, you know, I'm out here in Tunisia
• 18:09
  Speaker 5: right now shooting. I'm shooting a wacky dune parody that's
• 18:14
  Speaker 5: coming out the Brothers. The Airplane Brothers are making a
• 18:17
  Speaker 5: parody of Dune called Where the Water Are At and
• 18:20
  Speaker 5: it's gonna be really fun. It's going to be a spoof.
• 18:23
  Speaker 5: We're getting back to spoofs. It's a little different than
• 18:25
  Speaker 5: the one that I got nominated for, which was of
• 18:28
  Speaker 5: course called four hundred eighty Hours, which was about a
• 18:34
  Speaker 5: women's rugby team that survived in the desert for four
• 18:38
  Speaker 5: hundred and eighty hours.
• 18:39
  Speaker 4: Such a wonderful movie. If you are here for units
• 18:44
  Speaker 4: of time movies being nominated mine with forty days and
• 18:47
  Speaker 4: yours with four hundred eighty hours, It's like, what is
• 18:51
  Speaker 4: this a math class?
• 18:52
  Speaker 2: I know, right?
• 18:53
  Speaker 5: And it's funny because I think a cinematographers we get
• 18:56
  Speaker 5: horny for time because that means montages, that meanssage of time.
• 19:00
  Speaker 5: That means we set the camera up and we let
• 19:02
  Speaker 5: it go for days, and that is.
• 19:03
  Speaker 2: What I love.
• 19:04
  Speaker 1: You can't unless you're gonna do something really artistic. The
• 19:06
  Speaker 1: movie couldn't be four hundred and eighty hours, No, exactly
• 19:09
  Speaker 1: four hundred.
• 19:10
  Speaker 2: Yeah, I'm not the ones I'm doing. I can't. I
• 19:12
  Speaker 2: can't really. Yeah, that's not a movie that's telling you're.
• 19:15
  Speaker 4: Can I ask about as a child. So did you
• 19:19
  Speaker 4: primarily want to work with sand and you found a
• 19:22
  Speaker 4: way in via cinematography or was it the other way around?
• 19:26
  Speaker 2: Well, your dates true.
• 19:28
  Speaker 5: Truthfully, I found a way in because I was really
• 19:30
  Speaker 5: good at cleaning sand out of things, and that's why
• 19:34
  Speaker 5: they use me, because I can keep a camera clean
• 19:36
  Speaker 5: from sand.
• 19:37
  Speaker 2: I'm pretty good at what I do as well. It's
• 19:40
  Speaker 2: pretty huge.
• 19:42
  Speaker 4: You aren't a huge asset.
• 19:43
  Speaker 2: I'm a huge as.
• 19:44
  Speaker 6: First thing that was said today. That's real.
• 19:47
  Speaker 2: Yeah, I think.
• 19:51
  Speaker 1: We all know that. A lot of people thought your
• 19:53
  Speaker 1: nomination was strange, but it's kind of wonderfully. I mean,
• 19:55
  Speaker 1: on the inside, we know what's going on. You got
• 19:57
  Speaker 1: nominated because that's sand. That camera had not one single
• 20:01
  Speaker 1: grain of sand in it ever.
• 20:02
  Speaker 5: Exactly, and and and they don't talk about that at
• 20:04
  Speaker 5: the at the academy. Uh, at the end, they have
• 20:08
  Speaker 5: an academy rep that comes by at the end of
• 20:11
  Speaker 5: shooting a movie and they check how clean your camera
• 20:13
  Speaker 5: is and if your camera's dirty. They of course say, well,
• 20:16
  Speaker 5: you didn't do it right, because anybody can make a
• 20:19
  Speaker 5: movie right if they want to get their camera dirty.
• 20:22
  Speaker 1: Oh, I go fucked so.
• 20:23
  Speaker 6: Hard by my academy rep once when I did a
• 20:26
  Speaker 6: send movie. It's hard.
• 20:27
  Speaker 2: Yeah, what did he do?
• 20:29
  Speaker 6: No, we just had good six that fucked so hard.
• 20:33
  Speaker 1: Your camera is positive.
• 20:37
  Speaker 6: Okay, camera was dirty, but he came in really hit
• 20:41
  Speaker 6: it off.
• 20:41
  Speaker 2: Well, look it's but it's fun. And I love Sand.
• 20:44
  Speaker 5: I love the way sand tells a story because it's it's.
• 20:47
  Speaker 2: Much like making a film.
• 20:48
  Speaker 5: It's one tiny piece in an ocean of other things,
• 20:52
  Speaker 5: and it creates something beautiful and that's what I love
• 20:55
  Speaker 5: about it. And then you can do fun things with it,
• 20:57
  Speaker 5: and sometimes you can catch it a little snake popping
• 20:59
  Speaker 5: out of it.
• 21:00
  Speaker 2: I love seeing those little snakes.
• 21:01
  Speaker 5: Sometimes they have to say, hey, the actors are up there,
• 21:03
  Speaker 5: and I'm like, wow, there's a sinewinder down here, and
• 21:05
  Speaker 5: they don't ever want to use it, but I use
• 21:07
  Speaker 5: it for myself. It's so fun to see those little
• 21:10
  Speaker 5: snakes pop out in the desert. You guys got to
• 21:12
  Speaker 5: come out with me. There's a really fun little sinewinder
• 21:14
  Speaker 5: that I like to fall.
• 21:15
  Speaker 1: Well, I loved it because there was you know, now
• 21:17
  Speaker 1: thinking about after seeing four ANDERD eighty hours, there was
• 21:20
  Speaker 1: so much snake metaphor and there was ya canography and
• 21:25
  Speaker 1: now I'm realizing maybe it actually had nothing to do
• 21:27
  Speaker 1: with the film.
• 21:28
  Speaker 5: Well, and the director, the director, Rosa Rosales, was was
• 21:31
  Speaker 5: so so excited about snakes. She's covered in snake tattoos.
• 21:37
  Speaker 5: She's so interesting, she's so weird, and she also loves
• 21:41
  Speaker 5: women's rugby and and she loves heat. So this was
• 21:45
  Speaker 5: like her dream project. And as many people know, she
• 21:47
  Speaker 5: has publicly retired because she said I'm done. I did it,
• 21:50
  Speaker 5: and I still talk to her.
• 21:51
  Speaker 1: I was stating, I was so excited for all of
• 21:53
  Speaker 1: her next work because this.
• 21:54
  Speaker 2: Is crazy rocked. I don't know what's going on. Sorry,
• 21:58
  Speaker 2: go ahead, go ahead.
• 22:00
  Speaker 6: Performance by Raven Simone in there.
• 22:02
  Speaker 5: Yeah, she really brought it through. And I'm gonna be honest.
• 22:05
  Speaker 5: On set, we didn't see it, and then you go
• 22:07
  Speaker 5: back to the cinematographer and you're like, wow, she really
• 22:09
  Speaker 5: was doing things.
• 22:11
  Speaker 2: Uh she was.
• 22:12
  Speaker 5: She was what we like to say in the business,
• 22:14
  Speaker 5: acting for the zoom. So when we zoomed in on
• 22:16
  Speaker 5: what she was doing it was It's kind of like
• 22:18
  Speaker 5: one of those drawings that people make on the computer
• 22:22
  Speaker 5: where you zoom in and there's a little tiny world on.
• 22:24
  Speaker 2: Top of a tea pot or whatever.
• 22:26
  Speaker 5: It's like, once you really zoom in on her face,
• 22:28
  Speaker 5: you actually see what's going on.
• 22:29
  Speaker 6: But a great way to describe an actor.
• 22:31
  Speaker 3: Yes, our camera actors and some are editing viewfinder actors.
• 22:39
  Speaker 3: They are they you had different voices, different strokes for
• 22:43
  Speaker 3: different folks.
• 22:43
  Speaker 1: Of course, I cannot wait to talk about actors and
• 22:46
  Speaker 1: acting because you know that's so interesting to me. But
• 22:51
  Speaker 1: I guess I'll save that for later. It's a little
• 22:52
  Speaker 1: bit of a teaser.
• 22:53
  Speaker 2: Okay, cool my teaser.
• 22:55
  Speaker 6: Consider me teased like a commercial.
• 23:00
  Speaker 1: My name is Clive J. I have been nominated for
• 23:05
  Speaker 1: the movie Every Car Can Cry. And I think it's
• 23:10
  Speaker 1: just a wonderful time in my life, a wonderful time
• 23:12
  Speaker 1: in my career to be nominated for something like this.
• 23:15
  Speaker 1: You know, I put in a lot of work. I
• 23:17
  Speaker 1: put a lot of years into this, not probably as
• 23:19
  Speaker 1: many as you guys. I'm young, I'm hungry, but I'm
• 23:22
  Speaker 1: really excited about this film Every Car Can Cry. And
• 23:26
  Speaker 1: for me, I guess the art form was making the
• 23:29
  Speaker 1: car almost as humanlike as possible, making the car sexy,
• 23:34
  Speaker 1: making the car a motive, making the car a friend,
• 23:38
  Speaker 1: making the car an enemy, even though it was just
• 23:40
  Speaker 1: a car.
• 23:42
  Speaker 4: Right. And I did see this movie, and I have
• 23:45
  Speaker 4: to be honest with you, I am a little surprised
• 23:48
  Speaker 4: to see it nominated because it was basically one long
• 23:51
  Speaker 4: Nissan commercial. It the shots of the car were so
• 23:57
  Speaker 4: and I mean this in a very complimentary way to
• 24:01
  Speaker 4: your work. It really made me want to buy that car.
• 24:04
  Speaker 4: But it was very clearly Nissan propaganda.
• 24:07
  Speaker 1: Yeah, I mean that definitely is a mean thing to say,
• 24:09
  Speaker 1: but I'm going to take it on the chin. You know,
• 24:12
  Speaker 1: we are one of the few. We're upfront about it.
• 24:15
  Speaker 1: We are one of the first movies besides the Barbie Movie,
• 24:18
  Speaker 1: to basically be nominated for being a good commercial. So
• 24:22
  Speaker 1: this is what we're really excited about. You know. Nissan
• 24:26
  Speaker 1: approached us saying, we've got this beautiful, harrowing story about
• 24:30
  Speaker 1: a man, a woman and a car, and we.
• 24:33
  Speaker 4: Want to make My son came up with the story.
• 24:35
  Speaker 1: It was some intern or something pitched it, and.
• 24:38
  Speaker 5: Well, I actually heard the story about this because my
• 24:40
  Speaker 5: one of my other kids is in college.
• 24:42
  Speaker 2: And they said that there they.
• 24:45
  Speaker 5: Somehow they kind of did that game stop thing, but
• 24:48
  Speaker 5: with Nissan, where they filled the internships with creatives and
• 24:51
  Speaker 5: they tipped the scales into turning it into a production company.
• 24:54
  Speaker 2: And I don't know how they made it happen.
• 24:56
  Speaker 5: But now all of a sudden they look around and
• 24:58
  Speaker 5: Nissan doesn't just make cars, but they make movies.
• 25:00
  Speaker 2: And it's because of the youth.
• 25:01
  Speaker 1: Yeah, I understand it's pretty uh pretty uh. A lot
• 25:05
  Speaker 1: of people have opinions about it, but I just found
• 25:07
  Speaker 1: that working close with the Nissan Kicks was amazing. And
• 25:11
  Speaker 1: to get that close and intimate with a car somebody,
• 25:14
  Speaker 1: you know, it's kind of a cinematographer's dream. The car
• 25:17
  Speaker 1: doesn't talk back, the car doesn't ask questions. What does
• 25:19
  Speaker 1: the car do? The car drive?
• 25:22
  Speaker 6: Oh, it's incredible.
• 25:23
  Speaker 2: Park.
• 25:23
  Speaker 7: Weren't you the kid that I read about in America?
• 25:26
  Speaker 7: Who did who went to a fi's kindergarten program.
• 25:30
  Speaker 1: Yeah, so I was in the first class of AFI's
• 25:32
  Speaker 1: kindergarten program.
• 25:33
  Speaker 6: Incredible program in La Thank you.
• 25:36
  Speaker 1: Yeah. My parents, uh, you know, I don't really like
• 25:39
  Speaker 1: to talk about it, but my dad and my mom
• 25:42
  Speaker 1: are actually very well regarded in the industry. My dad
• 25:48
  Speaker 1: is mel Brooks, and my mom.
• 25:51
  Speaker 2: Is uh and Bancroft, Yeah and Bancroft.
• 25:55
  Speaker 1: But yeah, I remember.
• 25:58
  Speaker 4: This now can get into place for me. This makes
• 26:01
  Speaker 4: a lot of sense.
• 26:02
  Speaker 1: No offense, no, no a problem. I mean, if we've
• 26:05
  Speaker 1: got a problem, we can definitely talk about it. Because
• 26:07
  Speaker 1: this is the second time you've had to say no
• 26:10
  Speaker 1: offense to me. But that's all right.
• 26:12
  Speaker 4: I'm sorry.
• 26:14
  Speaker 3: Maybe it is a Norwegian thing. I buy a very blunt,
• 26:17
  Speaker 3: I'm very cold. I have no personal beef with you,
• 26:20
  Speaker 3: despite my feelings or otherwise.
• 26:23
  Speaker 1: Okay, yeap, that doesn't really answer anything. But anyway, I've
• 26:28
  Speaker 1: got a question. I mean we teased it.
• 26:29
  Speaker 5: Wait, I got to ask you something a little bit
• 26:31
  Speaker 5: about this AFI kindergarten program because I was following that too.
• 26:34
  Speaker 2: I was actually.
• 26:36
  Speaker 5: I was on the board because I went to a
• 26:39
  Speaker 5: five course and I was. I was following it and
• 26:41
  Speaker 5: it was actually a scientific study, and there was some
• 26:44
  Speaker 5: film scientists that were following it. Because there's that saying it.
• 26:49
  Speaker 5: You put everyone in an intro film class, and all
• 26:52
  Speaker 5: the movies you get are about shooting and drugs and sex,
• 26:55
  Speaker 5: no matter what, and that usually we're like well that's
• 26:57
  Speaker 5: because they're eighteen year olds. But we tried it with
• 27:00
  Speaker 5: five year olds and the movies were about shooting in
• 27:02
  Speaker 5: drugs and sex.
• 27:04
  Speaker 2: Yeah, and I wanted to know.
• 27:05
  Speaker 1: Yeah. My first short film was called Kindergartener Doing Coke
• 27:11
  Speaker 1: and it was an amazing exploration of a world where
• 27:17
  Speaker 1: rather than books, we have coke and.
• 27:20
  Speaker 2: Books in seat of books, it's coke. Yeah.
• 27:23
  Speaker 4: Did you bring a little bit of that footage? I
• 27:26
  Speaker 4: have seen something at the drop.
• 27:28
  Speaker 2: We should watch it.
• 27:29
  Speaker 7: I mean it built you to where you are today.
• 27:31
  Speaker 7: I don't think it would be nominated for an oscar
• 27:32
  Speaker 7: without this, this incredible replacement with books to coke.
• 27:36
  Speaker 1: No, yeah, because this was Actually they have student oscars
• 27:39
  Speaker 1: that they give out to grad students and university students.
• 27:43
  Speaker 1: This is a kindergarten oscar. I was nominated for Kindergarten
• 27:45
  Speaker 1: Oscar that year. So yeah, we can watch a clip.
• 27:49
  Speaker 1: This is uh kids, kids doing coke.
• 27:53
  Speaker 2: Hey have you read this newest cocaine. It's quite a
• 27:57
  Speaker 2: grain turner.
• 27:59
  Speaker 4: Yeah, I've read it. Teacher gave it to me to
• 28:03
  Speaker 4: read with my nose.
• 28:06
  Speaker 10: Well, I brought him coke from home that came from
• 28:11
  Speaker 10: my older sister who's now in third grade.
• 28:15
  Speaker 4: I smoke cigarettes after sex all day.
• 28:20
  Speaker 2: I'm a drug lord and I'm going to kill.
• 28:25
  Speaker 6: You, baby Snow.
• 28:29
  Speaker 4: I skin, I smoke my cigarette, I read my cocaine.
• 28:35
  Speaker 4: This is how things.
• 28:36
  Speaker 2: Are, baby.
• 28:38
  Speaker 10: I can't see in front of me, I see his
• 28:41
  Speaker 10: fucking snow.
• 28:43
  Speaker 1: So yeah, the movie itself was super off on guard. Yeah,
• 28:46
  Speaker 1: so direct to camera, I really like direct to camera.
• 28:50
  Speaker 4: Just cameo my young Sam Levinson in there.
• 28:54
  Speaker 1: That was a young Sam Levinson. Good eye. That was
• 28:57
  Speaker 1: a young Sam Levinson.
• 28:59
  Speaker 2: Who loves Sammy so loud.
• 29:01
  Speaker 1: But he was in kindergarten with me. And yeah, so
• 29:04
  Speaker 1: that got me a lot of traction and kind of
• 29:06
  Speaker 1: put me on the right right trip, you know, to
• 29:09
  Speaker 1: start working on some real things, because you know, by
• 29:11
  Speaker 1: first grade, second grade, you're growing out of the Kochs,
• 29:14
  Speaker 1: drugs and guns and moving into a different field, which
• 29:19
  Speaker 1: is mostly pieces about sex workers and prostitution. But we
• 29:24
  Speaker 1: don't have a clip of that, I don't think, so. Yeah,
• 29:26
  Speaker 1: my question for.
• 29:27
  Speaker 7: You guys, they said no, the guys over there saying no, no, no.
• 29:31
  Speaker 6: By the way, I don't know he's saying no.
• 29:34
  Speaker 2: Yeah.
• 29:35
  Speaker 1: Anyway, my question for you guys was, you know, you know,
• 29:37
  Speaker 1: a lot of cinematographers struggle with working with actors and
• 29:41
  Speaker 1: working with people. How do you guys feel about working
• 29:44
  Speaker 1: with actors? Do you guys have an approach and a method?
• 29:47
  Speaker 1: I know you guys. I mean why most of us
• 29:49
  Speaker 1: are hired is because we're really good at making actors
• 29:51
  Speaker 1: look sexy. That is a big thing and a big
• 29:54
  Speaker 1: reason a lot of cinematographers get hired is because they
• 29:57
  Speaker 1: make people look good.
• 29:58
  Speaker 6: Either we make them look sad, see her make them
• 30:00
  Speaker 6: look old?
• 30:01
  Speaker 2: Yes, because I've seem to be.
• 30:05
  Speaker 6: Incredible, and we don't.
• 30:07
  Speaker 5: We don't tell him if we're going to make him
• 30:09
  Speaker 5: look old. We tell him we're going to make him
• 30:10
  Speaker 5: look sexy every time, no matter what. I think that's
• 30:12
  Speaker 5: really important, you know, And it's funny.
• 30:14
  Speaker 2: We know as.
• 30:16
  Speaker 5: Cinematographers the good side of everyone's face and the bad
• 30:19
  Speaker 5: side of everyone's face.
• 30:21
  Speaker 2: I don't know.
• 30:22
  Speaker 5: Maybe I'll name a couple actors. Jennifer Lawrence, let's all
• 30:24
  Speaker 5: say at the same time. Right, that's all right.
• 30:28
  Speaker 2: That's her good side. Coleman Domingo.
• 30:33
  Speaker 1: Left, right?
• 30:34
  Speaker 7: Oh oh wait, oh no, I'm thinking of a different
• 30:37
  Speaker 7: Colman Domingo from Austria.
• 30:39
  Speaker 1: Okay, yes, he's good.
• 30:42
  Speaker 6: On she's good.
• 30:43
  Speaker 2: On the left, Robert de.
• 30:44
  Speaker 5: Niro left, left, left, because he's got the mole.
• 30:49
  Speaker 2: On the right.
• 30:50
  Speaker 1: Brad Pitt, Gager, Brad Pitt every side, every side.
• 30:54
  Speaker 3: Both every side and half away, up up.
• 30:59
  Speaker 2: You shoot her. You shoot her like a CCTV. You
• 31:02
  Speaker 2: shoot her like a close circuit.
• 31:04
  Speaker 4: And Ian McKellen from below, from always from.
• 31:08
  Speaker 1: Give out, give him, give him, make him hip, make
• 31:10
  Speaker 1: him HiPE, give him high.
• 31:11
  Speaker 2: You shoot him where the voice comes from? Is what
• 31:13
  Speaker 2: I like to say. With the inn.
• 31:15
  Speaker 1: That's really fun.
• 31:16
  Speaker 6: You can say that, just with that actor, just with
• 31:18
  Speaker 6: the end.
• 31:18
  Speaker 5: Shoot him where the voice comes from, because honestly, he's
• 31:21
  Speaker 5: a he's he's a he's a conduit to the voice.
• 31:24
  Speaker 2: We love the face, but come on, it's the voice.
• 31:27
  Speaker 6: I have a question for everybody here.
• 31:28
  Speaker 1: No, no, I was just gonna say, Doug, I mean,
• 31:31
  Speaker 1: like in forty eight, for one hundred and eighty hours,
• 31:33
  Speaker 1: I think you do a fantastic job of shooting a
• 31:36
  Speaker 1: whole rugby team. I mean, can you talk about how
• 31:39
  Speaker 1: you shot that one scene when they are playing rugby.
• 31:43
  Speaker 1: It's the titular scene, a titular moment when they find
• 31:46
  Speaker 1: the joy of rugby in the desert again.
• 31:49
  Speaker 5: Yeah, yeah, totally so. So we start on a picture
• 31:53
  Speaker 5: of the sand. The sand is pristing, the sand is clear,
• 31:55
  Speaker 5: and we had to clean the sand. We actually wash
• 31:57
  Speaker 5: this sand, which is a very specific technique that I use.
• 32:00
  Speaker 2: And we made the sand. So the shart, the shot
• 32:02
  Speaker 2: starts on the sand.
• 32:03
  Speaker 4: And then you said, shar, don't talk.
• 32:06
  Speaker 2: About it, dude, I feel like it was my kids again.
• 32:12
  Speaker 6: Someone want to say short in an interview, is only
• 32:14
  Speaker 6: someone whould be the father of four blowjobs?
• 32:16
  Speaker 2: Shot up? I have three beautiful kids. I don't.
• 32:20
  Speaker 5: I don't even presume to make think I've made a
• 32:22
  Speaker 5: fourth blowjob. I start the shot. Okay, I'm nominated for
• 32:28
  Speaker 5: an oscar. I start the shot.
• 32:30
  Speaker 3: Short, father of blowjobs, Please continue with the stop.
• 32:34
  Speaker 5: I'm not even joking around right now. Stop Okay, I
• 32:37
  Speaker 5: shot this. Shut the fuck up. I shot the sh
• 32:40
  Speaker 5: I start the.
• 32:41
  Speaker 1: Shot about washing all the sand.
• 32:43
  Speaker 11: So I shot the shand shut my short, fuck short,
• 32:47
  Speaker 11: shart my ass shot in my fucking blowjob. Ass fuck short,
• 32:52
  Speaker 11: I shouted my sharting I shart. Look, we taped to
• 32:56
  Speaker 11: go part of the fucking rugby ball. Okay, can we
• 32:59
  Speaker 11: get over it? And move on. I don't even like this.
• 33:01
  Speaker 11: I'm not even liking this right now.
• 33:04
  Speaker 2: I can't even get my.
• 33:05
  Speaker 5: Fucking lid on my water bottle either, and I've been
• 33:07
  Speaker 5: doing that for minutes.
• 33:08
  Speaker 3: Okay, iologize, I apologize. I feel like we were trying
• 33:12
  Speaker 3: to make a little joke. It went a little too far.
• 33:15
  Speaker 6: It went to America. Is different for a duelph and I.
• 33:18
  Speaker 7: But I'll say this, what the listeners and the students
• 33:21
  Speaker 7: watching and listening should know that what just happened right
• 33:24
  Speaker 7: there is what we call a deep panic.
• 33:26
  Speaker 6: And when a deep panic's on set.
• 33:29
  Speaker 7: It's it is a moment. It's a moment that we
• 33:33
  Speaker 7: all it happens to all of us on set.
• 33:35
  Speaker 2: I don't have those moments on set. I'm great on set.
• 33:37
  Speaker 2: And we do a raffle, like me and the crew.
• 33:39
  Speaker 2: We do a raffle every single day.
• 33:41
  Speaker 5: And somebody wins like three hundred dollars every day, Like
• 33:44
  Speaker 5: you write your name on a five dollar.
• 33:45
  Speaker 4: Bill, it's about the budget.
• 33:47
  Speaker 6: Where do you have time for a raffle on the
• 33:49
  Speaker 6: call sheet?
• 33:50
  Speaker 5: Where do you put the r put fucking five dollars
• 33:52
  Speaker 5: in a bucket and write your name on it, and
• 33:53
  Speaker 5: you do it at the end.
• 33:54
  Speaker 4: You got five minutes, dude, You are all due respect
• 33:57
  Speaker 4: having a deep panic at the moment and.
• 34:01
  Speaker 1: Panics.
• 34:01
  Speaker 4: I just want to get my different watch the.
• 34:04
  Speaker 2: Fucking water bottle, Dude.
• 34:06
  Speaker 5: I'm trying to put the lid on it, and every
• 34:07
  Speaker 5: time I spin it, it's not even it's not even
• 34:10
  Speaker 5: clicking in.
• 34:11
  Speaker 2: And that's what's crazy.
• 34:13
  Speaker 3: Your camera hands are freaking out because of the deep panic.
• 34:16
  Speaker 3: All the blood is rushing to your fingertips and you're
• 34:18
  Speaker 3: not able to use it. MYDP panic manifests inward, so
• 34:24
  Speaker 3: all of my organs run cold, and my blood sort
• 34:29
  Speaker 3: of reverses direction, and I can feel it inside me
• 34:32
  Speaker 3: going wrong.
• 34:33
  Speaker 1: You getting a little cold, or you're like.
• 34:37
  Speaker 4: Oh, gold ladder.
• 34:39
  Speaker 3: It's sort of like, you know how Russians have forty
• 34:42
  Speaker 3: seven words for snow or and we have less, uh
• 34:47
  Speaker 3: or we just feel cold, yes, in more ways than
• 34:53
  Speaker 3: Americans can feel cold. It is sort of the way
• 34:56
  Speaker 3: language maps are. Cognitive thinking is actually quite fat. But yes,
• 35:02
  Speaker 3: and when the panic sets in, when the shot is wrong,
• 35:05
  Speaker 3: you feel it in your whole body. And I'm sure
• 35:08
  Speaker 3: we've all felt something like that.
• 35:10
  Speaker 7: Sure, Yes, I remember I had the deep panic because
• 35:14
  Speaker 7: I put I had a lens, Doug, are you good
• 35:18
  Speaker 7: over there?
• 35:19
  Speaker 5: I'm still working on this fucking water like you know
• 35:21
  Speaker 5: what I'm going lidless.
• 35:22
  Speaker 2: Go ahead, I'm sorry, start the clicks and clacks.
• 35:25
  Speaker 7: Oh my god, yes, oh yeah, you don't need that,
• 35:28
  Speaker 7: what do you?
• 35:29
  Speaker 6: Yeah?
• 35:30
  Speaker 7: So anyway, yeah, I had a deep panic with when
• 35:33
  Speaker 7: Sara Sharonan was she was in the middle of the
• 35:36
  Speaker 7: oven opening the top and this is where the crux
• 35:40
  Speaker 7: of the movie where she finds that the middle of
• 35:42
  Speaker 7: the oven there's a g string and that's a huge
• 35:46
  Speaker 7: moment in the movie. And that was when I didn't
• 35:50
  Speaker 7: have I didn't have my my grip that I love
• 35:53
  Speaker 7: to work with, by the name of Benjamin Button his
• 35:56
  Speaker 7: name first, not the movie first, just normal guy though
• 35:59
  Speaker 7: doesn't have any weird Benjamin Bud. It's my favorite grip
• 36:02
  Speaker 7: to work with in Austria. And he wasn't on set
• 36:05
  Speaker 7: that day at the replacement. And then we put in
• 36:08
  Speaker 7: the wrong lens. I didn't like the aspect ratio, I
• 36:11
  Speaker 7: didn't like the light. I couldn't fix the light. I
• 36:13
  Speaker 7: could not fix the light. I needed more time. I
• 36:16
  Speaker 7: could not get more time. See I'm getting I'm getting
• 36:18
  Speaker 7: flustered just now talking about it, and then sure enough
• 36:22
  Speaker 7: I said, I said I need five. You need to
• 36:24
  Speaker 7: send talent away. I am not ready for syr sh
• 36:27
  Speaker 7: ronand to go inside the oven and find the G string.
• 36:29
  Speaker 7: Yet I can't like it.
• 36:31
  Speaker 3: I'm so glad you were able to work through it, though,
• 36:34
  Speaker 3: because that scene where she figures out she can use
• 36:37
  Speaker 3: the d G string to string the guitar, it is
• 36:40
  Speaker 3: one of the most heartbreaking things I've ever.
• 36:43
  Speaker 4: Seen in cinema.
• 36:44
  Speaker 6: It's the copturl event.
• 36:45
  Speaker 4: You got that shot.
• 36:46
  Speaker 6: Thank you so much.
• 36:47
  Speaker 7: But it was hard I had because our first day,
• 36:49
  Speaker 7: D sent talent in like I was ready, like I
• 36:52
  Speaker 7: was free lit. And let me tell you, I don't
• 36:54
  Speaker 7: preight anything. I'm working with what God has given me
• 36:57
  Speaker 7: that day. Because also I'm a Christian. I should have
• 36:59
  Speaker 7: mentioned that in my intro so I work with them.
• 37:05
  Speaker 6: No, I should have explained it. I should. I don't
• 37:07
  Speaker 6: know how we got on the road.
• 37:10
  Speaker 2: Change anything you've said.
• 37:12
  Speaker 1: Absolutely nothing has been affected.
• 37:19
  Speaker 4: You can be I am. I am supportive of your
• 37:22
  Speaker 4: Christian beliefs.
• 37:23
  Speaker 1: Fine, it's absolutely.
• 37:25
  Speaker 6: No, But I feel like I doesn't I should have
• 37:27
  Speaker 6: said it in the beginning.
• 37:29
  Speaker 1: Are you not a little dep panic right now.
• 37:32
  Speaker 7: A little bit, but that what about you, Clark, if
• 37:34
  Speaker 7: you had a deep panic or are you too cool
• 37:36
  Speaker 7: and young?
• 37:36
  Speaker 1: Well, the thing is they taught us at a FI
• 37:39
  Speaker 1: junior how to kind of deal with DP panic pretty
• 37:42
  Speaker 1: early on. So that was kind of a gift to me.
• 37:44
  Speaker 1: It was kind of a blessing in disguise because at
• 37:47
  Speaker 1: that age you're having a lot of deep panic and
• 37:49
  Speaker 1: just growing panic.
• 37:50
  Speaker 2: They turned it into a song, didn't they. I mean
• 37:52
  Speaker 2: I remember seeing that.
• 37:54
  Speaker 1: Yeah, so you saw that. You've been looking at our
• 37:56
  Speaker 1: YouTube videos.
• 37:57
  Speaker 2: Apparently, Well I was on the board, right, said he
• 38:02
  Speaker 2: was on the board.
• 38:04
  Speaker 1: So yeah, so we turn it into a song and
• 38:07
  Speaker 1: it goes. What they taught us is sorry about this
• 38:11
  Speaker 1: my singing voice. I'm a DP, not a singer.
• 38:13
  Speaker 6: It's okay. Sing it like a kid though, yeah, all.
• 38:17
  Speaker 2: Good, singing a kid though, All good?
• 38:19
  Speaker 4: Please sing it like a kid, all good?
• 38:24
  Speaker 2: Oh good, No worry tingling a kid if you.
• 38:26
  Speaker 7: Can't, it's okay, time taking time.
• 38:29
  Speaker 4: Just sing it like a kid, though, Take your time,
• 38:31
  Speaker 4: no pressure, sing it.
• 38:32
  Speaker 2: Like a kid on your schedule like a kid.
• 38:38
  Speaker 12: Just have fun with it like a child, and go
• 38:40
  Speaker 12: whenever you're ready on your go like a kid.
• 38:44
  Speaker 8: If you're having a panic and feeling really blue, step outside, hand,
• 38:51
  Speaker 8: touch your shoe, look up at sky, and feel real
• 38:55
  Speaker 8: good because this panic will be over in just two
• 39:00
  Speaker 8: minutes and then.
• 39:02
  Speaker 9: One twenty one, nineteen one, eighteen one, seventeen one, sixteen one,
• 39:08
  Speaker 9: fifteen one, fourteen one, thirteen, one, twelve, one, eleven, one ten,
• 39:14
  Speaker 9: one O nine, one, O eight, one O seven, one
• 39:17
  Speaker 9: O six, one, O five, one.
• 39:20
  Speaker 1: O four one O th one O two one O one.
• 39:24
  Speaker 9: One hundred, ninety nine, ninety eight, ninety seven, ninety six,
• 39:31
  Speaker 9: ninety five, ninety four, ninety three, ninety two, ninety one, ninety.
• 39:38
  Speaker 13: Eighty nine, eighty eight, eighty seven, eighty six, eighty five,
• 39:43
  Speaker 13: eighty four, eighty three, eighty two, eighty one, eighty.
• 39:50
  Speaker 4: Sounds like you're taking a break for eighty ke going.
• 39:53
  Speaker 9: Seventy eight, nine, eighty eight, seventy seven, seventy six.
• 39:58
  Speaker 14: Seventy five, four, seventy three, seventy two, seventy one, seventy,
• 40:05
  Speaker 14: sixty one, sixty eight, sixty seven, sixty six, sixty five,
• 40:11
  Speaker 14: sixty four, sixty three two one, sixty.
• 40:17
  Speaker 15: Fifty nine, fifty fifty seven, fifty six, fifty five, fifty four,
• 40:24
  Speaker 15: fifty three, fifty two, fifty one, fifty, forty nine, forty eight,
• 40:32
  Speaker 15: forty seven, break six.
• 40:36
  Speaker 16: Forty five, forty four, fortyay, forty two, forty one, forty,
• 40:44
  Speaker 16: thirty nine, thirty, thirty seven, twenty six, thirty five, thirty four,
• 40:51
  Speaker 16: thirty ten, thirty two, thirty one, thirty, twenty nine, twenty eight,
• 40:56
  Speaker 16: twenty seven, twenty six, seventy four, twenty four, twenty three,
• 41:01
  Speaker 16: twenty two, twenty one, twenty nineteen, eighteen, seventeen, sixteen, fifteen, fourteen, thirteen, twelve, eleven, ten,
• 41:18
  Speaker 16: nine eight.
• 41:22
  Speaker 1: And that's the song that's for you.
• 41:23
  Speaker 4: Wow wow, wow, wow wow, that's amazing. The thing I
• 41:28
  Speaker 4: love about that song is it gave us all time
• 41:31
  Speaker 4: to get up glavit plastic lounger and charge our phone.
• 41:34
  Speaker 2: It was nice.
• 41:35
  Speaker 1: I mean it's everybody up at one point, all of
• 41:37
  Speaker 1: you got up at one point.
• 41:38
  Speaker 7: Well, that's so's so good about that song because you
• 41:42
  Speaker 7: give the every department time to re establish their ones.
• 41:46
  Speaker 3: Yes, actually really smart because you know, traditional anxiety attack
• 41:52
  Speaker 3: remedies don't work on dps, right, because as soon as
• 41:56
  Speaker 3: you start with five things, you can see it's like
• 41:58
  Speaker 3: ah ah more panic.
• 42:00
  Speaker 1: That's the problem.
• 42:01
  Speaker 5: I'm seeing the lights that are rigged wrong. I'm seeing
• 42:04
  Speaker 5: the actor who's in darkness. Yeah, you don't want to
• 42:06
  Speaker 5: see that stuff.
• 42:07
  Speaker 4: I don't want to see that.
• 42:08
  Speaker 5: I also want to say, too, Clark, you know I
• 42:10
  Speaker 5: I saw, you know, I was kind of there when
• 42:13
  Speaker 5: the song was being written. I remember thinking, you know,
• 42:15
  Speaker 5: when you hear it, it's like, oh, just counting down
• 42:17
  Speaker 5: from one hundred and twenty. But teaching five year old
• 42:20
  Speaker 5: the intricacy in differences between those numbers, it's so nuanced,
• 42:24
  Speaker 5: that's the thing that down it felt.
• 42:27
  Speaker 6: Like in the forties it gets the dissonant notes.
• 42:30
  Speaker 5: Well yeah, and then the counties the contown very sexy exactly,
• 42:35
  Speaker 5: and the countdown starts on fourteen, which is not intuitive, right,
• 42:38
  Speaker 5: So so I think I think it's very interesting, and
• 42:42
  Speaker 5: I remember how long you guys worked on that.
• 42:44
  Speaker 1: It took years. It took honestly most of kindergarten just
• 42:47
  Speaker 1: to get past to ninety nine. Because again, you're forgetting
• 42:51
  Speaker 1: how hard it is for children at five to count down.
• 42:54
  Speaker 1: They only know up to about ten or fifteen.
• 42:56
  Speaker 7: I mean, side note, I think it's even harder for
• 42:58
  Speaker 7: children to make a movie.
• 43:00
  Speaker 6: NBAC and photographer.
• 43:01
  Speaker 7: That's why I never really understood I'll say it. I'm
• 43:02
  Speaker 7: gonna say it. I've never understood a FI kindergarten.
• 43:06
  Speaker 5: I never I never understood why they didn't ban lens flares.
• 43:09
  Speaker 5: I'll tell you that much, because there are so many
• 43:11
  Speaker 5: of those in those movies.
• 43:12
  Speaker 2: Well on the board, can.
• 43:13
  Speaker 1: I say, you know, we have a whole You know,
• 43:15
  Speaker 1: that's the thing. It's when you hit kindergarten, first grade,
• 43:18
  Speaker 1: it's a bunch of lens flair short. Uh, these kids
• 43:22
  Speaker 1: are really interested. It's about the age that you like
• 43:24
  Speaker 1: space and trucks, and that's about when you get to
• 43:29
  Speaker 1: lens flares is space and trucks. But yeah, it's actually
• 43:32
  Speaker 1: it was a beautiful song to learn, and it's actually
• 43:34
  Speaker 1: helped me so much on set and just counting down
• 43:37
  Speaker 1: and having to memorize that song really calms you down.
• 43:40
  Speaker 1: I feel, even calling job.
• 43:42
  Speaker 5: You know, I did have a I had a question
• 43:44
  Speaker 5: for everybody, if that's all right? You know, when there's
• 43:47
  Speaker 5: a director, I think we've probably all worked with somebody
• 43:50
  Speaker 5: that is asking for something that they can't visualize.
• 43:54
  Speaker 1: Right, if they ask directors.
• 43:56
  Speaker 5: Difficult directors, they can be they they have something in
• 43:59
  Speaker 5: their mind, but they have no idea of the equipment
• 44:02
  Speaker 5: we're using. We're the practical people behind the dreams, right
• 44:07
  Speaker 5: like we're the ones who have to run the dolly.
• 44:09
  Speaker 2: We're the runs.
• 44:10
  Speaker 5: Who have to really make these cameras capture an entire
• 44:15
  Speaker 5: you know, town doing a drag race.
• 44:17
  Speaker 2: You know, it's it's it's hard. So what have you
• 44:20
  Speaker 2: guys dealt with? Have you ever dealt with some impossible requests?
• 44:26
  Speaker 4: Yes? Well, I worked on an all go pro movie
• 44:29
  Speaker 4: and that was Disaster.
• 44:32
  Speaker 6: College in Vienna.
• 44:35
  Speaker 3: Even as a European, I understand exactly what you mean.
• 44:40
  Speaker 2: But the European centric thing.
• 44:41
  Speaker 4: Yeah, they wanted me.
• 44:43
  Speaker 3: It was a Weather Channel documentary back when they were
• 44:46
  Speaker 3: trying to do Weather Channel Plus. They wanted new content
• 44:49
  Speaker 3: to fill out their streaming slate.
• 44:51
  Speaker 4: It did not work.
• 44:52
  Speaker 3: It was like CNN plus, nobody cared. But they wanted
• 44:55
  Speaker 3: me to go inside of a tornado, right and in
• 44:59
  Speaker 3: order to get a three sixty glance. What we had
• 45:03
  Speaker 3: was a bunch of GoPros in a ring around my
• 45:07
  Speaker 3: head and I was basically just spinning in this cyclone,
• 45:11
  Speaker 3: just sort of getting all and I felt like I
• 45:14
  Speaker 3: was a tripod.
• 45:15
  Speaker 4: I was no longer a cinematographer. In that moment, I
• 45:19
  Speaker 4: was a tripod caught in a storm, and I think
• 45:23
  Speaker 4: we just have to say no to these unconventional cameras.
• 45:26
  Speaker 4: They are keeping me a headache.
• 45:29
  Speaker 1: That was for the Brats two live action movie. Right,
• 45:32
  Speaker 1: that's what you shot that for.
• 45:34
  Speaker 3: On the Weather Channel, was working with Brats two and
• 45:40
  Speaker 3: they really wanted to do some artsy shit.
• 45:43
  Speaker 2: Right, yeah, the dolls.
• 45:46
  Speaker 3: Yes, it was a very hard concept to get on
• 45:50
  Speaker 3: board with. Most of the meetings were us just going so, wait,
• 45:54
  Speaker 3: why is this again?
• 45:57
  Speaker 2: Yeah?
• 45:57
  Speaker 6: And Europe.
• 46:00
  Speaker 1: I did hear the internal he internally and dps. Yeah,
• 46:04
  Speaker 1: that is what you guys are doing. Wait was this again?
• 46:07
  Speaker 2: It's always I mean, I want.
• 46:09
  Speaker 6: To feel like a tripod. Never, I'm so sorry you
• 46:11
  Speaker 6: felt like a typod.
• 46:12
  Speaker 5: I will just say I did hear kind of behind
• 46:14
  Speaker 5: the scenes on the Weather Channel. I know that once
• 46:16
  Speaker 5: they started a streaming service, there was somebody in the
• 46:18
  Speaker 5: room that just screamed, we need an IP and I
• 46:20
  Speaker 5: think they got Brats and so yes, well.
• 46:24
  Speaker 3: It they used all of the pot to fund that
• 46:28
  Speaker 3: to buy the Brats.
• 46:28
  Speaker 5: Yeah, they went all in, and then I know they
• 46:30
  Speaker 5: didn't even end up releasing that movie, which was a
• 46:33
  Speaker 5: bomber because you worked so hard on it, and then
• 46:34
  Speaker 5: they just made a live cam and they stuck some
• 46:38
  Speaker 5: brats in them onsoon, didn't they and you could just
• 46:41
  Speaker 5: watch dolls get pelted by rain.
• 46:43
  Speaker 2: I was disappointed to see.
• 46:45
  Speaker 1: Well, I think interesting enough just going into that, I
• 46:47
  Speaker 1: feel like they realized their ip was weather, which was
• 46:50
  Speaker 1: so interesting that they kind of had an intellectual property
• 46:53
  Speaker 1: and ownership of weather, which is really really interesting for me.
• 46:57
  Speaker 3: Yes, they're not taking advantage of the weather. I p
• 47:00
  Speaker 3: there are so many things you can do with it, totally.
• 47:03
  Speaker 6: That's God's eye. Pee ye, I'm a Christian.
• 47:09
  Speaker 2: Man after any of those, you know what I mean?
• 47:13
  Speaker 3: Okay, Oh no, we've hit another roadblock.
• 47:20
  Speaker 4: Man.
• 47:22
  Speaker 6: Oh no, I guess it's all been done so I
• 47:25
  Speaker 6: get it.
• 47:25
  Speaker 2: The thunder Man's oh ship.
• 47:27
  Speaker 3: Oh well, this is why we are the dps and
• 47:31
  Speaker 3: not the executives right film.
• 47:33
  Speaker 2: The ideas, we don't have them, you know what I mean?
• 47:35
  Speaker 1: Exactly?
• 47:36
  Speaker 6: Yes, Oh, I don't like to have ideas. I just like,
• 47:38
  Speaker 6: I like.
• 47:39
  Speaker 7: I love when the director just puts his two fingers out,
• 47:42
  Speaker 7: she puts her two fingers out, she.
• 47:43
  Speaker 6: Goes, I want to see this for the listeners.
• 47:46
  Speaker 7: I'm just taking my two fingers off like a peace sign,
• 47:48
  Speaker 7: and you put it down like a pancake, and you go,
• 47:50
  Speaker 7: this is this is what I want. And then I
• 47:53
  Speaker 7: see it. I get to see like that's the frame.
• 47:56
  Speaker 7: I like to find frames. I can't have an idea
• 47:59
  Speaker 7: like my my has been. The other day he asked
• 48:01
  Speaker 7: me what I wanted for dinner. I had to think
• 48:03
  Speaker 7: of an idea for dinner. And I said, what about?
• 48:05
  Speaker 7: And I named the street in Austria to the other street.
• 48:08
  Speaker 7: I gave him a frame, right, and I get I said,
• 48:11
  Speaker 7: pick a restaurant on those streets because I'll frame it,
• 48:14
  Speaker 7: but I won't think of it.
• 48:16
  Speaker 1: Yeah, totally, that's a really good idea. I'm gonna definitely
• 48:19
  Speaker 1: steal that. You know. I had a really tough director
• 48:23
  Speaker 1: one time. It was really tough. I was working and
• 48:27
  Speaker 1: I don't want to name names, but she's a fantastic director,
• 48:29
  Speaker 1: but it's tough when they don't understand the limitations of
• 48:32
  Speaker 1: a camera. She said she wants to start in a
• 48:34
  Speaker 1: two shot, push into a close up, and then push
• 48:37
  Speaker 1: up into her brain. And I said, that's important.
• 48:40
  Speaker 6: Sounds like an animation and.
• 48:42
  Speaker 1: That's what I explained to her. I said, this will
• 48:43
  Speaker 1: need to be CGI, this will need to be animation.
• 48:46
  Speaker 1: She said, no, we're going to capture her brain in camera.
• 48:49
  Speaker 1: And I said, one, we'd have to open her up. Two,
• 48:52
  Speaker 1: we can't light a brain. There's no light in a skull.
• 48:55
  Speaker 1: It's dark in there. So we went back and forth
• 48:58
  Speaker 1: for a long time trying to figure that out.
• 49:00
  Speaker 7: Oh, they don't talk about how dark the brain is.
• 49:03
  Speaker 6: You can't like that thing for shit.
• 49:05
  Speaker 3: And so I know that Grace's anatomy I heard this
• 49:08
  Speaker 3: from a buddy of mine who was working for Shonda Rhymes.
• 49:11
  Speaker 3: But Grace's anatomy was running out of material after twenty years.
• 49:17
  Speaker 3: They were looking into seeing if they could get those
• 49:20
  Speaker 3: little cameras that they put in the colonoscopy to see
• 49:23
  Speaker 3: if they could get and they were having little internal
• 49:26
  Speaker 3: discussions of Okay, well, what does the feasibility of getting
• 49:29
  Speaker 3: a little gaffer inside of the brain to maybe light it.
• 49:33
  Speaker 1: Yeah, I heard that they were trying to put a
• 49:34
  Speaker 1: little camera and a little gaffer in there. They were
• 49:36
  Speaker 1: trying to find the smallest person in the world.
• 49:40
  Speaker 3: To do the shrink ray technology first, and well then
• 49:44
  Speaker 3: once they couldn't do shrink cray.
• 49:45
  Speaker 5: I heard they were trying to train praying mantises, which
• 49:47
  Speaker 5: just those guys are so territorytorial and they were, they were,
• 49:51
  Speaker 5: they were fighting all the time.
• 49:52
  Speaker 2: I mean, talk about difficult.
• 49:54
  Speaker 4: Take their heads bitten off. They're not good workers.
• 49:57
  Speaker 5: We can't know another difficult personality on set. Don't bring
• 49:59
  Speaker 5: up ring mantis into it.
• 50:01
  Speaker 6: But let me tell you, you know what.
• 50:04
  Speaker 7: You're useless then a DP who has COVID who can't
• 50:07
  Speaker 7: come in that day, A praying mantis with a camera.
• 50:12
  Speaker 1: For me, that's almost equal. Yeah, a DEP with COVID
• 50:17
  Speaker 1: cod or praying mantis with an attitude is basically the
• 50:19
  Speaker 1: same thing.
• 50:20
  Speaker 3: I mean, it's just the kind of stuff you can
• 50:22
  Speaker 3: only talk about with other dps, can only brow out
• 50:27
  Speaker 3: like this.
• 50:28
  Speaker 2: It's nice to go.
• 50:29
  Speaker 6: Do you guys ever call the top of your water
• 50:31
  Speaker 6: bottle a lens cap?
• 50:33
  Speaker 2: No? No, I don't at all.
• 50:34
  Speaker 1: Must I guess it's a Christian thing.
• 50:36
  Speaker 6: I guess it's a.
• 50:37
  Speaker 5: Christian If it's Christian. If it's not Christian, it's Austrian.
• 50:40
  Speaker 5: If it's not Austrian, it's a DEP thing. And it's
• 50:42
  Speaker 5: not a DP thing, so it must be one of those, right,
• 50:44
  Speaker 5: and that's me.
• 50:45
  Speaker 3: The Eide speed quiz. Which of these personality traits are you? I?
• 50:52
  Speaker 4: I guess?
• 50:53
  Speaker 8: Uh?
• 50:53
  Speaker 4: Is there a time? Is it ever hard to turn
• 50:56
  Speaker 4: it off?
• 50:57
  Speaker 3: I mean, you are talking about the lens cap and
• 50:59
  Speaker 3: the water, which I can't personally relate to it. But
• 51:03
  Speaker 3: are there any times when you are wrong about your
• 51:06
  Speaker 3: everyday life and you just cannot stop running through shots
• 51:09
  Speaker 3: and time coding in your head?
• 51:11
  Speaker 4: Does that ever happen?
• 51:12
  Speaker 1: I mean, I can say I'm sure all of us
• 51:14
  Speaker 1: have experienced the feeling and the sensation one you're having
• 51:18
  Speaker 1: sex and you actually say out loud, I wish I
• 51:21
  Speaker 1: could shoot this.
• 51:21
  Speaker 2: Oh my gosh.
• 51:23
  Speaker 5: How many times I've thought that, Oh my gosh.
• 51:26
  Speaker 4: And I mean, you.
• 51:28
  Speaker 3: Do have it within your power to shoot a sex tape?
• 51:30
  Speaker 3: I will say I have tried it.
• 51:32
  Speaker 1: It's here the teaser release. Here's the teaser release.
• 51:36
  Speaker 6: This is the second they're going to clip for the video.
• 51:40
  Speaker 4: Okay, so let's do it. Let's get into it. It
• 51:43
  Speaker 4: took you know, as a DP.
• 51:45
  Speaker 3: I'll reframe it so you can clip it as a
• 51:47
  Speaker 3: video as a DP. It's really hard for me to
• 51:51
  Speaker 3: shoot a sex tape because it takes forever to light it,
• 51:55
  Speaker 3: and by then my partner is no boner, is gone
• 51:58
  Speaker 3: and they don't want to do it anymore.
• 51:59
  Speaker 6: Oh, your partner is no boner.
• 52:01
  Speaker 5: Well, it's difficult because if I were to shoot a
• 52:03
  Speaker 5: sexy and I of course wouldn't want to be in it,
• 52:05
  Speaker 5: you know.
• 52:06
  Speaker 2: So so I'm like, oh.
• 52:07
  Speaker 5: I really want to shoot this, and I head out
• 52:09
  Speaker 5: of there, and I say, we got to get somebody else.
• 52:11
  Speaker 5: And of course who's it going to be. It's somebody
• 52:12
  Speaker 5: who's good on all angles its bread pitt. I call
• 52:14
  Speaker 5: brad Up, I say, look, I'm having an inkling for
• 52:16
  Speaker 5: a project. He says, this is disgusting, this is depray,
• 52:20
  Speaker 5: this is weird. But it's hard for me, you know.
• 52:22
  Speaker 4: I will say this phone number, that's the win.
• 52:25
  Speaker 2: I have his WhatsApp.
• 52:26
  Speaker 5: I have his WhatsApp and I call him on what's
• 52:27
  Speaker 5: app okay, And it's jarring for him, and it's jarring
• 52:29
  Speaker 5: for me because I never use it like that. But
• 52:32
  Speaker 5: I will say, I you know a lot of the
• 52:35
  Speaker 5: lighting right now, that a lot of the kids are
• 52:37
  Speaker 5: having the kind of sexy lighting you can buy on TikTok.
• 52:40
  Speaker 5: That stuff looks great in the room. And sometimes when
• 52:42
  Speaker 5: I light one of those galaxy lights, you know, and
• 52:45
  Speaker 5: I'm having sex with my beautiful wife, I think about
• 52:48
  Speaker 5: I think about, man, I wish I could see what
• 52:50
  Speaker 5: this looks like. But some things, you know, sometimes you
• 52:53
  Speaker 5: leave it to God.
• 52:54
  Speaker 2: Is the DP live? You know?
• 52:55
  Speaker 1: For me, that's a point where I say, and we
• 52:58
  Speaker 1: learned this in uh know, Afi Junior, pretend your eyes
• 53:02
  Speaker 1: are a camera, and it really helps mentally. Sometimes I'll
• 53:05
  Speaker 1: just go, you know what, I wish I could film this.
• 53:07
  Speaker 1: I am filming this with my eyes and it's really helpful. Yes,
• 53:12
  Speaker 1: you guys have.
• 53:12
  Speaker 7: My problem with my husband is when I ask for
• 53:14
  Speaker 7: more haze during six That's usually our biggest problem because
• 53:17
  Speaker 7: sometimes I want to feel the screen.
• 53:19
  Speaker 1: Meaning you'll get very coughing attacks.
• 53:22
  Speaker 7: Oh yes, and I just go morees more he and
• 53:25
  Speaker 7: it just kills the ball.
• 53:27
  Speaker 5: And I'll say to my wife, you know, she doesn't
• 53:29
  Speaker 5: like when I hyper fixate on the little things. I
• 53:31
  Speaker 5: hyper fixate on her grabbing the sheets. I hyperfixate on
• 53:33
  Speaker 5: her biting her lip, and she says, look at my tits.
• 53:37
  Speaker 2: She says, hey, look at my tits.
• 53:38
  Speaker 5: Look if I look at you know, like focus on
• 53:40
  Speaker 5: what you're supposed to be doing down there, you know.
• 53:42
  Speaker 7: I mean, and as a woman with tits, if you're
• 53:45
  Speaker 7: not looking at my tits and you're looking at my
• 53:46
  Speaker 7: hand holding the pillow, fuck you.
• 53:48
  Speaker 2: Yeah, I hear you, and she hears you too, and
• 53:51
  Speaker 2: she gets pissed at me.
• 53:52
  Speaker 6: For I'm a Christian. I've never seen tits except.
• 53:54
  Speaker 2: My own, Okay, other people's.
• 54:00
  Speaker 1: I always get places from my girlfriend I'm trying to capture.
• 54:03
  Speaker 1: I'm trying to think too much about the emotional state
• 54:06
  Speaker 1: she was just in before the sex. Uh, the moment
• 54:08
  Speaker 1: before yeah yeah, yeah, yeah, yeah, Like what is she
• 54:11
  Speaker 1: going through? What is this feeding towards in her story?
• 54:13
  Speaker 7: In her plotline, Clark, are you one of the dps
• 54:16
  Speaker 7: that likes to watch rehearsal before you light it?
• 54:19
  Speaker 1: Absolutely? I love to watch rehearsal, so you.
• 54:22
  Speaker 7: Don't even you don't even know what the shot is
• 54:24
  Speaker 7: when you're when you're in production, do you know what
• 54:26
  Speaker 7: how you're going to shoot something?
• 54:27
  Speaker 6: You watch the actors.
• 54:28
  Speaker 1: I show up with a pen and a paper and
• 54:32
  Speaker 1: kid picks on my computer and we do it there. Yeah,
• 54:36
  Speaker 1: we learned it in a FI junior. It's great. I
• 54:38
  Speaker 1: just have never moved off of it kid.
• 54:40
  Speaker 2: I guess that's hard.
• 54:41
  Speaker 5: You know, every person when they work in a career,
• 54:43
  Speaker 5: they kind of get attached to the first software they use.
• 54:45
  Speaker 5: So if kid picks is your first software, I guess
• 54:47
  Speaker 5: you're gonna get sense.
• 54:49
  Speaker 3: IM so attached to photo booth I got.
• 54:54
  Speaker 1: I saw laptop and turning it around to take photos.
• 54:58
  Speaker 4: Yes, yes, yes, do you sometimes have to return to
• 55:01
  Speaker 4: what you know? And sometimes I do the little roller.
• 55:04
  Speaker 6: Coaster back the roller coaster.
• 55:06
  Speaker 3: I shot my college thesis on roller coaster background in.
• 55:10
  Speaker 4: I shut up, really shut up, And I think it
• 55:13
  Speaker 4: was actually pretty good.
• 55:15
  Speaker 3: I will say I'm not much of a writer, so
• 55:17
  Speaker 3: the dialogue was described as a little frenetic and insane,
• 55:21
  Speaker 3: but the actual shots of the roller coaster felt real
• 55:25
  Speaker 3: and authentic and true, and that's what my.
• 55:27
  Speaker 4: Professor it was.
• 55:28
  Speaker 5: It was hell having to write in film school as cinematographers.
• 55:32
  Speaker 5: I just want to shoot the thing. Let me guess,
• 55:34
  Speaker 5: did all of us write something where you It starts
• 55:37
  Speaker 5: with somebody waking up and hitting an alarm clock.
• 55:40
  Speaker 1: Yes, a quintessential shot. We've all shout, how was.
• 55:44
  Speaker 4: That shot of the insert of the alarm clock?
• 55:47
  Speaker 2: Was your clock?
• 55:48
  Speaker 6: Did your clock have numeric? Orders that were red.
• 55:52
  Speaker 5: Yeah numbers, Yeah, seven o'clock. And I'll tell you my twister.
• 55:56
  Speaker 5: My twist did six fifty nine, yeah sixty, I did
• 55:59
  Speaker 5: say fifty nine into seven. And my big twist was
• 56:05
  Speaker 5: the monster hand hitting the alarm, Big claw Cark J.
• 56:10
  Speaker 6: Good Clark J.
• 56:11
  Speaker 7: Were you the one that I saw on I just
• 56:14
  Speaker 7: read somewhere or on Deadline that you were watching dailies on.
• 56:17
  Speaker 6: A leap Frog.
• 56:19
  Speaker 1: Yeah, so I watched dailies on a leap Frog. It's
• 56:21
  Speaker 1: the only way that they put the dailies on the monitor,
• 56:24
  Speaker 1: and then they have a cord that just goes right
• 56:26
  Speaker 1: to my Leapfrog learning.
• 56:27
  Speaker 6: Like an HDMI into the leap Frog HDMI.
• 56:29
  Speaker 1: Right into the leap Frog Learning. So while I'm watching
• 56:32
  Speaker 1: the dailies, I can also figure out the letters behind
• 56:34
  Speaker 1: the dailies.
• 56:35
  Speaker 6: So that's like me. We did this on on the
• 56:37
  Speaker 6: cam on the cannon.
• 56:38
  Speaker 7: At some point we started putting the call sheet on
• 56:41
  Speaker 7: the computer on the on the camera, so you didn't
• 56:44
  Speaker 7: even know what time your call time was until you
• 56:45
  Speaker 7: had the camera in front.
• 56:46
  Speaker 2: Of him in the desert.
• 56:48
  Speaker 5: We put ours inside a cooler just so you can
• 56:51
  Speaker 5: when you eat the video villages, you open a big
• 56:53
  Speaker 5: igloo cooler.
• 56:54
  Speaker 1: I've heard that your cameras are free of sand but
• 56:56
  Speaker 1: covered in water all just the monitors.
• 56:59
  Speaker 5: The cameras are completely free, but the monitors are Yeah, ok,
• 57:03
  Speaker 5: they don't check the monitors of the academy.
• 57:05
  Speaker 1: Well, that actually brings up a good point. The alarm
• 57:08
  Speaker 1: clock thing is you know, I'm a fan. Do you
• 57:10
  Speaker 1: guys love or hate an unnecessary insert? You know, when
• 57:15
  Speaker 1: somebody's opening the door and all of a sudden we're
• 57:17
  Speaker 1: seeing the hand reach for the door slowly. It almost
• 57:20
  Speaker 1: feels robotic and completely out of the place. Do you
• 57:22
  Speaker 1: guys like that or hate that?
• 57:24
  Speaker 7: I hate what you just said unnecessary because who decides
• 57:27
  Speaker 7: something is unnecessary? Yeah, the storyteller doesn't get to decide
• 57:32
  Speaker 7: what is what is necessary or not.
• 57:36
  Speaker 5: Clark cannot tell you why I hated that so much,
• 57:38
  Speaker 5: because I really despise what you said. Uh huh, Clark,
• 57:41
  Speaker 5: I would say that. I would say that life is inserts, right,
• 57:44
  Speaker 5: Life is moments between establishing shots. Inserts are what get
• 57:48
  Speaker 5: us from A to B. If you focus on the
• 57:51
  Speaker 5: main thing being the action, you're ignoring the moments of
• 57:55
  Speaker 5: opening the door, the moments of going up the stairs,
• 57:57
  Speaker 5: the moments. I mean, yeah, it's just really ignorant what
• 57:59
  Speaker 5: you said, and it kind of sucks ass. Yeah, I
• 58:01
  Speaker 5: mean the reasoning what.
• 58:07
  Speaker 6: He hated about what he said.
• 58:08
  Speaker 3: So the reason I hated it is because we as
• 58:10
  Speaker 3: a society do not look at our hands enough, and
• 58:15
  Speaker 3: movies really point the camera literally and figuratively towards Have
• 58:20
  Speaker 3: you ever looked at what your hand looks like.
• 58:21
  Speaker 4: When it's picking up the phone.
• 58:23
  Speaker 3: No, you don't think about that because you are not present,
• 58:26
  Speaker 3: and movies really remind us like, oh, maybe I should
• 58:29
  Speaker 3: be looking at my feet when I walk there. Maybe
• 58:32
  Speaker 3: I should be looking at my arms when I'm grabbing this,
• 58:35
  Speaker 3: And people are only looking.
• 58:36
  Speaker 4: At face face face face face face face. This is
• 58:39
  Speaker 4: hideous to me. I think that faces are hideous.
• 58:41
  Speaker 2: Yeah, they suck and they're so boring. It's all we
• 58:44
  Speaker 2: see it.
• 58:45
  Speaker 1: Usually absolutely big revelation in the last five minutes here
• 58:49
  Speaker 1: that you guys hate faces.
• 58:51
  Speaker 3: But that's you know, we don't have time to get
• 58:54
  Speaker 3: into every body part we hate. How is everyone feeling
• 58:58
  Speaker 3: about getting but eventually that shiny trophy. I don't know
• 59:02
  Speaker 3: if it's everyone's first time, is this it's my first time?
• 59:07
  Speaker 3: Certainly some of you may have been around the block.
• 59:10
  Speaker 3: I can't quite remember.
• 59:11
  Speaker 5: I've been nominated a few times. I will say, you know,
• 59:14
  Speaker 5: I would be excited. I am also nervous because I
• 59:17
  Speaker 5: think if I bring that thing to the desert, the
• 59:19
  Speaker 5: power of the sunlight might reflect off of it and
• 59:21
  Speaker 5: hurt somebody. It's hard to hold, makes me nervous, and
• 59:25
  Speaker 5: it gets hot in the desert, So I just don't
• 59:26
  Speaker 5: logistically know how. It's peak kind of a burden to
• 59:29
  Speaker 5: have it as a statue, and.
• 59:31
  Speaker 4: It is making me be annoying to It's making.
• 59:33
  Speaker 5: Me nervous to think about having to do something with it. Yeah,
• 59:36
  Speaker 5: where would I put it? Will it get too hot?
• 59:38
  Speaker 6: Well, listen, I have one.
• 59:39
  Speaker 7: I have one, and I'm in heat hot climates a lot,
• 59:43
  Speaker 7: and it doesn't. I just I just put it in
• 59:45
  Speaker 7: a ziploc bag. So maybe you could that dug.
• 59:48
  Speaker 5: Yeah, I could try that melts too. I just want
• 59:51
  Speaker 5: to say, but yeah, sure.
• 59:52
  Speaker 7: I'm not in Vienna, but you know I'm in Tunisia.
• 59:56
  Speaker 2: For the record, it is different than.
• 59:58
  Speaker 6: Not in Vienna. I'm a Christian. But I will say
• 1:00:00
  Speaker 6: that I got the I got my oscar.
• 1:00:04
  Speaker 7: For when we read we redid the Proposal with Sandra
• 1:00:08
  Speaker 7: Bullock but in Vienna.
• 1:00:10
  Speaker 6: Yeah, and I got the Oscar in Vienna for the.
• 1:00:12
  Speaker 1: Best International Film. I remember that the Prince the Proposal
• 1:00:16
  Speaker 1: Austria is what it was called.
• 1:00:18
  Speaker 6: Yes, and I got it.
• 1:00:20
  Speaker 1: It sweeped its award, so I guess it got one award.
• 1:00:23
  Speaker 6: Yes, it sweeped with one. But it's it was incredible.
• 1:00:29
  Speaker 7: And I'll say I was young at the time and
• 1:00:31
  Speaker 7: I did not know what I was going, what what
• 1:00:34
  Speaker 7: what I was doing. This time, I'll say it's something
• 1:00:36
  Speaker 7: special about knowing the nominees and knowing their films, Like
• 1:00:40
  Speaker 7: I know, you guys, I know a Ralph Jenkins shot.
• 1:00:43
  Speaker 3: I really do, Yes, yes, course, because it's just covered
• 1:00:47
  Speaker 3: in glitter and little hearts.
• 1:00:49
  Speaker 4: That's just how you know.
• 1:00:50
  Speaker 2: Yes.
• 1:00:52
  Speaker 1: Yeah, I first time nomination, Very excited, very I feel
• 1:00:56
  Speaker 1: like it's almost a gift for me to be nominated
• 1:00:59
  Speaker 1: with such a magnanimous bruise, you know, just to mirror that,
• 1:01:03
  Speaker 1: I know what a glitter shot feels like. It feels
• 1:01:06
  Speaker 1: disorienting and you can almost hear the accent in it,
• 1:01:09
  Speaker 1: which is amazing.
• 1:01:10
  Speaker 4: That felt racist to me, the way you're talking.
• 1:01:14
  Speaker 2: I didn't really enjoy that.
• 1:01:15
  Speaker 4: The way that something is. You know what, I am
• 1:01:19
  Speaker 4: choosing to.
• 1:01:20
  Speaker 3: Be the bigger person because I am not afraid to
• 1:01:22
  Speaker 3: admit that I am excited.
• 1:01:24
  Speaker 13: Right.
• 1:01:25
  Speaker 4: I have a.
• 1:01:25
  Speaker 3: Little car seat in my passenger seat just in case
• 1:01:29
  Speaker 3: I win, so I can strap in the trophy.
• 1:01:31
  Speaker 2: It's a little haunting. It's actually kind of haunting to
• 1:01:33
  Speaker 2: hear that.
• 1:01:34
  Speaker 7: It's a small, small, yes, a baby with a person
• 1:01:37
  Speaker 7: with the car seats without the child.
• 1:01:38
  Speaker 1: You might want it too much at this point.
• 1:01:40
  Speaker 5: I'd love to shoot that because it would be a
• 1:01:42
  Speaker 5: Hemingway esque tragedy.
• 1:01:43
  Speaker 4: I think I love choose the problem and say I
• 1:01:46
  Speaker 4: go home without it.
• 1:01:47
  Speaker 3: I put it on Facebook marketplace a car seat for
• 1:01:49
  Speaker 3: oscar never one.
• 1:01:50
  Speaker 4: What does the problem?
• 1:01:52
  Speaker 6: Oh yeah, maybe I think on that.
• 1:01:55
  Speaker 4: There's nothing tragic about that. To just simply life. It
• 1:01:58
  Speaker 4: is expositional. It is what happened.
• 1:02:00
  Speaker 1: God, I want to shoot that. God shoot.
• 1:02:03
  Speaker 3: Do you see something horrible and sad and go, oh fuck?
• 1:02:07
  Speaker 4: I wish I wish.
• 1:02:08
  Speaker 2: Yeah.
• 1:02:10
  Speaker 8: Oh.
• 1:02:10
  Speaker 7: I saw an old lady fall on the streets of
• 1:02:13
  Speaker 7: Vienna and it was the light was cutting the light
• 1:02:18
  Speaker 7: was cutting through and it was heartbreaking.
• 1:02:22
  Speaker 4: I saw a rat cly.
• 1:02:24
  Speaker 3: I saw a rat cry in a nightclub, and oh
• 1:02:28
  Speaker 3: my god, I wish what I.
• 1:02:30
  Speaker 4: Would have given to shoot a short film about that.
• 1:02:34
  Speaker 2: Do you know whether what rat was crying?
• 1:02:35
  Speaker 5: Was it just too drunk or what it was?
• 1:02:40
  Speaker 3: He was sort of well I could tell because there
• 1:02:44
  Speaker 3: was another rat girl sort of going like you got this,
• 1:02:49
  Speaker 3: and so you could sort of tell that it was
• 1:02:51
  Speaker 3: more of a chemical alcohol reaction than like it probably
• 1:02:54
  Speaker 3: wasn't really about that. It was probably a greater problem, right,
• 1:02:58
  Speaker 3: But I wear enough time to get it.
• 1:03:00
  Speaker 6: It's weird. None of you asked me why the woman fell?
• 1:03:04
  Speaker 1: Why don't you fall?
• 1:03:06
  Speaker 4: Know?
• 1:03:06
  Speaker 6: I just saw the moment, But don't ask why the
• 1:03:08
  Speaker 6: rats was frying.
• 1:03:09
  Speaker 1: Well, it seems like just you know, for a woman
• 1:03:11
  Speaker 1: to fall, it sounds like an accident. It sounds like
• 1:03:13
  Speaker 1: something you didn't say she was pushed. You've kind of
• 1:03:16
  Speaker 1: just gestured that she fell. So that is a cut
• 1:03:19
  Speaker 1: and dry, open clothesed case to be crying. If you
• 1:03:24
  Speaker 1: like to keep talking, we'll give you a lot of questions.
• 1:03:26
  Speaker 5: We'll give you the platform glitter if you like to
• 1:03:28
  Speaker 5: continue being perceived or whatever.
• 1:03:31
  Speaker 2: I don't know, I don't know if you want to
• 1:03:32
  Speaker 2: keep going, what does that mean?
• 1:03:35
  Speaker 5: Look one thing. I just want to say something. I
• 1:03:37
  Speaker 5: wish I could have shot something really fucked up and sad.
• 1:03:40
  Speaker 5: My kids got lice and I had the blow jobs.
• 1:03:42
  Speaker 5: Shut the fuck up.
• 1:03:43
  Speaker 6: I had a washing a blow job with a piece
• 1:03:45
  Speaker 6: of white didn't tear.
• 1:03:47
  Speaker 2: What are you talking about?
• 1:03:49
  Speaker 5: You guys are bending over backwards to try to turn
• 1:03:52
  Speaker 5: my kids into blowjobs, and I won't let it happen.
• 1:03:54
  Speaker 2: All I'm saying, shut the hell up.
• 1:03:57
  Speaker 12: We aren't the blowjob here, blowjob, I don't know, no,
• 1:04:03
  Speaker 12: you know what.
• 1:04:03
  Speaker 5: From now on, do not call my kids blow jobs.
• 1:04:05
  Speaker 5: If anything, you can call them vagina jobs. And that's
• 1:04:08
  Speaker 5: all because they were they were.
• 1:04:10
  Speaker 4: I don't like that one.
• 1:04:13
  Speaker 6: I'm a Christian.
• 1:04:13
  Speaker 4: I won't say you can you can eat somebody out.
• 1:04:19
  Speaker 4: You don't call it the vagina job.
• 1:04:21
  Speaker 2: And I'm not calling it that.
• 1:04:22
  Speaker 5: I'm saying, I penetrated my wife and I ejaculated into her,
• 1:04:26
  Speaker 5: and I created my children, so you can call them
• 1:04:30
  Speaker 5: and so then maybe we don't talk about it.
• 1:04:32
  Speaker 6: As a Christian in an Austrian this is where I
• 1:04:34
  Speaker 6: shut my ears.
• 1:04:35
  Speaker 2: Listen.
• 1:04:37
  Speaker 5: So I put the shampoo on their hair and I
• 1:04:39
  Speaker 5: was washing it, and I was watching these lice die
• 1:04:42
  Speaker 5: and I was like, man, I wish I had a
• 1:04:43
  Speaker 5: tiny jib so I could just get in there with
• 1:04:45
  Speaker 5: the crane and I could just span over all of
• 1:04:48
  Speaker 5: these lice just fucking grasping for their life. I really
• 1:04:52
  Speaker 5: wish I could have seen that, because in a way,
• 1:04:53
  Speaker 5: when you get that close, hair is kind of like
• 1:04:55
  Speaker 5: sand in the desert.
• 1:04:57
  Speaker 2: That's what I want.
• 1:04:57
  Speaker 6: You know what, Now I feel like a dick because
• 1:04:59
  Speaker 6: that was beautiful.
• 1:05:00
  Speaker 2: Yeah, thank you, And wouldn't you have liked to have
• 1:05:02
  Speaker 2: seen that?
• 1:05:02
  Speaker 5: And I actually I went on Craigslist and I tried
• 1:05:04
  Speaker 5: to find a non union praying mantis to help me
• 1:05:07
  Speaker 5: with that. And I guess what I got a lot
• 1:05:08
  Speaker 5: of I got a lot of fucking nasty emails. What's
• 1:05:12
  Speaker 5: worse than a prag mantis? A non union pragmantis, I'll
• 1:05:14
  Speaker 5: tell you that much.
• 1:05:15
  Speaker 1: They will do anything for the job. It's it's worth devastating.
• 1:05:20
  Speaker 17: Then they praying mantis with a camera, a dead pragmantis
• 1:05:23
  Speaker 17: because you have to clean up the body.
• 1:05:24
  Speaker 2: Yeah, that's a good point too.
• 1:05:29
  Speaker 1: Yeah. I guess something I saw that was devastating.
• 1:05:32
  Speaker 18: That I really really really really wanted to shoot. We
• 1:05:35
  Speaker 18: were in a small Bangladeshi forest, and I saw a
• 1:05:40
  Speaker 18: man get eaten live by a tiger and I don't know.
• 1:05:44
  Speaker 18: I just wanted to shoot it anyway, fuck Mary kill
• 1:05:47
  Speaker 18: two shot, close up or wide shot?
• 1:05:52
  Speaker 2: Oh, this is an indugy question. It's been as again.
• 1:05:56
  Speaker 19: This is this is the Martini of the anyway of course,
• 1:06:02
  Speaker 19: of course, Well you gota fuck the wide shot, right,
• 1:06:07
  Speaker 19: It's so delicious to me.
• 1:06:09
  Speaker 4: I want to marry the two shot.
• 1:06:11
  Speaker 3: I think that is the the sort of practical the suv,
• 1:06:14
  Speaker 3: the family sedan, if you will, of shots, and I
• 1:06:18
  Speaker 3: want to kill the close up.
• 1:06:20
  Speaker 4: I don't want to know that much about the I disagree.
• 1:06:22
  Speaker 2: I'm going to disagree. I disagree, I'm disagree.
• 1:06:25
  Speaker 5: I'm gonna be I'm gonna be marrying the close up
• 1:06:27
  Speaker 5: because I want to wake up next to that my
• 1:06:28
  Speaker 5: whole life, and I want to get the shot. You know,
• 1:06:31
  Speaker 5: I'm going to be a fucking the two shot because
• 1:06:33
  Speaker 5: that's what fucking is. It's too And then I am
• 1:06:37
  Speaker 5: going to kill an orgy. I'm not interested in that. No,
• 1:06:40
  Speaker 5: I have I fuck to have children, so.
• 1:06:42
  Speaker 17: That's no, no, no jobs, but you get jobs.
• 1:06:52
  Speaker 2: That you I'm getting so mad.
• 1:06:57
  Speaker 12: Sing the song one nineteen, although it doesn't seventeen one thirteen.
• 1:07:09
  Speaker 1: I'm sorry, I'm not counting down to the end of this.
• 1:07:12
  Speaker 1: I'm not I did that already.
• 1:07:15
  Speaker 6: Counting before o'clark. You will not stop counting against.
• 1:07:24
  Speaker 5: This has been, This has been Artists on artist, artists
• 1:07:26
  Speaker 5: and artists answer the question no, That's why they call
• 1:07:28
  Speaker 5: it show business.
• 1:07:29
  Speaker 20: Good Night Hollywood, Artists on, Artists on, Artists on Artists,
• 1:07:34
  Speaker 20: and Improvised Hollywood Round People podcast created and performed and
• 1:07:37
  Speaker 20: produced by Kylie Bragman, Jeremy Colhey, Angela Jertana, and Patrick McDonald.
• 1:07:41
  Speaker 7: Music is by Gabriel Pontau. The opinions expressed on this
• 1:07:45
  Speaker 7: podcast do not reflect the opinions of anyone who.
• 1:07:47
  Speaker 20: Works on it, not even the performers, because this is
• 1:07:49
  Speaker 20: an improvised podcast and we're stupid.
• 1:07:51
  Speaker 15: Well.
• 1:07:52
  Speaker 7: Video versions of AOAOAOA are available on YouTube, so please
• 1:07:56
  Speaker 7: like and subscribe and leave us a five star review
• 1:07:58
  Speaker 7: wherever you get your podcasts.
• 1:08:00
  Speaker 6: Good Night, Hollywood, Yeah,