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Hey Robb, were you ever in a band?

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I was in a band here in Los Angeles and we played
at the Rainbow on the Sunset Strip

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and everybody left when we got on stage and we
never played again.

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Oh.

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And now I'm a Christmas caroler.

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That's pretty sad.

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Oh hey, I think Christmas caroling is the most punk
rock thing there is.

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Man, that is the least punk rock thing you've ever
said.

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[laughs]

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[upbeat music]

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Hey, hello, and welcome to the Indie Film Lodge, a podcast
about the nuts and bolts of independent

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filmmaking from the bottom up.

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I'm Matt Jackson. And I'm Robb Padgett. And today
we'll be talking about energy: how to

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imbue it into the work, keep it on set, and
continue it through post-production.

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And today's guests: Kade Atwood and Megan Rico, who
made the incredible Edie Arnold Is a Loser.

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Hey guys, welcome to the show.

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Hi, thanks for having us.

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Oh, weird.

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This is that.

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This is that.

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This is exactly what we're looking for.

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Oh my gosh, so much energy.

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[laughs]

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Listen, I’m just glad I didn’t say "Ernie Arnold."

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I see it's Edie, I know an Edie, and I still was
searching for Ernie...

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We would be pretty quick.

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No one ever says Ernie.

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Everyone says Eddy Arnold.

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Yeah, is a guy.

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Yeah, is a guy.

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Yeah, he's a real singer-songwriter.

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Yeah, country-western singer.

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Yeah, we had a guy show up to a screening in
Seattle, and he was like, 'I thought this was

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going to be a documentary about Eddy Arnold, the
country singer.'

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[Unclear dialogue.]

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And I was like, 'Oh, sorry.' He loved the film,
though.

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And I was like, oh, okay.

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I don't know what you guys have against Eddy
Arnold, but he's one of my personal heroes.

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[Unclear dialogue.]

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It's like, I love country music.

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It's like, this is clearly not a movie about
country music.

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Well, so it's not a documentary about Eddy Arnold.

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What is Edie Arnold Is a Loser about?

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It's a coming-of-age comedy about a bunch of dorks
in an all-girls Catholic school

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that start a punk band and piss off a bunch of
nuns.

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You know, just your classic, your classic
run-of-the-mill story.

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Something we can all relate to.

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Yeah.

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We pissed off some nuns.

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I mean, that's always been a dream of mine, but I
was not allowed in any nunneries.

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I did go to Catholic kindergarten and I'm old.

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So I went back when they wore the habits.

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Yeah, they really did hit me.

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They hit me on the hand and they made me stand at
my desk without my chair because I

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would lean back in it.

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So they just took my chair away and for the rest of
the day, I had to stand there.

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Man, did you learn your lesson?

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I learned my lesson that I hate Catholic school.

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That's the lesson.

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So I really enjoyed the buoyancy, the energy, the
vibe of this movie.

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What did you look at for inspiration going into
this?

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I think people are sometimes surprised by our
inspirations.

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Well, because a lot of people clock Scott Pilgrim.

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That's kind of the first thought I feel like that
we get.

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And for sure, we love Edgar Wright, but we tried
really hard not to watch any of his films

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in the lead up because then we knew we would just
rip him off because he just is such an

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influence on us in general.

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So we really studied a lot of Coen brothers,
specifically Raising Arizona.

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We love anything that feels like a live-action
cartoon and I feel like that was their zaniest

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film.

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And then a lot of like Spielberg, which is kind of
embarrassing to say for our film.

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I don't think, like, us—

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Of course, of course.

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Of course, of course. Coming-of-age, and it's got
kids doing kid stuff.

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I mean, I get it.

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The big reason is because we filmed the movie in 10
days, and we had a very limited amount

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of time.

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And so we had a limited amount of setups that we
were able to do.

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And so the way we got around that is we would do
one or two setups for some scenes, but

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then we would block the actors in a way that's
really interesting and keeps the scene

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feeling dynamic.

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Yeah.

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And so Spielberg is really great at doing that.

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And especially early Spielberg, he really sits in a
shot for a long time and kind of lets

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the scene build and is not like cutting around a
bunch and that's something that we really

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loved.

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It felt like it.

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And it's incredible that the cast was so, I don't
want to say inexperienced, but they

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didn't have a huge credits list, but they were so
confident on screen.

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Really.

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I think it's just like a fact they were
inexperienced.

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For, I think, almost all of the kids, it was their
first feature.

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Yeah, their first feature credit. For our lead,
Adi, who's incredible,

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it was her first audition she had ever done.

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Now she's ruined.

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Yeah.

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She's going to be a little bit more expensive.

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She books.

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But I think for us, it was really good having like,
I don't know, working with actors without

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so much experience because they didn't come in with
any bad habits.

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Like they came in like green and fresh and excited
to be there and we got to like sort of

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shape their expectations.

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I don't know, to be like, this is what it means to
be professional and to be prepared.

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But then also like, this is what you can expect
from a film set.

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We wanted to give them sort of like a point of
reference going forward in their careers where

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they're like, okay, wait a second.

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I was on a low-budget indie film and they didn't
treat me like shit.

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You know what I mean?

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Like if they are being treated like shit in the
future, they can point to like this and

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be like, wait a second.

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I know it doesn't have to be like this.

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They had no money.

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Well, that's good.

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That's good.

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You're really setting them up for a horrible
future.

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Yeah, how do you do?

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It's all downhill from here, kids.

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I will tell you my favorite.

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There's two things I want to tell you.

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One is that my favorite character was Frances, and
she reminded me of Mabel Pines a lot.

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Yeah.

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And I didn't know if that was intentional or just
kind of a kismet of like everything,

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but it just screamed Mabel in the most perfect way.

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Not intentional at all, but I do love Gravity Falls
and I think I love Gravity Falls because

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I was a Mabel.

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That's why you're wearing a sweater right now.

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Yeah, that's cool.

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Oh, hi.

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And then the vibe reminded me of Bottoms, that zany
and cartoony energy, like, was really

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evident throughout.

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And it was just, it was, it really took me.

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I really enjoyed it.

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So it is kind of cartoonish, but the Coen brothers
sort of aspect of what you were talking

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about.

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And the wackiness is rooted in, like, real
characters

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who want real things and do real stuff.

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And so that's what makes it nice.

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It's not just wackiness for the sake of wackiness.

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It's wackiness because the person is a little
crazy.

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I feel like for our film, the way I think about it
is like we wanted to be like heightened

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and wacky for lack of a better word, sort of to
like be a better reflection of how,

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I don't know, when you're a teenager, your emotions
are so heightened and the way you

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perceive the world is like so exaggerated.

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And so I feel like by having these sort of zanier
performances or crazier

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characters, it just like reflects that experience a
little bit more than if you were to just

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have a more grounded, you know, like they're real
characters, but yeah, the experience, it

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just feels bigger when you're 16.

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And I think our taste is like we love absurd humor
and like stuff that's maybe a little

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outlandish, but then immediately after that you're
grounding it again with like this

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very, you know, realistic scene between this mother
and daughter.

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And like we kind of love that pendulum swing of
like, okay, maybe you know, you know,

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it's getting a little crazy over here, but then all
of a sudden we're bringing back into

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reality.

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We love, like, you're laughing, we're laughing,
we're crying, we're laughing. That's an

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ideal trajectory.

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Sure.

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Well, it worked.

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I mean, I wasn't weeping, but you know, I'm not a
teenage girl with a mom in identity

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issues.

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So, so it was kind of zany, there were madcap
antics happening, but it was filtered through

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the like, you said the lens of like a kind of manic
sort of teenage kid.

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And none of it was like, none of it was
unbelievable.

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Do you know what I mean?

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Like, it was a believable sort of zaniness.

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You don't need to have these wacky way out
situations to make wacky way out things happen.

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Like borrow instruments in the craziest way
possible.

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They can enter a band competition in the craziest
way possible.

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Yeah.

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Well, like all comedy,

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There's a bit of control there because I've worked
on those movies where like, eh, it

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doesn't matter.

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We're doing something wacky and cartoony.

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You like throw everything in and it ruins the whole
vibe because you need, you need something

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to hold on to, some good emotion, some good drive
to play you through.

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Yeah.

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And Kade and I are, I think, very controlling

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of our dialogue a little bit.

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I don't know if I feel like people often are like,
oh, how much was improvised?

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And like, because I think everyone sees a comedy
and it seems that the whole thing is

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improvised.

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And we're like, literally one line, one line is
improvised.

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Wow.

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Everything else, we were kind of militant about it.

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And it like comes across that way on the page.

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Megan's such a great writer that like, it's very
concise and like, there's not a single

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extra syllable, not a single extra word, single
extra punctuation.

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And so when an actor does add something to that, it
suddenly just throws the tempo off

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in a way.

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It's like, oh, now the joke's not going to quite
land the right way.

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So we actually need you to say the way that it is
written exactly like this because that

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is going to be the funniest.

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But also that's just like, again, like a testament
to Megan's writing and however she is that

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like that tempo comes across on the page.

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I feel like that's so rare on a script.

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It's extremely difficult to do to get that tempo to
come across and she's great at that.

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Thanks, but I will say when an actor doesn't
understand the tempo inherently, it does make

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you feel like you're the worst writer who's ever
lived.

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So I feel like, for the style of dialogue, like the
style of jokes that I write in

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dialogue, it is like, I don't know, 50% setup,
punch, 50%—

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That is the rhythm.

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And so when the rhythm is thrown off, it's like, I
don't know if this is good.

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So we were lucky that we had like we cast actors
that did kind of inherently understand the

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pace that we needed from them.

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But again, especially because they're so—I don't
want to say inexperienced, but because

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they're so inexperienced, like, that's a real skill to have, to
be able to read the script directly.

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I mean, half the time I have something in front of
me to read, I still can't read it for

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me. And it's hard. It's really hard.

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Their inexperience might have actually helped in
this case because, you know, you get jaded

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after a while, you're like, whatever, I'll just say
something close.

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The lines don't have to matter.

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But when you're doing something as intricate as
that, it's in the trailer and it's also

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in the movie where they're pitching the band idea
to their friends in the cafeteria, that

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kind of rhythm of that, this basically a song, I'm
assuming, you kind of had to rehearse

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it like a song.

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That's funny, we actually during rehearsals, we
pulled out a metronome, and we're like,

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bam, bam, just every word needs to be on this beat.

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And again, when we were on set, again, it was like,
here's the tempo, say your word on the

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tempo.

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But they did such a good job of not giving it away.

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I was like, there's no way they could do this
without learning it like a song with,

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they're not playing it like a song, they're playing
it like dialogue.

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Yeah, and they're not like, telegraphing at all,
like, so good.

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Because yeah, it's really difficult to like,
deliver precise dialogue like that and still

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make it sound like it's off the cuff.

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And I really feel like we got so lucky with them,
because they all were able to do that.

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Yeah, well, so moving on from inspirations and all
that, there's a thing we like to talk

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about on the show. We call it the OPM. We're not
excited about what we've entitled it,

228
00:11:09,040 --> 00:11:12,160
but we're sticking with it because we're stubborn.

229
00:11:12,160 --> 00:11:14,480
Every movie has these three moments.

230
00:11:14,480 --> 00:11:16,680
It's the obsession, the thing that got you started.

231
00:11:16,680 --> 00:11:20,160
It's the pivot, it's the thing that changed
everything for the better.

232
00:11:20,160 --> 00:11:24,560
And then the miracle, something that shouldn't have
happened that did happen.

233
00:11:24,560 --> 00:11:29,040
So to start, what was it about this that made you
obsessed with making it?

234
00:11:29,040 --> 00:11:31,840
What about this idea was like, oh, it has to be on
screen.

235
00:11:31,840 --> 00:11:33,240
For me, it was the characters.

236
00:11:33,240 --> 00:11:35,320
I mean, well, I'm gonna say two things.

237
00:11:35,320 --> 00:11:38,760
One, I think Megan and I were just determined to
make a movie.

238
00:11:38,760 --> 00:11:43,280
We had a call one day, it was like, we're gonna
make this movie, whatever that means,

239
00:11:43,280 --> 00:11:44,560
we're gonna make it happen.

240
00:11:44,560 --> 00:11:48,600
And we didn't have any money, we didn't have any
resources when we decided that.

241
00:11:48,600 --> 00:11:53,240
And it was just like pure determination and grit
that made this come to life.

242
00:11:53,240 --> 00:11:55,960
And I think that we were obsessed with making a
movie.

243
00:11:55,960 --> 00:12:00,440
But then I also think when I first read this
script, I was obsessed with the characters

244
00:12:00,440 --> 00:12:04,000
because I feel like I was friends with all of these
people in high school.

245
00:12:04,000 --> 00:12:06,680
And I had not really seen them portrayed on screen
in this way.

246
00:12:06,680 --> 00:12:12,280
And so I was really excited to bring this portrayal
to life and show teenage girls in

247
00:12:12,280 --> 00:12:13,280
this way.

248
00:12:13,280 --> 00:12:17,400
I feel like a lot of times they're like airbrushed
and like hot 30 year olds.

249
00:12:17,400 --> 00:12:19,960
And that is not what being a teenager is like at
all.

250
00:12:19,960 --> 00:12:23,040
And so we wanted to portray a more realistic
version of that.

251
00:12:23,040 --> 00:12:24,040
Yeah.

252
00:12:24,040 --> 00:12:29,280
I feel like for us, the obsession, it almost is
sort of reverse engineered because like,

253
00:12:29,280 --> 00:12:34,880
we had been working together on other stuff, trying
to like get other films off the ground

254
00:12:34,880 --> 00:12:36,520
in like a more traditional way.

255
00:12:36,520 --> 00:12:40,320
Like, not scripts that I had written, but I was
doing rewrites for Kade to direct.

256
00:12:40,320 --> 00:12:44,040
And we were, like, trying to attach talent and
trying to get financing in a very traditional

257
00:12:44,040 --> 00:12:46,560
way and it just kept falling apart and kept falling
apart.

258
00:12:46,560 --> 00:12:50,960
So finally, Kade was like, Megan, do you have
anything that we can just make for cheap?

259
00:12:50,960 --> 00:12:53,040
And I was like, I'll level with you guys.

260
00:12:53,040 --> 00:12:54,840
I mostly write genre comedy.

261
00:12:54,840 --> 00:12:58,440
And this was the only one that I had in the bank
that like doesn't have aliens in it right

262
00:12:58,440 --> 00:12:59,440
now.

263
00:12:59,440 --> 00:13:00,440
[Laughs]

264
00:13:00,440 --> 00:13:02,000
I was like, high school story.

265
00:13:02,000 --> 00:13:03,600
It's probably cheap.

266
00:13:03,600 --> 00:13:05,600
I'm sure there's no aliens.

267
00:13:05,600 --> 00:13:06,600
There's no aliens.

268
00:13:06,600 --> 00:13:12,160
And then I wrote it so long ago, and it was really
heavily inspired by my own coming-of-age.

269
00:13:12,160 --> 00:13:17,080
And so to me, I was like, oh, this is probably so
generic because I lived it.

270
00:13:17,080 --> 00:13:20,360
And so I just kind of sent it to Kade like, on a
lark.

271
00:13:20,360 --> 00:13:24,520
And then it was really Kade's reaction to it that
helped me realize that like, oh, I really

272
00:13:24,520 --> 00:13:25,720
do want to make this one.

273
00:13:25,720 --> 00:13:30,160
And I really want this to be the first one that we
make because it feels like, I don't

274
00:13:30,160 --> 00:13:34,240
know, just feels like such a good introduction to
the world of like, this is us and this

275
00:13:34,240 --> 00:13:37,080
is our energy and like, this is what we like to do.

276
00:13:37,080 --> 00:13:40,560
So the obsession with the script kind of came after
we'd already decided to make it.

277
00:13:40,560 --> 00:13:41,560
Sure.

278
00:13:41,560 --> 00:13:44,480
Well, so were you in a band in high school, Megan?

279
00:13:44,480 --> 00:13:46,720
That's the only part that didn't happen, okay?

280
00:13:46,720 --> 00:13:47,720
All of you.

281
00:13:47,720 --> 00:13:51,960
All the, like, all the losership.

282
00:13:51,960 --> 00:13:55,560
Earlier you said something about you didn't weep
because you were a teenage girl with a

283
00:13:55,560 --> 00:14:01,040
mom and identity issues, and I felt seen in a bad
way.

284
00:14:01,040 --> 00:14:04,760
So yeah, like the mother daughter stuff and just
like growing up in Miami, which is like a

285
00:14:04,760 --> 00:14:10,280
very specific world and that Catholic school system
is so specific and horrible and strange.

286
00:14:10,280 --> 00:14:11,280
All of that stuff was real.

287
00:14:11,280 --> 00:14:16,160
And then like, much later in my life, I like found
my people through art making, but for

288
00:14:16,160 --> 00:14:18,160
me, it was filmmaking, not music.

289
00:14:18,160 --> 00:14:19,160
Sure.

290
00:14:19,160 --> 00:14:23,320
And actually you answered a small question I had
because I noticed it was set in Florida

291
00:14:23,320 --> 00:14:28,240
the movie, but you shot it in Utah and I was like,
why is this set in Florida?

292
00:14:28,240 --> 00:14:29,880
And now that makes sense.

293
00:14:29,880 --> 00:14:36,080
My wife is from Tampa or ish and so anytime
something is from Florida, it's like, but why?

294
00:14:36,080 --> 00:14:38,120
And where and what part of Florida?

295
00:14:38,120 --> 00:14:40,800
So that's another thing that I feel like.

296
00:14:40,800 --> 00:14:43,400
I was kind of a non-negotiable for me.

297
00:14:43,400 --> 00:14:45,880
And we shot in Utah for lots of reasons.

298
00:14:45,880 --> 00:14:49,920
We met working there and a lot of our friends and
our network was out there.

299
00:14:49,920 --> 00:14:52,760
So like we were able to get crew and people that we
trusted.

300
00:14:52,760 --> 00:14:58,120
But I felt like the Miami that I grew up in is like
so different from the Miami that

301
00:14:58,120 --> 00:14:59,640
you see on screen.

302
00:14:59,640 --> 00:15:04,680
I didn't grow up in the Miami of South Beach and,
like, coke dealers and, like, crime.

303
00:15:04,680 --> 00:15:06,200
That's not really it.

304
00:15:06,200 --> 00:15:07,200
It's like a suburb.

305
00:15:07,200 --> 00:15:08,200
I don't know.

306
00:15:08,200 --> 00:15:09,760
It's like a weird suburb where everyone's Cuban.

307
00:15:09,760 --> 00:15:10,760
Like I don't know what's up.

308
00:15:10,760 --> 00:15:12,840
And I feel like I never see that.

309
00:15:12,840 --> 00:15:17,480
And so it was important to me to sort of put
something as close to that as possible on screen.

310
00:15:17,480 --> 00:15:18,480
I got it.

311
00:15:18,480 --> 00:15:23,400
I understand how that is where you grow up, not in
one of those big cities, but it's, you

312
00:15:23,400 --> 00:15:28,320
know, probably big cities have the, their
identities that are not necessarily what they

313
00:15:28,320 --> 00:15:29,320
actually are.

314
00:15:29,320 --> 00:15:30,320
I mean, we live in LA.

315
00:15:30,320 --> 00:15:34,280
LA is not the city you see on movies.

316
00:15:34,280 --> 00:15:36,280
I mean, it is, but then it's not.

317
00:15:36,280 --> 00:15:39,680
But mostly not, especially just how hot as shit and
dusty it is.

318
00:15:39,680 --> 00:15:43,440
So okay, you uncovered this dusty old script that
worked.

319
00:15:43,440 --> 00:15:44,440
I love that.

320
00:15:44,440 --> 00:15:47,980
You know, somebody who has a big pile of scripts is
always nice when something you wrote a

321
00:15:47,980 --> 00:15:50,280
long time ago, like finds new life.

322
00:15:50,280 --> 00:15:51,280
That's great.

323
00:15:51,280 --> 00:15:54,880
So as you started it, I'm sure it wasn't a straight
shot from like, we're going to make

324
00:15:54,880 --> 00:15:57,680
this movie to like, now it's on screen.

325
00:15:57,680 --> 00:16:04,200
So what was the major hiccup along the way that
made you shift how you're doing things?

326
00:16:04,200 --> 00:16:07,760
Was there one or was it just a straight shot
because you're so good at what you do?

327
00:16:07,760 --> 00:16:12,000
No, no, we had no money and that changed
everything.

328
00:16:12,000 --> 00:16:16,360
Yeah, do you feel like the biggest, the hiccup was
money?

329
00:16:16,360 --> 00:16:19,720
Because okay, money buys time and lack of time
means lack of prep.

330
00:16:19,720 --> 00:16:22,200
And so I feel like that really changed a lot of
things.

331
00:16:22,200 --> 00:16:26,680
It's interesting though because like, it's hard
almost to reflect on what it, what we

332
00:16:26,680 --> 00:16:32,840
intended because I've lived with what it is for so
long now that it's like hard to imagine

333
00:16:32,840 --> 00:16:33,840
it being any other way.

334
00:16:33,840 --> 00:16:36,520
So I do have to, like, think and say, like, what
did we want

335
00:16:36,520 --> 00:16:37,520
That's different.

336
00:16:37,520 --> 00:16:43,000
I mean, I think the thing is like, we didn't really
pivot through when we decided to make

337
00:16:43,000 --> 00:16:48,440
the end of production—principal photography—ended.

338
00:16:48,440 --> 00:16:53,280
And there were multiple moments where it was like,
but we need to push back production

339
00:16:53,280 --> 00:16:58,240
and it was like, okay, we're going to film in July,
which was, we decided to make the movie

340
00:16:58,240 --> 00:17:02,200
in like April and then we were like, we can be in
production in July.

341
00:17:02,200 --> 00:17:04,880
Immediately we knew that was way too insane.

342
00:17:04,880 --> 00:17:08,480
And then we cracked August, and that was also
crazy.

343
00:17:08,480 --> 00:17:10,600
So then we pushed it back to September.

344
00:17:10,600 --> 00:17:14,040
But then the issue is that if you push back any
further, you're in Utah with all these

345
00:17:14,040 --> 00:17:18,640
trees that are going to be orange and yellow and
not look like Miami anymore.

346
00:17:18,640 --> 00:17:21,640
And if you go any further, there's going to be snow
on the ground.

347
00:17:21,640 --> 00:17:26,160
And so we took multiple moments where it was like,
oh, we need to pivot.

348
00:17:26,160 --> 00:17:27,160
We need to push back.

349
00:17:27,160 --> 00:17:28,160
We need to wait to shoot this.

350
00:17:28,160 --> 00:17:31,160
And I was like, well, if we do that, we're not
going to be able to shoot until March of

351
00:17:31,160 --> 00:17:32,480
next year.

352
00:17:32,480 --> 00:17:35,600
And we are way too impatient to wait that long.

353
00:17:35,600 --> 00:17:39,840
And so we just kind of continued chugging forward
and like made everything happen.

354
00:17:39,840 --> 00:17:46,640
And like, instead of us going out and raising more
money, we changed our plan to have less

355
00:17:46,640 --> 00:17:51,960
shots and less shoot days. We went from our 15 day
shoot to a 10 day shoot and like, we

356
00:17:51,960 --> 00:17:54,880
compressed our shooting schedule to accommodate for
that.

357
00:17:54,880 --> 00:17:59,600
And so I guess that's kind of the pivot is like, we
changed the creative a bit.

358
00:17:59,600 --> 00:18:04,480
But also it feels weird to say that because we're
so happy with those changes that we made.

359
00:18:04,480 --> 00:18:08,960
And we feel like that created those creative
decisions were actually the best choice for

360
00:18:08,960 --> 00:18:09,960
the movie.

361
00:18:09,960 --> 00:18:11,520
And we're really glad that that happened.

362
00:18:11,520 --> 00:18:18,000
It would have been nice to have like some time to
do more takes.

363
00:18:18,000 --> 00:18:19,000
Sure.

364
00:18:19,000 --> 00:18:21,720
Well, and I guess I don't mean pivot as in like
something terrible happened.

365
00:18:21,720 --> 00:18:23,440
I mean, normally something terrible happens.

366
00:18:23,440 --> 00:18:29,040
But inevitably, I always feel like the pivot is
that moment that you're that you get very

367
00:18:29,040 --> 00:18:36,560
creative and something shifts of like, oh, yeah, I
have to change this because of things

368
00:18:36,560 --> 00:18:37,560
they can't control.

369
00:18:37,560 --> 00:18:42,560
I think money is always one of those things and
changing, changing trees and not waiting

370
00:18:42,560 --> 00:18:46,520
until March to shoot, which by the way, I think is
insane.

371
00:18:46,520 --> 00:18:51,520
We really, like, I think we painted ourselves into a corner in
a way that really served us because

372
00:18:51,520 --> 00:18:54,280
I think you never are going to feel ready, right?

373
00:18:54,280 --> 00:18:56,120
It's like, I feel like it's like having a baby.

374
00:18:56,120 --> 00:18:57,120
You're never going to feel ready.

375
00:18:57,120 --> 00:18:58,120
There's always going to be a reason not to.

376
00:18:58,120 --> 00:19:01,560
And so I think by painting ourselves into such a
corner, we were like, ah, and then

377
00:19:01,560 --> 00:19:03,520
someone just, like, pushed us out of the
helicopter.

378
00:19:03,520 --> 00:19:08,120
But I think I have a good specific moment that like
the pivot happened for us and it was

379
00:19:08,120 --> 00:19:14,000
when we were shot-listing the bulletin board scene
when they, like, fly on the bulletin

380
00:19:14,000 --> 00:19:19,360
board. Because we shot-listed that and we were
initially like, what, 20 setups or something?

381
00:19:19,360 --> 00:19:20,360
Yeah.

382
00:19:20,360 --> 00:19:23,040
And then we looked at our schedule and we had time
for two.

383
00:19:23,040 --> 00:19:26,760
And that was really the moment when we were like,
oh, we have to like fundamentally change

384
00:19:26,760 --> 00:19:28,080
our approach to this.

385
00:19:28,080 --> 00:19:31,760
And it forced us into that shooting style that we
like had to learn and like, develop

386
00:19:31,760 --> 00:19:32,880
for this.

387
00:19:32,880 --> 00:19:37,880
And it feels not, it feels like a pivot not just
for this project, but kind of for our creative

388
00:19:37,880 --> 00:19:39,360
practice going forward.

389
00:19:39,360 --> 00:19:43,600
I just feel like we really gained such an
appreciation for friction in the art-making

390
00:19:43,600 --> 00:19:49,200
process and like, yeah, the creativity that is
forced out of that, you know, and that's

391
00:19:49,200 --> 00:19:50,200
I'm sorry.

392
00:19:50,200 --> 00:19:51,200
It's alright.

393
00:19:51,200 --> 00:19:53,200
Nobody can see your obscene gesture.

394
00:19:53,200 --> 00:19:54,200
Oh, I'm not.

395
00:19:54,200 --> 00:19:55,200
I'm just kidding.

396
00:19:55,200 --> 00:19:59,520
[Unclear dialogue.]

397
00:19:59,520 --> 00:20:03,960
But yeah, so I feel like, yeah, that was a big
pivot for us in the movie and then also just

398
00:20:03,960 --> 00:20:08,480
going forward because it really forced us to, like,
crystallize how—as efficiently as

399
00:20:08,480 --> 00:20:12,720
possible, how can you get across exactly what you
need to get across and nothing more?

400
00:20:12,720 --> 00:20:16,640
Well, and I actually want to talk about those shots
later on after we get out of this

401
00:20:16,640 --> 00:20:20,120
little section where we start talking about the
energy because I think you came to the

402
00:20:20,120 --> 00:20:24,960
same conclusion I came to with my movie, but I
actually, since my movie is smaller than

403
00:20:24,960 --> 00:20:27,000
yours, I got the coverage.

404
00:20:27,000 --> 00:20:32,240
And I wish that I hadn't almost, I wish I would
have had to have planned the shots without

405
00:20:32,240 --> 00:20:37,320
the coverage because the coverage while I could
control the pace in post was not helping

406
00:20:37,320 --> 00:20:38,320
me on set.

407
00:20:38,320 --> 00:20:39,720
I wasn't making creative decisions.

408
00:20:39,720 --> 00:20:42,680
I was just like, and then we're here and then we're
here and then we're here and then

409
00:20:42,680 --> 00:20:43,680
we're here.

410
00:20:43,680 --> 00:20:47,600
So I want to talk about that later after we get
past the miracle part.

411
00:20:47,600 --> 00:20:52,000
I mean, I suspect the miracle part was the nuns and
Jesus and all that.

412
00:20:52,000 --> 00:20:54,200
We prayed and it happened.

413
00:20:54,200 --> 00:20:55,200
Yeah.

414
00:20:55,200 --> 00:20:58,640
Yeah, I feel like I'm thinking when you're thinking
of what you say yours is it's probably

415
00:20:58,640 --> 00:20:59,640
different.

416
00:20:59,640 --> 00:21:00,640
Oh, really?

417
00:21:00,640 --> 00:21:01,640
Oh, but I don't want to spoil anything.

418
00:21:01,640 --> 00:21:03,640
Oh, are you thinking the end?

419
00:21:03,640 --> 00:21:04,640
Yeah.

420
00:21:04,640 --> 00:21:05,640
Yeah.

421
00:21:05,640 --> 00:21:06,640
Okay.

422
00:21:06,640 --> 00:21:07,640
But then we're both.

423
00:21:07,640 --> 00:21:09,400
Big, big, big for us was the ending of the movie,
which we don't want to talk about

424
00:21:09,400 --> 00:21:11,680
in specifics because it's so fun for us.

425
00:21:11,680 --> 00:21:17,400
But initially we were like, planning on, I don't
know, how do you talk about this?

426
00:21:17,400 --> 00:21:21,520
We planned on an ending that required more
resources than we had.

427
00:21:21,520 --> 00:21:25,360
And we kept like scaling down the lift of the
ending.

428
00:21:25,360 --> 00:21:28,720
It was like, okay, well, instead of doing this big
thing, what if we do this midsize thing?

429
00:21:28,720 --> 00:21:29,720
Okay.

430
00:21:29,720 --> 00:21:31,920
And so if it's this thing, we'll do this little
thing.

431
00:21:31,920 --> 00:21:34,880
And like even that, like bottom level tier thing,
like didn't turn out.

432
00:21:34,880 --> 00:21:36,480
I was like, what do we do?

433
00:21:36,480 --> 00:21:40,920
We don't know how we're going to end the movie,
like the most important thing.

434
00:21:40,920 --> 00:21:42,600
And we came to this solution.

435
00:21:42,600 --> 00:21:47,160
We were just like riffing in the car and like
pitching like a joke solution.

436
00:21:47,160 --> 00:21:52,000
And it's basically like a joke perversion of what
we had intended initially.

437
00:21:52,000 --> 00:21:54,800
And we had a moment where we were laughing so hard
and we're like, oh, that would be so

438
00:21:54,800 --> 00:21:55,800
funny, but we can't.

439
00:21:55,800 --> 00:21:56,800
We can't do that.

440
00:21:56,800 --> 00:21:57,800
And then we're like, oh, yeah, we can.

441
00:21:57,800 --> 00:21:58,800
It's our movie.

442
00:21:58,800 --> 00:21:59,800
We do what we want.

443
00:21:59,800 --> 00:22:00,800
Yeah.

444
00:22:00,800 --> 00:22:01,800
So then that's like what we went with.

445
00:22:01,800 --> 00:22:05,600
And it ends up being like one of my favorite
audience moments in the entire movie.

446
00:22:05,600 --> 00:22:11,720
And it all, yeah, was just born of, like, we have
no way to pull off an ending.

447
00:22:11,720 --> 00:22:13,600
My daughter watched part of it with me.

448
00:22:13,600 --> 00:22:16,720
And I thought it was very funny.

449
00:22:16,720 --> 00:22:17,720
Yeah.

450
00:22:17,720 --> 00:22:20,920
Well, a more specific miracle is our movie is like
a music movie.

451
00:22:20,920 --> 00:22:21,920
It's like a punk movie.

452
00:22:21,920 --> 00:22:28,720
And we initially had planned on licensing truly just so many
fucking Ramones songs. Like, obviously

453
00:22:28,720 --> 00:22:31,920
we did not get like we couldn't get the rights to
that because we didn't have the money

454
00:22:31,920 --> 00:22:32,920
for it.

455
00:22:32,920 --> 00:22:38,960
And so the first song that the band plays at the
open mic is that punk-rock cover

456
00:22:38,960 --> 00:22:39,960
of a hymn.

457
00:22:39,960 --> 00:22:43,160
That was supposed to be 'Blitzkrieg Bop' initially.

458
00:22:43,160 --> 00:22:44,440
And we couldn't get it.

459
00:22:44,440 --> 00:22:49,240
So it forces us to like go back to the drawing
board and think about what we could do.

460
00:22:49,240 --> 00:22:51,280
And I think it's way better.

461
00:22:51,280 --> 00:22:53,480
It's like way funnier and I'm so happy.

462
00:22:53,480 --> 00:22:55,800
It's way funnier than just them playing 'Blitzkrieg
Bop.'

463
00:22:55,800 --> 00:22:58,600
Plus it comes from their lived experience.

464
00:22:58,600 --> 00:22:59,920
It comes out of who they are.

465
00:22:59,920 --> 00:23:00,920
It's very specific.

466
00:23:00,920 --> 00:23:03,280
You know, and I was shocked again.

467
00:23:03,280 --> 00:23:07,720
These actresses were incredible because I noticed
that they performed all the songs

468
00:23:07,720 --> 00:23:08,720
themselves.

469
00:23:08,720 --> 00:23:10,520
At least they're credited as performing all the
songs themselves.

470
00:23:10,520 --> 00:23:11,520
That's nuts.

471
00:23:11,520 --> 00:23:12,520
Yeah.

472
00:23:12,520 --> 00:23:14,280
They all sang them.

473
00:23:14,280 --> 00:23:16,680
Adi plays the drums on those tracks.

474
00:23:16,680 --> 00:23:17,680
Alexa plays the bass.

475
00:23:17,680 --> 00:23:20,280
The only one who's not playing is Niki's not
playing guitar.

476
00:23:20,280 --> 00:23:21,280
Yeah.

477
00:23:21,280 --> 00:23:22,280
But that's it.

478
00:23:22,280 --> 00:23:23,280
Yeah.

479
00:23:23,280 --> 00:23:24,280
They're all very talented.

480
00:23:24,280 --> 00:23:27,600
And they like Adi didn't know how to play the drums
coming into it.

481
00:23:27,600 --> 00:23:29,680
And she learned for the movie.

482
00:23:29,680 --> 00:23:33,120
And then yeah, by the end of the movie she was so
good that we ended up recording her

483
00:23:33,120 --> 00:23:35,800
drumming for the track.

484
00:23:35,800 --> 00:23:36,800
Nice.

485
00:23:36,800 --> 00:23:37,800
It's amazing.

486
00:23:37,800 --> 00:23:40,640
Well, actually, well, let's get to Rob's big
question.

487
00:23:40,640 --> 00:23:44,440
We wanted to talk to you about the energy of the
movie.

488
00:23:44,440 --> 00:23:47,840
You guys have brought a lot of good energy with us
so far.

489
00:23:47,840 --> 00:23:53,000
But you know, it's hard to translate the energy and
excitement on set onto the screen.

490
00:23:53,000 --> 00:23:58,360
And it's really hard to do it without editing
tricks, like MTV-style, like fast cut editing.

491
00:23:58,360 --> 00:23:59,360
Overlapping dialogue.

492
00:23:59,360 --> 00:24:00,360
There you go.

493
00:24:00,360 --> 00:24:02,680
And I really loved it.

494
00:24:02,680 --> 00:24:06,720
And I don't have the first question because I
haven't thought about this yet.

495
00:24:06,720 --> 00:24:08,360
Robb has a great question now.

496
00:24:08,360 --> 00:24:09,600
It's not necessarily a question.

497
00:24:09,600 --> 00:24:14,320
But the reason I want to start shooting like the
way you shot this is that with the energy

498
00:24:14,320 --> 00:24:18,280
on set, I mean, it doesn't only works if your
actors can pull it off, which yours could.

499
00:24:18,280 --> 00:24:22,640
But you get to control the energy of the whole,
like, the whole scene.

500
00:24:22,640 --> 00:24:25,800
I mean, there's, there's cuts here and there, but
that you're controlling the energy.

501
00:24:25,800 --> 00:24:28,760
When people are coming in and out, when they're
delivering their lines, how much space is

502
00:24:28,760 --> 00:24:30,240
between those lines.

503
00:24:30,240 --> 00:24:34,200
And those kids are super precise, which I mean,
maybe that's the miracle.

504
00:24:34,200 --> 00:24:35,200
I mean, because I don't know.

505
00:24:35,200 --> 00:24:38,440
I know a lot of actors and those kids are very
precise.

506
00:24:38,440 --> 00:24:41,600
You know, the kids in America? Maybe, like, our
cast.

507
00:24:41,600 --> 00:24:42,600
They are.

508
00:24:42,600 --> 00:24:43,600
They are.

509
00:24:43,600 --> 00:24:44,600
All of them.

510
00:24:44,600 --> 00:24:48,120
One thing to that though is we worked really hard.

511
00:24:48,120 --> 00:24:53,560
So we made this movie in 10 days, but we did not
overwork our crew.

512
00:24:53,560 --> 00:24:57,360
And I think a lot of people hear 10 days and
they're like, oh, you were working like 16, 18

513
00:24:57,360 --> 00:24:58,520
hour days.

514
00:24:58,520 --> 00:25:02,360
We were doing 12 hour days and there was only one
day we went over and it was because

515
00:25:02,360 --> 00:25:06,480
the grip truck broke down and we had to transfer
all of the gear to the other truck.

516
00:25:06,480 --> 00:25:07,800
So it was out of our control.

517
00:25:07,800 --> 00:25:12,880
And we really wanted our crew to have a good experience because
we have worked in a lot of lower-crew

518
00:25:12,880 --> 00:25:17,360
positions, on sets where it's just like a nightmare
and you're not having a good time.

519
00:25:17,360 --> 00:25:22,160
I in particular have had a lot of experiences as a
PA where I'm not having a good time.

520
00:25:22,160 --> 00:25:24,560
The entire production staff is not having a good
time.

521
00:25:24,560 --> 00:25:29,440
And then that starts to bleed into the entire
production because PA is literally touching

522
00:25:29,440 --> 00:25:34,520
every single department and interacting with every
single department and that energy translates

523
00:25:34,520 --> 00:25:36,240
to the rest of the crew.

524
00:25:36,240 --> 00:25:41,040
And so we wanted everyone to have a really great
time on set and also that like we ourselves

525
00:25:41,040 --> 00:25:45,680
like went and met with the PAs beforehand and
wanted them to feel comfortable and like

526
00:25:45,680 --> 00:25:49,120
that they could come to us if there was anything
that they were hearing about on set.

527
00:25:49,120 --> 00:25:54,960
Anyways, we like worked really hard to create a
very great environment on set because we

528
00:25:54,960 --> 00:25:59,520
believe that influences the entire production and I
think that is a big reason that everyone

529
00:25:59,520 --> 00:26:04,200
on set was able to have such high energy and
continue going like, I mean, don't get me

530
00:26:04,200 --> 00:26:05,200
wrong.

531
00:26:05,200 --> 00:26:09,080
We're still doing a lot of setups in a day and
moving very quickly but I think our crew

532
00:26:09,080 --> 00:26:12,880
is able to do that because they're enjoying
themselves and like believe in this project

533
00:26:12,880 --> 00:26:15,200
and believe in the entire team.

534
00:26:15,200 --> 00:26:20,120
Yeah, like the exhaustion turned into like slap
happy delirium instead of like embittered

535
00:26:20,120 --> 00:26:21,120
like anger.

536
00:26:21,120 --> 00:26:22,120
Yeah, sure.

537
00:26:22,120 --> 00:26:25,880
Yeah, I mean, some of the best advice I ever got
was that as a director, as a person

538
00:26:25,880 --> 00:26:31,760
like heading the shoot, you need to really keep an
eye on how what your energy level is,

539
00:26:31,760 --> 00:26:33,240
what kind of energy you were putting down.

540
00:26:33,240 --> 00:26:38,360
And I guess it's one thing to foster a high morale
and make sure everyone's happy and do

541
00:26:38,360 --> 00:26:39,360
all that.

542
00:26:39,360 --> 00:26:44,000
But the flip side of it is you also kind of need to
be the taskmaster to make sure things

543
00:26:44,000 --> 00:26:46,920
like you said, as precise as they needed to be.

544
00:26:46,920 --> 00:26:51,040
So how did you find that balance between, hey,
we're just hanging out or slap happy but

545
00:26:51,040 --> 00:26:55,320
also I've got this metronome and it's got to be
like this for each line.

546
00:26:55,320 --> 00:27:00,000
Well, like honestly, that's something that I
struggled with at first because I don't

547
00:27:00,000 --> 00:27:05,040
know if it's just like because I am a woman and
it's like part of the female experience

548
00:27:05,040 --> 00:27:09,280
but I think it's very difficult sometimes for me to
like assert myself without feeling

549
00:27:09,280 --> 00:27:12,920
like I'm being, I don't know, like a diva or
something.

550
00:27:12,920 --> 00:27:13,920
Sure.

551
00:27:13,920 --> 00:27:17,480
But what helps is to just realize that like as the
director, like you're the leader of the

552
00:27:17,480 --> 00:27:18,480
ship, right?

553
00:27:18,480 --> 00:27:22,480
You're the captain of the ship and like people want
to know what to do.

554
00:27:22,480 --> 00:27:24,320
They want you to be decisive.

555
00:27:24,320 --> 00:27:28,520
And if you're trying to appease someone else, all
that really does is like leave them

556
00:27:28,520 --> 00:27:32,800
without instructions and then they have to like
make an uninformed decision.

557
00:27:32,800 --> 00:27:39,400
I don't know, I've been in lower crew positions where I don't
have the like most direct instructions

558
00:27:39,400 --> 00:27:42,640
and then I get really anxious because it's like I
just have to guess what you want and

559
00:27:42,640 --> 00:27:46,360
it's a 50/50 chance that it won't be right and then
it feels like a rejection or it feels

560
00:27:46,360 --> 00:27:48,080
like I've done bad.

561
00:27:48,080 --> 00:27:51,840
Whereas like if you know what you want, just tell
them, just tell them what you want.

562
00:27:51,840 --> 00:27:55,960
Well also like being open if they have like a yes
and on top of that, like that's the

563
00:27:55,960 --> 00:27:57,440
best part of filmmaking.

564
00:27:57,440 --> 00:28:04,400
So being direct, it doesn't like negate collaboration and in
fact it oftentimes like facilitates it.

565
00:28:04,400 --> 00:28:06,120
I feel like learning that was really important.

566
00:28:06,120 --> 00:28:09,920
Well it's sort of, I mean I don't want bring you back to
relationships in general but I sometimes

567
00:28:09,920 --> 00:28:12,200
have this conversation with my wife.

568
00:28:12,200 --> 00:28:16,520
Sometimes I have to know what you want to be able
to give you what you want.

569
00:28:16,520 --> 00:28:19,600
Sometimes it's important to tell people you can't
make, don't keep it a secret.

570
00:28:19,600 --> 00:28:20,600
It doesn't need to be a secret.

571
00:28:20,600 --> 00:28:22,920
Just say what you want and then we'll figure it
out.

572
00:28:22,920 --> 00:28:23,920
Yeah.

573
00:28:23,920 --> 00:28:28,880
I think realizing like not everyone's brain works
the same as ours and so like our first

574
00:28:28,880 --> 00:28:33,440
thoughts and then it feels obvious to both of us
because our brains, we always kind of have

575
00:28:33,440 --> 00:28:34,440
the same first thought.

576
00:28:34,440 --> 00:28:35,440
Yeah.

577
00:28:35,440 --> 00:28:36,440
Which is weird.

578
00:28:36,440 --> 00:28:37,440
But not everyone else.

579
00:28:37,440 --> 00:28:40,440
So something that feels obvious to us, you know,
you take it for granted that like your

580
00:28:40,440 --> 00:28:43,480
art director is going to have that same first
thought but then they don't.

581
00:28:43,480 --> 00:28:47,000
So you have to be very explicit and you have to
tell them exactly what you want.

582
00:28:47,000 --> 00:28:48,000
Yeah.

583
00:28:48,000 --> 00:28:49,320
That's what I actually would I struggle with
sometimes.

584
00:28:49,320 --> 00:28:50,320
Get very frustrated.

585
00:28:50,320 --> 00:28:53,840
I'm like this is so obvious and I don't think
about, it's only obvious to me.

586
00:28:53,840 --> 00:28:55,600
It's not obvious to them.

587
00:28:55,600 --> 00:28:57,800
I've got to be more empathetic.

588
00:28:57,800 --> 00:29:02,280
Well, and how do that work between the two of you?

589
00:29:02,280 --> 00:29:06,760
So this is your first feature together.

590
00:29:06,760 --> 00:29:07,760
Yes.

591
00:29:07,760 --> 00:29:13,480
You mentioned, Megan, that you gave this to Kade to
helm, and you guys are partners directing.

592
00:29:13,480 --> 00:29:16,520
How did that happen and how is that on set?

593
00:29:16,520 --> 00:29:19,840
Like are you guys always thinking the same thing or
is it one point something playing good

594
00:29:19,840 --> 00:29:21,560
good cop and then, you know, playing bad cop?

595
00:29:21,560 --> 00:29:22,560
He's so funny.

596
00:29:22,560 --> 00:29:26,840
Well, I'll tell you how it happens because I feel
like, I don't know, I really like this

597
00:29:26,840 --> 00:29:29,040
story because I don't know.

598
00:29:29,040 --> 00:29:34,920
Kade, like you said, I initially sent it to Kade
for him to direct and he read it and

599
00:29:34,920 --> 00:29:38,480
came back and was like, I love this so much that I
want to make it.

600
00:29:38,480 --> 00:29:40,920
But it doesn't feel like it's my story to tell on
my own.

601
00:29:40,920 --> 00:29:43,320
And he was like, I know you want to direct.

602
00:29:43,320 --> 00:29:47,440
I would love to direct this with you, or if you
want, and this story is, like, too

603
00:29:47,440 --> 00:29:50,800
personal, you can direct it on your own and like,
I'll just produce it for you.

604
00:29:50,800 --> 00:29:54,240
Which I don't know, I was very touched by that,
just like that level of support and like

605
00:29:54,240 --> 00:29:56,240
respect from like a creative partner.

606
00:29:56,240 --> 00:30:00,160
So I like went off and thought really long and hard
about it and I did like a pros and cons

607
00:30:00,160 --> 00:30:05,080
list and all of the pros were like, you get to
share this in like this immense workload.

608
00:30:05,080 --> 00:30:08,240
Like the collaboration is like the best part of any
like art form.

609
00:30:08,240 --> 00:30:10,240
I don't know, lots and lots of pros.

610
00:30:10,240 --> 00:30:12,440
And then the cons were just like ego based.

611
00:30:12,440 --> 00:30:15,480
They were all just like, but then it's not my
movie.

612
00:30:15,480 --> 00:30:16,480
[Unclear dialogue.]

613
00:30:16,480 --> 00:30:17,480
I don't get top billing.

614
00:30:17,480 --> 00:30:22,160
And so that's when I was like, yeah, I think let's
do this one together.

615
00:30:22,160 --> 00:30:24,000
But it was our first time directing together.

616
00:30:24,000 --> 00:30:26,200
Which is like, I don't recommend that.

617
00:30:26,200 --> 00:30:28,840
I think, like, we got extremely lucky.

618
00:30:28,840 --> 00:30:29,840
[Unclear dialogue.]

619
00:30:29,840 --> 00:30:34,800
I know our co directing partnership is great, but
like for someone to be like, I'm going to

620
00:30:34,800 --> 00:30:38,160
try out co directing on a feature film.

621
00:30:38,160 --> 00:30:42,800
It's a one in a million shot that the partnership
actually works out the way that ours did.

622
00:30:42,800 --> 00:30:45,840
And so that was like where the luck I think came
in.

623
00:30:45,840 --> 00:30:50,960
But on set, I think we thought that there would be
like a very clear delineation of who's

624
00:30:50,960 --> 00:30:55,080
going to manage what, but it ended up just being
whoever really is most passionate about

625
00:30:55,080 --> 00:30:59,280
the note is going to be the one to deliver it
regardless of like who, what the department

626
00:30:59,280 --> 00:31:01,400
is or if it's cast or crew.

627
00:31:01,400 --> 00:31:05,760
Yeah, I think we thought that, hey, because I come
from a writing and performance

628
00:31:05,760 --> 00:31:08,360
background and Kade comes from a more technical
background.

629
00:31:08,360 --> 00:31:13,000
So I think we were like, 'Hey, he'll talk to camera
and sound and all the technical

630
00:31:13,000 --> 00:31:17,520
stuff and I'll like mostly handle performance and
like art department and things like that.

631
00:31:17,520 --> 00:31:19,240
And that was like not the case at all.

632
00:31:19,240 --> 00:31:23,240
We learned pretty quickly that like you have to
kind of be a united front on all things.

633
00:31:23,240 --> 00:31:25,560
And so we were kind of just glued to each other.

634
00:31:25,560 --> 00:31:27,960
So it was just more symbiotic than we anticipated.

635
00:31:27,960 --> 00:31:28,960
Yeah.

636
00:31:28,960 --> 00:31:30,760
Yeah, so I mean, it's a lot like parenting.

637
00:31:30,760 --> 00:31:34,240
You have to have a united front or else the kids
will take advantage of one of you.

638
00:31:34,240 --> 00:31:35,240
Yeah.

639
00:31:35,240 --> 00:31:36,240
Yeah.

640
00:31:36,240 --> 00:31:37,240
[Unclear dialogue.]

641
00:31:37,240 --> 00:31:38,240
[Unclear dialogue.]

642
00:31:38,240 --> 00:31:45,600
But another thing that was really beneficial about
directing as a partnership was that like

643
00:31:45,600 --> 00:31:48,800
you have two brains tackling the same problems at
all times.

644
00:31:48,800 --> 00:31:51,920
And like it's like the flip side of the fact that
everyone's brain doesn't work the

645
00:31:51,920 --> 00:31:52,920
same.

646
00:31:52,920 --> 00:31:55,760
It's like if I had a note, like if we had a note
that I'm trying to deliver or give to

647
00:31:55,760 --> 00:31:59,880
someone and it's not coming across, then Kade can
tag in and be like, hold on.

648
00:31:59,880 --> 00:32:02,680
Let me like reformulate this in a different way.

649
00:32:02,680 --> 00:32:06,040
And he just kind of like doubled your ability to
communicate with people, which is

650
00:32:06,040 --> 00:32:07,040
right.

651
00:32:07,040 --> 00:32:12,720
And then I would assume that helps keep the
creative conversation going, like empowering

652
00:32:12,720 --> 00:32:15,280
people to do things because it feels like a
conversation.

653
00:32:15,280 --> 00:32:18,800
It's a conversation between the two of you then is
a conversation between everybody.

654
00:32:18,800 --> 00:32:19,800
Yeah.

655
00:32:19,800 --> 00:32:20,800
Yeah.

656
00:32:20,800 --> 00:32:24,280
I think also, yeah, going in as a duo, like, keeps
the fact that film is a collaborative

657
00:32:24,280 --> 00:32:25,600
art form top of mind.

658
00:32:25,600 --> 00:32:30,080
fall into that trap of, like, of auteur kind
of—sure,

659
00:32:30,080 --> 00:32:33,320
I think works for some people, but it's not like my
vibe.

660
00:32:33,320 --> 00:32:34,840
So it was like very nice.

661
00:32:34,840 --> 00:32:37,000
We're a team, and then we're all a team.

662
00:32:37,000 --> 00:32:38,000
Right.

663
00:32:38,000 --> 00:32:39,320
I mean, there may have been one or two times.

664
00:32:39,320 --> 00:32:41,440
And I'm like, Hey guys, it's my movie.

665
00:32:41,440 --> 00:32:42,440
All right.

666
00:32:42,440 --> 00:32:44,040
There may have been one or two.

667
00:32:44,040 --> 00:32:45,040
Yeah.

668
00:32:45,040 --> 00:32:46,040
I didn't think about it.

669
00:32:46,040 --> 00:32:49,800
Yeah, there was certainly a moment where we were
like everyone stopped.

670
00:32:49,800 --> 00:32:50,800
[Unclear dialogue.]

671
00:32:50,800 --> 00:32:51,800
I don't know.

672
00:32:51,800 --> 00:32:53,800
[Unclear dialogue.]

673
00:32:53,800 --> 00:32:55,920
I mean, you do have to do it sometimes.

674
00:32:55,920 --> 00:32:57,200
Like I like the opinions.

675
00:32:57,200 --> 00:32:58,400
I don't need them all at once.

676
00:32:58,400 --> 00:32:59,400
Yeah.

677
00:32:59,400 --> 00:33:00,400
Yeah.

678
00:33:00,400 --> 00:33:01,400
Yeah.

679
00:33:01,400 --> 00:33:02,400
I'm ultimately going to make this decision, or me
and you together.

680
00:33:02,400 --> 00:33:03,400
Right.

681
00:33:03,400 --> 00:33:05,840
And I ask a technical question.

682
00:33:05,840 --> 00:33:06,840
Yeah.

683
00:33:06,840 --> 00:33:07,840
Okay.

684
00:33:07,840 --> 00:33:10,240
I recognize Sony footage using Sony cameras, right?

685
00:33:10,240 --> 00:33:12,680
Again, I'm going to beat this dead horse.

686
00:33:12,680 --> 00:33:17,560
I love the Sony cameras for low-budget productions
because they can shoot almost anywhere.

687
00:33:17,560 --> 00:33:20,360
And if you can't set up a light, you don't always
need one.

688
00:33:20,360 --> 00:33:23,960
So who made that decision to make this movie that
way?

689
00:33:23,960 --> 00:33:25,600
Because man, it really worked.

690
00:33:25,600 --> 00:33:29,800
I mean, it was a conversation with the two of us
and Brenna Empey, our DP.

691
00:33:29,800 --> 00:33:31,120
It's exactly what you just said.

692
00:33:31,120 --> 00:33:32,840
You can hit the dual ISO.

693
00:33:32,840 --> 00:33:34,600
You can be in really dark spaces.

694
00:33:34,600 --> 00:33:38,740
We knew where we were going to be in these music
venues that don't have any windows or any

695
00:33:38,740 --> 00:33:40,260
natural light.

696
00:33:40,260 --> 00:33:43,960
And we'd have to use like the stage lighting that
was already like built in and then maybe

697
00:33:43,960 --> 00:33:45,560
supplement with a fill or something.

698
00:33:45,560 --> 00:33:50,560
Like we just need to be able to maneuver and be in
multiple different scenarios.

699
00:33:50,560 --> 00:33:52,000
And then we're also shooting outdoors.

700
00:33:52,000 --> 00:33:54,480
And so that camera just has such range.

701
00:33:54,480 --> 00:33:56,480
And so that's kind of why we went with that one.

702
00:33:56,480 --> 00:33:57,480
Yeah.

703
00:33:57,480 --> 00:33:58,480
Because it looks really good.

704
00:33:58,480 --> 00:34:01,080
We really love, like, having a deep depth of field.

705
00:34:01,080 --> 00:34:03,000
So it's just, yeah, so like everything's in focus.

706
00:34:03,000 --> 00:34:06,720
And so yeah, we wanted to give ourselves like as
much of a chance of getting that as possible

707
00:34:06,720 --> 00:34:08,400
even in, like, low-light scenarios.

708
00:34:08,400 --> 00:34:09,400
And it really worked.

709
00:34:09,400 --> 00:34:11,400
And again, I do post-production mostly.

710
00:34:11,400 --> 00:34:13,080
I mean, when I'm not directing.

711
00:34:13,080 --> 00:34:15,680
And the post-production was really excellent on
this movie.

712
00:34:15,680 --> 00:34:17,200
The color grade was really nice.

713
00:34:17,200 --> 00:34:18,520
The footage looked great.

714
00:34:18,520 --> 00:34:19,520
Sounded good.

715
00:34:19,520 --> 00:34:21,800
Just, it was very impressive for the budget.

716
00:34:21,800 --> 00:34:25,640
I don't know how much, if that budget was built in
from the beginning or if you raised it

717
00:34:25,640 --> 00:34:27,720
after you shot part of the footage or what?

718
00:34:27,720 --> 00:34:29,120
It actually might have been our miracle.

719
00:34:29,120 --> 00:34:30,120
Yeah.

720
00:34:30,120 --> 00:34:36,960
And we were hitting above our weight class with the
team that finished this movie.

721
00:34:36,960 --> 00:34:42,800
And Kehan, our colorist, used to work for Company 3
and is, like, a genius when it

722
00:34:42,800 --> 00:34:43,800
comes to color.

723
00:34:43,800 --> 00:34:48,240
Well, I watched him build a sunset in front of my
eyes.

724
00:34:48,240 --> 00:34:51,320
That shot where, like, they're in the car driving
to the football game.

725
00:34:51,320 --> 00:34:54,200
It was like, right middle of the day.

726
00:34:54,200 --> 00:34:56,560
And I just, it just wasn't making sense.

727
00:34:56,560 --> 00:34:58,200
And I just watched him be like, hold on.

728
00:34:58,200 --> 00:35:00,640
You like created a fucking sunset.

729
00:35:00,640 --> 00:35:02,280
Now it's dusk.

730
00:35:02,280 --> 00:35:03,280
It's like awesome.

731
00:35:03,280 --> 00:35:04,280
That's awesome.

732
00:35:04,280 --> 00:35:09,240
I love post, how you can do all that stuff.

733
00:35:09,240 --> 00:35:10,240
What, what are you going to say?

734
00:35:10,240 --> 00:35:11,240
Go for it.

735
00:35:11,240 --> 00:35:12,240
No, I— and the sound mix.

736
00:35:12,240 --> 00:35:13,240
Yeah.

737
00:35:13,240 --> 00:35:14,240
The sound mix, Jess Parks, same thing.

738
00:35:14,240 --> 00:35:21,120
Like, we edited half of this movie on like a laptop
remotely in like, it was just the

739
00:35:21,120 --> 00:35:24,840
most low-tech way to edit a movie.

740
00:35:24,840 --> 00:35:29,080
And then we got into the sound mix and Jess Parks
like hooked us up with this incredible

741
00:35:29,080 --> 00:35:30,080
soundstage.

742
00:35:30,080 --> 00:35:34,720
We walked into this soundstage and we were like, oh
no, we can't afford this,

743
00:35:34,720 --> 00:35:36,760
to be here.

744
00:35:36,760 --> 00:35:37,760
That is funny.

745
00:35:37,760 --> 00:35:38,760
I've done that too.

746
00:35:38,760 --> 00:35:42,040
I've gone into like, I'm here editing in my
bedroom.

747
00:35:42,040 --> 00:35:46,000
And then they'll like come to the sound mix and I
walk into this giant studio, this huge

748
00:35:46,000 --> 00:35:48,560
projector and like, stadium seating.

749
00:35:48,560 --> 00:35:54,120
I'm like, oh, this is the sound mix is having a
better time than I am at home.

750
00:35:54,120 --> 00:35:55,120
Yeah.

751
00:35:55,120 --> 00:35:59,120
So I guess I would like to talk about regular posts
before you get to post posts, which

752
00:35:59,120 --> 00:36:00,120
we're already in.

753
00:36:00,120 --> 00:36:04,480
But, you know, so you shot this and you had such a
good process on set and there is a rhythm

754
00:36:04,480 --> 00:36:08,000
you get into, especially with 10 days, but post
drags.

755
00:36:08,000 --> 00:36:13,200
Post can get real, real depressing as somebody who
likes posts who gets into posts and all

756
00:36:13,200 --> 00:36:14,200
that stuff.

757
00:36:14,200 --> 00:36:20,400
But how are you able to continue that vibe and make
sure things stayed fresh as you watch

758
00:36:20,400 --> 00:36:22,840
the same scenes thousands of times?

759
00:36:22,840 --> 00:36:25,280
I don't think we have an answer.

760
00:36:25,280 --> 00:36:29,080
But is that is that where the animation came in
where you just like, you know, what does

761
00:36:29,080 --> 00:36:30,080
this need something?

762
00:36:30,080 --> 00:36:34,280
Yeah, I noticed by the way that you guys did your
animation in the VFX and it was very

763
00:36:34,280 --> 00:36:35,280
good.

764
00:36:35,280 --> 00:36:36,280
Congratulations guys.

765
00:36:36,280 --> 00:36:39,320
That was part of our long, sad year of
post-production.

766
00:36:39,320 --> 00:36:40,320
Only a year?

767
00:36:40,320 --> 00:36:41,320
That's pretty good.

768
00:36:41,320 --> 00:36:45,520
Yeah, but it was a year like every single day,
every hour of our lives.

769
00:36:45,520 --> 00:36:49,720
Like, Kade and I both, I mean, this is important to
say about filmmaking.

770
00:36:49,720 --> 00:36:53,400
So we had ourselves as having partners that support
us.

771
00:36:53,400 --> 00:36:54,800
Okay, this is important.

772
00:36:54,800 --> 00:36:59,560
Kade and I were able to pour every waking moment of
our lives for a year into this and we

773
00:36:59,560 --> 00:37:05,440
were only able to do that because both of us have
partners who have paying jobs and love

774
00:37:05,440 --> 00:37:09,680
us deeply, and also my building in New York is in a
lawsuit and I haven't paid rent in a year.

775
00:37:09,680 --> 00:37:12,080
Truly the only way for people to do this.

776
00:37:12,080 --> 00:37:16,840
So yeah, I was like only a year, but it was all of
the hours of that year.

777
00:37:16,840 --> 00:37:20,680
And I should, what that looks like is Megan did all
the animations herself and she would take

778
00:37:20,680 --> 00:37:25,640
it out to a bar when they went out in the evening
and then Dave, her husband would like be

779
00:37:25,640 --> 00:37:30,160
drawing in the animations because Megan's hand was
in so much pain that she couldn't do

780
00:37:30,160 --> 00:37:31,160
it anymore.

781
00:37:31,160 --> 00:37:34,240
I was like—because I needed—okay, but also we're
psychotic.

782
00:37:34,240 --> 00:37:38,720
I needed the textures of the animations to be
dynamic and I found like it only do that

783
00:37:38,720 --> 00:37:42,480
I found I could only do that

784
00:37:42,480 --> 00:37:46,360
And some of these animations, usually animation is
done on twos, so it's like 12 frames

785
00:37:46,360 --> 00:37:52,400
per second, but some of them had to be done almost
like rotoscoping, so it was 24 full frames

786
00:37:52,400 --> 00:37:53,800
per second, like the pizza one.

787
00:37:53,800 --> 00:37:57,120
And I had to color truly a thousand fucking pizza
slices.

788
00:37:57,120 --> 00:38:01,360
So I would do it everywhere and my husband and I
would go to the bar and I'd like tag him

789
00:38:01,360 --> 00:38:02,360
in.

790
00:38:02,360 --> 00:38:04,120
I'd be like, you need to color these five pizzas.

791
00:38:04,120 --> 00:38:10,720
And then, well, if it helps, my daughter's favorite
moment is when she has the devil horns

792
00:38:10,720 --> 00:38:13,400
in the tongue and then that's her favorite part.

793
00:38:13,400 --> 00:38:18,720
She talked about it all night.

794
00:38:18,720 --> 00:38:23,560
There's nothing better than having a supportive
partner, spouse or whatever it is.

795
00:38:23,560 --> 00:38:27,880
When I made my feature, I immediately jumped back
into work, and I was, like, getting swamped

796
00:38:27,880 --> 00:38:29,600
and I was missing meetings and all that stuff.

797
00:38:29,600 --> 00:38:34,760
My wife told me she's like, hey, why don't you just
worry about the movie and we'll figure

798
00:38:34,760 --> 00:38:35,760
this out.

799
00:38:35,760 --> 00:38:36,760
And it was so helpful.

800
00:38:36,760 --> 00:38:39,480
It's such a privilege to have that opportunity.

801
00:38:39,480 --> 00:38:44,640
Like, my gosh, you think that the hard part ends
when you make the movie, but then it's,

802
00:38:44,640 --> 00:38:46,720
it's like, you're just done with a fun part.

803
00:38:46,720 --> 00:38:47,720
Yeah.

804
00:38:47,720 --> 00:38:52,200
And also, it's like during that year of post, we're
not always the most fun people to live

805
00:38:52,200 --> 00:38:53,200
with.

806
00:38:53,200 --> 00:38:54,200
You know?

807
00:38:54,200 --> 00:38:58,320
Like, I like, I definitely crashed out a couple
times because we put all of our time and

808
00:38:58,320 --> 00:39:01,040
all of our money into this project.

809
00:39:01,040 --> 00:39:05,440
And there's a moment in the post process when
you're like, did we make a bad movie?

810
00:39:05,440 --> 00:39:08,160
And it's like, no, you just have to keep going.

811
00:39:08,160 --> 00:39:10,720
And I'm familiar with that moment in screenwriting.

812
00:39:10,720 --> 00:39:14,880
Like I know that thing of like, write a shitty
first draft and you're like, whatever, this is

813
00:39:14,880 --> 00:39:16,480
a reflection of me, the person.

814
00:39:16,480 --> 00:39:18,920
I'll just rewrite it and it'll get better.

815
00:39:18,920 --> 00:39:23,120
But experiencing that on a feature film, I wasn't
prepared for it.

816
00:39:23,120 --> 00:39:24,120
I wasn't as equipped.

817
00:39:24,120 --> 00:39:28,680
Also, one thing we learned in post is you're
learning so much as you're editing.

818
00:39:28,680 --> 00:39:30,960
And because we work, we come from short form.

819
00:39:30,960 --> 00:39:32,200
So we've never made a feature before.

820
00:39:32,200 --> 00:39:34,320
We've never made anything this long.

821
00:39:34,320 --> 00:39:38,960
And so we would go through the movie and edit all
these scenes and then we come to the end

822
00:39:38,960 --> 00:39:39,960
of the movie.

823
00:39:39,960 --> 00:39:43,160
And then by the time we've arrived at the end, it's
like, oh, we've learned so much.

824
00:39:43,160 --> 00:39:46,200
Now we want to apply it to everything we did at the
beginning.

825
00:39:46,200 --> 00:39:50,160
And we started redoing the process and then we
realized like very quickly, oh, we're just

826
00:39:50,160 --> 00:39:53,840
going to be a snake eating its own tail because
we're going to get through the movie again,

827
00:39:53,840 --> 00:39:57,120
have learned so much and then want to restart that
process over again.

828
00:39:57,120 --> 00:40:00,200
And so there's a point where you have to just be
like, this is it.

829
00:40:00,200 --> 00:40:01,200
It's good enough.

830
00:40:01,200 --> 00:40:02,200
Yeah, what was it?

831
00:40:02,200 --> 00:40:03,200
Films are never finished.

832
00:40:03,200 --> 00:40:04,200
They're only abandoned.

833
00:40:04,200 --> 00:40:05,200
They escape.

834
00:40:05,200 --> 00:40:06,200
They escape.

835
00:40:06,200 --> 00:40:07,200
Yeah.

836
00:40:07,200 --> 00:40:10,320
So how is, just because I'm curious, how was your
first screening?

837
00:40:10,320 --> 00:40:11,720
Because that's always terrifying.

838
00:40:11,720 --> 00:40:17,120
I did that first screening with a bunch of people
and my movie was specific and I had all

839
00:40:17,120 --> 00:40:19,160
those same moments of like, oh, my gosh, these
things.

840
00:40:19,160 --> 00:40:23,800
But our third act was like, it was a big swing and
was a big miss.

841
00:40:23,800 --> 00:40:28,680
And I remember sitting afterwards and my editor was
freaking out about like all the stuff

842
00:40:28,680 --> 00:40:30,000
we had to redo or this and that.

843
00:40:30,000 --> 00:40:33,920
And I would focus it on the positive parts and like
the similar things.

844
00:40:33,920 --> 00:40:38,240
But how was your first screening and how badly did
you freak out?

845
00:40:38,240 --> 00:40:42,400
Well, our first screening came pretty late in the
process.

846
00:40:42,400 --> 00:40:46,520
And I freaked out, but before we get to that, I do
want to talk about, we did like send it

847
00:40:46,520 --> 00:40:47,520
to friends.

848
00:40:47,520 --> 00:40:48,520
Yeah.

849
00:40:48,520 --> 00:40:49,520
Yeah.

850
00:40:49,520 --> 00:40:53,160
Sent to a lot of friends. It's interesting that
we're, I don't know, I feel like we're talking

851
00:40:53,160 --> 00:40:56,520
so much about how high energy it is and how we kept
the energy up.

852
00:40:56,520 --> 00:41:02,040
Our first round of notes was like, the movie is
slow and kind of boring until like end of

853
00:41:02,040 --> 00:41:03,040
act one.

854
00:41:03,040 --> 00:41:03,840
Yeah.

855
00:41:03,840 --> 00:41:06,720
That freaked us out because we were like, what?

856
00:41:06,720 --> 00:41:07,720
How do we fix this?

857
00:41:07,720 --> 00:41:12,680
And we realized a big part of it was the opening
credit sequence that we had initially shot

858
00:41:12,680 --> 00:41:14,440
was just not working.

859
00:41:14,440 --> 00:41:16,400
It wasn't anything like the one that's in there
now.

860
00:41:16,400 --> 00:41:20,200
That one we shot on a pickup day with like a
skeleton crew of like everyone you see on

861
00:41:20,200 --> 00:41:23,360
screen and then also Kade.

862
00:41:23,360 --> 00:41:27,160
And like initially it wasn't, it didn't have any
energy to it at all.

863
00:41:27,160 --> 00:41:31,320
And it wasn't like signaling to the audience the
kind of film that the rest of the movie

864
00:41:31,320 --> 00:41:32,320
was going to be.

865
00:41:32,320 --> 00:41:37,320
And so yeah, that was like a weird note to get and
it felt really bad because I think negative

866
00:41:37,320 --> 00:41:40,080
notes only really feel bad when you realize that
they're right.

867
00:41:40,080 --> 00:41:42,960
It's someone like, doesn't like something and
you're like, that's wrong.

868
00:41:42,960 --> 00:41:43,960
You're wrong.

869
00:41:43,960 --> 00:41:46,000
Or it's not for you.

870
00:41:46,000 --> 00:41:49,000
That doesn't feel as bad as someone pointing out
something and you're like, oh no, you're

871
00:41:49,000 --> 00:41:50,000
so right.

872
00:41:50,000 --> 00:41:52,280
You're out.

873
00:41:52,280 --> 00:41:57,600
But also, I think the like lesson in that is also
like we thought the entire first half

874
00:41:57,600 --> 00:41:59,160
of the movie was not working.

875
00:41:59,160 --> 00:42:03,640
We'd have to recut the whole thing, but then we
just reshot the opening credit sequence

876
00:42:03,640 --> 00:42:06,120
and then it solved the rest of it.

877
00:42:06,120 --> 00:42:11,680
And so it's interesting how little tweaks
sometimes, and also sometimes, like, the

878
00:42:11,680 --> 00:42:16,800
note can be like, I think we were more focused on
like the pacing of the first half of the

879
00:42:16,800 --> 00:42:20,080
movie when in reality it was just the opening of
the movie.

880
00:42:20,080 --> 00:42:23,080
And once we fix that, it solved the rest of the
notes.

881
00:42:23,080 --> 00:42:25,960
So sometimes notes can be directed at the wrong
place.

882
00:42:25,960 --> 00:42:30,720
You need to be very careful about how you're
applying notes that you're getting from other

883
00:42:30,720 --> 00:42:31,720
people.

884
00:42:31,720 --> 00:42:35,160
One of the like a piece of advice I would give.

885
00:42:35,160 --> 00:42:37,440
We had our cast and crew screening.

886
00:42:37,440 --> 00:42:38,440
It was brutal.

887
00:42:38,440 --> 00:42:39,520
I like, that's another thing.

888
00:42:39,520 --> 00:42:43,360
I still don't think like the first time you show a
movie to people, it's ever going to be

889
00:42:43,360 --> 00:42:44,360
a good experience.

890
00:42:44,360 --> 00:42:46,040
It's all going to be really difficult.

891
00:42:46,040 --> 00:42:52,440
But one like very applicable note that everyone
should do is just turn the volume up on

892
00:42:52,440 --> 00:42:53,680
your movie.

893
00:42:53,680 --> 00:42:57,560
It was like wait, just bad in a comedy because then
people don't want to laugh and then we're

894
00:42:57,560 --> 00:43:00,480
like people don't like the movie because they're
not laughing, but in reality they're just

895
00:43:00,480 --> 00:43:03,600
trying to hear the next joke because it's moving so
fast.

896
00:43:03,600 --> 00:43:07,680
So anyways, turn the volume up when you screen the
movie.

897
00:43:07,680 --> 00:43:08,680
That is good advice.

898
00:43:08,680 --> 00:43:12,640
It's also good advice about the credits and not
that you need to do fancy credits like

899
00:43:12,640 --> 00:43:17,520
you have, but you got to set expectations of what
people are going to see for your movie

900
00:43:17,520 --> 00:43:18,520
to come.

901
00:43:18,520 --> 00:43:22,440
And that's what the beginning of your movie is
really for is not just to tell them what

902
00:43:22,440 --> 00:43:25,320
kind of movie it is, but like how they're going to
watch it.

903
00:43:25,320 --> 00:43:27,400
How you feel about the movie you've made.

904
00:43:27,400 --> 00:43:30,040
And also, I think there's this thing I used to work
with these guys,

905
00:43:30,040 --> 00:43:35,520
they called them 'Pebbles in a Pond,' that
sometimes it's a little note that has big ripples.

906
00:43:35,520 --> 00:43:38,040
And so sometimes it's not that something is broken.

907
00:43:38,040 --> 00:43:42,040
It's just that you need to do one little thing
early and it will ripple out into everything

908
00:43:42,040 --> 00:43:43,040
else and fix it.

909
00:43:43,040 --> 00:43:44,040
Yeah.

910
00:43:44,040 --> 00:43:46,280
Thank goodness you didn't re-edit the whole first
half of the movie, because I think the

911
00:43:46,280 --> 00:43:48,920
first half of the movie works really, really,
really well.

912
00:43:48,920 --> 00:43:49,920
Thank you.

913
00:43:49,920 --> 00:43:54,480
I think that there was not nearly as much music in
it when we showed people.

914
00:43:54,480 --> 00:43:56,440
And that was another lesson.

915
00:43:56,440 --> 00:44:00,240
And it feels obvious to people I'm sure, but to me
I was like, oh right.

916
00:44:00,240 --> 00:44:03,760
Oh, right. There needs to be music in the movie.

917
00:44:03,760 --> 00:44:04,760
Music and sound.

918
00:44:04,760 --> 00:44:05,760
Music.

919
00:44:05,760 --> 00:44:09,480
Yeah, it's like that Godzilla movie a couple of
years ago.

920
00:44:09,480 --> 00:44:11,760
We're going to show everything except for the
monster.

921
00:44:11,760 --> 00:44:13,840
Just leave it all to imagination.

922
00:44:13,840 --> 00:44:15,920
So I know that we're coming to the end of this.

923
00:44:15,920 --> 00:44:19,360
We have two big questions for you before we let you
go.

924
00:44:19,360 --> 00:44:23,720
So now that you're at the end of the process,
you're touring with it, it's doing great.

925
00:44:23,720 --> 00:44:25,400
It's going to do even better.

926
00:44:25,400 --> 00:44:29,640
If you go back in time to warn yourself about
anything at the start of the process, what would

927
00:44:29,640 --> 00:44:30,880
you tell yourself?

928
00:44:30,880 --> 00:44:33,120
You know mine, and it's—go ahead.

929
00:44:33,120 --> 00:44:38,200
Just get footage of your actors entering and
exiting the frame.

930
00:44:38,200 --> 00:44:41,640
Yes, as an editor I can say absolutely 100%.

931
00:44:41,640 --> 00:44:44,320
Because you know how much do you think you need it?

932
00:44:44,320 --> 00:44:48,960
How much it hurts to watch raw footage and hear an
actor be like, you want me to enter

933
00:44:48,960 --> 00:44:52,840
you know, just stand on your mark.

934
00:44:52,840 --> 00:44:54,680
It was a time.

935
00:44:54,680 --> 00:44:59,760
Past selves are jerks and future selves deserve it.

936
00:44:59,760 --> 00:45:02,560
Or listen to yourself go cut before they've made it
off frame.

937
00:45:02,560 --> 00:45:06,080
Or there's a moment where we're so tired you can
tell us again night shoot and whenever

938
00:45:06,080 --> 00:45:09,800
actors like, should I be looking here or here and
you just hear my little voice so exhausted

939
00:45:09,800 --> 00:45:11,600
go wherever you want?

940
00:45:11,600 --> 00:45:15,600
And then it's...

941
00:45:15,600 --> 00:45:19,720
Real one.

942
00:45:19,720 --> 00:45:20,720
Real one.

943
00:45:20,720 --> 00:45:21,720
I mean, I know that is real.

944
00:45:21,720 --> 00:45:23,160
Okay, that's a real one.

945
00:45:23,160 --> 00:45:24,320
People don't know that's a real one.

946
00:45:24,320 --> 00:45:28,960
I think we were so ignorant of what it took to make
a movie that like I wouldn't go back

947
00:45:28,960 --> 00:45:34,000
and change anything because I feel like if we had
more knowledge than we had when we set

948
00:45:34,000 --> 00:45:36,680
out to make this movie, we would not have set out
to make a movie.

949
00:45:36,680 --> 00:45:40,280
Yeah, I wouldn't tell us a damn thing.

950
00:45:40,280 --> 00:45:41,280
It's going to be great.

951
00:45:41,280 --> 00:45:42,280
You're going to do great.

952
00:45:42,280 --> 00:45:46,480
I'm a big, I'm a big proponent of ignorance when
you go into a big project like you can't

953
00:45:46,480 --> 00:45:48,000
know how hard it's going to be.

954
00:45:48,000 --> 00:45:49,720
Otherwise you're not going to do it.

955
00:45:49,720 --> 00:45:53,160
Yeah, I mean luckily it's again bringing you back
to parenting.

956
00:45:53,160 --> 00:45:54,360
It's a little like childbirth.

957
00:45:54,360 --> 00:45:57,720
You will forget the pain and be dumb enough to do
it again.

958
00:45:57,720 --> 00:46:06,200
Yeah, we're already like, oh, we wanted the part of
the part of that.

959
00:46:06,200 --> 00:46:07,200
It's great.

960
00:46:07,200 --> 00:46:11,760
So we've decided never talk to your past self
because only bad things can happen.

961
00:46:11,760 --> 00:46:18,240
So, final question for you before we say thank you
is: where can people find the movie,

962
00:46:18,240 --> 00:46:23,560
where it's screening or watch it themselves and
where can they find you on the interwebs?

963
00:46:23,560 --> 00:46:24,560
Great question.

964
00:46:24,560 --> 00:46:31,920
Great question. You can go to ediearnold.com and see—we have on
our website just all the screenings,

965
00:46:31,920 --> 00:46:33,920
upcoming screenings that are happening right now.

966
00:46:33,920 --> 00:46:35,320
We're in theaters.

967
00:46:35,320 --> 00:46:38,800
We're trying to keep a really long theatrical
window so it'll probably be in theaters until

968
00:46:38,800 --> 00:46:43,920
like February or March of next year and then it
probably is not going to be on a streaming

969
00:46:43,920 --> 00:46:45,080
service.

970
00:46:45,080 --> 00:46:47,440
We're working with this company called FilmTrade.

971
00:46:47,440 --> 00:46:48,440
They're very cool.

972
00:46:48,440 --> 00:46:50,880
Check them out for all the filmmakers out there.

973
00:46:50,880 --> 00:46:51,880
I know.

974
00:46:51,880 --> 00:46:53,760
I don't have, I'm holding up a card as if I have a
card.

975
00:46:53,760 --> 00:46:54,760
I know.

976
00:46:54,760 --> 00:46:57,240
It's very politician of you.

977
00:46:57,240 --> 00:47:01,120
But it just looks like a little credit card with
our poster on it and you tap it to your

978
00:47:01,120 --> 00:47:05,080
phone, a link pops up, you click the link, you can
watch the movie on your phone, which is

979
00:47:05,080 --> 00:47:08,160
not great or you can cast it to a TV, watch it on a
laptop.

980
00:47:08,160 --> 00:47:09,400
But essentially you own it.

981
00:47:09,400 --> 00:47:14,120
It works kind of like a digital DVD that you can
watch on your phone or on any digital device

982
00:47:14,120 --> 00:47:15,520
without a DVD player.

983
00:47:15,520 --> 00:47:16,520
It's very cool.

984
00:47:16,520 --> 00:47:18,280
This is like the way that we're releasing the
movie.

985
00:47:18,280 --> 00:47:22,040
We'll probably at some point put those up on our
website to sell.

986
00:47:22,040 --> 00:47:26,800
But again, we want people to see this in theaters because we
believe this movie and like especially

987
00:47:26,800 --> 00:47:33,120
comedies are best seen in a movie theater, not on a
streaming service.

988
00:47:33,120 --> 00:47:37,400
Like a lot of streaming services think they just
skip over theatrical.

989
00:47:37,400 --> 00:47:40,240
And so we're trying to maintain theatrical window.

990
00:47:40,240 --> 00:47:42,360
So go to ediearnold.com.

991
00:47:42,360 --> 00:47:47,240
You can find them where the screenings are and
maybe eventually buy the movie on there.

992
00:47:47,240 --> 00:47:51,560
Oh, and if like people want to see the movie, but
it's not like screening near them, it

993
00:47:51,560 --> 00:47:55,640
genuinely does help us if you like reach out to
your local indie theater and like request

994
00:47:55,640 --> 00:47:57,520
it because we're reaching out to theaters all the
time.

995
00:47:57,520 --> 00:48:00,440
Like we're distributing it fully independently.

996
00:48:00,440 --> 00:48:05,240
Our producers literally like reaching out to
theaters constantly and having, I don't

997
00:48:05,240 --> 00:48:08,760
know, those theaters having heard of the film
before and having had it recommended really helps

998
00:48:08,760 --> 00:48:10,360
when we go to book them.

999
00:48:10,360 --> 00:48:14,120
So yeah, that would be really helpful as far as
where you can find us in the internet.

1000
00:48:14,120 --> 00:48:16,120
You can't find me anywhere.

1001
00:48:16,120 --> 00:48:18,120
Well, the movie.

1002
00:48:18,120 --> 00:48:21,920
You can follow the movie at @ediearnoldmovie.

1003
00:48:21,920 --> 00:48:24,640
@ediearnoldmovie on all socials.

1004
00:48:24,640 --> 00:48:25,640
Not Eddie Arnold.

1005
00:48:25,640 --> 00:48:26,640
Not Ernie Arnold.

1006
00:48:26,640 --> 00:48:27,640
Well, thank you guys.

1007
00:48:27,640 --> 00:48:33,440
Yeah, thank you so much for coming on and talking
to us about your movie.

1008
00:48:33,440 --> 00:48:34,440
Yeah.

1009
00:48:34,440 --> 00:48:35,440
For nine hours.

1010
00:48:35,440 --> 00:48:36,440
Yeah.

1011
00:48:36,440 --> 00:48:43,360
But yeah, nothing but hope for success in the
future.

1012
00:48:43,360 --> 00:48:47,720
I can't wait for you guys to make another one and
come back when you finally made, I don't

1013
00:48:47,720 --> 00:48:52,160
know, Edie Arnold Is Still a Loser and Now She's an
Alien.

1014
00:48:52,160 --> 00:48:56,720
Well, you're not far off from what we're working on
next.

1015
00:48:56,720 --> 00:48:58,640
All right, that does it for us.

1016
00:48:58,640 --> 00:49:02,580
If you have any questions about filmmaking or
movies in general, please email us at

1017
00:49:02,580 --> 00:49:04,220
indiefilmlodge@gmail.com.

1018
00:49:04,220 --> 00:49:08,020
We'd love to hear from you and we may feature your
question on a future show.

1019
00:49:08,020 --> 00:49:11,040
And in the meantime, tell your friends about us and
remember: the only thing that holds

1020
00:49:11,040 --> 00:49:12,040
you back is you.

1021
00:49:12,040 --> 00:49:13,940
So get out there and shoot your feature.

1022
00:49:13,940 --> 00:49:15,740
I'm Matt. And I'm Robb.

1023
00:49:15,740 --> 00:49:16,740
See you next time. Woo!

1024
00:49:16,740 --> 00:49:26,740
[MUSIC]