Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 847: The Indie Filmmaker’s Survival Guide (No Hollywood Required) with Ethan Marten

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IFH 847: The Indie Filmmaker’s Survival Guide (No Hollywood Required) with Ethan Marten · Indie Film Hustle® - A Filmmaking Podcast

• 0:03
  Speaker 1: You are listening to the ifh podcast Network.
• 0:06
  Speaker 2: For more amazing filmmaking and screenwriting podcasts, just go to
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  Speaker 2: ifhpodcastnetwork dot com.
• 0:12
  Speaker 3: Welcome to the Indie Film Muscle Podcast, Episode number eight
• 0:15
  Speaker 3: forty seven. Cinema should make You forget. You're sitting in
• 0:18
  Speaker 3: a theater, Roman Polanski.
• 0:21
  Speaker 2: Broadcasting from the back alley in Hollywood. It's the Indie
• 0:25
  Speaker 2: Film Hustle Podcast, where we showed you how to survive
• 0:28
  Speaker 2: and thrive as an indie filmmaker in the jungles of
• 0:31
  Speaker 2: the film biz.
• 0:32
  Speaker 1: And here's your host, Alex Ferrari.
• 0:35
  Speaker 3: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
• 0:38
  Speaker 4: I am your humble.
• 0:39
  Speaker 3: Host, Alex Ferrari. Today's show is sponsored by Rise of
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  Speaker 3: the Film Entrepreneur How to turn your independent film into
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  Speaker 3: a profitable business. It's harder today than ever before for
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  Speaker 3: independent filmmakers to make money with their films from predatory
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  Speaker 3: film distributors ripping them off to huckster film aggregators who
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  Speaker 3: prey upon them. The odds are stacked against the indie filmmaker.
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  Speaker 3: The old distribution model of making money with your film
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  Speaker 3: is broken, and there needs to be a change the
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  Speaker 3: future of independent filmmaking is the entrepreneurial filmmaker or the
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  Speaker 3: film entrepreneur. In Rise of the Film Entrepreneur, I break
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  Speaker 3: down how to actually make money with your film projects
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  Speaker 3: and show you how to turn your indie film into
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  Speaker 3: This book shows you the step by step method to
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  Speaker 3: the Film Entrepreneur method will set you up for success.
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  Speaker 3: The book is available in paperback, ebook, and of course audiobook.
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  Speaker 3: If you want to order it, just head over to
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  Speaker 3: www Dot filmbizbook dot com. That's film bizbook dot com.
• 1:49
  Speaker 3: Enjoy today's episode with guest host Dave Bullis.
• 1:54
  Speaker 4: We have an active producer director.
• 1:56
  Speaker 5: We talk growing up as the son of an entertainment
• 1:59
  Speaker 5: attorney for people say is Desi Arnez, Mickey Rooney and
• 2:01
  Speaker 5: Middle of the Three Stooges. We talk about that a
• 2:03
  Speaker 5: little bit. We talk about old TV a lot, so
• 2:06
  Speaker 5: if you know who the Bowerie Boys are, maybe who
• 2:08
  Speaker 5: the Marx's brothers are. We touch upon that, but we
• 2:10
  Speaker 5: also talk about a lot about his career, and we
• 2:12
  Speaker 5: also talk about his new film Eyes of the Roaschiet,
• 2:15
  Speaker 5: which actually starts Eric Roberts and he actually made it
• 2:18
  Speaker 5: in his own hometown, far far away from Hollywood, and
• 2:21
  Speaker 5: we're going to talk about how he did that and
• 2:23
  Speaker 5: also about upcoming projects like White Buffalo Movie with guests
• 2:29
  Speaker 5: Ethan Martin.
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  Speaker 4: Hey, Ethan, thanks lot for coming on the show.
• 2:32
  Speaker 6: Dave, thank you for having me.
• 2:34
  Speaker 5: Hey, everybody, my pleasure of having you on, Ethan. And
• 2:39
  Speaker 5: you know, something that we were talking about in the
• 2:41
  Speaker 5: pre show interview is you know your whole your career
• 2:44
  Speaker 5: and obviously your career. You know you're out of Virginia Beach, Virginia,
• 2:48
  Speaker 5: and again you're the first person I've ever interviewed from Virginia. Uh, completely,
• 2:52
  Speaker 5: I believe h Now I'm completely mistaken, which is possible.
• 2:56
  Speaker 1: But but you're not gonna ask me like some World
• 2:58
  Speaker 1: War two question like who's the most famous baseball player
• 3:01
  Speaker 1: to come out of Virginia? Are you?
• 3:03
  Speaker 5: Oh, that's a good question. That was Actually I wasn't
• 3:05
  Speaker 5: going to ask that, but now I think I should.
• 3:08
  Speaker 1: Well, I would say Yogi Berra's probably one of the
• 3:12
  Speaker 1: most famous guys to come through here. When the Mets
• 3:14
  Speaker 1: had their farm system here, and even before that, when
• 3:19
  Speaker 1: the Yankees played a lot of games.
• 3:20
  Speaker 6: Back here, Yogi Bera came through.
• 3:25
  Speaker 1: So there you have it. So I am an American
• 3:28
  Speaker 1: now you know that for sure? Okay, glad we got
• 3:30
  Speaker 1: that out of the way.
• 3:31
  Speaker 4: You passed the test.
• 3:33
  Speaker 5: Yes, Well, so I'll ask you then an on World
• 3:36
  Speaker 5: War two baseball question.
• 3:37
  Speaker 4: Thank you.
• 3:38
  Speaker 5: I'll ask you a question just about you know, your
• 3:40
  Speaker 5: whole career, and I wanted to ask you know what
• 3:43
  Speaker 5: brought you?
• 3:44
  Speaker 1: Am I about to get a Lifetime Achievement award? Am
• 3:46
  Speaker 1: I already done? Is this it?
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  Speaker 5: Yeah? This is the easy way to sort of break
• 3:50
  Speaker 5: the ice. This is the uh sort of this is
• 3:52
  Speaker 5: the road to the Lifetime Achievement award. But yeah, but
• 3:55
  Speaker 5: basically I'm gonna break the ice.
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  Speaker 4: It's all over.
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  Speaker 1: Okay, there we go. Well it's it's it's a pleasure
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  Speaker 1: to receive my Lifetime Achievement award from you, Dave.
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  Speaker 6: Thank you.
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  Speaker 1: It's an honor, it's an honor.
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  Speaker 4: It's my pleasure, my friend.
• 4:08
  Speaker 5: You know, I got I was given this task of
• 4:11
  Speaker 5: giving you this award and I'm yeah.
• 4:17
  Speaker 1: Man, uh, rug out from under me. Wow, that hurts
• 4:21
  Speaker 1: all right, I forgive you, man, I love you. It's
• 4:24
  Speaker 1: all good. I'd like to thank my mother, my father,
• 4:27
  Speaker 1: all the little people. Those are the bunchkins. They're right
• 4:31
  Speaker 1: over here. Anyway, I'm sorry. Go ahead, stream of consciousness, Dave.
• 4:35
  Speaker 4: All right, here we go.
• 4:36
  Speaker 5: So when you were growing up, did you always have
• 4:39
  Speaker 5: this love affair of movies or did you just sort
• 4:42
  Speaker 5: of find yourself in this one day, almost by a
• 4:45
  Speaker 5: form of accident, if you will, A.
• 4:47
  Speaker 6: Little of both. My dad was.
• 4:51
  Speaker 1: Very well known. He was one of the foremost theatrical
• 4:56
  Speaker 1: entertainment lawyers going. He produced more than one hundred and
• 5:01
  Speaker 1: fifty motion pictures Broadway plays, and so we just kind
• 5:06
  Speaker 1: of med. And my three older brothers grew up with
• 5:09
  Speaker 1: this atmosphere, even though he tried to protect us from
• 5:12
  Speaker 1: it all. And his clients ranged everywhere, from Desi Arnez,
• 5:18
  Speaker 1: Fernando Lamis to Errol Flynn. He once tore up a
• 5:22
  Speaker 1: fifty thousand dollars check for his hero, Oh my goodness,
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  Speaker 1: Judy Garland's counterpart, Mickey Rooney. He loved Mickey Rooney growing up,
• 5:33
  Speaker 1: and he wanted to give Mickey some work. I think
• 5:36
  Speaker 1: this was somewhere in the sixties and he flew out
• 5:39
  Speaker 1: to Hollywood to give Mickey a check and a job.
• 5:44
  Speaker 1: I think it was like fifty thousand dollars, huge money
• 5:47
  Speaker 1: back then. And he was sitting with Mickey's agent and
• 5:52
  Speaker 1: an hour ticked by, no Mickey, and you know, Pops
• 5:55
  Speaker 1: looking at the agent, going, where's Mickey. He's stuck in traffic,
• 6:00
  Speaker 1: He's stuck in trek. Two hours goes by, three hours.
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  Speaker 1: My dad looks up, says, come on, what's going on.
• 6:07
  Speaker 1: He goes, it's a the track. My dad tears up
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  Speaker 1: the check, hands it to the agent, says, you know,
• 6:17
  Speaker 1: tell Mickey to straighten out. It broke my dad's heart
• 6:20
  Speaker 1: because he was he loved Mickey Rooney growing up. Years later,
• 6:25
  Speaker 1: when we built the movie studio in Suffolk, Virginia, Mickey
• 6:30
  Speaker 1: Rooney was touring with Sugar Babies and the article broke
• 6:37
  Speaker 1: while he was in town about the movie studio Atlantic
• 6:41
  Speaker 1: Film Studios that we'd built here. Mickey picks up the phone,
• 6:45
  Speaker 1: ends up getting my brother Jonathan on the phone and says,
• 6:48
  Speaker 1: you tell your old man. He saved my life because
• 6:53
  Speaker 1: he straightened up after that check got torn up, because
• 6:57
  Speaker 1: he said nobody ever said no to him. That's when
• 7:00
  Speaker 1: he set the bottle aside and got his life back
• 7:03
  Speaker 1: in horder. So when Mo Howard of the Three Stooges
• 7:07
  Speaker 1: called the house looking for our old man, that's when
• 7:10
  Speaker 1: we knew he was big time.
• 7:13
  Speaker 6: And so I grew up in that.
• 7:16
  Speaker 5: Wow, that is an amazing story by both. Actually, you know,
• 7:20
  Speaker 5: Mickey Rooney, you know, I've you know, obviously I knew
• 7:22
  Speaker 5: him growing up again, a huge movie buff. But even
• 7:27
  Speaker 5: just to have him call and just say something like
• 7:28
  Speaker 5: that about your father, I mean, that's amazing. Yeah, being
• 7:31
  Speaker 5: able to straighten him out like that.
• 7:34
  Speaker 1: You know, tough love, I guess, tough love. And I
• 7:38
  Speaker 1: mean my dad literally was broken hearted walking away from that.
• 7:42
  Speaker 1: I think he ended up casting Maurice Chevalier. It was
• 7:46
  Speaker 1: for a film called Panic Button, and I was actually
• 7:52
  Speaker 1: I was in my mom's tummy at the time. He
• 7:55
  Speaker 1: was on the set somewhere in Italy where they were shooting.
• 7:58
  Speaker 1: My mom was going to one of the famous star
• 8:05
  Speaker 1: female stars who was also the druggist on the set,
• 8:08
  Speaker 1: and she thought she had the flu and she went up.
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  Speaker 1: My mom did, and she nearly passed out in front
• 8:16
  Speaker 1: of the actress's hotel room, and she said, I think
• 8:20
  Speaker 1: I've got the flu, and she said, Jackie, you don't
• 8:23
  Speaker 1: have the flu, your preer. So my first taste of
• 8:29
  Speaker 1: Hollywood came while I was still in Mom's tummy. I
• 8:33
  Speaker 1: was on Italian soil. I was preparing for my first
• 8:37
  Speaker 1: motion picture in Mom's belly.
• 8:42
  Speaker 4: So again, you were just born into this.
• 8:45
  Speaker 1: I was born into it. And the funny thing was
• 8:48
  Speaker 1: Pop wanted to protect all of us from the motion
• 8:51
  Speaker 1: picture business, which she thought was, you know, a little
• 8:54
  Speaker 1: rough and tumble. And he was offered, he was offered
• 9:00
  Speaker 1: the position the head one of the studios out in Hollywood,
• 9:04
  Speaker 1: and he turned it down because he was a New
• 9:06
  Speaker 1: York guy. You know, he was born in Hell's kitchen
• 9:09
  Speaker 1: and he pulled himself up by his own bootstraps.
• 9:11
  Speaker 6: He did not want the kids growing.
• 9:14
  Speaker 1: Up in la He thought that the palm trees and
• 9:17
  Speaker 1: the smell of eucalyptus would somehow, you know, make us
• 9:22
  Speaker 1: less than the New Yorkers. He wanted us to have
• 9:25
  Speaker 1: New York in our blood.
• 9:28
  Speaker 4: Yeah, and do you feel you have New York in
• 9:30
  Speaker 4: your blood right now?
• 9:31
  Speaker 6: Absolutely?
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  Speaker 1: Absolutely. I love Virginia. Virginia's a beautiful place. I raised
• 9:36
  Speaker 1: my daughter here and I'll always be a New Yorker.
• 9:42
  Speaker 1: It's just a different energy.
• 9:45
  Speaker 4: Oh yeah, completely different energy.
• 9:47
  Speaker 5: You know, even when I go I mean, I'm from Philly,
• 9:49
  Speaker 5: and even when I go up to New York, you
• 9:51
  Speaker 5: can feel that, you can feel the different energy between
• 9:53
  Speaker 5: the two cities.
• 9:55
  Speaker 3: We'll be right back after a word from our sponsor,
• 10:01
  Speaker 3: and now back to the show.
• 10:04
  Speaker 1: Yeah. I was in college in California for two years
• 10:07
  Speaker 1: and they used to say to me, slow down, what
• 10:09
  Speaker 1: are you on speed? I mean, you're you're just manic,
• 10:12
  Speaker 1: You're crazy. And when I went back home to New
• 10:15
  Speaker 1: York after being out in California for two years, all
• 10:17
  Speaker 1: my friends said, what the heck is the matter with you?
• 10:20
  Speaker 6: You want kuaelutes or something? Come on, pick it up.
• 10:24
  Speaker 1: So thirty years in Virginia, now I'm you know, I've
• 10:28
  Speaker 1: learned to kind of settle down and just go at
• 10:30
  Speaker 1: a nice medium pace. It's nice.
• 10:34
  Speaker 5: Yeah, I know, the fast paced what you're talking about,
• 10:37
  Speaker 5: because even you know, I tend to talk fast.
• 10:40
  Speaker 4: I tend to move fast.
• 10:41
  Speaker 5: And when my friends from down South come up to
• 10:43
  Speaker 5: visit me, they're like, wow, everyone up here moves. I
• 10:46
  Speaker 5: had this woman I used to work for who was
• 10:48
  Speaker 5: from Georgia. And she used to say, you because you
• 10:51
  Speaker 5: Northerners talk way too fast and you do way too much.
• 10:56
  Speaker 1: Right, and you're thinking the complete opposite when you're down South.
• 11:00
  Speaker 4: Yeah, and you know it's it's just it's a cultural difference.
• 11:03
  Speaker 4: You know.
• 11:04
  Speaker 5: They always say that that America is really five different
• 11:07
  Speaker 5: countries put together.
• 11:10
  Speaker 6: Interesting, what five are they?
• 11:12
  Speaker 5: There's like the Deep South, there's the There's like I
• 11:16
  Speaker 5: guess you could call it the mid Atlantic, which would
• 11:18
  Speaker 5: be like, you know, all of New England and in
• 11:20
  Speaker 5: New York and Pennsylvania. There's the Midwest. Uh, there is
• 11:24
  Speaker 5: the West Coast, and then there is the other states
• 11:28
  Speaker 5: kind of like Montana and I forget what they actually
• 11:31
  Speaker 5: call those, but those are the five states.
• 11:32
  Speaker 1: I would imagine Alaskan, Hawaii are their own state of beings.
• 11:37
  Speaker 4: Yeah, they're pretty much were pushed out.
• 11:39
  Speaker 5: They were pretty much like, you know, not a part
• 11:41
  Speaker 5: of the continental United States.
• 11:42
  Speaker 1: And of course there's Guam, but you know, yeah, and
• 11:46
  Speaker 1: then then in Puerto Rica. Read in my mind, you know,
• 11:51
  Speaker 1: being an actor, it's one of the interesting things I
• 11:54
  Speaker 1: tend to pick up on the personalities, the mannerisms, the
• 11:58
  Speaker 1: patterns of where wherever I am I think it's almost
• 12:01
  Speaker 1: like growing up in the military. You adapt, and it's
• 12:04
  Speaker 1: not because you're trying to put one over on anybody.
• 12:08
  Speaker 1: I think actors adapt and it just when you're in
• 12:13
  Speaker 1: rome you try and connect with people on their level,
• 12:16
  Speaker 1: and it's just it's something that subconsciously just happens. So
• 12:21
  Speaker 1: it's it's interesting. That's why whenever I go somewhere, it's
• 12:23
  Speaker 1: like a a quick.
• 12:28
  Speaker 6: Adjustment.
• 12:30
  Speaker 5: So, you know, as we talked about that adjustment, Ethan,
• 12:32
  Speaker 5: I want to actually take a sort of take a
• 12:34
  Speaker 5: step back and actually ask you a question. When you
• 12:36
  Speaker 5: actually started, you know, getting into this business. I mean,
• 12:38
  Speaker 5: and your dad said that he wanted to sort of,
• 12:40
  Speaker 5: you know, protect you from this business.
• 12:42
  Speaker 4: When you when you started to get into it. You
• 12:44
  Speaker 4: know what was his initial reaction.
• 12:50
  Speaker 1: The initial reaction was, you know what you want to do.
• 12:53
  Speaker 1: That's fantastic. You want to you know what you want.
• 12:56
  Speaker 6: To do in life.
• 12:57
  Speaker 1: Okay, I'm taking you out to your favorite dinner. So
• 13:00
  Speaker 1: he takes me to Mayako's of Japan in New York,
• 13:04
  Speaker 1: which was our favorite Japanese restaurant. Miyako's was the first
• 13:10
  Speaker 1: Japanese restaurant that opened in New York it was so popular.
• 13:15
  Speaker 1: It was like going to a speakeasy because it was
• 13:17
  Speaker 1: opened during World War two and only the hipsters knew
• 13:22
  Speaker 1: how to get in, because you basically would go up
• 13:24
  Speaker 1: some steps, down some steps through a garden to like
• 13:28
  Speaker 1: a back door. It was literally like getting.
• 13:30
  Speaker 6: Into a speakeasy.
• 13:32
  Speaker 1: It was so incredible that even Eleanor Roosevelt used to
• 13:36
  Speaker 1: go to this restaurant during World War two.
• 13:39
  Speaker 6: So that was like.
• 13:41
  Speaker 1: We grew up Japanese food was our favorite food. So
• 13:45
  Speaker 1: you know, we were always kind of frugal because Pop
• 13:48
  Speaker 1: grew up in the depression, so you ate what was
• 13:50
  Speaker 1: on your plate. There was no waste and rarely did
• 13:54
  Speaker 1: you order anything you wanted off the menu. But on
• 13:57
  Speaker 1: this night, it was like passover. Why is this night
• 14:00
  Speaker 1: different from all other nights? You can order whatever you
• 14:03
  Speaker 1: want off the menu. And I went crazy. I was like,
• 14:05
  Speaker 1: oh wow, yum food everything. Oh the clear soup, the sueymono,
• 14:11
  Speaker 1: the sounamono. Everything was fantastic. And Pop says, well you
• 14:16
  Speaker 1: like the meal? I said, oh, Pop, this is incredible.
• 14:19
  Speaker 1: He said, have you had enough? I said yeah yeah yeah.
• 14:22
  Speaker 1: He said are you sure? Yeah? Yeah, he says, And
• 14:26
  Speaker 1: you really want to be an actor. Yeah, Pop, more
• 14:29
  Speaker 1: than anything. He says, okay, and you've had enough to eat,
• 14:33
  Speaker 1: so yeah, why he said, because that's the last full
• 14:36
  Speaker 1: meal you're ever going to have. He was like, you're
• 14:41
  Speaker 1: never and so be sure this is what you want.
• 14:46
  Speaker 1: And you know, he was half joking and half not.
• 14:49
  Speaker 1: He was really concerned that I was never going to
• 14:51
  Speaker 1: eat again. So he's going to make sure at least
• 14:53
  Speaker 1: he sent me off with a good meal. That was
• 14:56
  Speaker 1: his response. He supported me all the way, and he
• 15:00
  Speaker 1: came out to all the shows, all the openings, all
• 15:04
  Speaker 1: the theater, but he was always worried for me.
• 15:08
  Speaker 5: So at this point, Ethan went, when you you finally
• 15:11
  Speaker 5: had that that your quote unquote last meal, or you
• 15:14
  Speaker 5: as you as you went on to go on and
• 15:16
  Speaker 5: become an actor?
• 15:17
  Speaker 4: You did?
• 15:17
  Speaker 5: Did when at that point, what was your sort of
• 15:19
  Speaker 5: your first gig from there on this road of of
• 15:23
  Speaker 5: what you decided to go on to be an actor?
• 15:26
  Speaker 1: Interesting? I think when I finally decided that I could
• 15:30
  Speaker 1: come out of the acting closet and really admit acting
• 15:33
  Speaker 1: is what I wanted to do. Uh. I think the
• 15:37
  Speaker 1: first then the paid professionally was.
• 15:44
  Speaker 6: Mother's Day.
• 15:45
  Speaker 1: I think it was originally titled Vindicated, A Mother's Revenge,
• 15:48
  Speaker 1: and it was with THEO Huxtable for Malcolm Jamal Warner
• 15:54
  Speaker 1: and uh. Jose Ferrera was in that one, and and
• 16:00
  Speaker 1: it was great. I remember the first call that you know,
• 16:05
  Speaker 1: came that said yeah after three auditions. I thought, oh,
• 16:08
  Speaker 1: maybe I got another call back. You know, this is exciting,
• 16:11
  Speaker 1: and they said you got the part, and I audibly
• 16:16
  Speaker 1: I screamed. I was like, yeah, I mean, you would
• 16:18
  Speaker 1: have thought I got to see Reggie Jackson hit his
• 16:22
  Speaker 1: fourth home run in the World Series. It was incredible.
• 16:26
  Speaker 1: I just remember jumping up and down being so excited.
• 16:29
  Speaker 1: And as it turned out, my brother Jonathan and my
• 16:34
  Speaker 1: brother Seth were also cast in this television movie. So
• 16:40
  Speaker 1: the director who ended up winning I think an Emmy
• 16:42
  Speaker 1: Award for this TV movie grabbed my brother Richard because
• 16:47
  Speaker 1: he was hanging around the set to watch his brothers,
• 16:50
  Speaker 1: and she said, well, I might as well put the
• 16:52
  Speaker 1: fourth Martin brother in here. So that was the first
• 16:54
  Speaker 1: time all four of us were on camera in a
• 16:56
  Speaker 1: film together. So I was exciting. And all Jose Ferrera
• 16:59
  Speaker 1: wanted to do was golf, so in between takes he'd
• 17:03
  Speaker 1: lean out, hey, kid, yeah, where's the closest golf course,
• 17:07
  Speaker 1: and don't scrip your lines so I can, you know,
• 17:10
  Speaker 1: get eighteen rounds in.
• 17:12
  Speaker 6: So that was that was my pressure.
• 17:13
  Speaker 1: I had to get my lines right on the first
• 17:16
  Speaker 1: take so that Juse Ferrara could get out on the links.
• 17:21
  Speaker 1: And I'm proud to say, yeah, I got him out there.
• 17:24
  Speaker 1: I got him out on time.
• 17:26
  Speaker 4: That was actually gonna be my next question.
• 17:27
  Speaker 5: I was going to say, did did did Jose Ferrera
• 17:29
  Speaker 5: get in those eighteen holes of golf?
• 17:31
  Speaker 1: Yes? He did, Yes he did. He said, good job, kid,
• 17:34
  Speaker 1: I'm out of here. I got a pat on the
• 17:38
  Speaker 1: back from Juse Ferrera because he got to golf.
• 17:42
  Speaker 4: So it's funny too that you were fantastic.
• 17:44
  Speaker 5: Well that the that they mentioned the fourth Martin brother,
• 17:47
  Speaker 5: I was actually gonna say, it's almost like sort of
• 17:50
  Speaker 5: like the Marx Brothers when they had the four of
• 17:52
  Speaker 5: them together and all.
• 17:53
  Speaker 1: The look at you you've been reading. Yes, we growing
• 17:58
  Speaker 1: up in our house was like one long, episodic Marx
• 18:04
  Speaker 1: Brothers movie. Mom played the role of Margaret Dumont. We
• 18:08
  Speaker 1: tormented her. She loved it, but man, we tortured her
• 18:12
  Speaker 1: and she was our Margaret Dumont. Pop was like the
• 18:16
  Speaker 1: ring leader, so there were really five boys that she
• 18:19
  Speaker 1: had to deal with.
• 18:22
  Speaker 4: No, I've seen Duck Soup, and I've seen a lot
• 18:25
  Speaker 4: of the.
• 18:25
  Speaker 1: Marx Brothers, good Man, ok Nuts.
• 18:27
  Speaker 4: Yeah, exactly.
• 18:28
  Speaker 5: Yeah, And I'm just a huge movie head, so I've
• 18:31
  Speaker 5: seen a lot of different stuff.
• 18:32
  Speaker 4: You know.
• 18:33
  Speaker 5: I know this is a little bit of a segue,
• 18:34
  Speaker 5: but you know, you know what I was watching the
• 18:36
  Speaker 5: other day, and I don't know if you've ever heard
• 18:38
  Speaker 5: of these guys.
• 18:39
  Speaker 4: Have you ever heard of the Bowerie Boys?
• 18:42
  Speaker 1: Are you kidding? The Bowerie Butch. Let's see Mugs. As
• 18:48
  Speaker 1: a matter of fact, one of Mom's nicknames was Mugs,
• 18:52
  Speaker 1: So there you go. As a matter of fact, for
• 18:54
  Speaker 1: my birthday not too long ago, my brother Seth actually
• 18:58
  Speaker 1: sent me a picture of.
• 19:00
  Speaker 4: Hall who played satch yep Satch.
• 19:03
  Speaker 1: So I remember when they were the dead End Kids
• 19:07
  Speaker 1: before they became the Bowery Boys and the east Side Kids,
• 19:11
  Speaker 1: but they were the dead End Kids.
• 19:13
  Speaker 5: Yeah, And I remember there were those movies were a
• 19:16
  Speaker 5: little more dramatic, you know, because people were getting shot at.
• 19:19
  Speaker 5: And then when they became the the Bowerie Boys, it
• 19:21
  Speaker 5: became a not for the first couple of movies, but
• 19:23
  Speaker 5: eventually became a little a lot more lighthearted, Uh you
• 19:26
  Speaker 5: know what I mean, instead of like the serious sort
• 19:28
  Speaker 5: of incidences like happening like there was there was one
• 19:31
  Speaker 5: where one of their friends died in a boxing ring
• 19:35
  Speaker 5: and they had to sort of find his brother, and
• 19:37
  Speaker 5: the brother went on a revenge kick and.
• 19:38
  Speaker 1: Mouse is in the milk. The mouse is in the milk.
• 19:41
  Speaker 1: That's the episode. As a matter of fact, dead End Kids.
• 19:45
  Speaker 1: You know that was with Jimmy Cagney and Humphrey Bogart.
• 19:50
  Speaker 1: And you're right, those were really serious movies. And yeah
• 19:54
  Speaker 1: they is.
• 19:56
  Speaker 6: They went, we'll be right.
• 19:59
  Speaker 3: Back, throw a word from our sponsor, and now back
• 20:05
  Speaker 3: to the show.
• 20:07
  Speaker 1: Remember the mark of the Squealer, when when somebody's a rat,
• 20:11
  Speaker 1: they get the mark of the squealer. They had him
• 20:14
  Speaker 1: pinned in the hideout. We're gonna slit his face from
• 20:18
  Speaker 1: you know, the mouth to the ear. Yeah, they got
• 20:21
  Speaker 1: a lot more lighthearted after that. I guess they didn't
• 20:25
  Speaker 1: think that would be good for weekly cereals.
• 20:28
  Speaker 5: Yeah, I guess when they became more more much more
• 20:31
  Speaker 5: slapstick and I and I you know again, I think
• 20:33
  Speaker 5: that probably worked out for him because they they sort
• 20:35
  Speaker 5: of you know, it was either them or the Stooges.
• 20:38
  Speaker 4: At that point we really started to stand out exactly.
• 20:41
  Speaker 4: You know.
• 20:41
  Speaker 1: It's funny my first agent, uh, Marty and Charlie, her
• 20:48
  Speaker 1: husband was one of the original dead End Kids, wow,
• 20:55
  Speaker 1: right off the Broadway stage. So he's actually and he
• 20:58
  Speaker 1: so he acted with all these guys on the stage
• 21:01
  Speaker 1: as the original dead End Kids. And he's actually still
• 21:05
  Speaker 1: up and run it. I'll hook you guys up. He's
• 21:07
  Speaker 1: got some stories.
• 21:09
  Speaker 5: Oh please do uh you know, because I actually was
• 21:12
  Speaker 5: telling somebody the other day.
• 21:14
  Speaker 4: There was one of the later Bowery.
• 21:16
  Speaker 5: Boys entitled Hold That for Uranium, and there was a
• 21:20
  Speaker 5: sequel to it called I think, uh, Breaking Las Vegas
• 21:23
  Speaker 5: or something with Las Vegas. And that was actually the
• 21:27
  Speaker 5: last movie for Leo Gorci because his dad, Bernard Gorcy,
• 21:32
  Speaker 5: had actually died before the movie actually started filming, and
• 21:35
  Speaker 5: he actually died in an auto accident.
• 21:36
  Speaker 4: And and that.
• 21:37
  Speaker 5: Was actually a lot of controversy about that because Leo
• 21:40
  Speaker 5: showed up to set completely inebriated and you could, I mean,
• 21:44
  Speaker 5: his performance was was you could tell something was wrong.
• 21:48
  Speaker 4: And I mean when they when you start watching it
• 21:50
  Speaker 4: and you know.
• 21:51
  Speaker 5: It's afterwards apparently, you know, there's a lot more problems
• 21:55
  Speaker 5: behind the set. But I mean it's just interesting to
• 21:57
  Speaker 5: hear all all of these, you know, all these things
• 21:59
  Speaker 5: because this is all the you know, the Hollywood Golden Era,
• 22:02
  Speaker 5: you know, this is all all that you know, interesting,
• 22:04
  Speaker 5: interesting stuff, and everyone from that era is either you know,
• 22:07
  Speaker 5: in their late eighties early.
• 22:09
  Speaker 1: Nineties if they're still around.
• 22:12
  Speaker 5: Yeah, yeah, so uh but yeah, so so you know,
• 22:16
  Speaker 5: as we sort of segued off to h off from
• 22:18
  Speaker 5: the whole day.
• 22:19
  Speaker 1: I can't believe you asked me about that. That's great.
• 22:22
  Speaker 1: Nobody's ever asked me about The dead End Kids before.
• 22:25
  Speaker 1: That's that was my childhood. Dead End Kids, anything having
• 22:30
  Speaker 1: to do with Broadway and you know, motion pictures and
• 22:34
  Speaker 1: Lenny Bruce so yeah, and the producers the original Zero
• 22:39
  Speaker 1: Mustelle Jane Wilder. Oh, to give you an idea of
• 22:42
  Speaker 1: my childhood, you know, I grew up being able to
• 22:44
  Speaker 1: sing Springtime for Hitler by the time I was in kindergarten,
• 22:48
  Speaker 1: which made me kind of a different kind of kid.
• 22:52
  Speaker 1: I could I could perform Lenny Bruce routines by the
• 22:55
  Speaker 1: time I was in first grade. I never actually thought
• 22:58
  Speaker 1: about that before, but yeah, which made me really popular
• 23:03
  Speaker 1: with the principal.
• 23:05
  Speaker 5: They're probably Ethan. Now we can't be singing Springtime for Hitler.
• 23:10
  Speaker 5: Even though even though Dick Seawan was very good in.
• 23:13
  Speaker 1: The film Boomerang Baby.
• 23:20
  Speaker 4: Well, I'm glad I could ask you a question. You
• 23:21
  Speaker 4: have to.
• 23:23
  Speaker 1: Go for it, keep going. I love where this is going.
• 23:26
  Speaker 5: So I actually was gonna, you knowing, sort of bring
• 23:29
  Speaker 5: this back to you're talking about your acting career and
• 23:31
  Speaker 5: again except.
• 23:33
  Speaker 1: My lifetime achievement a word, how could I forget exactly?
• 23:37
  Speaker 5: Yeah, just going sort of going back and you know,
• 23:39
  Speaker 5: talking about the young Indiana Jones chronicles. So I just
• 23:42
  Speaker 5: wanted to ask, you know, obviously, how were you able
• 23:45
  Speaker 5: to sort of you know, we went from this Mother's
• 23:47
  Speaker 5: Day with not Gonnadow Warner. You know when when you
• 23:50
  Speaker 5: went from there, did you finally say okay, now, you
• 23:53
  Speaker 5: know obviously you probably talked to your dad and said,
• 23:55
  Speaker 5: you know, now I'm starting to get work. I'm starting
• 23:57
  Speaker 5: to become you know, an actor who has to you know, Golden.
• 24:00
  Speaker 1: She's a Jewish father. He never stopped worrying are you
• 24:05
  Speaker 1: eating and you're not eating enough? Keep eating? I mean
• 24:09
  Speaker 1: he was happy. They were ecstatic when I got work,
• 24:13
  Speaker 1: and you know, but it was like, when's the next
• 24:16
  Speaker 1: job coming? Are you?
• 24:17
  Speaker 6: Are you eating enough? That was it.
• 24:19
  Speaker 1: If I was eating, he was happy. I had a
• 24:22
  Speaker 1: roof over my head and I was eating, then he
• 24:24
  Speaker 1: was happy. He's you know that. That was the thing.
• 24:28
  Speaker 1: So I'm auditioning for this TV movie, you know, and
• 24:38
  Speaker 1: it's really cool. And my agent at the time kept
• 24:42
  Speaker 1: sending me down for policeman. For some reason, she was
• 24:47
  Speaker 1: bound and determined to get me cast as a policeman
• 24:50
  Speaker 1: in something.
• 24:51
  Speaker 6: I was the young cop.
• 24:54
  Speaker 1: Didn't matter if it was a black police officer, if
• 24:58
  Speaker 1: it was a sixty five year old retired police officer,
• 25:02
  Speaker 1: it could be an Indonesian police officer. She sent me
• 25:05
  Speaker 1: for every police officer. I remember one time going down
• 25:08
  Speaker 1: to audition for the finn Cannons and Craig and his
• 25:13
  Speaker 1: brother Mark were kind of mentors to me, and they
• 25:16
  Speaker 1: gave me some of my first work behind the camera.
• 25:19
  Speaker 1: And they're like, Ethan, what are you doing here? And
• 25:23
  Speaker 1: I'm like, what do you mean what I'm here at
• 25:24
  Speaker 1: the audition for my latest police officer role? He says, Ethan,
• 25:29
  Speaker 1: the guy's sixty five years old, he's retired and he's black.
• 25:35
  Speaker 1: And I looked at him, and in those days, you know,
• 25:37
  Speaker 1: it's like a seven eight hour drive one way to
• 25:41
  Speaker 1: these auditions in Wilmington, and I looked at him and
• 25:45
  Speaker 1: I just shook my head and we had a little
• 25:48
  Speaker 1: laugh together. I said, well, as long as I'm here,
• 25:50
  Speaker 1: do you mind if I audition, just so I could
• 25:53
  Speaker 1: make it worth my while. He says, yeah, go ahead.
• 25:57
  Speaker 1: So I do my thing, and I do my little
• 26:00
  Speaker 1: thirty second prep and I give it to him and
• 26:02
  Speaker 1: he says, wow, that was great. It really was. He said,
• 26:08
  Speaker 1: if you were any one of these things, I could
• 26:11
  Speaker 1: manipulate it for you. But what a shame you were.
• 26:14
  Speaker 1: Really that was great. See you next time, you know.
• 26:18
  Speaker 1: And I had to turn around and take a nice
• 26:20
  Speaker 1: eight hour trip right back to Virginia Beach. I used
• 26:25
  Speaker 1: to go to these things and this might be something
• 26:29
  Speaker 1: for your young acting audience. And I used to like
• 26:32
  Speaker 1: to go present myself as myself to you know, the
• 26:37
  Speaker 1: casting people, and then get into character and do my thing.
• 26:41
  Speaker 1: And there was this one guy, J Michael Hunter, who
• 26:45
  Speaker 1: at this point had a resume that was as long
• 26:49
  Speaker 1: as my arm.
• 26:50
  Speaker 6: Now I'm short, I'm.
• 26:50
  Speaker 1: Like five six on a good day, five to five
• 26:53
  Speaker 1: and three quarters, dark hair, swarthy. He was an all
• 26:59
  Speaker 1: American six 't two, blonde hair, blue eyes, you know,
• 27:02
  Speaker 1: just the scrapping young American. My life where it would
• 27:08
  Speaker 1: come down to a choice between this guy and me
• 27:14
  Speaker 1: and I, you know, two three callbacks and I had
• 27:17
  Speaker 1: one or two things on my resume that were legitimate
• 27:20
  Speaker 1: and he had about thirty or forty. And I think
• 27:24
  Speaker 1: one day he took mercy on me and he said, Hey,
• 27:27
  Speaker 1: when you go in there, do you go in and
• 27:29
  Speaker 1: character or do you go in and then present yourself
• 27:33
  Speaker 1: then get into character? I said, oh the latter. He says,
• 27:37
  Speaker 1: don't do that, So why not? He says, they don't
• 27:41
  Speaker 1: care if you can act or not. So they're casting directors.
• 27:45
  Speaker 1: What do you mean they don't care if I can
• 27:46
  Speaker 1: act or not? He says, no, they got jobs to maintain.
• 27:51
  Speaker 1: They don't want to know that you can turn it
• 27:53
  Speaker 1: on and turn it off because you may not be
• 27:56
  Speaker 1: the same guy who shows up on set that showed
• 27:59
  Speaker 1: up in the audition. No, when you go in there,
• 28:02
  Speaker 1: you go in in character and then you get the
• 28:04
  Speaker 1: hell out and you leave in character. I'm like, well, okay,
• 28:10
  Speaker 1: I got nothing else to lose. It's not like I
• 28:13
  Speaker 1: get everything that I auditioned for.
• 28:15
  Speaker 6: I'll give it a shot.
• 28:15
  Speaker 1: So in Indiana Jones, I went in and I knew
• 28:18
  Speaker 1: that the finn Cannons knew me. You know, there's my
• 28:20
  Speaker 1: twentieth audition with him, and they had yet to cast
• 28:24
  Speaker 1: me in anything. And they loved me, but they just
• 28:27
  Speaker 1: hadn't cast me yet. And I went in in character.
• 28:31
  Speaker 1: As a matter of fact, my agent sent me for
• 28:33
  Speaker 1: another police officer. And it was nineteen twenties, ten pan Alley,
• 28:38
  Speaker 1: a bunch of Jews running around. Now my dad's first
• 28:42
  Speaker 1: words were Mammy. It was Al Jolson. I grew up
• 28:45
  Speaker 1: with Al Jolson playing an Eddie Canter and all these things.
• 28:49
  Speaker 1: This I was home and I was being sent to
• 28:52
  Speaker 1: audition for another police officer. And I looked at Craig
• 28:57
  Speaker 1: and I said, buddy, these are my people. You must
• 29:01
  Speaker 1: have something that's more appropriate for me than police officer.
• 29:06
  Speaker 1: And he said, yeah, I think I got something. So
• 29:09
  Speaker 1: he gave me Irving Berlin and I go in and
• 29:15
  Speaker 1: I just decide I'm going in in character, and I
• 29:18
  Speaker 1: mean I didn't present Ethan Martin disappeared. Irving Berlin walked
• 29:23
  Speaker 1: in and Irving Berlin walked out and lo and behold,
• 29:29
  Speaker 1: I landed it. I mean, on the way out, they said,
• 29:32
  Speaker 1: we don't even have to you know, we don't even
• 29:34
  Speaker 1: have to call you. You're in. That was perfect. And
• 29:38
  Speaker 1: I just walked and I didn't answer Miss Ethan. I
• 29:41
  Speaker 1: just gave him the finger to the nose, the salute.
• 29:44
  Speaker 1: I was Irving Berlin and I walked out, and that's
• 29:49
  Speaker 1: how I got the Indiana Jones part. On set, the
• 29:55
  Speaker 1: director Sid McCartney was so fantastic.
• 30:00
  Speaker 3: We'll be right back after a word from our sponsor,
• 30:06
  Speaker 3: and now back to the show.
• 30:09
  Speaker 1: And I had a real theatrical background, lots of improv
• 30:13
  Speaker 1: and comedy as well, and so I would always improv,
• 30:20
  Speaker 1: not wildly, but the character would always take over. So
• 30:24
  Speaker 1: I have a great respect for writers. Mom wrote twenty books,
• 30:28
  Speaker 1: so my respect for the written word is tremendous. But man,
• 30:32
  Speaker 1: when the character would take over, stuff would just come
• 30:36
  Speaker 1: out of my mouth because it was a character speaking
• 30:38
  Speaker 1: through me. And there's an old Jewish way of expressing yourself,
• 30:44
  Speaker 1: you know, where you call a youngster a boy chick.
• 30:47
  Speaker 1: And I remember I threw in. I called Sean Patrick Flannery,
• 30:53
  Speaker 1: who was playing the young indie. I said, well, by chick,
• 30:56
  Speaker 1: it's simple. You can't stop thinking about her because and
• 31:00
  Speaker 1: then we all break in the song and they let
• 31:03
  Speaker 1: it play out cut. What's this, boy, chick? I said, Oh,
• 31:07
  Speaker 1: that's that's the real deal, that's authentic. Said are you sure,
• 31:10
  Speaker 1: I said, sid, I swear to God, I swear on
• 31:14
  Speaker 1: a stack of holy Bibles. That'll make you look like
• 31:17
  Speaker 1: a genius, like you grew up in tin pan alley.
• 31:20
  Speaker 1: You left it in and lo and behold, that's stuck.
• 31:24
  Speaker 1: So I was allowed. I was allowed some free range.
• 31:29
  Speaker 1: And I don't think there's a role where I haven't
• 31:32
  Speaker 1: slipped some improvisation into it ever since.
• 31:36
  Speaker 5: You know, that is a very good tip, by the way,
• 31:38
  Speaker 5: for for the all the actors out there. And you know, honestly, Ethan,
• 31:43
  Speaker 5: and I also think helps that you showed up, you know,
• 31:45
  Speaker 5: prepare for the role. And I think, you know, when
• 31:48
  Speaker 5: you just sort of hit it out of the ballpark
• 31:49
  Speaker 5: like that, you know, when when you're just of just
• 31:53
  Speaker 5: sort of my perspective in my experience, I remember one time,
• 31:56
  Speaker 5: and I remember we were in a cat I was
• 31:58
  Speaker 5: with a friend of mine who casting a movie, his
• 32:01
  Speaker 5: casting his own movie and this guy came in and
• 32:04
  Speaker 5: I remember he just basically he do you remember the
• 32:09
  Speaker 5: comedian Sam Kinnison?
• 32:11
  Speaker 1: Sure, I promise, since you've got headsets on, I won't
• 32:14
  Speaker 1: imitate him before you.
• 32:17
  Speaker 5: I there was a guy who came and he was
• 32:20
  Speaker 5: basically he kind of portrayed the character Sam Kinnison, and
• 32:24
  Speaker 5: I just but the thing.
• 32:25
  Speaker 4: Is, I still remember it. I remember everything he said.
• 32:28
  Speaker 5: I remember him coming in the room, I remember how
• 32:30
  Speaker 5: he left the room, and I you know, I think
• 32:33
  Speaker 5: the guy he didn't end up getting the part, but
• 32:35
  Speaker 5: I mean, my god, I mean he blew the roof
• 32:37
  Speaker 5: off the place with that, with that audition, and it
• 32:39
  Speaker 5: just reminds as you were, as you were, you know,
• 32:41
  Speaker 5: you know, telling me the story of the audition for
• 32:43
  Speaker 5: Young Indiana Jones, it just reminded me of that so much,
• 32:46
  Speaker 5: where he actually came in as a character, left as
• 32:48
  Speaker 5: the character, and he just it just was so on point.
• 32:53
  Speaker 1: You know, it's funny. I'll tell you another Well it'll
• 32:56
  Speaker 1: seem like I'm taking a tangent, but I'll bring it
• 32:59
  Speaker 1: right back to your point. When I was youngster and
• 33:05
  Speaker 1: really just kind of starting out before I was getting
• 33:07
  Speaker 1: cast in things. My heroes, my parents, my mom, my dad,
• 33:15
  Speaker 1: my three older brothers. Two of my brothers, Jonathan and Seth,
• 33:19
  Speaker 1: we actors and they took a special interest in me
• 33:23
  Speaker 1: when I decided I really wanted to do this, and
• 33:27
  Speaker 1: Jonathan trained me. Seth one day he said, you know
• 33:33
  Speaker 1: what here and he flipped He flipped the script at me,
• 33:37
  Speaker 1: you know, a little frenches and I open it up
• 33:39
  Speaker 1: and it's Sam Shephard true West and he said start reading.
• 33:45
  Speaker 1: So I got to do the opening scene with my
• 33:48
  Speaker 1: big brother. This is the first time he was going
• 33:51
  Speaker 1: to actually do a scene with me. And we were
• 33:53
  Speaker 1: in his apartment in the city and his friends because
• 33:57
  Speaker 1: he was going to NYU and his pals from the
• 33:59
  Speaker 1: class were there, and so to me, this was a
• 34:03
  Speaker 1: huge big deal. My big brother is doing a scene
• 34:06
  Speaker 1: with me with his NYU acting buddies all around him.
• 34:10
  Speaker 1: Holy shit, all right, this is cool. So we finished
• 34:15
  Speaker 1: the scene and this guy in the corner leans in says, well,
• 34:20
  Speaker 1: we know the kid can act, and that was his friend,
• 34:24
  Speaker 1: Kevin Spacey. We fast forward years later and Spacey is
• 34:30
  Speaker 1: hanging out with Seth at mom and dad's apartment. They
• 34:32
  Speaker 1: moved out of Larchmont and they were in the city
• 34:35
  Speaker 1: before they moved down to Virginia and their mutual friend
• 34:38
  Speaker 1: who was also in the apartment that they Dave Silver,
• 34:41
  Speaker 1: and they all knew each other. But Silver calls the
• 34:45
  Speaker 1: apartment looking for Seth, and Spacey picks up the phone
• 34:49
  Speaker 1: and it's mom and Dad's place, so he picks up
• 34:53
  Speaker 1: the phone as Johnny Carson and he starts doing Carson.
• 34:58
  Speaker 1: And Silver didn't believe that my old man knew Carson,
• 35:01
  Speaker 1: but he knew about my dad's history, so he knew
• 35:04
  Speaker 1: all the people. So he's like, well, you know, if
• 35:06
  Speaker 1: you're Johnny Carson, then where's Ed McMahon, And without skipping
• 35:12
  Speaker 1: a beat, Spacey puts his hand over, you know, the mouthpiece,
• 35:19
  Speaker 1: and he turns to Seth in character as Carson. Why
• 35:24
  Speaker 1: is it? Then everybody thinks were joined at the hip.
• 35:28
  Speaker 1: He wasn't portraying, he wasn't doing an imitation.
• 35:33
  Speaker 6: He became the character.
• 35:35
  Speaker 1: And this is what I tell people, don't portray, don't imitate,
• 35:39
  Speaker 1: you become the character. Years later, Seth told Silver that
• 35:47
  Speaker 1: it was actually Spacey doing Carson, and he couldn't believe
• 35:52
  Speaker 1: it because he so bought at hook line and Sinker
• 35:55
  Speaker 1: that that was Carson when Seth told Spacey, yeah, you know,
• 35:59
  Speaker 1: I told Silver He's like, now, these guys were all friends.
• 36:02
  Speaker 1: But he said, no, you blew it. You kill the illusion,
• 36:07
  Speaker 1: and it was just so interesting to see the way
• 36:10
  Speaker 1: his acting mind worked. You don't portray, you become, You
• 36:15
  Speaker 1: are it, and so much so that you keep the
• 36:19
  Speaker 1: illusion going because that's the art. That's what makes it fantastic.
• 36:24
  Speaker 1: So we come back to your original point. It's not
• 36:28
  Speaker 1: that you portray these people. When you go in as
• 36:31
  Speaker 1: an actor, you become and you leave them with that
• 36:36
  Speaker 1: because you're making the casting director's job easy.
• 36:40
  Speaker 6: They want to keep working too.
• 36:42
  Speaker 1: Your job is to make them so secure that when
• 36:46
  Speaker 1: they recommend you it reflects well on them. They want it.
• 36:51
  Speaker 6: I mean, that's the.
• 36:51
  Speaker 1: First thing you learn when you audition. You go in
• 36:55
  Speaker 1: and man, they're rooting for you.
• 36:57
  Speaker 6: They really are.
• 36:58
  Speaker 1: You don't have to be nervous about these people and
• 36:59
  Speaker 1: the other shot at the table they are as nervous
• 37:02
  Speaker 1: as you aren't. They need you to be that good
• 37:04
  Speaker 1: because it makes their job easier. You do it right, man,
• 37:07
  Speaker 1: they can move on to the next one boom. You
• 37:10
  Speaker 1: save them time, effort, and energy. So don't give them
• 37:13
  Speaker 1: anything to think about. Don't ask extraneous questions. Do the audition,
• 37:18
  Speaker 1: be the person, then get the hell out. Don't say
• 37:21
  Speaker 1: another word. Don't give them a reason to second guess you.
• 37:25
  Speaker 5: You know that's a very good point, by the way, Ethan,
• 37:27
  Speaker 5: don't make them second guess you, or don't allow them
• 37:29
  Speaker 5: to second guess you. I one time, I remember there
• 37:31
  Speaker 5: was this actress one time who was She was leaving
• 37:34
  Speaker 5: the audition.
• 37:34
  Speaker 4: Do you want to know what she said to the
• 37:35
  Speaker 4: casting director.
• 37:37
  Speaker 1: She I'll feel empathy pains, but go ahead.
• 37:42
  Speaker 5: She said, I really hope I get this part. But
• 37:45
  Speaker 5: every time I have no, no, no, she says every time,
• 37:50
  Speaker 5: But every time I get a big part, something.
• 37:55
  Speaker 4: Bad happens to me.
• 37:56
  Speaker 5: Oh Jesus and the casting directors.
• 38:00
  Speaker 1: Somebody dies on the set. I don't know what happens
• 38:03
  Speaker 1: every time I get cast. Somebody gets poisoned, somebody died.
• 38:08
  Speaker 5: So the casting director follows up and says, well, what
• 38:11
  Speaker 5: do you mean, And she says, well, the last film
• 38:14
  Speaker 5: I had I was I had a principal role, but
• 38:16
  Speaker 5: I broke my ankle two days before filming and I
• 38:20
  Speaker 5: had to show up on crutches and they had to recast.
• 38:23
  Speaker 5: You know that day and and he goes, oh, okay,
• 38:27
  Speaker 5: then and you know, and she leaves and he goes, well,
• 38:29
  Speaker 5: I can never hire her.
• 38:31
  Speaker 4: She she she has put.
• 38:32
  Speaker 5: That image in his head now that if he casts her,
• 38:36
  Speaker 5: she's gonna, you know, end up hurting herself or doing
• 38:38
  Speaker 5: something horrible.
• 38:39
  Speaker 1: So let that be a lesson to all you actors
• 38:42
  Speaker 1: out there. Sh be very quiet, uh.
• 38:49
  Speaker 5: You know, and either I wanted to ask you a
• 38:51
  Speaker 5: question about because you touched on this briefly about directors,
• 38:55
  Speaker 5: you know, and and it's something I always look for
• 38:57
  Speaker 5: from a different perspective because it's AT's view directors. I
• 39:01
  Speaker 5: wanted to always I always want to get your take
• 39:03
  Speaker 5: on this. I always ask different actors this question about
• 39:07
  Speaker 5: working with different directors of all these different styles. In
• 39:10
  Speaker 5: your opinion, Ethan, with all your experience and all the
• 39:12
  Speaker 5: projects that you have worked on, what are some of
• 39:15
  Speaker 5: the key.
• 39:15
  Speaker 4: Things that you feel communication You knew what I was
• 39:19
  Speaker 4: DOT was going.
• 39:20
  Speaker 1: I mean, it's when and I've been on both sides,
• 39:25
  Speaker 1: and I think it helps for actors and for crew
• 39:30
  Speaker 1: to have, you know, had each other's experience. What you
• 39:36
  Speaker 1: want more than anything is trust. As an actor, you
• 39:42
  Speaker 1: want to be able to trust and fully trust you're
• 39:48
  Speaker 1: and the director needs to believe in the performer and
• 39:53
  Speaker 1: the performer's ability. Once you have a way of communicating
• 39:57
  Speaker 1: with each other.
• 39:59
  Speaker 3: We'll be right back after a word from our sponsor,
• 40:05
  Speaker 3: and now back to the show.
• 40:08
  Speaker 1: You know, because a director wants to manipulate the actor,
• 40:12
  Speaker 1: the director has to get something out of the actor.
• 40:15
  Speaker 1: It's kind of like being an actor. You know, you
• 40:18
  Speaker 1: have an objective, you have specifics, you have your methodology
• 40:24
  Speaker 1: of how you're going to achieve those goals. When you know,
• 40:29
  Speaker 1: if you're a director, some people like specific directions. Go
• 40:34
  Speaker 1: to the corner, turn right at Fifth Street and then.
• 40:37
  Speaker 6: Left onto Lexington.
• 40:39
  Speaker 1: Boom, you're there. Some people like, now you're going to
• 40:42
  Speaker 1: go to the corner and you're going to see a
• 40:45
  Speaker 1: shell station and it's got this great, big beauty. Right
• 40:48
  Speaker 1: after you see the shell, turn right at the shells
• 40:52
  Speaker 1: station and then you go down about two three more
• 40:55
  Speaker 1: blocks and you're going to see a dinosaur. That's where
• 40:58
  Speaker 1: we So you have to learn right off the bat,
• 41:03
  Speaker 1: how is it with the other so that you get
• 41:08
  Speaker 1: what you want. Works for the actor too. Actor kind
• 41:11
  Speaker 1: of has to direct the director into directing them the
• 41:15
  Speaker 1: way they need to be directed, and you want to
• 41:16
  Speaker 1: do it in a way that builds trust and that relationship.
• 41:22
  Speaker 1: So it's it's very funny. The magic as if is
• 41:26
  Speaker 1: a great thing, you know, for the actor and for
• 41:29
  Speaker 1: the director. Hey, it's as if you're tasting wine for
• 41:33
  Speaker 1: the first time, and you know, you give them the
• 41:36
  Speaker 1: sensations that they can feel in their mouth. Some people
• 41:39
  Speaker 1: need that sensory direction. Some people just you know, no,
• 41:44
  Speaker 1: just tell me to drink it, make a you know
• 41:46
  Speaker 1: it's sour. Okay, great, I got it. I know what
• 41:49
  Speaker 1: to do.
• 41:52
  Speaker 4: Good.
• 41:52
  Speaker 1: You know.
• 41:52
  Speaker 5: As I've had different directors on as well, they always try.
• 41:55
  Speaker 5: They always said to me, Dave, avoid the whole result
• 41:58
  Speaker 5: directing and and that is the whole like okay, you're
• 42:01
  Speaker 5: angry and this and that. And some of the directors
• 42:04
  Speaker 5: that I've had on here, they've worked with people like
• 42:06
  Speaker 5: you know, Ron Perlman and other you know, other actors,
• 42:08
  Speaker 5: and they said sometimes they'll actually just say, look, just
• 42:12
  Speaker 5: if you want me to speaks slower, just tell me that.
• 42:13
  Speaker 5: Just tell me to speak faster, you know what I mean.
• 42:15
  Speaker 5: It's just sort of it's sort of quick shortened to
• 42:17
  Speaker 5: the point.
• 42:18
  Speaker 1: I think very few actors that pride themselves on being
• 42:22
  Speaker 1: actors want a line reading. And I think the most
• 42:29
  Speaker 1: annoying thing that a director can do is say, here,
• 42:35
  Speaker 1: just do it like this, and then they perform it
• 42:37
  Speaker 1: for you. And you know, it's kind of like when
• 42:40
  Speaker 1: you're a little kid, because actors are we're insecure little kids.
• 42:45
  Speaker 1: No matter how secure we seem we're acting, we're insecure.
• 42:49
  Speaker 1: We want approval, we want the love and adulation. We
• 42:55
  Speaker 1: want an add a boy or and at a girl.
• 42:57
  Speaker 1: Don't It's kind of like when you're that little kid
• 43:01
  Speaker 1: and mom says, go over and kiss your grandma goodbye.
• 43:06
  Speaker 1: You don't want to be told. Now you're only kissing
• 43:09
  Speaker 1: or goodbye because you've been told, and it doesn't feel
• 43:11
  Speaker 1: like it's a sincere goodbye kiss because somebody had to
• 43:15
  Speaker 1: tell you to do it. And you're stubborn that way,
• 43:19
  Speaker 1: and you know that's that's an actor. Don't give me
• 43:22
  Speaker 1: a line reading. Just communicate with me. Take the time
• 43:26
  Speaker 1: to build that method of communication where it becomes like
• 43:30
  Speaker 1: psychic communication. I can anticipate exactly what you want because you,
• 43:36
  Speaker 1: mister miss director, you have taken the time to get
• 43:40
  Speaker 1: to know me. You know how best to reach me.
• 43:43
  Speaker 1: To pull the best stuff out of me, and I
• 43:46
  Speaker 1: trust you. The flip side of that is when you
• 43:50
  Speaker 1: so blow trust with your actor or your director, that
• 43:55
  Speaker 1: neither one of you trusts the other one. So it's
• 43:58
  Speaker 1: like when you hear something you're thinking, well, I know
• 44:01
  Speaker 1: that's the wrong thing. That's a totally wrong thing, and
• 44:04
  Speaker 1: that's a horrible place to be as a director or
• 44:08
  Speaker 1: an actor. So building trust and communication, those are the
• 44:13
  Speaker 1: best things you can give each other on a set.
• 44:16
  Speaker 5: Yeah, that is a great point, Ethan, is trust and communication,
• 44:22
  Speaker 5: particularly communication. I've you know, I've experienced sometimes where there
• 44:26
  Speaker 5: hasn't been a.
• 44:27
  Speaker 4: Lot of communication sometimes on sets, and I think I mean.
• 44:31
  Speaker 1: Where that communication is basically like a Meisner exercise, which
• 44:36
  Speaker 1: in New York means have you ever done any of
• 44:41
  Speaker 1: the Meisner the repetition exercises?
• 44:44
  Speaker 4: No, I haven't.
• 44:44
  Speaker 1: Okay, I'll give you an example. Everybody in your audience
• 44:48
  Speaker 1: knows Meisner without even knowing that they know Meisner, because
• 44:52
  Speaker 1: when DeNiro's looking in the mirror.
• 44:55
  Speaker 6: Are you talking to me? Are you talking to me?
• 44:58
  Speaker 1: He's actually doing a simple Meisner exercise. It's that repetition exercise.
• 45:04
  Speaker 1: They're just repeating each other until something organic comes in.
• 45:07
  Speaker 1: But in New York, the repetition, you know, breaks down
• 45:13
  Speaker 1: into fuck you, fuck you right away, So that's where
• 45:17
  Speaker 1: that comes in. So if that's the communication that's happening
• 45:20
  Speaker 1: on set, when it's broken down into fuck you, and
• 45:23
  Speaker 1: that's the second or third thing that's bad communication. Just
• 45:26
  Speaker 1: in case you didn't know that, thank you, Thank you.
• 45:28
  Speaker 1: I'll be here all week, Rara to tip your waiters
• 45:30
  Speaker 1: and waitresses.
• 45:33
  Speaker 4: I'm learning all the time, Ethan, I'm learning all the time.
• 45:35
  Speaker 1: There you go.
• 45:36
  Speaker 5: So you know, you know, and this is something too
• 45:38
  Speaker 5: that as we sort of progress, you know, obviously through
• 45:41
  Speaker 5: your career. You know, in two thousand and five, you
• 45:43
  Speaker 5: know you have your you know, producing credits.
• 45:45
  Speaker 1: I know, Okay, what did I produce it? What did
• 45:50
  Speaker 1: I'm curious?
• 45:52
  Speaker 4: Well, the reason it was called play Player's Joy.
• 45:54
  Speaker 5: But no, the reason I bring it up is because
• 45:59
  Speaker 5: it ties with my next question good and that is
• 46:01
  Speaker 5: you know, as actors, you know, they sort of talk
• 46:03
  Speaker 5: about different projects. One thing that you know, sometimes I
• 46:06
  Speaker 5: recommend to actors is is if you really want to
• 46:09
  Speaker 5: play a certain role, write a script with yourself in
• 46:13
  Speaker 5: mind to play that role. And and and one of
• 46:16
  Speaker 5: the other things I recommend is also always and always
• 46:20
  Speaker 5: try to make yourself a producer because you can actually
• 46:23
  Speaker 5: protect that role. So that and and that's just something
• 46:25
  Speaker 5: I usually tell actors to do. Is again the first
• 46:28
  Speaker 5: part is more important than anything else. But again writing
• 46:30
  Speaker 5: that script and putting that part in there. But I
• 46:32
  Speaker 5: want to ask you know, when you know, at this
• 46:35
  Speaker 5: point you decided to actually start producing. Was there was
• 46:38
  Speaker 5: there any sort of reason why you actually went behind
• 46:42
  Speaker 5: the camera and then started producing. I mean, did you
• 46:44
  Speaker 5: always have an interest in producing?
• 46:47
  Speaker 1: No, none, whatsoever. It came from one of the finn Cannons.
• 46:53
  Speaker 4: It was.
• 46:55
  Speaker 1: Craig fin Cannon again as he was mentoring me said, Ethan,
• 46:59
  Speaker 1: you know, listen and you're a really good actor. He said,
• 47:03
  Speaker 1: you'll be stuck in under fives and day player roles
• 47:07
  Speaker 1: for the rest of your life because you're choosing to
• 47:10
  Speaker 1: live here in this area and on the East Coast,
• 47:14
  Speaker 1: and you should be doing more, he said, start producing
• 47:19
  Speaker 1: your own stuff so that you can actually build into
• 47:25
  Speaker 1: and expand into greater roles. That way, people see your
• 47:27
  Speaker 1: work and then you'll start getting cast in more significant stuff.
• 47:31
  Speaker 1: Because basically it's like that casting director you go in
• 47:35
  Speaker 1: and you give them some maturity that that same person's
• 47:39
  Speaker 1: going to show up on the set. Well, you know,
• 47:42
  Speaker 1: they want to see that you've already been entrusted with
• 47:45
  Speaker 1: something larger, that you could handle it, that you could
• 47:47
  Speaker 1: hit a.
• 47:48
  Speaker 6: Home run for him.
• 47:49
  Speaker 1: So he said, start producing your own stuff. So my
• 47:53
  Speaker 1: brother John was directing this play and it was Player's Joy,
• 47:57
  Speaker 1: and it was a very Spalding Gray show about baseball.
• 48:04
  Speaker 1: Something you know, me and Sef and John all grew
• 48:08
  Speaker 1: up around was baseball or lives or baseball. So we
• 48:11
  Speaker 1: understood this and is, you know, an allegorical story for life.
• 48:15
  Speaker 1: It just really resonated. So I thought, Okay, for a
• 48:19
  Speaker 1: few thousand dollars, I can actually bring this to life,
• 48:23
  Speaker 1: get it filmed, and I'll get my first taste of
• 48:26
  Speaker 1: actually producing from the ground up a motion picture of
• 48:30
  Speaker 1: full length. So that's exactly why I did that. I
• 48:34
  Speaker 1: wanted to get my feet wet, and I thought that
• 48:38
  Speaker 1: this was something that would be incredibly worthwhile and manageable.
• 48:44
  Speaker 1: And the guy who starred in it and wrote it,
• 48:47
  Speaker 1: Ralph Elias. He did an incredible job, very Spaulding Gray esque.
• 48:53
  Speaker 1: I wish someday when I actually win my real lifetime
• 48:58
  Speaker 1: Achievement Award. I'm going to make sure that this guy,
• 49:02
  Speaker 1: you know, gets his due and it gets seen by
• 49:04
  Speaker 1: much wider audience because it's a powerful performance.
• 49:09
  Speaker 5: And I hope one day Ethan you do get that
• 49:12
  Speaker 5: real lifetime Achievement award.
• 49:14
  Speaker 1: Not that the Day Bullets Lifetime Achievement Award isn't something special,
• 49:18
  Speaker 1: because it is. It is.
• 49:22
  Speaker 4: Thank you, thank you, You're very welcome.
• 49:24
  Speaker 1: You're very welcome.
• 49:25
  Speaker 5: I've carved that a little niche here in the internet,
• 49:28
  Speaker 5: and so you know, that's just the you know, an
• 49:30
  Speaker 5: amazing story because I always wonder that too about you know,
• 49:34
  Speaker 5: whenever somebody goes who's in front of the camera goes behind,
• 49:37
  Speaker 5: and whoever's behind goes in front, you know, because I've
• 49:40
  Speaker 5: seen certain people have been able to sort of transcend
• 49:43
  Speaker 5: this and actually do both with like you have. And
• 49:45
  Speaker 5: you've been able to sort of you know, you've been
• 49:47
  Speaker 5: in front of the camera and done well. You've been
• 49:49
  Speaker 5: behind the camera and done well. So what is sort
• 49:52
  Speaker 5: of the one thing that you've noticed behind the camera
• 49:55
  Speaker 5: that's sort of that one trademark to do well.
• 49:59
  Speaker 3: We'll be right back after a word from our sponsor,
• 50:05
  Speaker 3: and now back to the show.
• 50:08
  Speaker 5: Because some people would say, well, it's management skills, and
• 50:11
  Speaker 5: other people say, well it's communication, and other people will say, well,
• 50:15
  Speaker 5: maybe it's just finding the right passion.
• 50:17
  Speaker 1: Passion, passion, it's here. Every indie filmmaker is a salesman.
• 50:25
  Speaker 1: Every actor is a salesman. You have to sell, and
• 50:30
  Speaker 1: most of us we hate to sell and we don't
• 50:34
  Speaker 1: want to be salespeople. So here's my trick. If you
• 50:39
  Speaker 1: believe in it, it's not sales. It's like when you're
• 50:44
  Speaker 1: a little kid. It's as if you have to get
• 50:48
  Speaker 1: the car keys for that once in a lifetime date,
• 50:53
  Speaker 1: and you don't think to yourself, well, if I punctuate
• 50:56
  Speaker 1: this word, mom and dad will really believe me, it'll
• 50:59
  Speaker 1: be very believable. No, you have to have those keys,
• 51:02
  Speaker 1: you have to have that car. You've got to be
• 51:05
  Speaker 1: on this date because this is the love of your life.
• 51:08
  Speaker 6: You're seventeen.
• 51:09
  Speaker 1: You know you're going to get married and have the
• 51:11
  Speaker 1: most beautiful children and life is going to be incredible.
• 51:15
  Speaker 1: When you're doing a motion picture, you hopefully so passionate
• 51:23
  Speaker 1: about the story. If you're an actor, you're passionate about
• 51:28
  Speaker 1: the character you're playing. You believe in it. If you
• 51:32
  Speaker 1: don't believe in it, then it sales, and then it's
• 51:36
  Speaker 1: very difficult because you can't sell something you don't believe in.
• 51:42
  Speaker 1: Nobody'll buy it, and if they do, you feel horrible
• 51:46
  Speaker 1: about it and guilty, and you have to totally throw
• 51:49
  Speaker 1: yourself into the story. You have to totally throw yourself
• 51:54
  Speaker 1: into the character. And it works if you're If you're
• 51:58
  Speaker 1: a sound person and you you hate what you're doing,
• 52:01
  Speaker 1: your sound's gonna be awful. But if you love it, man,
• 52:05
  Speaker 1: you're looking at all the details, You're gonna get all
• 52:08
  Speaker 1: the wild sounds. You're gonna get, the footsteps leading up,
• 52:11
  Speaker 1: You're gonna get the snap of the fingers. You're gonna
• 52:14
  Speaker 1: get the the slapping of the waves, the water hitting.
• 52:18
  Speaker 6: Up against the seawall.
• 52:19
  Speaker 1: It's just you have to have that passion and that
• 52:22
  Speaker 1: love and that belief in what you're doing. And that
• 52:25
  Speaker 1: works for in front of the camera, it works for
• 52:27
  Speaker 1: behind the camera.
• 52:29
  Speaker 5: You know, there's a saying I once learned in sales Ethan,
• 52:32
  Speaker 5: and that was everything in this world is sales, and
• 52:35
  Speaker 5: all sales is problem solving.
• 52:38
  Speaker 4: And that's just something that that sort of stuck with me.
• 52:40
  Speaker 5: And I know what I know exactly what you mean
• 52:43
  Speaker 5: by if you don't believe in the product, you feel
• 52:45
  Speaker 5: bad about it. You know what you mean. You don't
• 52:47
  Speaker 5: feel like there's anything there's nothing special about it.
• 52:50
  Speaker 1: You got a lot more problems to solve if you
• 52:52
  Speaker 1: don't believe in it, and it becomes drudgery if you
• 52:56
  Speaker 1: don't believe in it, And then that's a job as
• 53:00
  Speaker 1: opposed to a passion and something you love doing. And
• 53:04
  Speaker 1: I wake up every day and I just I'm excited.
• 53:08
  Speaker 1: I'm happy because you know, I get to do what
• 53:12
  Speaker 1: I love to do. I mean, first and foremost, I'm
• 53:15
  Speaker 1: a father, and I think I love being a father
• 53:18
  Speaker 1: more than anything else in the universe. Hi, Hannah. But
• 53:22
  Speaker 1: when it comes to my vocation, when it comes to
• 53:26
  Speaker 1: what you know, how I make my living, I wouldn't
• 53:30
  Speaker 1: want to do it any other way. I love telling stories,
• 53:34
  Speaker 1: I love creating characters. I can do that all day
• 53:39
  Speaker 1: and it'll seem like no time has passed. Now, that's
• 53:43
  Speaker 1: that's lucky. If you're lucky enough to do that.
• 53:49
  Speaker 5: Exactly, Ethan, you have created a life that you never
• 53:52
  Speaker 5: need a vacation from.
• 53:54
  Speaker 1: Yes, it's just that every once in a while, it'd
• 53:56
  Speaker 1: be nice to do that part again, BALI great, that'd
• 54:01
  Speaker 1: be great.
• 54:03
  Speaker 5: And as we talk about the about passion and everything,
• 54:05
  Speaker 5: I want to talk about your new film, Eyes.
• 54:07
  Speaker 4: Of the Rochie.
• 54:08
  Speaker 5: You know absolutely, and you know I actually was able
• 54:11
  Speaker 5: to get a chance to watch it.
• 54:12
  Speaker 1: Uh.
• 54:13
  Speaker 5: By the way, your performance was fantastic. And I'm not
• 54:15
  Speaker 5: just saying that because you're on the podcast. By the way,
• 54:17
  Speaker 5: I actually really do mean that your your performance was fantastic.
• 54:21
  Speaker 1: So you're saying I could actually be receiving the Day
• 54:24
  Speaker 1: Bullist's Lifetime Achievement Award for the performance in the Eyes
• 54:27
  Speaker 1: of the Roschie.
• 54:29
  Speaker 4: You have exactly right, I have. I'm pulled.
• 54:32
  Speaker 5: See it's kind of like that. There's there's that old
• 54:34
  Speaker 5: scream running method. I give it to you, I take
• 54:36
  Speaker 5: it away. I give it to you, I take it away.
• 54:39
  Speaker 1: You gave it to me and I took it and
• 54:40
  Speaker 1: that's great. Or maybe I forced it down your throat
• 54:43
  Speaker 1: and took it. Anyway, Well, I'm curious. Uh for me,
• 54:47
  Speaker 1: there were so many great performances in that movie. Oh
• 54:51
  Speaker 1: what is it about?
• 54:52
  Speaker 6: Uh?
• 54:53
  Speaker 1: The interactions and the performances. Why did they stand out
• 54:57
  Speaker 1: for you?
• 54:58
  Speaker 5: So I'm gonna bring down to three scenes that I
• 55:01
  Speaker 5: I think, really, there's always one scene, in my opinion
• 55:05
  Speaker 5: of every movie, no matter what movie you pick up,
• 55:07
  Speaker 5: there's always one scene that defines the movie.
• 55:11
  Speaker 1: And I everybody has their favorites, so I can't wait
• 55:13
  Speaker 1: to hear yours.
• 55:15
  Speaker 5: Well, well, my scene, well, the three I was going
• 55:17
  Speaker 5: to say were the one with you and Eric Roberts
• 55:19
  Speaker 5: in the hotel room.
• 55:21
  Speaker 6: Okay.
• 55:22
  Speaker 1: Uh, there's the the first scene or the last.
• 55:25
  Speaker 5: The first scene okay, where where you're sort of, yeah,
• 55:27
  Speaker 5: you're at like the desk and Eric robertson walks in.
• 55:30
  Speaker 4: There's that scene.
• 55:31
  Speaker 5: The the second scene is is with Eric Roberts and
• 55:36
  Speaker 5: I'm sorry, I don't know the other actor's name.
• 55:38
  Speaker 4: They sort of come in the scheme masks and uh, there's.
• 55:42
  Speaker 1: Well that that would be Eric Roberts and my brothers
• 55:44
  Speaker 1: Seth as Itchy so.
• 55:48
  Speaker 5: And and I mean that that scene too, and I'm
• 55:50
  Speaker 5: I'm sorry I didn't know his noon polotics.
• 55:51
  Speaker 1: No, that's a right, that's all right. I told you
• 55:53
  Speaker 1: there'd be an there'd be a Martin Brothers quiz at
• 55:56
  Speaker 1: the end of this.
• 55:57
  Speaker 4: And I've I've failed the pop quiz.
• 55:59
  Speaker 1: Now, that's all right, So I pick the right scene
• 56:02
  Speaker 1: go ahead.
• 56:02
  Speaker 5: And that that scene right there. Uh, And I I
• 56:05
  Speaker 5: don't want to spoil anything for anybody.
• 56:07
  Speaker 6: I know, I know it's hard.
• 56:08
  Speaker 1: I want to talk and break these scenes down because again,
• 56:12
  Speaker 1: those were my acting teachers, my brothers, and you know,
• 56:16
  Speaker 1: I love watching them work. And that scene, I don't
• 56:19
  Speaker 1: think it's given anything away to say that was hysterical.
• 56:22
  Speaker 5: Oh yes, yes, it was, especially the part about the well,
• 56:26
  Speaker 5: this isn't given anything away, the part about the door.
• 56:28
  Speaker 5: That's why I actually laughed out loud and I was like,
• 56:30
  Speaker 5: that is that is, you know, freaking hysterical.
• 56:33
  Speaker 4: And then that.
• 56:34
  Speaker 5: Was my and then that scene and then the third
• 56:36
  Speaker 5: scene was with uh with you at the end, And
• 56:39
  Speaker 5: again I don't want to give too much away, but
• 56:40
  Speaker 5: it was you with you at the end, and uh.
• 56:43
  Speaker 5: That that to me, that third scene was the basically
• 56:47
  Speaker 5: the antithesis of the whole movie.
• 56:49
  Speaker 6: You know, it's amazing.
• 56:51
  Speaker 1: There were so many good performances, and I appreciate those
• 56:54
  Speaker 1: kind words, you know. I look at Stacy Whittle, who
• 56:58
  Speaker 1: plays Eric Robert love Interest in the film, and it's
• 57:03
  Speaker 1: a tough role to break out in and I thought
• 57:06
  Speaker 1: she did an extraordinary job. And it's not one of
• 57:08
  Speaker 1: the flash year parts to play, and she did it
• 57:14
  Speaker 1: so well, and she had to portray so many different emotions.
• 57:20
  Speaker 1: Amanda Dunn as Blanche, the angeneu of the film again,
• 57:28
  Speaker 1: so versatile can go from comedy to drama and the
• 57:32
  Speaker 1: drop of a hat and be so good at all
• 57:34
  Speaker 1: of them. Chris van Cleeve, that one scene where he
• 57:38
  Speaker 1: breaks out into song, I mean, for me, that was
• 57:44
  Speaker 1: That's one of the scenes that I love in this
• 57:46
  Speaker 1: film because it seems that our status is a cult
• 57:51
  Speaker 1: phenomenon is sealed in that one moment during the film.
• 57:56
  Speaker 1: But Jonathan is Marty that's seen in the taxi cab
• 58:00
  Speaker 1: near the end of the film. I mean, you can
• 58:04
  Speaker 1: literally cut that tension with a knife. And the way
• 58:08
  Speaker 1: the music makes you think you're about to watch a
• 58:12
  Speaker 1: comic scene and we play that little sleight of hand
• 58:16
  Speaker 1: and then you know, an audience of four hundred people
• 58:18
  Speaker 1: jump out of their seats because we took you did
• 58:21
  Speaker 1: a little sleight of hand on them. There's just so
• 58:24
  Speaker 1: many cool behind the scenes elements that you wouldn't realize
• 58:30
  Speaker 1: are part of a film. And unless you're behind the scenes,
• 58:32
  Speaker 1: you got ah, you know, this wasn't a mistake. This
• 58:35
  Speaker 1: happened the purpose and that's kind of a cool thing too.
• 58:39
  Speaker 1: But anyway, thank you, thank you.
• 58:40
  Speaker 4: Oh you're very welcome.
• 58:41
  Speaker 5: And I and again and John, I'm not just saying
• 58:43
  Speaker 5: that because you know, obviously on the podcast with me,
• 58:46
  Speaker 5: you know, I thought, you know, this was a you know,
• 58:48
  Speaker 5: a really really interesting movie. And again, I think your
• 58:51
  Speaker 5: performance was phenomenal. And I want to sort of ask.
• 58:55
  Speaker 1: What's that a surprise? No, I mean, you see a
• 58:58
  Speaker 1: lot of indie films, and I know you'll talk to
• 59:00
  Speaker 1: a lot of indie people. What is it when you're
• 59:04
  Speaker 1: watching all these films, because I know you want to
• 59:06
  Speaker 1: be listen when you're a podcaster supporting indie films, And
• 59:10
  Speaker 1: I don't think it's fair to compare uh an indie
• 59:15
  Speaker 1: film with the resources that it has.
• 59:19
  Speaker 6: Shouldn't be direct.
• 59:20
  Speaker 1: You know, you're trying to achieve something and you're trying
• 59:22
  Speaker 1: to achieve it on micro budgets usually, and it's not
• 59:26
  Speaker 1: fair to just put them head to head with the
• 59:29
  Speaker 1: resources of a major studio. So you're wanting to be
• 59:36
  Speaker 1: pleasantly surprised. You Well, the I would know I was
• 59:42
  Speaker 1: going to turn the tables on you, did you Well?
• 59:45
  Speaker 5: No, I I what happens is I get to see
• 59:47
  Speaker 5: a ton of movies, a ton of movies that that's
• 59:50
  Speaker 5: you know, you know, obviously someone just sent to me, Hey, Dave,
• 59:53
  Speaker 5: watched this.
• 59:53
  Speaker 4: Do you want to have on the podcast.
• 59:56
  Speaker 3: We'll be right back after a word from our sponsor,
• 1:00:02
  Speaker 3: and now back to the show.
• 1:00:05
  Speaker 5: And I sometimes I watch them and I say to myself,
• 1:00:11
  Speaker 5: I understand, you know where they're.
• 1:00:13
  Speaker 4: Coming from with this.
• 1:00:14
  Speaker 5: Other times I watch them and I say, wow, you know,
• 1:00:17
  Speaker 5: for the budget they had, they did a lot more.
• 1:00:19
  Speaker 5: It doesn't look like a fifty thousand or a hundred
• 1:00:21
  Speaker 5: thousand or what have you film. It looks like a
• 1:00:24
  Speaker 5: multimillion dollar film. And I'm able to sort of, you know,
• 1:00:28
  Speaker 5: see different ways of how things are done. And that's
• 1:00:32
  Speaker 5: sometimes when you know, you just see different things and
• 1:00:34
  Speaker 5: you're just sort of blown away by different things. And
• 1:00:36
  Speaker 5: I just think your performance and this was very well done.
• 1:00:39
  Speaker 5: I think it was, you know, it was uh well,
• 1:00:42
  Speaker 5: I wasn't gonna say this either, but I'll say it now.
• 1:00:44
  Speaker 5: I think you stole the show.
• 1:00:48
  Speaker 4: Okay, I don't know.
• 1:00:51
  Speaker 5: I usually I you know, cause again you're on the podcast,
• 1:00:54
  Speaker 5: and sometimes you know, I don't want to seem like
• 1:00:56
  Speaker 5: I'm just sort of talking up my guests, but no, I.
• 1:01:00
  Speaker 4: Really think you did. And you know that's just you know,
• 1:01:04
  Speaker 4: I always tryumph to me.
• 1:01:06
  Speaker 1: I'm proud to be part of this ensemble. I you know,
• 1:01:09
  Speaker 1: I just think there were so many fine performances in
• 1:01:12
  Speaker 1: this I'm very happy to just be amongst what I
• 1:01:15
  Speaker 1: think was a fine troupe, a fine ensemble, and I'm
• 1:01:23
  Speaker 1: just really happy to be part of this, this rep company.
• 1:01:28
  Speaker 1: So that's what I'll say, and thank you again for
• 1:01:31
  Speaker 1: your kind words. I just want to be able to
• 1:01:34
  Speaker 1: keep making more of these type of films and bring
• 1:01:37
  Speaker 1: more of these types of characters to life.
• 1:01:41
  Speaker 5: So so thank you, oh my my pleasure. And I
• 1:01:45
  Speaker 5: want to just sort of follow that up with the
• 1:01:47
  Speaker 5: one question. You were a producer of Isaac Roche as well,
• 1:01:51
  Speaker 5: so I wanted to ask, when you're wearing your producer's hat,
• 1:01:54
  Speaker 5: you know, was this screenplay sort of presented to you?
• 1:01:57
  Speaker 5: Did you sort of you know, did you know the
• 1:01:59
  Speaker 5: you know, you know what I mean? Or did you
• 1:02:00
  Speaker 5: sort of if you'll find it in one way or
• 1:02:03
  Speaker 5: the other, you know, I wanted to ask you how
• 1:02:05
  Speaker 5: did you know? Because obviously the road to production is
• 1:02:08
  Speaker 5: very long, obviously the very long So I wanted to
• 1:02:12
  Speaker 5: ask you, Ethan, you know, how did you go about
• 1:02:14
  Speaker 5: getting all these pieces together?
• 1:02:18
  Speaker 1: Originally, when I was speaking to Grandmaster Adam and he
• 1:02:22
  Speaker 1: had his own ideas of what he wanted to produce.
• 1:02:26
  Speaker 1: And somebody who became our one of our associate producers,
• 1:02:32
  Speaker 1: Mary Mann, she'd been following him around for a year
• 1:02:35
  Speaker 1: and she wrote a book based on some of his stories,
• 1:02:39
  Speaker 1: some of his travels, some of the things that actually
• 1:02:43
  Speaker 1: happened in his life, and then a bunch of fiction.
• 1:02:47
  Speaker 1: And they gave me some of it to read one day,
• 1:02:53
  Speaker 1: and Mary had written something that was, you know, pretty
• 1:02:57
  Speaker 1: extraordinary in a book form, and Adam had kind of
• 1:03:00
  Speaker 1: re edited some of her stuff, and it was like
• 1:03:03
  Speaker 1: ideas that were in his head but didn't translate well
• 1:03:06
  Speaker 1: on paper. Un listend here read this and it was
• 1:03:08
  Speaker 1: about four or five pages, single spaced, and you know,
• 1:03:12
  Speaker 1: the pika width was you know, barely fitting on the page,
• 1:03:16
  Speaker 1: and there was like six or seven characters, and I
• 1:03:19
  Speaker 1: basically read them straight through, and I was editing and
• 1:03:23
  Speaker 1: rewriting as I was reading and playing these seven characters.
• 1:03:27
  Speaker 1: So you know, it was like a split personality come
• 1:03:32
  Speaker 1: to life. And I remember Mary going through her copy
• 1:03:36
  Speaker 1: of what I was reading. She had a hard copy,
• 1:03:38
  Speaker 1: and she was looking for where I was getting what
• 1:03:41
  Speaker 1: I was performing from. And she looked at me when
• 1:03:44
  Speaker 1: I was done, she said, oh, that was pretty good.
• 1:03:48
  Speaker 1: I can't find any of what you just did on
• 1:03:50
  Speaker 1: my paper that I wrote, but that was really good.
• 1:03:53
  Speaker 1: So I looked at him and I said, look what
• 1:03:56
  Speaker 1: you have here is a book form, not a screenplay.
• 1:04:00
  Speaker 1: We're going to have to write a screenplay. And we
• 1:04:04
  Speaker 1: set about writing a screenplay. And when that screenplay was
• 1:04:08
  Speaker 1: finally written by a very talented writer out of Spain,
• 1:04:13
  Speaker 1: it would have cost about thirty million dollars to produce.
• 1:04:15
  Speaker 1: It was just beyond the present capability. So the director
• 1:04:21
  Speaker 1: and at the time the ad John Marknail and Joseph Baum,
• 1:04:28
  Speaker 1: took about writing a new screenplay and they inserted a
• 1:04:31
  Speaker 1: heck of a lot more testosterone in it, and it
• 1:04:35
  Speaker 1: kind of took a different direction because Adam wanted a
• 1:04:37
  Speaker 1: lot more spirituality and Buddhism, and I think he wanted
• 1:04:42
  Speaker 1: it more in the direction of Karate Kid than The Godfather,
• 1:04:45
  Speaker 1: even though he loves the Godfather. So it was a
• 1:04:50
  Speaker 1: constant state of negotiating between the writers and Adam to
• 1:04:54
  Speaker 1: get enough of his teachings in while making something that
• 1:04:58
  Speaker 1: we thought could be commercially viable. And basically what you
• 1:05:03
  Speaker 1: see was the product of about a year, year and
• 1:05:06
  Speaker 1: a half's work and negotiation. So guided and I would say,
• 1:05:14
  Speaker 1: you know, I helped to write additional material, and so
• 1:05:17
  Speaker 1: did Mary, but it was with a heavy guiding hand
• 1:05:21
  Speaker 1: ushering this Presence screenplay into being.
• 1:05:27
  Speaker 5: And so you know that's interesting. You were able to
• 1:05:29
  Speaker 5: take it into development, you know what I mean? And actually,
• 1:05:31
  Speaker 5: you know sort of shever that along because you know
• 1:05:34
  Speaker 5: that that is you know obviously, so when when you
• 1:05:36
  Speaker 5: were finally got that script and you were you said,
• 1:05:39
  Speaker 5: this is this is that, this is the script that
• 1:05:41
  Speaker 5: we could go with, you know what was there?
• 1:05:43
  Speaker 4: What was the next step? Was it, you know, sort
• 1:05:45
  Speaker 4: of finding the money?
• 1:05:46
  Speaker 5: Was Were you always planning to shoot in that that
• 1:05:49
  Speaker 5: Virginia beach area?
• 1:05:50
  Speaker 1: Uh?
• 1:05:51
  Speaker 4: You know, so what was sort of the next step?
• 1:05:53
  Speaker 1: I have a I have a firm commitment with the
• 1:05:55
  Speaker 1: state of Virginia. I've told these guys listen, I raised
• 1:05:57
  Speaker 1: my daughter here, I live here, this is home. Whenever
• 1:06:01
  Speaker 1: I can, I will be shooting in this area, and
• 1:06:04
  Speaker 1: they've been very good and very cooperative, and I know
• 1:06:07
  Speaker 1: all the key locations, and I know the crew. You know,
• 1:06:12
  Speaker 1: these crew members have worked with everybody from Nicholson to Spielberg,
• 1:06:18
  Speaker 1: you know, to Tom Cruise. The locations you know, so
• 1:06:23
  Speaker 1: many of them have never been on film before.
• 1:06:26
  Speaker 6: I can with.
• 1:06:27
  Speaker 1: The turn of the camera, I can be in the
• 1:06:30
  Speaker 1: tropics or the desert. So it just lends itself in
• 1:06:35
  Speaker 1: so many ways. So yes, I knew I was going
• 1:06:36
  Speaker 1: to be here. The money raising is actually not the
• 1:06:42
  Speaker 1: most difficult part for me, which might be funny to
• 1:06:45
  Speaker 1: other people. The roughest part, I think it's just once
• 1:06:52
  Speaker 1: you have the film, ushering it and through post production
• 1:06:57
  Speaker 1: to make sure that what you've captured, you know, comes
• 1:07:01
  Speaker 1: to life in an even better way. All along the
• 1:07:06
  Speaker 1: process you want to keep making it better than what
• 1:07:09
  Speaker 1: you were hoping for or thought it could be. And
• 1:07:14
  Speaker 1: you know, the toughest toughest part is distribution. It's it's
• 1:07:19
  Speaker 1: the distribution Russian. All young filmmakers have an idea of
• 1:07:26
  Speaker 1: where you're going to bring this film before you make it,
• 1:07:28
  Speaker 1: unless you just don't care. And you know, if the
• 1:07:31
  Speaker 1: story is just you have to tell it because it'll
• 1:07:33
  Speaker 1: kill you not to tell your story, which is great,
• 1:07:36
  Speaker 1: then go for it. But you know, it's show business,
• 1:07:40
  Speaker 1: so have an idea of where you're bringing it, who
• 1:07:42
  Speaker 1: you're bringing it to. That's why we're so fortunate to
• 1:07:45
  Speaker 1: have Eric Roberts, who brings such a great performance, gives
• 1:07:49
  Speaker 1: us some name credibility, and you know, without Eric robertson it,
• 1:07:54
  Speaker 1: a lot of people wouldn't have even looked at the film,
• 1:07:57
  Speaker 1: you know, And this is why we've develop such a
• 1:08:00
  Speaker 1: fun cult following because people came along to see Eric
• 1:08:03
  Speaker 1: Roberts and then they discovered all this incredible talent that
• 1:08:08
  Speaker 1: came along with him. And I got to say thank
• 1:08:11
  Speaker 1: you a hundred times over to Eric, because you know,
• 1:08:17
  Speaker 1: he came in he was a prince.
• 1:08:20
  Speaker 6: He was very.
• 1:08:21
  Speaker 1: Giving, both as an actor and you know, just to
• 1:08:26
  Speaker 1: everybody cast crew.
• 1:08:28
  Speaker 6: He understood he's.
• 1:08:30
  Speaker 1: Been more than four hundred films and he just had
• 1:08:34
  Speaker 1: such patience for everybody. And he, you know, I thanked
• 1:08:37
  Speaker 1: him at one point for being such a good teacher.
• 1:08:40
  Speaker 1: He said, oh no, no, no, no, no, no, no, I'm
• 1:08:42
  Speaker 1: not anybody's stand And I said, yeah, yeah, you did,
• 1:08:44
  Speaker 1: because you were generous with crew, You were generous with
• 1:08:48
  Speaker 1: other cast. He's an actor's actor, he's a director's actor.
• 1:08:53
  Speaker 6: He's just he was great.
• 1:08:56
  Speaker 1: I don't think there was anybody on that set that
• 1:08:58
  Speaker 1: didn't have a great experience with him.
• 1:09:01
  Speaker 5: Yeah, I've heard nothing about good things about Eric Robbins
• 1:09:04
  Speaker 5: as well. I've had some friends both as actors and
• 1:09:07
  Speaker 5: filmmakers who got to work with Eric, and again, nothing
• 1:09:10
  Speaker 5: but good things to say about him.
• 1:09:12
  Speaker 1: Yeah, I have nothing but the us respect, both for
• 1:09:17
  Speaker 1: what he did on camera and what he did behind
• 1:09:19
  Speaker 1: the scenes.
• 1:09:21
  Speaker 5: So now and also Ethan, just to you sort of
• 1:09:23
  Speaker 5: mentioned this and I wanted to ask you about this.
• 1:09:24
  Speaker 5: I'm glad you brought it up. Was distribution. You know,
• 1:09:28
  Speaker 5: that's sort of like the new keyword because of all this,
• 1:09:30
  Speaker 5: because you know, it's a lot easier quote unquote easier
• 1:09:34
  Speaker 5: to make it any film now, but it's a lot
• 1:09:36
  Speaker 5: harder to get people to see it because you know,
• 1:09:38
  Speaker 5: it's a war of eyeballs and ears right.
• 1:09:40
  Speaker 1: Well, you know, it's the democratization of film once film
• 1:09:43
  Speaker 1: went digital, and it's only been a little over ten
• 1:09:47
  Speaker 1: years where it really went from experimental you know, the
• 1:09:51
  Speaker 1: ag hb X panasigic it was the first camera to,
• 1:09:56
  Speaker 1: you know, use the P two.
• 1:09:57
  Speaker 3: Cards right back after a word from our sponsor. And
• 1:10:06
  Speaker 3: now back to the show.
• 1:10:08
  Speaker 1: And my film company at the time, Star Circle Pictures.
• 1:10:12
  Speaker 1: It's my company now is light Age Films. I gave
• 1:10:17
  Speaker 1: Star Circle to my brother Richard and so he has
• 1:10:21
  Speaker 1: carried on Star Circle to this day and Waveform Studios.
• 1:10:26
  Speaker 1: But we were the first in the world to produce
• 1:10:30
  Speaker 1: a complete film with that Panasonic AGHBX two hundred. So
• 1:10:37
  Speaker 1: that was the first time P two cards that digital
• 1:10:40
  Speaker 1: technology could be used. So we did a previs of
• 1:10:45
  Speaker 1: the film, the storyboards we shot and edited right there
• 1:10:49
  Speaker 1: on set, and in two days we had a twenty.
• 1:10:52
  Speaker 6: Plus minute film fully edited.
• 1:10:54
  Speaker 1: Rough when we rapped, and I remember speaking to the
• 1:10:58
  Speaker 1: guy from Fast Come Any magazine. I think he ended
• 1:11:01
  Speaker 1: up winning a Pulitzer Prize and I can't think of
• 1:11:04
  Speaker 1: his name right now, but you know, I said to him,
• 1:11:07
  Speaker 1: within ten years, digital will be how the majority of
• 1:11:12
  Speaker 1: films are made. And he was like, well, I think
• 1:11:14
  Speaker 1: that's a bit ambitious. I said, you watch. You know,
• 1:11:18
  Speaker 1: it's rather than ship one thousand film prints all over
• 1:11:23
  Speaker 1: the country with a push of a button, they'll be
• 1:11:25
  Speaker 1: able to, you know, send the.
• 1:11:27
  Speaker 6: Film to theaters.
• 1:11:28
  Speaker 1: It's shipping, you're going to save on processing, you're going
• 1:11:31
  Speaker 1: to shave, and here we are. So film has been democratized.
• 1:11:38
  Speaker 1: The great thing about that is anybody with a passion
• 1:11:41
  Speaker 1: to tell a story can tell the story. The bad
• 1:11:45
  Speaker 1: thing about it is anybody who's got the passion to
• 1:11:47
  Speaker 1: tell his story can tell his story. So some of
• 1:11:49
  Speaker 1: these are great and should be made and wouldn't have
• 1:11:52
  Speaker 1: been made, and some of them are horrible and never
• 1:11:55
  Speaker 1: should have seen the light of day. But anybody wants
• 1:11:59
  Speaker 1: to make a film can make a film. So how
• 1:12:02
  Speaker 1: do you get your film seen? Well, you know, if
• 1:12:05
  Speaker 1: you're trying to make money at it, there's a lot
• 1:12:08
  Speaker 1: of luck and there's a lot of business that goes
• 1:12:11
  Speaker 1: into it. I'm very fortunate for me. It's kind of
• 1:12:15
  Speaker 1: full circle. When I was a kid, one of my
• 1:12:17
  Speaker 1: dad's business associates was Independent International Corp Pischers Corporation president
• 1:12:24
  Speaker 1: Samuel Sherman, and sam wanted to see the film. He
• 1:12:30
  Speaker 1: was going to give me some pointers. And he's one
• 1:12:34
  Speaker 1: of the most knowledgeable guys in the business, and he
• 1:12:37
  Speaker 1: still has huge connections and he's got a vast library
• 1:12:42
  Speaker 1: of films. Some of the classics, some of his own,
• 1:12:46
  Speaker 1: and it screens about an hour and forty seven minutes.
• 1:12:49
  Speaker 1: Roschi does I send it to him. Hour and fifty
• 1:12:54
  Speaker 1: seven minutes later, he's on the phone of me. I
• 1:12:56
  Speaker 1: love this film. He says, you have a very saleable
• 1:13:00
  Speaker 1: motion picture. I'm going to represent it for you. We're
• 1:13:04
  Speaker 1: going to get this sold. Be patient. It's rough out
• 1:13:07
  Speaker 1: there right now, but I'm going to get you a
• 1:13:10
  Speaker 1: distribution deal. So for me, I'm really lucky. I'm in
• 1:13:13
  Speaker 1: the hands of, you know, an old time mention of
• 1:13:17
  Speaker 1: motion pictures, Sam Sherman. Not everybody has that. So for me,
• 1:13:22
  Speaker 1: all I got to do is provide Sam with you know, materials,
• 1:13:26
  Speaker 1: is he shops it for us for other guys. You know. Again,
• 1:13:31
  Speaker 1: that's another reason why you have to.
• 1:13:33
  Speaker 6: Believe in what you're.
• 1:13:35
  Speaker 1: Working on, because it's your passion, it's your never give up,
• 1:13:39
  Speaker 1: never say die attitude.
• 1:13:42
  Speaker 6: It's networking and being.
• 1:13:45
  Speaker 1: Seen and seeing people and you know, finding the people
• 1:13:49
  Speaker 1: who you can trap and show your film to. This
• 1:13:54
  Speaker 1: is this is how when you're starting out, you got
• 1:13:56
  Speaker 1: to do it. You got to know people. You've got
• 1:13:59
  Speaker 1: to break down doors, you have to get past the gatekeepers.
• 1:14:03
  Speaker 6: That's how you do it.
• 1:14:06
  Speaker 5: Yeah, and uh, you know, again you mentioned a little
• 1:14:09
  Speaker 5: bit of luck as well, and also you mentioned about
• 1:14:11
  Speaker 5: you know, knowing what you're gonna do with your film. Honestly,
• 1:14:14
  Speaker 5: I've had friends who've had different, you know, variations of
• 1:14:18
  Speaker 5: experiences of luck of you know, of of highs and
• 1:14:20
  Speaker 5: lows doing all sorts of different ways to release their films.
• 1:14:24
  Speaker 5: And you know, some have just released it on YouTube
• 1:14:26
  Speaker 5: and said here it is, it's free. You know, we're
• 1:14:28
  Speaker 5: just hoping to get some other uh, you know, other
• 1:14:31
  Speaker 5: funding from this because look what we did for nothing,
• 1:14:33
  Speaker 5: Imagine what we could do for something.
• 1:14:35
  Speaker 1: Uh.
• 1:14:35
  Speaker 5: And then also some have just gone through different distribution methods.
• 1:14:38
  Speaker 5: I've had people in here who've gotten it on every
• 1:14:40
  Speaker 5: single thing you can think of, Xbox, PlayStation, Comcast, et cetera.
• 1:14:44
  Speaker 5: And then you know, obviously, you know, everyone has different experiences.
• 1:14:47
  Speaker 1: With all that.
• 1:14:48
  Speaker 5: And I think you know, knowing where it's gonna go
• 1:14:51
  Speaker 5: and knowing what your plan is before you start to
• 1:14:53
  Speaker 5: do this, and knowing what the audience is going to
• 1:14:55
  Speaker 5: be and where they are, it's all that is so
• 1:14:57
  Speaker 5: critical nowadays.
• 1:14:58
  Speaker 1: Yeah, and also helps now, do you have to make money?
• 1:15:02
  Speaker 1: Have you spent every last dime. Are you totally broke
• 1:15:05
  Speaker 1: as a result, or yeah, do you have a bottomless
• 1:15:08
  Speaker 1: bottomless pockets? You know, if your bottom line is I
• 1:15:14
  Speaker 1: got a story to tell and I want to tell it,
• 1:15:17
  Speaker 1: and now I just want people to see it, You're
• 1:15:19
  Speaker 1: going to measure success differently than somebody who's got to
• 1:15:23
  Speaker 1: make their money back or else. And so know why
• 1:15:29
  Speaker 1: you're making this motion picture, this movie before you make it.
• 1:15:34
  Speaker 1: Don't do it for the fame, guys, don't do it
• 1:15:37
  Speaker 1: because you want to be famous. Do it because you
• 1:15:40
  Speaker 1: have to tell this story, or you don't know what
• 1:15:45
  Speaker 1: you're going to do with yourself. You know, become an
• 1:15:47
  Speaker 1: actor because it's in your for anything else. If you're
• 1:15:52
  Speaker 1: doing it for the fame, you know you're lost. You're
• 1:15:56
  Speaker 1: lost one out of a million of you are going
• 1:15:59
  Speaker 1: to make it. So do it because you love it.
• 1:16:04
  Speaker 1: Make your movie because you love this story, and you
• 1:16:08
  Speaker 1: just have to tell that motion picture. Then the rest
• 1:16:11
  Speaker 1: is gravy.
• 1:16:13
  Speaker 4: I could not agree more.
• 1:16:15
  Speaker 5: Ethan, I've experienced too many people who like the idea
• 1:16:18
  Speaker 5: of becoming an actor, or like the idea of becoming
• 1:16:20
  Speaker 5: a filmmaker, but they don't actually like the process of it,
• 1:16:23
  Speaker 5: because that process is a lot of hard work for
• 1:16:27
  Speaker 5: whether you're an actor, writer, director, producer, it's all hard work,
• 1:16:30
  Speaker 5: a lot of patience, a lot of timing, creating a network,
• 1:16:33
  Speaker 5: creating a portfolio, and it's just a lot of people
• 1:16:36
  Speaker 5: just want that whole to be seen mentality. And I've
• 1:16:39
  Speaker 5: talked about that too on the podcast with some of
• 1:16:41
  Speaker 5: my past guests as well, where there the heart's not
• 1:16:45
  Speaker 5: in it, but the but the brain is, if you
• 1:16:48
  Speaker 5: know what I mean, Like they know they want this,
• 1:16:50
  Speaker 5: but you know they don't want to actually have to
• 1:16:51
  Speaker 5: pay for it.
• 1:16:52
  Speaker 1: So look, some of those people are going to quote
• 1:16:54
  Speaker 1: unquote make it, but they're the exception. And I don't know,
• 1:16:59
  Speaker 1: you know, that just doesn't sound satisfying to me if
• 1:17:02
  Speaker 1: you're not enjoying it. I mean, you know, if that's
• 1:17:06
  Speaker 1: what you want to do, okay, but it's kind of
• 1:17:09
  Speaker 1: like being stuck in a nine to five job. I mean,
• 1:17:12
  Speaker 1: most actors I know, including myself, we're horrible at nine
• 1:17:18
  Speaker 1: to five. It's a box that we just can't wait
• 1:17:22
  Speaker 1: to break out of. So what would be extraordinary to
• 1:17:27
  Speaker 1: me is somebody who doesn't like that creative field and
• 1:17:31
  Speaker 1: that feels like a box. I mean, you know, if
• 1:17:35
  Speaker 1: you enjoy the nine to five world and you just
• 1:17:37
  Speaker 1: want that security and you want to paycheck, be be
• 1:17:41
  Speaker 1: happy there. And if you want a taste of film,
• 1:17:43
  Speaker 1: then go finance some indie actor producer and help them
• 1:17:48
  Speaker 1: make their passion happen.
• 1:17:50
  Speaker 5: Yeah, and you know, I know exactly where you're coming from,
• 1:17:53
  Speaker 5: towe Ethan about somebody will make it and you know,
• 1:17:56
  Speaker 5: and you know, just it's just sort of interesting to
• 1:17:58
  Speaker 5: hear all these perspectives, you know what I mean, that's
• 1:17:59
  Speaker 5: at the end of the day. That's why one of
• 1:18:01
  Speaker 5: one of the reasons why I started this podcast. Also
• 1:18:03
  Speaker 5: you mentioned nine to five and I was, you know,
• 1:18:07
  Speaker 5: people who know the history of this podcast, I started
• 1:18:09
  Speaker 5: this podcast because I was passed over for promotion at
• 1:18:13
  Speaker 5: my nine to five job. That was rightfully this bastards
• 1:18:15
  Speaker 5: they passed me over. Let's get them and you know, well,
• 1:18:18
  Speaker 5: you know what they said to me.
• 1:18:19
  Speaker 4: Can you trade? Oh believe me? The last the last
• 1:18:24
  Speaker 4: I know people. I know, people don't don't tell me Ethan.
• 1:18:28
  Speaker 4: There's one guy. I don't hold vandettas, but this one guy,
• 1:18:32
  Speaker 4: ooh man, he and I he's he.
• 1:18:36
  Speaker 1: He's listening, and I hope he's got a good higheout.
• 1:18:39
  Speaker 4: Oh well, I.
• 1:18:40
  Speaker 5: Actually, uh, if he ever is listening, I would love
• 1:18:43
  Speaker 5: him to get in contact with me, because, honestly, me
• 1:18:46
  Speaker 5: and this guy, the last meeting we ever had with
• 1:18:49
  Speaker 5: each other, we actually just told each other what we
• 1:18:52
  Speaker 5: really think of one another. And yeah, it was like
• 1:18:56
  Speaker 5: I've never in all of my life, of all thirty
• 1:19:00
  Speaker 5: years that I've been on this planet, Ethan, I have
• 1:19:02
  Speaker 5: never thought that a boss and myself were going to
• 1:19:05
  Speaker 5: get into a fistfight, me and this guy. I really
• 1:19:08
  Speaker 5: thought I was going to lay this guy out. I
• 1:19:12
  Speaker 5: honestly a lot of hatred for this guy, a.
• 1:19:15
  Speaker 1: Lot, and those were the good feelings.
• 1:19:19
  Speaker 4: You're not kidding, man, you're one.
• 1:19:20
  Speaker 1: But you know what he did you the greatest favor.
• 1:19:23
  Speaker 1: He set you free, He set you on your course.
• 1:19:26
  Speaker 5: So basically what happened was three, you know, two years ago,
• 1:19:30
  Speaker 5: actually three years ago now twenty fourteen. I got passed
• 1:19:33
  Speaker 5: over for a promotion that was rightfully mine and he
• 1:19:36
  Speaker 5: gave it to somebody else, and then that guy left,
• 1:19:39
  Speaker 5: and then they wouldn't give me the job anyway, and
• 1:19:40
  Speaker 5: then finally he and I just started having it out.
• 1:19:43
  Speaker 5: And I have the crazy stories I have from that place,
• 1:19:48
  Speaker 5: nobody would ever believe it. And you know, it's just
• 1:19:51
  Speaker 5: that's what was killing me. And I wanted to do
• 1:19:53
  Speaker 5: more film stuff, and it was like every time I
• 1:19:55
  Speaker 5: was trying to get out that door, We'll.
• 1:19:59
  Speaker 3: Be right back for a word from our sponsor, and
• 1:20:05
  Speaker 3: now back to the show.
• 1:20:07
  Speaker 5: I couldn't get You know, I have friends who do
• 1:20:09
  Speaker 5: any films, like Dave, we could use you. Okay, great,
• 1:20:13
  Speaker 5: but you know, what do you want me to do?
• 1:20:14
  Speaker 1: Oh?
• 1:20:15
  Speaker 5: You want me to make another project that's never going
• 1:20:16
  Speaker 5: to get seen, Because what happens is Ethan is I
• 1:20:19
  Speaker 5: make a lot. I used to be very, very active
• 1:20:21
  Speaker 5: in this Philadelphia area scene. A lot of these projects
• 1:20:25
  Speaker 5: would get halfway done or get all the way done,
• 1:20:27
  Speaker 5: and then nobody would ever see. It would still in
• 1:20:29
  Speaker 5: some guy's hard drive, or it would sit in mini
• 1:20:31
  Speaker 5: TV tapes in some guy's shelf, and it became very
• 1:20:34
  Speaker 5: very frustrating.
• 1:20:35
  Speaker 4: You know what I mean.
• 1:20:36
  Speaker 5: So yes, it was sort of like this EBB and
• 1:20:38
  Speaker 5: flow And now you know, now with this podcast, I
• 1:20:41
  Speaker 5: made this my outlet. And I also wanted to make
• 1:20:44
  Speaker 5: a free film school at the same time. Because I
• 1:20:46
  Speaker 5: didn't go to school for film. I was an idiot
• 1:20:48
  Speaker 5: went to school for business and so so yeah, you know,
• 1:20:52
  Speaker 5: it's kind of like a free film school, not only
• 1:20:54
  Speaker 5: for me but for everybody else as well, if you
• 1:20:56
  Speaker 5: know what I mean.
• 1:20:56
  Speaker 1: Yes, I do. And the best film school there is
• 1:20:59
  Speaker 1: is making most pictures and getting on other people's sets.
• 1:21:03
  Speaker 4: Yes, yes, it is so, Ethan. I know we've been
• 1:21:05
  Speaker 4: talking for about, you know, an hour fifteen ish roughly.
• 1:21:09
  Speaker 1: It only felt like an hour ten, maybe an hour
• 1:21:15
  Speaker 1: six even it was great.
• 1:21:17
  Speaker 4: Oh, thank you, You're very welcome.
• 1:21:19
  Speaker 1: So has it really been an hour fifteen?
• 1:21:21
  Speaker 6: Yeah, it really has, Sorry, listeners.
• 1:21:24
  Speaker 4: I just wanted to ask you in closing, Ethan, we
• 1:21:26
  Speaker 4: talked about so much.
• 1:21:27
  Speaker 1: Oh, you're getting rid of me. Huh, okay, fine, see
• 1:21:31
  Speaker 1: if I care, go ahead. Where's this guy? I want
• 1:21:33
  Speaker 1: to talk to him now? Now I see why he
• 1:21:36
  Speaker 1: almost took you down. Okay, fine, here I tell you what.
• 1:21:39
  Speaker 1: I'll tell you one of my stories about nine to five,
• 1:21:42
  Speaker 1: and then you can ask your final question.
• 1:21:44
  Speaker 4: Alright, sounds get rid of me.
• 1:21:47
  Speaker 1: I had an employer, let's say who it was radio station,
• 1:21:51
  Speaker 1: and they originally hired me because I thought I was
• 1:21:53
  Speaker 1: an out of the box kind of thinker. And you know,
• 1:21:55
  Speaker 1: it's a little different, little quirky, and you know, just
• 1:21:59
  Speaker 1: create great. And they spent the entire time trying to
• 1:22:03
  Speaker 1: stick me in the box. They love the creativity, but
• 1:22:06
  Speaker 1: they didn't want me to be creative, which I found
• 1:22:09
  Speaker 1: very stifling. And my boss was a bit of a yeller,
• 1:22:17
  Speaker 1: call her old Yeller. So one day I'm in her
• 1:22:20
  Speaker 1: office and she's keening at me, screaming about something. And
• 1:22:24
  Speaker 1: it started as just loud talk, and then it got
• 1:22:26
  Speaker 1: into screaming and without saying a word because I'm just
• 1:22:31
  Speaker 1: sitting there, you know, going this can't be happening, but
• 1:22:35
  Speaker 1: it was. So I'm looking around the room while she's
• 1:22:38
  Speaker 1: yelling at me, and I noticed she's got that Dale
• 1:22:40
  Speaker 1: Carnegie diploma on her wall. Now you remember Dale Carnegie
• 1:22:44
  Speaker 1: had wind friends and influence people. Oh yeah, right, so
• 1:22:48
  Speaker 1: she was a grad Carnegie churse. So I just stood up,
• 1:22:51
  Speaker 1: walked around her desk while she's yelling at me, and
• 1:22:53
  Speaker 1: she's screaming at me, wondering what the hell I'm doing,
• 1:22:56
  Speaker 1: and I just lift the diploma off her wall and
• 1:22:58
  Speaker 1: I gently lay it in front of her and say,
• 1:23:00
  Speaker 1: I think you need a refresher course. And I walked
• 1:23:03
  Speaker 1: out of the office while the screams got louder and louder.
• 1:23:07
  Speaker 1: That was that pretty much summed up my nine to
• 1:23:11
  Speaker 1: five experience. It's us against them. Yeah, I obviously did
• 1:23:19
  Speaker 1: not belong in that nine to five world. What's your
• 1:23:23
  Speaker 1: last question?
• 1:23:24
  Speaker 4: Well, my last question, Ethan.
• 1:23:26
  Speaker 1: I was time's up? I think it's an hour in
• 1:23:28
  Speaker 1: sixteen minutes?
• 1:23:29
  Speaker 5: Now?
• 1:23:29
  Speaker 1: You blew it, Dave? You could have all right, Oh no, no, no,
• 1:23:33
  Speaker 1: go ahead, go ahead?
• 1:23:35
  Speaker 4: No, I was gonna say, was either.
• 1:23:37
  Speaker 5: I think that sums up My My final question was
• 1:23:41
  Speaker 5: is it you know, is there is there anything that
• 1:23:43
  Speaker 5: we didn't need a chance to talk about they may
• 1:23:45
  Speaker 5: wanted to talk about, or is there anything that you
• 1:23:47
  Speaker 5: wanted to say to sort of put a period in
• 1:23:49
  Speaker 5: this whole conversation. But I think that nine to five
• 1:23:51
  Speaker 5: story kind of put a put a very nice sum
• 1:23:53
  Speaker 5: up of the whole conversation. But unless you unless you
• 1:23:56
  Speaker 5: wanted to throw something else out there.
• 1:23:57
  Speaker 1: Well, there is just one other project that I'm currently
• 1:24:00
  Speaker 1: working on that I want to bring to people's attention
• 1:24:04
  Speaker 1: in addition to Eyes of the Roshi, which you know
• 1:24:08
  Speaker 1: is everything from dark comedy to a bit of a splatterfest.
• 1:24:14
  Speaker 1: The other end of the spectrum. I have a documentary
• 1:24:17
  Speaker 1: about Native American wisdom called White Buffalo An America, and
• 1:24:22
  Speaker 1: that has been an incredible passion project that my brothers
• 1:24:28
  Speaker 1: and I have been working on since nineteen ninety four,
• 1:24:32
  Speaker 1: and that'll be finished by the end of this year.
• 1:24:35
  Speaker 1: So again I say to all the filmmakers who are
• 1:24:39
  Speaker 1: participating in this podcast, do it because you love it,
• 1:24:44
  Speaker 1: because you may be married to your project for more
• 1:24:47
  Speaker 1: years than you can imagine, So make it a happy marriage.
• 1:24:52
  Speaker 5: And that sounds like a not an amazing project, Ethan,
• 1:24:55
  Speaker 5: but that is an amazing way to sort of sum
• 1:24:57
  Speaker 5: up this whole.
• 1:24:58
  Speaker 4: Conversation is I have to love it.
• 1:25:01
  Speaker 1: Beautiful.
• 1:25:02
  Speaker 4: I love this, and Ethan, I wanted to ask, where
• 1:25:06
  Speaker 4: can you'll find you out online?
• 1:25:08
  Speaker 1: Let's see various places. I have a website Ethan Martin
• 1:25:13
  Speaker 1: dot com and I spell my name a little strangely.
• 1:25:18
  Speaker 6: It's Ethan E t.
• 1:25:19
  Speaker 1: H a N Martin m A r t e n
• 1:25:25
  Speaker 1: dot com. And from there you can hit the facebooks
• 1:25:29
  Speaker 1: for is of the Rowshee for actor producer, activists, that's
• 1:25:35
  Speaker 1: me for White Buffalo and American Prophecy, and then of
• 1:25:39
  Speaker 1: course the Twitter and the Instagram and the trailers are online,
• 1:25:43
  Speaker 1: and I think I inundated you with links, so if
• 1:25:46
  Speaker 1: you want to share any of those, you go right
• 1:25:48
  Speaker 1: ahead and on my website. Your readers may be interested
• 1:25:53
  Speaker 1: in a backstory that I tell about my father and
• 1:25:58
  Speaker 1: his getting the distribution for Plan nine from Outer Space,
• 1:26:02
  Speaker 1: the worst movie of all time?
• 1:26:06
  Speaker 5: You know, I I was just talking about Plan nine
• 1:26:08
  Speaker 5: from last night. By the way, you were with who
• 1:26:11
  Speaker 5: were friends of mine. Here's an interesting little tidbit about
• 1:26:14
  Speaker 5: Plan nine. Okay, I actually became friends with Oh god,
• 1:26:19
  Speaker 5: I'm blacking on his name right now.
• 1:26:21
  Speaker 4: He was one of the officers in the movie. Okay, Oh,
• 1:26:24
  Speaker 4: I forget what his name is.
• 1:26:26
  Speaker 5: I can't belie him black on this, but anyways, he
• 1:26:28
  Speaker 5: ended up we He and I ended up talking for
• 1:26:30
  Speaker 5: a while over the phone. This is before I made
• 1:26:31
  Speaker 5: the podcast. And now he's actually a last surviving member.
• 1:26:35
  Speaker 4: Of Plan nine.
• 1:26:36
  Speaker 5: Oh really, yeah, he's the because everybody else now has
• 1:26:39
  Speaker 5: passed away. But he is the last person and I
• 1:26:42
  Speaker 5: can't remember. I'm sorry, I'm dropped black on his name,
• 1:26:44
  Speaker 5: but but no, it's just interesting because I was talking
• 1:26:47
  Speaker 5: people about that, and I have his autograph. I'm actually
• 1:26:49
  Speaker 5: rearranging my office right now and I have a lot
• 1:26:52
  Speaker 5: of stuff, but I was just talking about that because
• 1:26:54
  Speaker 5: people brought it up, and I was just saying, you know, hey,
• 1:26:56
  Speaker 5: you know, by the way, I know this is the
• 1:26:59
  Speaker 5: little story about the guy, so but you know, he
• 1:27:02
  Speaker 5: It's just it's always all this stuff.
• 1:27:03
  Speaker 4: Is interesting to me, all of it. It's just you know,
• 1:27:05
  Speaker 4: who knows who who starred and what.
• 1:27:06
  Speaker 5: It's just it's very interesting to see all these different
• 1:27:08
  Speaker 5: perspectives exactly. And I will also link to all of
• 1:27:13
  Speaker 5: your your social media stuff in the show notes. By
• 1:27:15
  Speaker 5: the way, Ethan, by the way, your social media is
• 1:27:18
  Speaker 5: on point. You you know that one retweet, I just
• 1:27:21
  Speaker 5: got a ton of people, you know, retweeting that same
• 1:27:24
  Speaker 5: thing and favoring it.
• 1:27:25
  Speaker 4: So we also have a mutual friend, by the way,
• 1:27:27
  Speaker 4: I've got to mention Kevin Tann.
• 1:27:29
  Speaker 1: Oh sure, he was one of the actors in Rosie. Yep,
• 1:27:32
  Speaker 1: and he actually we have two really good friends, because
• 1:27:37
  Speaker 1: I think that's the reason why you discovered Eyes of
• 1:27:40
  Speaker 1: the Roaschie Carolyn Saymes, Yes, yes we do. Don bless her.
• 1:27:44
  Speaker 1: She is our our Twitter, our Twitter queen.
• 1:27:49
  Speaker 4: Yes, she actually recommended I talk to you.
• 1:27:51
  Speaker 1: Well, God God bless her for that. Because she has
• 1:27:54
  Speaker 1: been quite a friend to a lot of indie films. Yeah,
• 1:27:58
  Speaker 1: it's her and Francis Modley. Just these these are people
• 1:28:03
  Speaker 1: who just you know, they just love indie film and
• 1:28:07
  Speaker 1: they have been they have been angels to a lot
• 1:28:11
  Speaker 1: of the indie filmmakers out there. I don't think I
• 1:28:14
  Speaker 1: would have achieved the cult status that roach she is
• 1:28:16
  Speaker 1: starting to achieve without their efforts.
• 1:28:19
  Speaker 6: So thank you to them as well.
• 1:28:20
  Speaker 1: But how do you know Kevin?
• 1:28:23
  Speaker 5: Kevin and I met years ago, and I forget where
• 1:28:25
  Speaker 5: we met at, but we became friends on ken We
• 1:28:28
  Speaker 5: reconnected on Facebook and then we start talking again and
• 1:28:31
  Speaker 5: again here and there. But that's how we know each
• 1:28:33
  Speaker 5: other because I remember he was always on in Philadelphia
• 1:28:36
  Speaker 5: again bringing all back full circle and he gets punched
• 1:28:40
  Speaker 5: in the gut by Mac when he's choking on I
• 1:28:43
  Speaker 5: forget a piece of food as they're in Chinatown.
• 1:28:46
  Speaker 6: Perfect.
• 1:28:47
  Speaker 1: Was there a Johnny Alonso connection with Kevin? By any chance?
• 1:28:51
  Speaker 3: There was? Not?
• 1:28:52
  Speaker 5: Okay, But it's again, it's all about the networking, right.
• 1:28:56
  Speaker 5: You never know who knows who, that's right, even Martin.
• 1:28:59
  Speaker 5: I want to say thank you so much for coming
• 1:29:00
  Speaker 5: on the show, sir.
• 1:29:01
  Speaker 6: Well if you want to.
• 1:29:02
  Speaker 1: You can go ahead. I take good night, Gracie. You're welcome,
• 1:29:10
  Speaker 1: and thank you Dave. It was a lot of fun.
• 1:29:12
  Speaker 4: Oh, my pleasure, my pleasure at all.
• 1:29:14
  Speaker 5: I was actually going to say I was actually going
• 1:29:16
  Speaker 5: to mention the what was it who used to say
• 1:29:18
  Speaker 5: that good night missus.
• 1:29:20
  Speaker 1: Wherever, Calabash, wherever you are. Yes, that would be Jimmy Duranty.
• 1:29:26
  Speaker 4: For some reason, for you young folks, I keep thinking
• 1:29:29
  Speaker 4: of Red Skelton, and I was like, that's not it,
• 1:29:31
  Speaker 4: that's not right. But there you go.
• 1:29:34
  Speaker 1: So there's a lot of you know, listen, you can
• 1:29:36
  Speaker 1: edit this and you can say it's just like Jimmy Duranty,
• 1:29:39
  Speaker 1: good night missus, Calibash, wherever you are.
• 1:29:42
  Speaker 4: Yeah, and then there will be no one will be
• 1:29:43
  Speaker 4: the wiser.
• 1:29:44
  Speaker 1: That's right.
• 1:29:46
  Speaker 4: Uh, Ethan.
• 1:29:46
  Speaker 5: I want to say best of luck and again thanks
• 1:29:49
  Speaker 5: for coming on, and I will talk to you very
• 1:29:50
  Speaker 5: very soon.
• 1:29:52
  Speaker 6: I'm looking forward to it. Take care and Dave.
• 1:29:55
  Speaker 3: I want to thank Dave so much for doing such
• 1:29:57
  Speaker 3: a great job on this episode. If you want to
• 1:29:58
  Speaker 3: get links to anything we spoke about end this episode,
• 1:30:00
  Speaker 3: head over to the show notes at indie film huscle
• 1:30:03
  Speaker 3: dot com. Forward slash eight forty seven, and if you
• 1:30:05
  Speaker 3: have it already, please head over to Filmmaking podcast dot com, subscribe.
• 1:30:11
  Speaker 4: And leave a good review for the show.
• 1:30:13
  Speaker 3: It really helps us out a lot, guys.
• 1:30:15
  Speaker 4: Thank you again so much for listening.
• 1:30:16
  Speaker 3: Guys, as always, keep that hustle going, keep that dream alive,
• 1:30:19
  Speaker 3: Stay safe out there, and I'll talk to you soon.
• 1:30:23
  Speaker 2: Thanks for listening to the Indie Film Hustle Podcast at
• 1:30:26
  Speaker 2: indiefilm hustle dot com.
• 1:30:28
  Speaker 1: That's I N D I E F I L M
• 1:30:31
  Speaker 1: h U S T l E dot com.