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4 Emerging A24 Directors Over 24 · Artists on Artists on Artists on Artists

• 0:00
  Speaker 1: Welcome back to Artists on Artists on Artists on Artists.
• 0:02
  Speaker 2: Boy, do we have a panel for you today, History's
• 0:05
  Speaker 2: screenwriting expert panel of new voices in Hollywood.
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  Speaker 3: Costumes are character.
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  Speaker 2: Buck, Mary kil wide shot, two shot, close up.
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  Speaker 3: This is Artists on Artists.
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  Speaker 4: On Artists on artists.
• 0:16
  Speaker 1: Do you know why they call it show business? I
• 0:19
  Speaker 1: always wondered that.
• 0:25
  Speaker 4: Hello, and welcome back to artists on Artists on Artists
• 0:28
  Speaker 4: on Artists. We've got a great episode for you, guys.
• 0:31
  Speaker 1: Kevin, I'm really excited about this episode.
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  Speaker 2: Yeah. A twenty four is one of the most premiere
• 0:37
  Speaker 2: movie studios, and for.
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  Speaker 3: Us to be able to sit down with A twenty
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  Speaker 3: four's new and upcoming filmmakers directors, what a gift.
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  Speaker 4: It was an absolute trait.
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  Speaker 2: Remember these names now because you're going to see them
• 0:49
  Speaker 2: in lights very soon.
• 0:51
  Speaker 1: Now, without further ado, we bring you are Artists on
• 0:54
  Speaker 1: Artists on Artists on Artists. Conversation with A twenty four's
• 0:58
  Speaker 1: emerging directors.
• 1:03
  Speaker 2: I guess i'll start. My name is Timmy why Paul,
• 1:06
  Speaker 2: and I am the director of a movie that I
• 1:10
  Speaker 2: made about growing up in the Midwest but having a
• 1:14
  Speaker 2: deeper voice than all the other kids. It's called Husky.
• 1:18
  Speaker 1: Hi everybody, I'm fran Ford. I made the little movie
• 1:24
  Speaker 1: Empire State of Girl, and it's about an emerging young
• 1:29
  Speaker 1: woman who is on the brink and she's messy and
• 1:32
  Speaker 1: she's raw and she doesn't know what she's doing.
• 1:35
  Speaker 3: Hey, guys, I'm Russell Mockin Tall. I have a movie,
• 1:43
  Speaker 3: Crazy Rich Italians, the musical really step to be you guys.
• 1:50
  Speaker 4: What's up? I'm Donald Frick. I'm a little bit more
• 1:53
  Speaker 4: of a gritty writer, director creator. My movie is called
• 2:00
  Speaker 4: to the Kids that Live in the Trash.
• 2:03
  Speaker 2: I just wanted to take a second and thank A
• 2:06
  Speaker 2: twenty four for funding all of our films and for
• 2:11
  Speaker 2: us being the class of twenty twenty one. It's awesome.
• 2:14
  Speaker 2: It's badass, it's rock star. It's so cool, you know.
• 2:19
  Speaker 4: For me, it's crazy that we were the class of
• 2:21
  Speaker 4: twenty fourteen and now we're the class of twenty twenty one.
• 2:25
  Speaker 4: We all went to USC and graduated twenty fourteen, and
• 2:28
  Speaker 4: now you know, and here we are.
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  Speaker 1: It's been it's been such a journey and it's been
• 2:34
  Speaker 1: amazing and such a freaking coincidence. I mean, can you
• 2:39
  Speaker 1: believe that we were all just in Professor Wyatt's class.
• 2:43
  Speaker 2: You know, my gosh, Professor Wyatt, my mentor, the guy
• 2:47
  Speaker 2: that taught me every single thing I know, color correcting, editing, shit, lenses,
• 2:52
  Speaker 2: shit lights, shit. What else did he teach us? I
• 2:56
  Speaker 2: mean all kinds of stuff.
• 2:57
  Speaker 4: He did a lot. Yeah, he did a lot, for sure.
• 3:00
  Speaker 1: I mean he was the person who first brought the
• 3:02
  Speaker 1: phrase lower third into my vocabulary, and that was something
• 3:06
  Speaker 1: that changed kind of a lot, kind of a lot
• 3:10
  Speaker 1: for me because I do use that a lot in my.
• 3:12
  Speaker 3: Film, especially in the Empire of the Girl, Right.
• 3:15
  Speaker 1: Yeah, a lot of times I do this sort of
• 3:18
  Speaker 1: like tongue in cheek captioning. That's it's like it's close captioning,
• 3:23
  Speaker 1: but it's not quite exactly what they're saying. It's kind
• 3:26
  Speaker 1: of what they're thinking. It's kind of what our girl
• 3:29
  Speaker 1: is thinking on the inside, and they've got like a
• 3:32
  Speaker 1: little sense of humor. I like to think of the
• 3:34
  Speaker 1: captions as kind of a character as well.
• 3:36
  Speaker 2: Yeah. I wanted to bring something up because I think
• 3:38
  Speaker 2: a lot of people that are listening right now are
• 3:40
  Speaker 2: thinking a lot about you know, how did they get
• 3:42
  Speaker 2: to this moment. I love to go around and talk
• 3:45
  Speaker 2: up of that first meeting.
• 3:47
  Speaker 3: Absolutely.
• 3:48
  Speaker 4: Yeah, well, why don't we start with Russell? How did
• 3:50
  Speaker 4: you get Crazy Rich Italians the musical to be pitched
• 3:54
  Speaker 4: at A twenty four?
• 3:56
  Speaker 2: Yeah?
• 3:56
  Speaker 3: Well, thank you. Well, I'll say it's a simple movie,
• 4:04
  Speaker 3: and I'd love to start with saying that one of
• 4:07
  Speaker 3: the best parts of A twenty four is that they
• 4:11
  Speaker 3: love simple stories. I mean, Crazierrich Italians and musicals about
• 4:14
  Speaker 3: a dad and his step son on a hike. It
• 4:19
  Speaker 3: doesn't get much simpler than that. It's just two people
• 4:23
  Speaker 3: in a conversation.
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  Speaker 4: What I love about the movie too, it completely takes
• 4:26
  Speaker 4: the name Crazy Rich Asians, flops it on ahead, blops
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  Speaker 4: it on its head, and then has nothing to do
• 4:32
  Speaker 4: in tandem with the storyline of that.
• 4:35
  Speaker 1: And it promises a musical. We walk in, we expect
• 4:38
  Speaker 1: a musical, and yet mumbled mumbled conversations could sometimes barely
• 4:44
  Speaker 1: even understand what they're saying.
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  Speaker 3: Yeah, well, I'll say it's based off of a Wall Whitman.
• 4:48
  Speaker 2: Poem song of Myself, Song of Myself, And I was
• 4:52
  Speaker 2: always curious, how did you land on that title? Did
• 4:56
  Speaker 2: the title come before the screenplay or did it come after.
• 5:00
  Speaker 3: Of the poem? And then I celebrate myself and I
• 5:03
  Speaker 3: sing myself right a couple of stanzas in it talks
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  Speaker 3: about when the moon hits your eyes like a big
• 5:11
  Speaker 3: pizza pie.
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  Speaker 1: That's in the poem.
• 5:14
  Speaker 3: That's more and I remember being like, holy fuck, holy fuck.
• 5:19
  Speaker 3: I was sitting down with my screenwriter at the time,
• 5:22
  Speaker 3: Ryan Sheckler, is the same and no relation to the
• 5:26
  Speaker 3: skateboarder anyway. So Ryan Sheckler and I and we just
• 5:30
  Speaker 3: we found there's a lot in wait women's thing that
• 5:33
  Speaker 3: talks about similar to the story of Crazy rig Asians,
• 5:35
  Speaker 3: but different, different place, different different time in Rome. And
• 5:40
  Speaker 3: then Song of Myself. I mean, it's a song, right,
• 5:43
  Speaker 3: So we added the musical to turn it on its
• 5:46
  Speaker 3: head because you walk in and you're expecting something, and
• 5:50
  Speaker 3: what That's what I do love about all a twenty
• 5:52
  Speaker 3: four films is you walk in expecting something and you
• 5:54
  Speaker 3: never get what you expected, you get something different.
• 5:57
  Speaker 2: They turned the world on its head and it's really amazing.
• 6:00
  Speaker 2: I mean everything they do. My pitch was very similar
• 6:03
  Speaker 2: to that. Husky is about my experience is having a
• 6:05
  Speaker 2: lower voice than all of my friends, and it was
• 6:08
  Speaker 2: really hard on me. It was really really hard because
• 6:12
  Speaker 2: they started using me to call adult video stores to
• 6:16
  Speaker 2: reserve adult videos. You know, they started using me to
• 6:19
  Speaker 2: reserve alcohol at seven elevens. Things like that. I'll tell
• 6:25
  Speaker 2: you what, nothing makes you grow up faster than having
• 6:27
  Speaker 2: a low voice early. That's something I learned.
• 6:30
  Speaker 1: I mean, can I just say that scene where you
• 6:33
  Speaker 1: have to rent a car, yeah, for your family and
• 6:35
  Speaker 1: you convince them that you're twenty five by voice alone
• 6:39
  Speaker 1: over the phone.
• 6:39
  Speaker 2: They doesn't even check Yeah in twenty five, And that
• 6:42
  Speaker 2: was a big moment for him, right, twenty five was
• 6:46
  Speaker 2: pushing it. You know, he used to have to play
• 6:48
  Speaker 2: twenty one, twenty two, and then twenty five is when
• 6:50
  Speaker 2: it's over the edge, and now he feels like he's
• 6:53
  Speaker 2: an adult. And I wanted to just say.
• 6:54
  Speaker 4: That they actually they have a clip with that ole scene. Yeah,
• 6:59
  Speaker 4: I think, Yeah, let's.
• 7:01
  Speaker 1: Let's play it. I'd love to see that. This is enterprise.
• 7:05
  Speaker 1: Rent a car, Hi, I'd like a car? Wonderful?
• 7:12
  Speaker 2: Are doing it?
• 7:13
  Speaker 4: Are you doing it?
• 7:15
  Speaker 1: Could I get your day to birth?
• 7:17
  Speaker 4: Yes?
• 7:19
  Speaker 2: Twenty five years ago?
• 7:21
  Speaker 1: Okay, so let me just do that math that would
• 7:25
  Speaker 1: be let's see so it's twenty nineteen now going backwards?
• 7:33
  Speaker 1: All right, what is it? I don't know, Okay, is
• 7:37
  Speaker 1: it ninety is it ninety six or ninety I think
• 7:41
  Speaker 1: it's ninety four, So June second, nineteen ninety four, is
• 7:44
  Speaker 1: that you?
• 7:46
  Speaker 3: Yes?
• 7:48
  Speaker 1: Well, and congratulations, Shit, man, this kid we found in
• 7:51
  Speaker 1: school is really insane.
• 7:53
  Speaker 4: Yeah, you're crazy. You're crazy, I'm crazy. You want to
• 7:58
  Speaker 4: hang out with the popular kid?
• 8:00
  Speaker 2: Yes? Yeah, And that was like a really special scene
• 8:05
  Speaker 2: for me. A twenty four really turned the script on
• 8:08
  Speaker 2: its head when I brought it in, because originally it
• 8:10
  Speaker 2: was a comedy that at the end they said, what
• 8:12
  Speaker 2: if in the third act we had him, you know,
• 8:16
  Speaker 2: die in a fire?
• 8:19
  Speaker 4: And it was a brave choice, and you know, I didn't.
• 8:22
  Speaker 2: See that for the for the script. I see that originally,
• 8:26
  Speaker 2: but A twenty four always has those amazing third act suggestions.
• 8:31
  Speaker 2: I don't know if they change anything in y'all's third acts.
• 8:33
  Speaker 4: No, yeah, they definitely. We were. Yeah, we workshop my
• 8:38
  Speaker 4: third act a long time. You know, when I walked
• 8:40
  Speaker 4: in with the pitch, I kind of said exactly what
• 8:43
  Speaker 4: my experience is with the script and with kind of
• 8:45
  Speaker 4: the nexus of this idea. As I was walking down
• 8:48
  Speaker 4: the street and I live right near this kind of
• 8:50
  Speaker 4: big trash place, this big place that they have trash,
• 8:54
  Speaker 4: and I just see.
• 8:55
  Speaker 2: It a junk yard or is it just of sorts.
• 8:58
  Speaker 4: Of sorts, just more of a big pile of trash
• 9:01
  Speaker 4: that people monitor and dump things at. And out of nowhere,
• 9:05
  Speaker 4: I see these two little kids, you know, crawling into
• 9:07
  Speaker 4: a hole, and I said, now, what the hell is
• 9:11
  Speaker 4: going on there? Didn't ask went right into a twenty four.
• 9:15
  Speaker 4: I was going to pitch something completely different, and I
• 9:17
  Speaker 4: just went in. I went, I just saw this crazy thing.
• 9:21
  Speaker 4: How about a story like this?
• 9:22
  Speaker 2: Shit?
• 9:22
  Speaker 4: Man?
• 9:23
  Speaker 1: So you just thought on your feet.
• 9:24
  Speaker 4: I thought on my feet, and you know, sometimes you know,
• 9:26
  Speaker 4: as young and as hungry as we are, we've got
• 9:28
  Speaker 4: to learn how to, you know, be be gritty, be
• 9:31
  Speaker 4: bold and think on our feet like that. And I
• 9:33
  Speaker 4: was kind of shaken up. I had no idea. They
• 9:35
  Speaker 4: were like, so, what's your idea? And I was kind
• 9:37
  Speaker 4: of like, I just saw these kids living I think
• 9:42
  Speaker 4: in trash, and they're like, okay, we can run with that.
• 9:46
  Speaker 4: And then the improv kicked in and I was like yeah.
• 9:49
  Speaker 4: And their names were Billy and Simon, and their mom
• 9:53
  Speaker 4: died and their dad was never around and now they
• 9:56
  Speaker 4: just live in trash. They live in track.
• 9:58
  Speaker 2: Your film was extreme nonlinear. Was that your idea?
• 10:02
  Speaker 4: It was kind of my idea because when I pitched it,
• 10:06
  Speaker 4: I didn't have a script, so in the meaning, I
• 10:08
  Speaker 4: was just kind of saying things.
• 10:10
  Speaker 3: I get that, man, I get.
• 10:11
  Speaker 1: That, right, But I mean it it really came together.
• 10:14
  Speaker 1: I mean in the way that we were seeing these
• 10:17
  Speaker 1: kids forefathers in the trash and then suddenly they're great.
• 10:20
  Speaker 1: Their ancestor ancestors were in the trash, and then their
• 10:23
  Speaker 1: future grandchildren were in the trash.
• 10:25
  Speaker 2: I mean that.
• 10:26
  Speaker 1: Blew my mind.
• 10:27
  Speaker 4: Yeah. And then my favorite scene is when you just
• 10:30
  Speaker 4: jumped to somebody completely different getting a Starbucks, getting a
• 10:34
  Speaker 4: coffee going. You know, I thought, I just saw some
• 10:37
  Speaker 4: kids living in trash, and then you kind of follow
• 10:40
  Speaker 4: his story for a little bit. Because that's actually based
• 10:42
  Speaker 4: on me. I don't know if you guys could tell
• 10:43
  Speaker 4: what that was based on all.
• 10:44
  Speaker 2: I realize it now that you say that I totally
• 10:47
  Speaker 2: didn't catch that.
• 10:48
  Speaker 1: Starbucks guy is totally your story.
• 10:50
  Speaker 4: Yeah, yeah, I was. I was getting a Starbucks and
• 10:53
  Speaker 4: I saw these kids living in trash. It actually happened
• 10:56
  Speaker 4: after you know, So yeah, but the third act, you know,
• 10:59
  Speaker 4: I wanted the kids to burn, funny enough, burn to
• 11:03
  Speaker 4: death and the trash. Yeah, I wanted somebody to light
• 11:08
  Speaker 4: the trash on fire and for the kids to die
• 11:10
  Speaker 4: in there. And A twenty four went, you know, maybe
• 11:12
  Speaker 4: we don't have the kids burn alive. You know, maybe
• 11:14
  Speaker 4: they don't die in the trash. Maybe they watched the
• 11:16
  Speaker 4: trash burn. And we went back and forth for a
• 11:19
  Speaker 4: really long time. I mean, I was saying, I want
• 11:22
  Speaker 4: these fucking kids to burn. I want this out of
• 11:25
  Speaker 4: my head. I don't want to think about this anymore.
• 11:29
  Speaker 4: And A twenty four got to the point, you know,
• 11:32
  Speaker 4: they almost pulled out of the movie. They were like,
• 11:34
  Speaker 4: what what's going on here? And I said, you know,
• 11:37
  Speaker 4: I just can't stop think about these kids.
• 11:39
  Speaker 1: You know, how long did those negotiations take?
• 11:42
  Speaker 4: You know, two to seven months? Two to seven months?
• 11:45
  Speaker 2: I think which one was it? Was it two months
• 11:47
  Speaker 2: or seven months?
• 11:48
  Speaker 4: I legally I can't say, okay, yeah, so you know
• 11:50
  Speaker 4: how A twenty four does that? So I have to
• 11:52
  Speaker 4: give a time frame two to seven months of how
• 11:55
  Speaker 4: long the negotiation, but let's just say it was on
• 11:57
  Speaker 4: the longer side. Yeah, you guys, get that.
• 12:03
  Speaker 1: For get that man, get that shit.
• 12:06
  Speaker 3: Well, I mean, yeah, shit man.
• 12:12
  Speaker 2: Brand, what about you? Yeah, Empire twisted the Empire State
• 12:16
  Speaker 2: of the Girl.
• 12:17
  Speaker 1: Well, here's the thing about Empire State of Girl, I
• 12:20
  Speaker 1: mean follows a very similar.
• 12:22
  Speaker 4: Sorry about that. None of us were saying the name right,
• 12:24
  Speaker 4: call it.
• 12:25
  Speaker 1: Whatever you want. It's my freaking brain. It's it's all nuts.
• 12:28
  Speaker 1: You know, as long as you saw the movie, that's
• 12:31
  Speaker 1: all I really care about. Look so similar to you, Donald, Empire,
• 12:37
  Speaker 1: State of Girl was kind of written on the fly.
• 12:40
  Speaker 1: A lot of it's loosely improvised. I mean, I just
• 12:43
  Speaker 1: sort of walked into the A twenty four meeting and
• 12:45
  Speaker 1: I said, you know what, my parents aren't going to
• 12:49
  Speaker 1: pay for this. How about you guys? And I said,
• 12:52
  Speaker 1: this is the story. It's me. I'm a twenty four
• 12:56
  Speaker 1: year old girl. I am walking through New York City
• 12:59
  Speaker 1: and I don't know what's going on. And so they
• 13:02
  Speaker 1: kept saying, so what's the movie about? And what a
• 13:05
  Speaker 1: crazy question? You know, Like, isn't that an absurd question
• 13:10
  Speaker 1: to be asked? Because the movie is about the movie
• 13:15
  Speaker 1: is me? I mean, let's be honest, the movie is
• 13:17
  Speaker 1: me living my life?
• 13:18
  Speaker 4: That question? I absolutely despised that question, right, And you.
• 13:23
  Speaker 1: Know, they did do some some third act manipulation where
• 13:28
  Speaker 1: my apartment burns down. But I felt it was very
• 13:32
  Speaker 1: earned and I felt that it was necessary and I'm
• 13:34
  Speaker 1: glad that they use their expertise to go in on that.
• 13:36
  Speaker 4: Yeah.
• 13:37
  Speaker 2: I noticed that they burned down your apartment, Yeah they did.
• 13:41
  Speaker 1: That was that was my real apartment? No, that was
• 13:45
  Speaker 1: my real apartment right now in Brooklyn.
• 13:48
  Speaker 2: They that because I remember, you know, when we graduated
• 13:51
  Speaker 2: USC together. I remember that I helped move you into
• 13:55
  Speaker 2: that apartment, right, fuck.
• 13:56
  Speaker 1: Me, right, Yeah, they really sold it to me. They said, look,
• 14:02
  Speaker 1: this movie, for about eighty pages is just kind of
• 14:06
  Speaker 1: a girl walking ground. And I said, that's completely right,
• 14:10
  Speaker 1: that's completely right. That's so valid.
• 14:12
  Speaker 4: And I thought that was really interesting. Making an eighty
• 14:14
  Speaker 4: page script in totally like an hour and fifteen minute movie.
• 14:18
  Speaker 4: It felt short. It felt pretty short, but in a
• 14:21
  Speaker 4: good way, you know, Yeah, in a really good way,
• 14:24
  Speaker 4: in like a short form comedy improv show kind of way.
• 14:27
  Speaker 2: Yeah. And then because the last fifteen minutes for the credits,
• 14:30
  Speaker 2: and it's the slowest scroll that I've ever seen, it's
• 14:33
  Speaker 2: I didn't know.
• 14:33
  Speaker 1: I want to give everyone their moment.
• 14:35
  Speaker 3: Yeah, you know what I mean, for fucking you, I mean.
• 14:38
  Speaker 1: It's so unfair that we just whizz past these makeup people.
• 14:42
  Speaker 3: Yeah, when whiz on them.
• 14:44
  Speaker 1: They have to do realistic twenty four year old New
• 14:47
  Speaker 1: York makeup, and that's not easy to do.
• 14:50
  Speaker 2: No, Like, we.
• 14:52
  Speaker 1: Have to give everyone their time. And I'm sorry, I'm
• 14:54
  Speaker 1: getting all worked up there.
• 14:55
  Speaker 4: No, I totally feel that. I mean, like, that's something interesting.
• 14:59
  Speaker 4: I wanted to talk to you. I was about was like,
• 15:01
  Speaker 4: you know, because that is such an old Hollywood type
• 15:03
  Speaker 4: of thing and being you know, the new kind of
• 15:06
  Speaker 4: freshman twenty one class of directors. How do you think
• 15:10
  Speaker 4: you know we're changing movies? How do we think that
• 15:13
  Speaker 4: we're changing the industry from within? How do you Is
• 15:16
  Speaker 4: that a good question to ask? Was that good?
• 15:18
  Speaker 2: That was awesome? Man?
• 15:19
  Speaker 1: I was so great.
• 15:20
  Speaker 3: It's a great question.
• 15:21
  Speaker 2: I would say that our scrappiness is what changes everything.
• 15:26
  Speaker 2: I think we are little raccoons that make movies. I
• 15:29
  Speaker 2: mean that's how I feel. We're scrapping as hell. We're
• 15:33
  Speaker 2: gonna make things that we can make them. We're gonna
• 15:35
  Speaker 2: make them any single way we can't. We shot Husky
• 15:40
  Speaker 2: without a single on set teacher. I had twenty five
• 15:44
  Speaker 2: kids in this film and that's what you have to do.
• 15:49
  Speaker 2: Twenty five kids in this film, and I said, they're
• 15:50
  Speaker 2: not learning anything for the next two months. Good for
• 15:52
  Speaker 2: fucking you, man, I said no, no to the Union,
• 15:55
  Speaker 2: I said no, toe sag f you. We are not
• 15:58
  Speaker 2: having teachers because this is a movie about kids who
• 16:01
  Speaker 2: don't learn right, so I don't want them learning. And
• 16:05
  Speaker 2: that saved us a lot of money on teachers. That
• 16:07
  Speaker 2: saved us a lot of time that they otherwise would
• 16:10
  Speaker 2: have had to spend learning what geography. I don't need
• 16:14
  Speaker 2: to know where a Korjustan is. I have a book
• 16:16
  Speaker 2: and the book is how to use.
• 16:19
  Speaker 3: My iPhone teach the kid out a slate, you know exactly.
• 16:22
  Speaker 2: Let's have them learn. And we're cutting corners every single
• 16:25
  Speaker 2: place we can, and we are finding the new Hollywood budget.
• 16:28
  Speaker 2: And I think it's amazing. I think we have amazing
• 16:31
  Speaker 2: skills that we all learned at USC about how not
• 16:34
  Speaker 2: to spend money.
• 16:35
  Speaker 4: No, yeah, I've refused to pay my child actors. Really yeah,
• 16:38
  Speaker 4: we shot them in the two leads. Fantastic actors. Truly remarkable.
• 16:43
  Speaker 4: I don't think the film would be where it's at
• 16:44
  Speaker 4: without those boys. But I said, I'm sorry, you're under twelve.
• 16:48
  Speaker 4: You're not getting a dollar from me. This is a
• 16:50
  Speaker 4: passion project.
• 16:51
  Speaker 1: Need a Sally Coogan. They need to be living in
• 16:56
  Speaker 1: the experience. If they get paid, it means they're an actor,
• 17:00
  Speaker 1: and it means they're not being real exactly. You know
• 17:02
  Speaker 1: what I mean. Wow, I don't even think that in
• 17:04
  Speaker 1: my movie, I am acting, you know what I mean.
• 17:08
  Speaker 1: I mean, we have this script, but like, ultimately it's
• 17:10
  Speaker 1: me and I think I would push back. I would
• 17:12
  Speaker 1: push back on the trend of having actors in movies.
• 17:15
  Speaker 2: I worry to that. I agree.
• 17:18
  Speaker 4: Fuck me, actors are kind of bullshit. I almost fucking
• 17:22
  Speaker 4: hate them. I almost fucking hate them.
• 17:25
  Speaker 2: I almost hate them as well.
• 17:26
  Speaker 3: I love my actors too a little though. But I
• 17:29
  Speaker 3: say I'll say the answer your question. I I thing
• 17:33
  Speaker 3: specifically I like to do is to turn it on
• 17:35
  Speaker 3: the film industry on its head right now is titles.
• 17:40
  Speaker 3: I want to use different titles compared to the movie.
• 17:44
  Speaker 3: I want you to think the title is one thing
• 17:47
  Speaker 3: and the movie something else.
• 17:48
  Speaker 4: Well, because that's the crazy thing is people were expecting
• 17:52
  Speaker 4: of almost a parody of crazy Rush Asians with maybe
• 17:56
  Speaker 4: Italian stereotypes.
• 17:57
  Speaker 1: Yeah, and you also got the Italian community very excited.
• 18:02
  Speaker 1: I mean the parties they threw in Italy. The whole
• 18:05
  Speaker 1: country turned out to sort of see this movie that
• 18:08
  Speaker 1: was gonna be all.
• 18:09
  Speaker 2: About them, and you had the sopranos. Is Steve Sharipa
• 18:12
  Speaker 2: do a podcast about the movie leading up to the ID?
• 18:16
  Speaker 3: I did. I said, promo the shit out of it,
• 18:17
  Speaker 3: and then I went, fuck you all. I mean, if
• 18:20
  Speaker 3: that isn't similar to not paying your children child actors,
• 18:24
  Speaker 3: We're just we're new, you know what I mean. Our
• 18:26
  Speaker 3: methods are freaky deekey. Yeah.
• 18:29
  Speaker 2: I read a review of Crazy Richard Italian's The Musical
• 18:32
  Speaker 2: and they said this movie should have been called Wild,
• 18:36
  Speaker 2: the Reese Witherspoon movie, but with.
• 18:38
  Speaker 3: Men, and that is on the pitch deck. That's fucking crazy. Yeh,
• 18:43
  Speaker 3: fucking nuts. Crazy that I even knew that, That's nuts.
• 18:47
  Speaker 2: That's awesome. Now I'm freaking out. We've always had a
• 18:49
  Speaker 2: connection there, Oh my god.
• 18:51
  Speaker 3: I mean we used to meditate together.
• 18:52
  Speaker 2: We used to meditate together. Yeah, and I remember, I
• 18:55
  Speaker 2: remember I started having these thoughts when we would meditate together,
• 18:57
  Speaker 2: and I'd say, wait, why am I thinking about roast beef?
• 19:00
  Speaker 2: I must be in Russell's.
• 19:00
  Speaker 3: Head, and if you were in my head, you know
• 19:03
  Speaker 3: it's always fucking roast beef.
• 19:06
  Speaker 2: Roast some roast beef.
• 19:07
  Speaker 4: I know you.
• 19:09
  Speaker 2: I mean, if I knew you in college, we called
• 19:11
  Speaker 2: you roast beef Russell RBR honestly to your face.
• 19:14
  Speaker 3: And they were supposed to be talking about filmmaking. But
• 19:16
  Speaker 3: I will say, remember I took that shot off of
• 19:18
  Speaker 3: that roast beef. Yes, yeah, forget we made it a cup.
• 19:22
  Speaker 2: Yeah, we made roast beef.
• 19:24
  Speaker 4: We went to the we went to the Vaughns. We
• 19:26
  Speaker 4: weren't at a bar. We went to the vince We
• 19:28
  Speaker 4: bought a handle of vodka and a bunch of roast
• 19:31
  Speaker 4: beef in the deli and we asked them, could you
• 19:33
  Speaker 4: maybe shape it in a cup? They said, what are
• 19:36
  Speaker 4: you talking about? We said, don't worry about it. We
• 19:38
  Speaker 4: got it in the middle of the vant. We made
• 19:41
  Speaker 4: that cup out of roast beef. We made it a cup,
• 19:43
  Speaker 4: and you did a shot. It was honestly disgusting.
• 19:45
  Speaker 3: It's crazy.
• 19:45
  Speaker 4: I'm a gritty guy.
• 19:47
  Speaker 3: We did not go to a like It's like people
• 19:51
  Speaker 3: go to school to learn rules, and we go to
• 19:53
  Speaker 3: school to unlearn those rules.
• 19:55
  Speaker 2: And we would do such an interesting, unique, kind of creative,
• 19:58
  Speaker 2: different kind of school. Yeah, you, PRISCIEUS South in California
• 20:01
  Speaker 2: is not like other school in the middle of no.
• 20:02
  Speaker 1: No, it's really in this middle of nowhere, nobody there,
• 20:06
  Speaker 1: and we were just a bunch of kids sort of
• 20:08
  Speaker 1: like running around like we didn't have everything. Like we
• 20:11
  Speaker 1: got the college education, but it's not like we had
• 20:14
  Speaker 1: money in our pockets.
• 20:15
  Speaker 2: One of my favorite screenplays, You're not in Kansas anymore.
• 20:18
  Speaker 1: You were not in Kansas anymore. You were at the
• 20:21
  Speaker 1: USC Vaughns buying as much deli meat as you can.
• 20:25
  Speaker 1: Or you're a you can do crazy stuff with your friends, or.
• 20:28
  Speaker 4: Like I always found myself kind of like penniless in
• 20:30
  Speaker 4: the middle of the Steven spil Spilberg, you know, auditorium
• 20:33
  Speaker 4: with all that film equipment, going what the hell am
• 20:36
  Speaker 4: I gonna make? I'm penniless, you know, But that's just what, uh,
• 20:41
  Speaker 4: you know, experience and drive can do.
• 20:44
  Speaker 2: But when you created your first sound in motion short
• 20:47
  Speaker 2: for that freshman class, penniless and it was really good.
• 20:50
  Speaker 3: And you don't even get me started on pennyless. I
• 20:55
  Speaker 3: love fucking Penniless. I have the storyboard hanging up in
• 20:59
  Speaker 3: my room.
• 20:59
  Speaker 4: You have this storyboard. Still.
• 21:00
  Speaker 2: Yeah, I have the shot lists in my room.
• 21:03
  Speaker 4: Really.
• 21:03
  Speaker 2: Yeah, it was so good.
• 21:05
  Speaker 1: I have the call sheet from that one day.
• 21:07
  Speaker 4: Yeah you were on for one day, weren't you. Yeah,
• 21:10
  Speaker 4: you were.
• 21:11
  Speaker 1: I got busy. I had to do another stop motion
• 21:13
  Speaker 1: film called nickel Liss because you know, we're all so broke.
• 21:17
  Speaker 1: We're all so you have no money in our except
• 21:20
  Speaker 1: for what our parents give us. And it's really that story.
• 21:23
  Speaker 2: But I know no one could.
• 21:25
  Speaker 4: Compare, you know, I know, like we also like I'm
• 21:27
  Speaker 4: fine to admit it. You know, Brandon and I do
• 21:30
  Speaker 4: have some history. We we dated freshman and sophomore year.
• 21:34
  Speaker 2: I mean you.
• 21:35
  Speaker 1: Brought it up, but yeah, yeah, yeah.
• 21:42
  Speaker 3: What were you going to say about it?
• 21:43
  Speaker 4: Nothing?
• 21:44
  Speaker 3: Just that why did you bring it up?
• 21:47
  Speaker 1: Well, what are you going to say about it?
• 21:48
  Speaker 4: I just thought, you know, like I was just interested
• 21:51
  Speaker 4: that you still had that call sheet.
• 21:53
  Speaker 1: Because I mean, Donald, we we made a movie together,
• 21:57
  Speaker 1: and I kept the call sheet. That's all it was.
• 22:02
  Speaker 3: Yeah, Okay, I made roast beef into a cup. She
• 22:07
  Speaker 3: made a movie, kept the call sheet.
• 22:09
  Speaker 4: It's like, fuck me, man, totally totally. Yeah. Well I
• 22:15
  Speaker 4: really I will say I really like Nicholas and I'm sorry,
• 22:18
  Speaker 4: you know, right in the middle of what we were
• 22:20
  Speaker 4: going through that's gonna happen.
• 22:21
  Speaker 1: Yeah, I mean it was kind of rough.
• 22:24
  Speaker 4: Right in the middle of your stop movie.
• 22:25
  Speaker 1: You know, shooting Robbie's film Nicholas, and you were supposed
• 22:31
  Speaker 1: to come to my parents' house that night, and you
• 22:34
  Speaker 1: didn't because you were busy working on the film. But
• 22:37
  Speaker 1: you didn't tell me that. You know, my parents, Debbie
• 22:40
  Speaker 1: and Mark, they didn't know that Debbie and Mark were
• 22:43
  Speaker 1: expecting to beat my boyfriend and you weren't there. Sorry
• 22:46
  Speaker 1: to bring it up.
• 22:47
  Speaker 4: I'm sorry, that's fine. No, I get that. I just
• 22:49
  Speaker 4: feel like I tried to communicate that all week by
• 22:51
  Speaker 4: going like, hey, I'm shooting, I'm shooting.
• 22:54
  Speaker 2: I have a question from the fish bowl.
• 22:55
  Speaker 3: Oh fuck me.
• 22:56
  Speaker 2: Yeah, I was wondering if we could maybe talk about
• 22:59
  Speaker 2: this because I was kind of looking through you guys
• 23:01
  Speaker 2: were chatting, and I found this really interesting question. Do
• 23:03
  Speaker 2: you guys prefer a large crew or a small crew?
• 23:06
  Speaker 1: Well, Donald prefers a large crew, right.
• 23:09
  Speaker 4: I mean, yeah, it depends on what kind of movie
• 23:11
  Speaker 4: I'm filming.
• 23:11
  Speaker 1: Well, when you were filming Penniless, it seemed like you
• 23:13
  Speaker 1: preferred a pretty large crew. Because otherwise, why was Jenna there?
• 23:19
  Speaker 4: Well, I just feel like I had such a large
• 23:21
  Speaker 4: crew because people would drop out. You know, people would
• 23:24
  Speaker 4: drop out. They would show up for one day and
• 23:26
  Speaker 4: they would walk away with the only call sheet we had.
• 23:28
  Speaker 1: Okay, okay, I prefer small crew.
• 23:31
  Speaker 3: You know, Fran, the way you're acting right now reminds
• 23:35
  Speaker 3: me a lot of the climactic part of Empire. State
• 23:37
  Speaker 3: of the Girl. God, can we play that again? Let's
• 23:42
  Speaker 3: play that clip? So here.
• 23:45
  Speaker 1: I am Emily. I'm just a girl sitting on a
• 23:48
  Speaker 1: couch in New York City.
• 23:50
  Speaker 3: Why is your briefcase so big?
• 23:52
  Speaker 1: It's so big because I'm so full of ideas. But
• 23:56
  Speaker 1: I'm a mess. I'm a mess on the inside and
• 23:59
  Speaker 1: a mess on the outside. Do you ever think about birds?
• 24:02
  Speaker 1: Do you ever think about birds sitting on the windowsill?
• 24:05
  Speaker 1: They don't know where they're going. That's kind of how
• 24:07
  Speaker 1: I feel about my mom. My mom never wanted to cook.
• 24:11
  Speaker 1: My mom never wanted to cook, but I always wanted
• 24:14
  Speaker 1: her bad macaroni and cheese? Is that nuts?
• 24:18
  Speaker 4: Hey? Sorry, we have to burn this place down. It's
• 24:21
  Speaker 4: on a burn list.
• 24:23
  Speaker 3: This is her apart, bet.
• 24:25
  Speaker 4: We have to burn it down. The city has ordered
• 24:27
  Speaker 4: it to be burnt. Okay, this is New York, so
• 24:30
  Speaker 4: we only have one rule, and it's to follow whatever
• 24:33
  Speaker 4: the governess says.
• 24:34
  Speaker 1: Oh my god, I'm freaking out right now. I mean,
• 24:37
  Speaker 1: can you believe what a mess I am. I'm a
• 24:40
  Speaker 1: twenty four year old girl. My apartment's getting burned down,
• 24:44
  Speaker 1: and I still don't know what I want to do
• 24:46
  Speaker 1: for work.
• 24:47
  Speaker 2: Jess a Lynn, jess Alynn. I'm outside, I'm outside.
• 24:51
  Speaker 1: I don't want to let you know what do you
• 24:53
  Speaker 1: want to let me know?
• 24:55
  Speaker 2: Our memories together? I'm writing a screenplay. A bou out them.
• 25:01
  Speaker 1: Adam, come up, I.
• 25:03
  Speaker 2: Can't the flames they've already started.
• 25:08
  Speaker 3: Just an incredible performance by Adam Driver.
• 25:10
  Speaker 2: And he really really good.
• 25:11
  Speaker 4: Brave of you to name him Adam as well. In
• 25:13
  Speaker 4: the script, Adam.
• 25:14
  Speaker 1: Plays well as again, Adam wasn't an actor in that
• 25:17
  Speaker 1: Adam was Adam. And I don't think I was acting.
• 25:20
  Speaker 1: I don't think that my co star, I don't. I
• 25:24
  Speaker 1: don't think that she was acting either, Robbie. That was
• 25:27
  Speaker 1: Margot Robbie, but she was playing. She was playing herself,
• 25:31
  Speaker 1: but under a different name and under a different personality.
• 25:34
  Speaker 3: Nice.
• 25:36
  Speaker 1: That's why I didn't have to pay her.
• 25:38
  Speaker 2: That's I mean, that's pretty amazing. We've sent a lot
• 25:40
  Speaker 2: of articles about you, right that people feel like you
• 25:45
  Speaker 2: are a con woman, that you are hustling, that you
• 25:48
  Speaker 2: go in with these unique, interesting personalities, you know, how
• 25:51
  Speaker 2: to draw someone in at a party, and then all
• 25:53
  Speaker 2: of a sudden, these famous people realize they've been in
• 25:55
  Speaker 2: a movie that you're making the whole time. That was Vulture,
• 25:58
  Speaker 2: La Voyage, Vulture, it was Way of La, that was
• 26:02
  Speaker 2: Voya Jela article crazy.
• 26:04
  Speaker 1: They got me because they sent me one of those forms.
• 26:06
  Speaker 2: There was one, yeah, I mean the magazine that you
• 26:13
  Speaker 2: famously paid for to be in an article for, so
• 26:17
  Speaker 2: you obviously filled that out.
• 26:20
  Speaker 1: They sent me a bunch of lists of canned questions
• 26:22
  Speaker 1: that they ask everybody, and you know me, I spilled
• 26:25
  Speaker 1: my guts.
• 26:27
  Speaker 2: You know.
• 26:27
  Speaker 1: They said, what is who's your biggest influence? And I said,
• 26:31
  Speaker 1: Sophia Coppola. Also, I've been shooting movies secretly with celebrity
• 26:36
  Speaker 1: friends who I draw in from parties. I do everything
• 26:38
  Speaker 1: non union, and I lie to everyone.
• 26:42
  Speaker 4: They just published that. They don't even Proofreaday, don't they
• 26:44
  Speaker 4: just put that on?
• 26:45
  Speaker 1: They really just take your answers, and they published them.
• 26:48
  Speaker 1: Somebody's got to shut them down. I mean, this is
• 26:51
  Speaker 1: what I get for being an open book.
• 26:55
  Speaker 4: Well, you know, I'd love to ask another question, if
• 26:58
  Speaker 4: that's all right.
• 26:59
  Speaker 2: Sure?
• 27:00
  Speaker 4: You know, uh, this is really interesting, And I thought,
• 27:02
  Speaker 4: what what do you guys think audiences want today? You know,
• 27:06
  Speaker 4: because I feel like again we're talking about this new
• 27:09
  Speaker 4: kind of class and I feel like audience are trained differently,
• 27:12
  Speaker 4: you know, they want different things. So like, you know, Russ,
• 27:17
  Speaker 4: what do you think what do you think audiences are
• 27:20
  Speaker 4: looking for?
• 27:21
  Speaker 3: Yeah? God, it's a good fucking question, my guy. It's
• 27:27
  Speaker 3: it's good. But it's so funny that our training just
• 27:32
  Speaker 3: prepared me to not answer that. I don't I don't
• 27:36
  Speaker 3: know about the butts in the seats, you know what
• 27:39
  Speaker 3: I mean, Like, I don't make shit to This is
• 27:41
  Speaker 3: why this group of people we don't make superhero movies,
• 27:44
  Speaker 3: you know what I mean? We make stuff like like
• 27:49
  Speaker 3: like it's you crying? No, I just get I cry
• 27:54
  Speaker 3: when I get confused.
• 27:56
  Speaker 2: So what are you confused about?
• 27:59
  Speaker 3: I'm confused about. What I'm trying to say is that
• 28:01
  Speaker 3: the basic.
• 28:01
  Speaker 4: Time this is not it's not like a touch of
• 28:04
  Speaker 4: big little confusing.
• 28:05
  Speaker 3: I get a little lost my words.
• 28:06
  Speaker 2: You yeah, walk it through, man, walk walk it through.
• 28:09
  Speaker 3: A twenty four doesn't make movies for the masses, right,
• 28:13
  Speaker 3: It's like, would you rather be one hundred people's ninth
• 28:16
  Speaker 3: favorite thing or nine people's favorite thing?
• 28:20
  Speaker 1: Right?
• 28:21
  Speaker 3: And that day twenty four? You know what I mean? Like,
• 28:22
  Speaker 3: I don't know what those audiences want, right. I think
• 28:26
  Speaker 3: filmmaking and good artistry starts from self rather than giving.
• 28:31
  Speaker 3: I think it's a selfish art And maybe that's the
• 28:34
  Speaker 3: A twenty four in me. Maybe that's the USC film
• 28:36
  Speaker 3: student in me. But like I rarely think about other people.
• 28:40
  Speaker 1: Definitely, that definitely that was us.
• 28:42
  Speaker 3: I rarely think about other people. I rarely do. So
• 28:46
  Speaker 3: I don't know what audiences want. But what do I want?
• 28:48
  Speaker 3: I want to see more women. I want to see Yes, yes,
• 28:53
  Speaker 3: that's exactly right, wrestled nice.
• 28:56
  Speaker 4: I mean crazy. It's crazy too, because there's not one
• 29:00
  Speaker 4: in crazy Rich Italians. The musical it's about a father,
• 29:03
  Speaker 4: a step dad, and a step son. Yeah, on a hike.
• 29:05
  Speaker 2: Yeah.
• 29:06
  Speaker 3: So when you asked me what I want, what do
• 29:07
  Speaker 3: I want to see in the future? I want to
• 29:09
  Speaker 3: see women. I'm pissed I did that.
• 29:14
  Speaker 1: If I could, if I could overstep, you have to speak,
• 29:19
  Speaker 1: I'm sorry, as the as the token a twenty four
• 29:22
  Speaker 1: woman in the room Empire State of.
• 29:24
  Speaker 3: Girl to you, by the way, you're an eight twenty
• 29:27
  Speaker 3: four girl boss.
• 29:28
  Speaker 1: Stop and stop and everybody that's queen.
• 29:31
  Speaker 2: That's so sweet.
• 29:32
  Speaker 1: My guys are always looking out for me. And Russell,
• 29:35
  Speaker 1: I've always felt that you have championed women, and even
• 29:37
  Speaker 1: in your film about all men on a hike, like,
• 29:41
  Speaker 1: we're conscious of the fact that you would have rather
• 29:45
  Speaker 1: put a woman in there, and we can feel it,
• 29:47
  Speaker 1: we can fill the filmmaker saying that, and so I believe.
• 29:51
  Speaker 1: I'm sorry. I think your film is even more feminist
• 29:53
  Speaker 1: than umpire State of Girl. I'll say it.
• 29:55
  Speaker 2: I wouldn't because you it's really feminist. I think your
• 29:59
  Speaker 2: move he is one of the most feminist movies I've
• 30:01
  Speaker 2: ever seen.
• 30:02
  Speaker 3: But really think about it, these two guys on the mountain.
• 30:04
  Speaker 3: I think you're you're up to something. I really think
• 30:07
  Speaker 3: so right. I think a feminist could see it. I
• 30:10
  Speaker 3: think a feminist can see what we can't.
• 30:12
  Speaker 2: Sure, sure, Russell, Sure, but I think I think her
• 30:15
  Speaker 2: movie is really feminist. You know what I mean. I
• 30:18
  Speaker 2: think it's a really good idea to kind of talk
• 30:19
  Speaker 2: about how feminist her movie is.
• 30:20
  Speaker 4: Oh yeah, your movie is crazy, because I really thought
• 30:23
  Speaker 4: if we're talking about the most feminist movie here, I
• 30:26
  Speaker 4: really thought Husky was the most feminist movie. Oh I
• 30:29
  Speaker 4: really did.
• 30:30
  Speaker 2: No, I mean, look, I did my research. Right, is
• 30:33
  Speaker 2: there is there a glorious steinem cameo? Absolutely right. Fran
• 30:38
  Speaker 2: Leebowitz is the narrator. You know, it was so feminist.
• 30:43
  Speaker 4: It felt like you were just playing too feminism.
• 30:46
  Speaker 2: No, no, but but these are things that just kind
• 30:48
  Speaker 2: of naturally happened in the film.
• 30:50
  Speaker 4: So I will say I loved fly at the narrator.
• 30:55
  Speaker 4: It was such a bold choice. She was all over
• 30:57
  Speaker 4: the place saying great, I mean.
• 30:59
  Speaker 1: She's a four.
• 31:00
  Speaker 2: She was amazing, and I remember we had to tell
• 31:02
  Speaker 2: her to stop. We had to say we have stopped recording.
• 31:06
  Speaker 2: She wanted to keep going, and we kept a lot
• 31:08
  Speaker 2: of that wild audio, and then we decided to shoot
• 31:11
  Speaker 2: around it. You know, we we didn't plan on having
• 31:15
  Speaker 2: a scene where the boy was dealing with, you know,
• 31:19
  Speaker 2: everyone being on their phones in a crowded subway, but
• 31:22
  Speaker 2: when she started talking about that, of course we had
• 31:24
  Speaker 2: to shoot that. We had to put that in.
• 31:26
  Speaker 1: Right, And that's what listening to women is all about.
• 31:30
  Speaker 1: You know, when you when you hear us talk, sometimes
• 31:33
  Speaker 1: we say something good, right, and sometimes you can latch
• 31:37
  Speaker 1: onto that. And Russell, you've always been champion, You've always
• 31:40
  Speaker 1: been so supportive.
• 31:41
  Speaker 2: And about you, about you, thank you. I bout you,
• 31:45
  Speaker 2: absolutely bout to you, my queen.
• 31:46
  Speaker 3: Yes, thank you, thank you, thank.
• 31:48
  Speaker 1: You, thank you. And so I mean this is probably
• 31:53
  Speaker 1: the most feminist class A twenty four has ever had.
• 31:56
  Speaker 3: Yeah, I mean it's I mean.
• 31:58
  Speaker 1: We're talking twenty five percent women, right.
• 32:00
  Speaker 4: That it's fucking white people, twenty five percent.
• 32:04
  Speaker 1: Women exactly, exactly.
• 32:09
  Speaker 4: Well, you know, just to segue back, I really feel
• 32:11
  Speaker 4: like audiences want the truth these days, they're not They
• 32:16
  Speaker 4: don't want a story that they've seen before. They want
• 32:20
  Speaker 4: to be surprised by the end. They want to feel
• 32:23
  Speaker 4: immersed in it. They want to feel the grit of reality.
• 32:26
  Speaker 4: Because we're surrounded by so much grit these days. We're
• 32:29
  Speaker 4: almost covered in a layer of smog. We have to
• 32:32
  Speaker 4: take shot.
• 32:33
  Speaker 2: It's really good, keep going.
• 32:37
  Speaker 4: Yeah, we're almost like covered in like a layer of smog,
• 32:41
  Speaker 4: and you know where we have to take showers so
• 32:43
  Speaker 4: much because we have so much oil. You know, Donald, what.
• 32:46
  Speaker 1: Are you doing after this?
• 32:47
  Speaker 4: What?
• 32:49
  Speaker 1: Nothing? Never mind? Well, we'll text later.
• 32:51
  Speaker 4: No, yeah, I'm I'm free of here.
• 32:53
  Speaker 1: I mean no, we'll text, text later. We'll text later.
• 32:56
  Speaker 4: So, you know, like, what I want the audience is
• 33:00
  Speaker 4: what I think they want. I guess i'd agree with Russ.
• 33:03
  Speaker 4: You know, uh, what I what they want and what
• 33:06
  Speaker 4: I think they need are different. What they want is
• 33:08
  Speaker 4: they want another fucking superhero movie where everybody fucking wins
• 33:12
  Speaker 4: in America gets to jack themselves off on the latest costume.
• 33:16
  Speaker 4: What I think they need is the reality that boys
• 33:19
  Speaker 4: live in trash. Boys live in trash sometimes, and other
• 33:25
  Speaker 4: people live in homes sometimes. How where do you both are?
• 33:30
  Speaker 1: Valid?
• 33:32
  Speaker 2: Yeah?
• 33:32
  Speaker 3: Thanks, no problem.
• 33:36
  Speaker 2: So what's everybody's next project they're working on?
• 33:39
  Speaker 3: This is my favorite question when I'm sitting down with
• 33:41
  Speaker 3: eight twenty four people.
• 33:43
  Speaker 2: I am actually working on a superhero movie. I am
• 33:46
  Speaker 2: making the Superhero the origin story of the Beast from XLE.
• 33:52
  Speaker 4: That's crazy, Well, that's nuts.
• 33:54
  Speaker 1: I mean, we there is such a trend right now
• 33:56
  Speaker 1: of a twenty four directors being approached for Marvel movies
• 33:59
  Speaker 1: and can we all be honest? I mean, we've all
• 34:01
  Speaker 1: been approached, right, I've.
• 34:02
  Speaker 4: Got to be honest. I'm also doing a superhero movie.
• 34:04
  Speaker 2: Now you are, yeah, okay, because I was nervous because
• 34:07
  Speaker 2: you guys are kind of like ragging on them, and
• 34:08
  Speaker 2: I got really nervous to tell you guys.
• 34:11
  Speaker 1: Oh no, I'm ragging on them completely. I'm right and
• 34:13
  Speaker 1: like I fundamentally disagree with so much that's going on.
• 34:17
  Speaker 1: But I will be directing The Catwoman coming out in
• 34:19
  Speaker 1: twenty twenty eight. I'm trying to do a feminist take
• 34:25
  Speaker 1: on Catwoman.
• 34:25
  Speaker 2: That's awesome? What's your take? Wait? What do you mean? Wait?
• 34:32
  Speaker 4: Whoa?
• 34:32
  Speaker 2: My brain's yeah.
• 34:35
  Speaker 4: Catwoman has always been such a like a man's movie
• 34:38
  Speaker 4: for me. What's your feminist take?
• 34:43
  Speaker 1: Well, you know you have Catwoman. She's a woman. You
• 34:46
  Speaker 1: know she's a woman on the rise. She's a woman
• 34:49
  Speaker 1: who has these powers. But what if she had the
• 34:52
  Speaker 1: power to believe it herself? That's my take.
• 34:55
  Speaker 2: That's bomb ass.
• 34:56
  Speaker 1: That's Bob, thank you, thank you Russell.
• 34:59
  Speaker 3: Fuck me, bomb ass. I'll say, I'm I hate fucking
• 35:04
  Speaker 3: superhero movies. Am I directing one in the fall?
• 35:07
  Speaker 4: Yes's somebody because.
• 35:09
  Speaker 3: Here's the thing, someone has to put foot on food
• 35:12
  Speaker 3: on the table. Someone has to put food on the table,
• 35:15
  Speaker 3: you know.
• 35:15
  Speaker 4: Yeah, that's what they taught us in USC.
• 35:17
  Speaker 3: Yeah, and I think it's just like growing up going
• 35:21
  Speaker 3: to USC. You're like, wait, what you're offering me money
• 35:24
  Speaker 3: to shoot a movie?
• 35:25
  Speaker 4: What?
• 35:26
  Speaker 2: Well, let's talk about that. Professor Wiley's last seminar. I
• 35:28
  Speaker 2: remember we all went in, we all watched our film together,
• 35:31
  Speaker 2: and he said, I have one final speech to you guys.
• 35:34
  Speaker 2: He said, what, And he said, take every job you're offered.
• 35:39
  Speaker 2: There will be a day no one hires you ever again.
• 35:42
  Speaker 2: Be desperate for work, never turn it down. Do whatever
• 35:47
  Speaker 2: shit comes your way, because one day that phone will
• 35:51
  Speaker 2: stop ringing. Remember that, and remember he goes.
• 35:53
  Speaker 3: You know who listened to this lecture, Greta Gerwig, And
• 35:56
  Speaker 3: look where she is now. She did free when.
• 35:58
  Speaker 2: Then she came out of the claw it You remember
• 36:01
  Speaker 2: that she is so kooky, I know, like in the
• 36:04
  Speaker 2: physical closet in the house.
• 36:06
  Speaker 1: I was losing my in the house we were in.
• 36:08
  Speaker 2: She came out of the physical closet.
• 36:10
  Speaker 1: She came out of the closet to me privately.
• 36:12
  Speaker 3: After but because we were in a house when we
• 36:15
  Speaker 3: got the extra.
• 36:16
  Speaker 2: Yeah, of course we went over to Professor Wiley's house.
• 36:19
  Speaker 2: Remember the class we all went plus twenty fourteen.
• 36:22
  Speaker 1: I mean that's the that's the that's his senior picnic.
• 36:24
  Speaker 1: You know, he gives us muffins.
• 36:26
  Speaker 4: I mean his.
• 36:26
  Speaker 2: Wife makes pie. Yah, his wife made a big we
• 36:30
  Speaker 2: ate muffins and pie.
• 36:32
  Speaker 1: It's kind of the USC tradition. I mean, we shouldn't
• 36:34
  Speaker 1: get too deep into the USC.
• 36:36
  Speaker 2: Yeah.
• 36:36
  Speaker 3: I don't want to hear about it.
• 36:37
  Speaker 1: I'm here to talk about A twenty four anyway.
• 36:39
  Speaker 3: I'm directing a crazy stupid love the Hulk.
• 36:45
  Speaker 1: Okay, so run me through that, Run me through that.
• 36:47
  Speaker 2: So what's it about?
• 36:50
  Speaker 3: An NDA? But I was we're friends with the producers,
• 36:55
  Speaker 3: so bucket the origin story Mark Zuckerberg where he was born,
• 37:04
  Speaker 3: because we only know about the text side of Mark.
• 37:07
  Speaker 1: So did they Was this the story they pitched you?
• 37:10
  Speaker 1: Or was this your take on the text of Hulk?
• 37:13
  Speaker 3: So we read the comic book of Hulk and we
• 37:17
  Speaker 3: went think of like other physical ways that somebody could
• 37:21
  Speaker 3: be the Hulk that isn't physical.
• 37:22
  Speaker 4: You know what I mean?
• 37:24
  Speaker 3: Who is the Hulk right now? Who is big greedy Green?
• 37:30
  Speaker 3: And then we were like, I want to see where
• 37:32
  Speaker 3: that guy was born.
• 37:34
  Speaker 1: Yeah, you blow my fucking mind.
• 37:36
  Speaker 2: You know that You've always been my inspiration round always.
• 37:42
  Speaker 4: Your process, your way of connecting things. It's inspiring.
• 37:45
  Speaker 3: Thank you so much.
• 37:45
  Speaker 4: It's really honestly like I'm jealous. For sure, I'm jealous.
• 37:49
  Speaker 4: What I'm working on next is The Wonder Twins. I'm
• 37:52
  Speaker 4: gonna be shooting the superhero movie The Wonder Twins. Really excited.
• 37:57
  Speaker 4: They loved Wonder Woman and now they want to do
• 37:59
  Speaker 4: wonder to kind of like.
• 38:00
  Speaker 1: Get those whole two Wonder Women.
• 38:03
  Speaker 4: No, no, no, it is it is completely different. It's
• 38:07
  Speaker 4: they're superheroes from the sixties. They were twins.
• 38:11
  Speaker 2: Wasn't one of them turned into a bucket?
• 38:12
  Speaker 4: One of them only can change into water things, and
• 38:15
  Speaker 4: one can only change into animals.
• 38:18
  Speaker 1: Well, they are really digging deep on these comic book lores,
• 38:22
  Speaker 1: like we're we're really trying to find everything that hasn't
• 38:26
  Speaker 1: been done.
• 38:27
  Speaker 2: Yeah, they came to me and they said, we wanted
• 38:29
  Speaker 2: to make a Beast origin story, you know, from the
• 38:31
  Speaker 2: X Men. And I always loved the Beast because he
• 38:34
  Speaker 2: was a little weird, you know, around everyone else, blue, hairy, muscular,
• 38:38
  Speaker 2: just like me. When I had a slightly lower voice,
• 38:40
  Speaker 2: than everyone else in my age, and so I always
• 38:43
  Speaker 2: connected with him. And you know, these these these superhero
• 38:46
  Speaker 2: movie guys, they're really loving twisting up the genres. And
• 38:51
  Speaker 2: so we're making The Beast as a mockumentary.
• 38:55
  Speaker 4: Whoa, yeah, wow, what a risk.
• 38:59
  Speaker 2: It's really and I'm so excited because we have Chris
• 39:02
  Speaker 2: Cooper signed on to play the Beast.
• 39:04
  Speaker 3: You're fucking fucking.
• 39:06
  Speaker 2: Yeah, adaptations Chris Cooper, the father in American Beauty, Chris Cooper.
• 39:12
  Speaker 4: We have Timothy Shallomey and Dkota Fanning.
• 39:16
  Speaker 2: Awesome, Yeah, I.
• 39:17
  Speaker 1: Also have Timothy Shallomey and Dakota Fanning. Really, I mean
• 39:22
  Speaker 1: Timothy Shallo May who's playing He's running around our blocks.
• 39:25
  Speaker 1: I mean we're all trying to get our hands on Timmy.
• 39:28
  Speaker 3: He's on every call she today twenty four.
• 39:30
  Speaker 4: Yeah, he just runs literally all So is Timmy playing
• 39:35
  Speaker 4: Catwoman or yeah.
• 39:36
  Speaker 1: We're really subverting it. Catwoman is a man in this.
• 39:39
  Speaker 1: I should have mentioned.
• 39:40
  Speaker 2: That what a feminist take.
• 39:43
  Speaker 1: Very feminist, right, because it's like we have to put
• 39:45
  Speaker 1: the man in the lead role so that you have
• 39:47
  Speaker 1: the knowledge that there is an absence of a woman
• 39:50
  Speaker 1: right there.
• 39:51
  Speaker 4: Well, here's a final thought. They have this written in
• 39:55
  Speaker 4: the fish bowl. Yeah, do you have any advice for
• 39:58
  Speaker 4: the potential next class?
• 40:01
  Speaker 3: Huge question?
• 40:03
  Speaker 4: Yeah, let's jump to rest rest.
• 40:05
  Speaker 3: You got any Yeah, I thought it's just a huge question.
• 40:09
  Speaker 3: I'd say.
• 40:12
  Speaker 4: Crying again.
• 40:13
  Speaker 3: No, I'm just confused. I'm sorry. I get really choked
• 40:18
  Speaker 3: up when I don't know what to say. There's a
• 40:21
  Speaker 3: Walt Whitman poem that says, don't cry because it's over,
• 40:26
  Speaker 3: Smile because it happened. And my writing partner and I,
• 40:31
  Speaker 3: Ryan Schreckler, think about it all the time, and I
• 40:34
  Speaker 3: just give that to this next class. I give that
• 40:37
  Speaker 3: to them. Take that and like, don't stop, you know
• 40:40
  Speaker 3: what I mean, Just don't fucking stop. Like, don't stop.
• 40:44
  Speaker 3: Don't stop, like sleep when you're dead, dude, you know
• 40:47
  Speaker 3: what I mean, Like just like, don't fucking stop like
• 40:52
  Speaker 3: this this group of people right here, we're going to
• 40:54
  Speaker 3: be working till we're dead, you know what I mean.
• 40:56
  Speaker 3: And absolutely, and I just I stopped, you know, And
• 41:00
  Speaker 3: I mean to like make roast beef cup.
• 41:03
  Speaker 2: No, roast beef cup was part of your identity, I.
• 41:06
  Speaker 3: Know, but I just wish I was making a cinema
• 41:07
  Speaker 3: at the time.
• 41:09
  Speaker 2: I have surprise for you, man, I filmed is doing that,
• 41:14
  Speaker 2: film is doing that, and fuck me, I know we're
• 41:18
  Speaker 2: going to be releasing that as a short film. I'm
• 41:23
  Speaker 2: submitting it to Sundance and it's called Roasted. And I
• 41:30
  Speaker 2: can't wait, and I get emotional, I start crying. No,
• 41:35
  Speaker 2: I know exactly how I feel, exactly how I feel,
• 41:39
  Speaker 2: and I feel love for you. I can't wait.
• 41:42
  Speaker 4: I can't wait.
• 41:43
  Speaker 2: I hope you come with me to Sundance, and I
• 41:47
  Speaker 2: hope that we show it. Because that's my advice. Look
• 41:50
  Speaker 2: around to your class, look around your people. The people
• 41:52
  Speaker 2: that you're working with now are going to be the
• 41:54
  Speaker 2: people that you are happy to be with for the
• 41:57
  Speaker 2: rest of your life. These are your best friends and
• 41:59
  Speaker 2: your collaborators. And I just want you to hold your
• 42:01
  Speaker 2: collaborators type because it's never gonna get better than when
• 42:04
  Speaker 2: you are in a Fawn's making roast beef out of cup.
• 42:07
  Speaker 2: Never forget you are the movie.
• 42:09
  Speaker 1: We are the movie. I mean that is I thank you,
• 42:12
  Speaker 1: thank you for telling our story, because when every time
• 42:16
  Speaker 1: we did all that crazy shit with roast beef, just
• 42:18
  Speaker 1: that kooky stuff and you do when you're in college,
• 42:21
  Speaker 1: I was thinking, this is a movie, and so thank
• 42:25
  Speaker 1: you for giving that to us. Thank you for giving us.
• 42:27
  Speaker 3: That can out look around, you know what I mean?
• 42:29
  Speaker 3: Look around?
• 42:31
  Speaker 1: Look around? And going off of that, I will pass
• 42:33
  Speaker 1: on to the next group of filmmakers. You know something
• 42:37
  Speaker 1: that Lena told me, Lena Dunham, we were on the
• 42:39
  Speaker 1: phone the other day.
• 42:41
  Speaker 2: She's so funny.
• 42:42
  Speaker 4: She's very funny, hilarious.
• 42:45
  Speaker 3: What a weird way to look at the world.
• 42:47
  Speaker 4: No, she is unique. She has kind of like some
• 42:52
  Speaker 4: weird thing going on.
• 42:56
  Speaker 1: I mean, I don't know if she's that weird. What
• 42:59
  Speaker 1: do you mean by that?
• 43:00
  Speaker 4: Yeah? Pretty weird, you know. Anyway, what were you saying?
• 43:05
  Speaker 1: Okay, so I'm gonna pass on something that Lena passed
• 43:11
  Speaker 1: on to me, and that is diversify your portfolio. Get
• 43:16
  Speaker 1: investing now, and get investing fast, because as soon as
• 43:20
  Speaker 1: you get that first movie out, it's gonna become a
• 43:23
  Speaker 1: paycheck that you don't know what to do with. So
• 43:25
  Speaker 1: you want to make sure you have everything in order quickly.
• 43:29
  Speaker 1: And as far as movie making, just make your movie,
• 43:33
  Speaker 1: make your story. It's that easy.
• 43:36
  Speaker 4: Yeah, I think. Uh, I want to echo what everybody said.
• 43:39
  Speaker 4: I feel like that was really good advice, my advice
• 43:44
  Speaker 4: for this moment. I feel is don't be afraid to
• 43:49
  Speaker 4: get pretty, don't be afraid to get your hands dirty.
• 43:55
  Speaker 4: If you have a jack off scene, you fucking put
• 43:58
  Speaker 4: that in your movie. Oh my cool.
• 44:00
  Speaker 3: This has been Artists on Artists on Artists on artists,
• 44:03
  Speaker 3: answering the question. Now, that's why they call it Joe
• 44:06
  Speaker 3: Biz goodbye.
• 44:10
  Speaker 2: Hi.
• 44:10
  Speaker 3: I'm Angela Jertana, I'm Jeremy.
• 44:12
  Speaker 2: Colhayne, I'm Patrick McDonald's.
• 44:13
  Speaker 1: And I'm Kylie Brakman. Artists on Artists on Artists on
• 44:16
  Speaker 1: Artists is an improvised Hollywood roundtable podcast available on iTunes
• 44:20
  Speaker 1: and Spotify.
• 44:21
  Speaker 4: You can follow us at aoaoaoa pod on Twitter and Instagram.
• 44:25
  Speaker 2: That's right, four a's with three o's in between then.
• 44:29
  Speaker 1: Pod music for this podcast is provided by Gabriel Sebastian.
• 44:33
  Speaker 1: We'll see you next time. Good Night, Hollywood,