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TSP Ep 114: The Difference Between Indie Films and our Films or We're All Fucked Anyway
53 Plays1 year ago
In this episode, Tom and Steve talk like the always do. They talk about indie films and how to get that little extra something in low budget filmmaking, the best movies of the year so farm and another script by the illustrious Tom!
So come along with us as we learn a thing or two!
This episode of TSP is sponsored by Liquid IV. If you're thirsty go to the bar! Or buy some Liquid IV for 20% off when you go to the link:
https://zen.ai/twinshadowpod
or use code:
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Transcript
Fear of Audits & Whiskey Chat
00:00:00
Speaker
And you only need provider receipts if you're gonna get audited. I feel like I'll get audited. I'm just waiting. No, you can verify it. You'll be like, look, I work these days. Here's my days off if you want to save my... I'm just afraid, man. The man, the man does not like the poor. That's true. That's true.
00:00:19
Speaker
No, I'm slowly getting up there. You're gonna start becoming the man. I'm climbing the corporate ladder. Maybe the man will give me a break. You are, man. Look at me. We're drinking this fancy Willet $80 whiskey, rye whiskey. It's rye whiskey and it tastes good. That's how you know it's expensive. Yeah, the Willet is like a real exception among the ryes. Well, there's a couple that I like that we have at work. There's a couple good ryes, but cool.
00:00:42
Speaker
but for the most part ryze are just like they're real bitter and they're real like this one is spicy this one's got a lot more bite than i remember the last time yeah well we were i think we were also like we also were really high when we started two sheets to the wind as they say yeah
Introduction to Twin Shadows Podcast
00:00:59
Speaker
Yeah, so, oh, we're recording. Hello, everyone. Welcome to Twin Shadows podcast, podcast about film filmmakers and filmmaking brought to you always by Tom and Steve. Steve, how you doing, buddy? Well, I will point out something that I realized we always forget to do. Oh, and the ad was sponsored.
00:01:22
Speaker
Well, I mean, I don't think we've even had a single person visit the website. I think it even tracks that. No, I think we did. Oh, we did. I know I did it for the link. Okay, that was probably you better listen. Because I was thinking about just buying some through our ad thing to see how that worked. Well, I was going to put it up like, hey, if you guys want liquid IV, you can
00:01:45
Speaker
use our promo code twin shadows podcast or the link in the description. Yeah. So we are sponsored by liquid IV, which I always say I'm going to bring over and I never get excited by some like that. They need to give it to us. All right. Liquid. So, but
00:02:01
Speaker
Yeah, if you guys want to try out like some good hydration and, you know, some vitamin restoring powdery drink that you add to water. It aids in hydration. Jared said he's taken it a few times and it did help with his hangover the next day. Yeah. So he did our ad read better than we ever could. Much better. That's why they're the better version of us.
00:02:24
Speaker
Yeah, unfortunately. I mean, not unfortunately, because they're awesome guys. But now that you guys know what's out there, that's better. Just remember, we were here first. Yeah, also remember, they don't have a podcast. We do. Yeah, thank God. I mean, not that I would. I don't really believe in podcast competition because. You're not a competitive person, though, are you? I'm pretty competitive, but just only when
00:02:56
Speaker
Situation has to strike. Sorry. Yeah, so that's smooth rye whiskey. So that means, I think that means you're not very competitive. Because I think competitive people are competitive all the time. Yeah, I'm not competitive about most things. I think it's fruitless.
00:03:15
Speaker
That's definitely not it, being a competitive person would say. This is probably the most arrogant question of this.
Dedication in Competitive Fields
00:03:24
Speaker
I'm not that competitive because I've been really good at stuff and I know I can recognize how hard some things are to be really good at and I can respect that. I remember when I was trying to get really good at Starcraft and I don't think I was ever really good, but I was definitely in the top 0.2% of players in the whole world. Really? You were that high up? Yeah.
00:03:44
Speaker
Damn, I was never that good at magic. Yeah. Um, like if there was like, like, cause I would always, I was always on the brink of grand master, which is the top 200 players. Wow. So I was always, I was always like right there on the, on my, uh, my ranking.
00:04:00
Speaker
And then like, I mean, I remember I've taken, I've taken games off. 0.2%? Yeah. Of all players in the world. Wow, dude, that's insane. But that was still like, the 0.02% would never, I would never take a game off of. Yeah. So I- Like the difference between that and that. I mean, that's when you get into anything competitive that's a sport, right? Yeah. I was good enough to recognize how bad I was. Yeah. Which was like, oh Jesus, I would have to work so hard to get better.
00:04:29
Speaker
Yeah, no, you got to give your life over to it. That's why I stopped playing Magic because at the time, the best player was Owen Turtenwald. Remember Dinosaur? Yeah, T-Rex. And he was saying he played 12 hours a day average every day.
00:04:45
Speaker
I was like, I'm not going to dedicate that. I remember when we were practicing for the PTQs and the Star Cities, we would meet after work because I was working at the lab and we would talk about magic. I know when I was at work, I would just watch videos all day.
00:05:01
Speaker
I would watch videos constantly of the deck that I was playing, like every little stream that I could get a hand on. Cause this was just when like Justin TV and Twitch was really starting. Oh yeah. And so like every, I can't remember what the smelly Asian guy's name was.
00:05:16
Speaker
Remember cuz he never wore deodorant like he was like Oh, yeah, Tom it Travis whoo Travis whoo. Yeah, I always think about he existed. I always think about that because He was like, yeah, you know, I'm always very natural and like I'm very clean But I never wear deodorant blah blah blah. I'm like, oh, that's so stinky Well, that's what everyone said about him is that he always smelled bad. Yeah, I
00:05:39
Speaker
But I remember, and we were putting in some time, and then we would play test. You were printing proxies, and we were play testing the top eight decks, and we were practicing like crazy. And then you got top eight a couple times, and I almost got top eight once, and it was still just like, dude, we needed to play more and more and spend more money.
00:06:06
Speaker
It's a grind. And then it's like, it's just, you have to really, and it's like the same thing with filmmaking too, in a sense, because you have to give everything of yourself.
Subjectivity in Filmmaking
00:06:15
Speaker
And this is something we talk about a lot. And I think this part of that was just our experience in being in competitive spaces where you do see like what it takes for the elites to be the elites. You understand the discipline. Yeah. Cause with magic, I was probably doing on average six hours a day. And that was already a lot. And you know, by the time I got to six hours, I was fucking bored.
00:06:36
Speaker
Yeah, but you know, the nice thing about filmmaking is that yes, it is that competitive because it's like look at Kasusha's work compared to mine and Alex's and then her work versus Roger Deakins. You know, there's levels to the game and.
00:06:57
Speaker
And so there's that high bar and she got to where she's at because she is so dedicated, so much about photography and working that, learning it, becoming better at it. But the nice thing about filmmaking is that it's an art. So it's always subjective, right? Because I mean, some people will say the best movies ever made are Marvel films.
00:07:22
Speaker
Oh yeah, a lot of people. I wouldn't be surprised for a lot of people to say Avengers Endgame.
00:07:29
Speaker
No, Infinity War is like the greatest movie ever. A lot of people think Oppenheimer, even like really great filmmaker like Paul Schrader, the guy that wrote Taxi Driver and made First Reformed for A24, that movie with Ethan Hawke as the priest that becomes like an ecoterrorist, that guy said that Oppenheimer was the greatest film of the last 100 years.
00:07:56
Speaker
No, and I was just like and I was like 100 years taxi driver wasn't a hundred years ago. That's your film dude You wrote one of the greatest films the last hundred years. What are you talking about? That's so that is an interesting thing. What would you say is the greatest film in the hundred? I don't even know what a hundred would that be 1923 I don't know what came out in 1923 since night. I guess that's like the the onset of all of film
00:08:24
Speaker
Tokyo Story?
Admiration for 'Tokyo Story'
00:08:25
Speaker
So it's literally the greatest film ever. I'm gonna say it would have to be either Citizen Kane or Tokyo Story, I think. I think it's Tokyo Story. Tokyo Story was a film that I was not expecting. To be so great. To be what it was. Yeah. I mean, it's a movie, like, if you look at it from like, as if from an outsider looking in, like, if you just went and plucked, like, your neighbor, and you're like, come watch this movie about a Japanese family. Yeah. They're gonna just roll their eyes. Yeah.
00:08:53
Speaker
But if you give Tokyo a story, it's due. God damn, that movie will fucking punch you hard. And then you're just the it's so engrossing. It's the cinematography is so God damn good. The editing is so God. Every bit of they constantly break the line in that film. Oh, yeah. Every bit of technique in that movie is flawless.
00:09:14
Speaker
Every I mean just the way that the characters and how the story unfolds is so damn tart wrenching Yeah, and and because then you're like Yeah, you know what? I don't want to hang out with my parents on when they come and visit you like fuck them Whatever and then what happens happens and you're saying oh
00:09:36
Speaker
I should have hung out with my parents more. And then the thing too is like they have the most beautiful juxtaposition. It's the daughter-in-law, the one whose husband is missing in action. I don't think he's necessarily declared dead if I remember right. So he's like missing in action, but she's still taking care of the in-laws. And she's the only one that cares and she loves them. And like the in-laws are just like, they respect and love her too.
00:10:01
Speaker
And it's so heartwarming and touching. And their kids, their biological children, their flesh and blood just treats them like garbage. They're literally so mean and rude and callous to their own parents and dismissive. And then, you know, they don't even really come around. No, I mean, that's the whole point of it, right? And that's something I wanted to say too.
00:10:28
Speaker
You know, in regards to filmmaking, you said, like, you can't just necessarily get better by, like, grinding the hours. No, I think you can. I'm just saying that it's subjective, so. True, true, true. But what I want to say is, like, one of the best ways to be a great filmmaker is to live a life.
00:10:44
Speaker
Have a story to tell. If you're looking at it from a techno aspect, you can grind away and get better at cinematography. You can really understand angles, setups, lighting patterns. You can really understand the control of that technical aspect. But as a storyteller, you just really got to live life and tell stories.
00:11:10
Speaker
So then how do you think you become a better storyteller in the sense that, yeah, you can live life. So that'll give you the material to use, but that doesn't.
00:11:22
Speaker
equate to a tight story that doesn't equate to like good execution necessarily. Like the story could it's in principle could be good but not necessarily the construction of it. You know what I'm saying? Right and that's where the second aspect comes in which is the hours grinded in and that's the you got to actually tell the stories. You got to refine it. You got to write and rewrite and understand and really just
Critique of Modern Filmmaking
00:11:47
Speaker
figure it out because I think a big problem is, and this is something I wanted to, well, I guess we can talk about it now, is I've been seeing that I think a lot of people are doing things in film that are cool just because they're cool. And I don't think that's necessarily bad as a whole, but when that's like your thing and there's something that just feels so inauthentic about it. Like I said, just the spectacle for the sake of it.
00:12:16
Speaker
Yeah, doesn't it feel like so much of filmmaking, especially mainstream filmmaking is just incredibly shallow? Oh, yeah. Yeah. But also for a reason, right? Because, you know, there's two camps to view film, a product or art.
00:12:37
Speaker
Yeah. So if you're going to make a product, you want to make something that's easily easy to digest and translate in any language. Right. So that's why the Marvel films are so successful because you don't necessarily need to know what they're saying. You can easily follow along and stay with the story and keep up with it.
00:12:57
Speaker
And that's going to kill it, right, in the box office, as it has for the past, what, 15, 10 years? However long Marvel's been in existence. Dang. Well, no, Iron Man was, what, like 2008? Well, there you go, like almost 20 years. That's a long time. You know? So there's that aspect to it. And I mean, that's just a part of the industry we're in.
00:13:21
Speaker
You know, depending I think on where you want to end up as a filmmaker, you're going to have to navigate those waters and decide where you draw that line and what you do. Because I mean, for instance, for myself, I don't want to be that big of a filmmaker where I'm making a Marvel film or anything like that. I just want to do my little projects and then be done.
00:13:43
Speaker
Yeah, I want to tell my stories and make a living doing that. Yeah, that's I don't like. Yeah, I don't have delusions of grandeur. I don't want to be a celebrity. Yeah, but I want to be I want to make a living off being a filmmaker. That's that's my goal is to be a filmmaker for like I don't have a day job. Like my day job is planning to for my next film. Yeah. And and doing that because I think that one of the biggest problems is is
00:14:12
Speaker
Because we have all these other dedications that we, you know, like, we want to have a roof over our head and, you know, food in our bellies and things like that. Keep our families taken care of. Yeah, that we sacrifice a lot of that time towards art. I remember I was jokingly telling you like, hey, if we both quit, dickhead would be done in two weeks, right? And that's probably true.
00:14:36
Speaker
Because if we actually just sat down and worked on it for eight hours a day, six days a week or something, it would just be done. It would just be done. And the thing is that amount of time is impossible almost to achieve. It's like if you break it down how much we've worked on it, it's the same amount of time just spread out over years.
00:14:58
Speaker
Yeah, because it's like it's like five hours here six hours here, but one day a week Yeah, right and like so like, you know, that's Compared to like working on it 48 hours a week or something. Yeah, nothing Yeah, that's very true Yeah, so Yeah, so what about you? Um
00:15:21
Speaker
Do you think the same problem with that like doing things because they're cool also infests and infects indie filmmaking? And then can you think of any like kind of examples? Oh, yeah. Quentin Tarantino is a great example. He's definitely spectacle for spectacle's sake. Yeah. You know, and look at how many filmmakers try to emulate Tarantino.
00:15:42
Speaker
Does he do it in a way, though, that is more interesting because he's essentially a blender of a filmmaker? Yeah, he does it in a way that's more interesting because he's a historian. Right. So his depth of knowledge is so much more vast than the average person. So when he's doing a film, it always feels novel. But then if you look into it more, you realize like, oh, well, he's just plucking from here and here and here. Now he is, he has a great sense of taste and curation and he knows how to pluck.
00:16:12
Speaker
and how to fuck. And he makes great films. I mean, I'm not, I shit on Tarantino a lot because- It's fun to shit on the king. No, it's just the approach to filmmaking I don't really like where it's just people taking from others who did it better. But I mean, I can't deny, like there's,
00:16:38
Speaker
There's really only one filmmaker right now where when they come out with a film, I'm like, I have to
Tarantino's Filmmaking Approach
00:16:42
Speaker
see it. And that's Tarantino. Like the last time I was really excited to see a film, because Chazelle is probably my favorite director right now, but the last time I was really excited to see a film was Once Upon a Time in Hollywood. And I remember that buildup, I was like, counting the days. I was like, man, I can't wait, I can't wait.
00:16:58
Speaker
And you know, I think I definitely raised the bar too high for that film, but I wouldn't say it didn't deliver. Oh, no, that movie is great. Yeah, I would say I think he killed it. He made an amazing film. He's an amazing filmmaker. It's just.
00:17:12
Speaker
I don't like that approach to it. You know, it just rubs me the wrong way personally. Not to say it's wrong or bad. I mean, obviously, look at Tarantino. He's one of the great filmmakers. He will be one of the great filmmakers in history. And I think the way he's done it is genius.
00:17:28
Speaker
Because I think he's stopping with his next film. So he's not going to have like those Twilight weird years. Like he's not going to Copla it. Or Hitchcock, right? Well, Hitchcock is in a league of his own because he made like 300 movies. No, it was 100.
00:17:47
Speaker
Okay He made ten times more movies than Tarantino. Yeah, like yeah, right like I like and well, that's only the movies he has like he like TV show Yeah, I used to watch it all the time frame that he wrote and produced he wrote that he wrote a lot of the episodes Oh, I didn't know that. Yeah, I thought it was just you know, he was the the face for it He mostly is but he did write some of the episodes. Oh, wow. That's awesome. Yeah, um, but I
00:18:15
Speaker
I think that's really wild. So do you think then maybe the problem is that people aren't like that level of historians. So like when they are pulling, it's just like everyone's always pulling from the same pool. Or is it that they're pulling from pools that already have pulled from other things? So it's like the dilution is like now we're like 99% water, like where's the booze? Yeah, yeah. I mean, they keep taking from shallower and shallower waters, right? I mean,
00:18:40
Speaker
Tarantino has a vast wealth of knowledge, like there's countless hours of him.
00:18:47
Speaker
Watching these films, you know, it's like someone who reads tons of books You can see the product of that effort and same with him, you know, I mean, I think other filmmakers could be Could have that wealth of knowledge if they invested the time but it's hard man. He probably watches him our app his peak He was probably watching one to two movies a day Oh, I would say more than that. Maybe even more because he worked at a video store So, you know, I'm watching like one movie a week
00:19:15
Speaker
And even that sometimes is like, oh, I don't want to watch a movie. And that's the most easy thing to digest, right? Because it's completely passive. Yeah. You know, it's like listening to music. You just hit play, dude. But yeah, I do like six movies a week. I try to do at least five on the weekend.
00:19:33
Speaker
Well, because I'll stay up until like four in the morning just watching movies because I have this weird feeling where I'm just like wasting my life. So you just watch movies. I just capitalize. And that's really I just that's what I like to do. And it feels so good to.
00:19:53
Speaker
Like just because I feel like the more that we do these, this podcast, the more we talk about movies, the more I'm enjoying watching movies. Oh, absolutely. And the more I'm also enjoying just every kind of movie. I like I'm finding value and even if it's like, oh, you know what, I don't really like this, but it's like, oh, OK, that was interesting. How did how did that work? Like how why in Oppenheimer?
00:20:18
Speaker
Do some of the shots work so well, but then all of a sudden you're like, what? Wait, no, it's not working at all anymore. Like, like, and then understanding that, like, to me, don't get me wrong. Oppenheimer's not a bad movie. So six out of 10. It's above average. Probably the best film this year. Well, I haven't seen Barbie. But from what I've seen in Barbie are ranked exactly the same for me. OK, well, at least for myself, I would say Oppenheimer's probably the best film this year that I've seen.
00:20:46
Speaker
You know, that's not necessarily saying a lot. No, you know, but it was just something I was thinking about because, you know, I try to go and watch like I'm gonna go watch three movies tomorrow and then I'll probably watch like three or four more on Sunday. And and then then I'll just be like, you know what? And then I've been lately just really wanting to get like and go and make something.
00:21:09
Speaker
Yeah. Because I've been just thinking like, man, you know, we could probably make a really cool little horror film, like like a really attention grabbing little film. You got to start scratching that itch. Yeah. And it's like I've been like, ooh, could we do it? Because one of the big motivators, especially when we have Jared and Clark on, always just makes me want to get back.
00:21:28
Speaker
in and make movies makes me want to edit and stuff like that. So it's like every time we talk to them, it's always like they like they really ignite the fire. Every time we have a filmmaker guest on it does that. But Jared and Clark because I've always felt as like they're like our peers to a degree and like I just absolutely adore those guys. But the big thing too is I don't know if I should go on this. I can edit it out.
00:21:54
Speaker
I always feel like he's just kind of there. And maybe this is just an over criticism. And because I don't know him, I know you've worked with him a little bit. Oh, you haven't worked with him? No, man. If I had to work with that guy, I'd be like, I'm out. Looks like a fucking asshole.
00:22:08
Speaker
Now, I'll cut out the name. So this is someone we're talking about that runs in similar circles. Yeah. But let me ask you this in response to what you said earlier, where you said doing that grind of filmmaking, because this person is very active, always shooting, always working. I, from what I've seen, I don't see an improvement.
00:22:36
Speaker
but the person acts like they're amazing. Or maybe they just have a confidence and we're just reading it wrong. But certainly the person's very busy, although I don't see the quality. For instance, like there was Steven and Joe. And dude, I'll see the work. He was like, Deb, these guys are gonna fucking make it. Like they just got to keep at it. Cause they're really good, especially Joe's camera work. I mean,
00:23:02
Speaker
Yeah, Joe, every time he posts, like, this is the short I'm working on, I'm like, god damn, and then Steve just posts something the other day, a short that he worked on, and I was like, god damn, dude, you guys are good, like, you guys are great, I love those guys. Yeah, like, they just, and you can see their progress, like, they are getting better, and it's like, damn, like, that's the effort put in, but with this other person we know, we're talking about,
00:23:24
Speaker
He's constantly shooting films but it doesn't seem like there's any learning that's happening. So what's the deal with that? Shouldn't he be getting better then? I think that's just a big fear and also just what happens when you're bad. So there's just some people that are bad and there's no hope, is that? Oh yeah.
00:23:45
Speaker
I think that's most people and that's a big fear of mine. That you're one of them? It's not knowing that I'm one of them and maybe that's like imposter syndrome, self-doubt, self-pity, whatever. Well, that's a good fear to have though.
00:24:01
Speaker
I think it can be healthy to a certain degree because if you can acknowledge that you might not be good enough, you can free yourself to just be like, hey, I'm just gonna make stuff. Well, not just that, but you put in the effort. Hopefully. Let's look at Decad, for instance, with you in regards. You could have put Decad out with the first cut and it would have been okay.
00:24:26
Speaker
And then your imposter syndrome really would have shot up because you'd be like, damn, why doesn't anyone else like this? It's great, isn't it? And I don't know, buddy.
00:24:34
Speaker
But certainly seeing the extra effort we're putting into an extra time, like, yeah, granted, it's eight years. And, you know, when we had Jared and Clark on, they were saying, dude, just release it because they understand it's like, it's your first film. You guys have no money.
Dedication & Challenges in Filmmaking
00:24:48
Speaker
Get your head out of your ass. It's not going to be that good. You kind of need to move on. Yeah. And they're right. Oh, yeah. They're right. Big time. But then at the same time, the way I see it, this is our business card and this represents us completely. And
00:25:03
Speaker
we should exhaust all the time in the world that is necessary for this, necessary being the keyword. And also as a result, I think we have seen the fruits of that time gap, you know, that, or not time gap, but just of the time that it's taken. And, you know, if we can fix the technical issues that we have in post, like with sound and color and lighting and all of that,
00:25:33
Speaker
because you got to hear what they're saying and that doesn't necessarily come across right now because the audio is so bad. You can hear what they're saying. We know what they're saying because we wrote the script and we've seen the clips a thousand times and we've had to put on full blast to just hear. No, yes. Yeah. But at least we heard. I don't think a general audience would catch a lot of the audio where it's at now and they need to, you know, for this film to do well. But I think that
00:26:02
Speaker
If we hit the marks we're trying to hit, it's gonna show. I can't say it's gonna be good, but I think it'll show. And I think that's where the imposter syndrome is good because I think that if you're just too confident, you release it and it's like, nah, it should have been edited a little better because there's a lot of other of our peers who do release their work.
00:26:26
Speaker
And a lot of times I'm just watching like, why wasn't the edit better? Why is this scene in here? Why are we cutting to this shot now? Why, why, why? And it's not to say the story's bad necessarily. It just- Could be better. It could have been a lot better if more time was spent. Yeah, I mean, I guess to steel man, Jared and Clark, and kind of what Jared was saying,
00:26:57
Speaker
Well, at least for us, it's been an invaluable education, the time that we've spent. But there was definitely a couple of gaps. One, it was just literal mental breakdown exhaustion. There was just a point after where I was just like, I didn't want to think about the movie. I didn't want to. And I was just like, oh God, that really ripped me apart.
00:27:23
Speaker
And then we went with bleep. And then that kind of ripped me apart. And again, and I know I'm calling out names, but I don't know, maybe Stephen can go bleep or something like that. But I mean, at the same time, it's like, you know, once we went to the cabin, that was really a huge turning point in everything. Yeah, we vitalized this for sure. Yeah, it was just kind of like, hey, you know what? Let's just put everything aside. No distractions.
00:27:53
Speaker
and go and work on it. And then like four days, we made like six years worth of progress. Yeah, like you said, right? We only work for a few hours every week, which is true. And within those few days at the cabin, we put in what, 30 hours? I think a little under 30. I would say 30 hours is probably fair because our goal was to do a full cut of the movie.
00:28:17
Speaker
from scene one to end of the film. And it's not necessarily a full cut, because it was more like just picking up from the previous cut, right? So it was like a retraft. I had started. Oh, really? Yeah. It was completely blank? Yes. Oh. But we still knew where a lot of pieces fell, though. Yes. Right? No, no, no. We definitely, it definitely was not like we... It wasn't like seeing the footage for the first time. No, no, no. I've cut the movie like twice before.
00:28:47
Speaker
And so I definitely could speed scenes along because I knew and then I know to compliment Benny, like he had helped immensely as like essentially editor, assistant editor going through and marking sync pop points and everything like that, allowing us to just really work quickly with the footage.
00:29:09
Speaker
yeah sync sync the audio real fast yeah so essentially there's just markers and tags so we can just drop in the audio real quick and you know we can work with the scenes instead of like having to slowly set up you know stretch it out find the slate yeah like because that's what we were doing before and it's like
00:29:25
Speaker
It's agonizing and you know, we didn't have any scratch audio so we couldn't use anything like plural eyes or anything like that. So, you know, lessons learned. Always plug a microphone into your camera. Even if you have one already, like that's what I like about the Blackmagic is the onboard mic is like really nice. It's really solid for just being on board. Yeah.
00:29:47
Speaker
Yeah, and so it's very usable for editing. You don't really have to worry about the post sound. As long as that's labeled, you can just drop the clips in. It's so much faster than having to mess around with grouping and all that shit. It's like five less clicks times 500. Yeah, which really adds up to serious time. 25,000 clicks? Yeah. Your mouse will thank you as much as your brain.
00:30:15
Speaker
But to go on the tangent that I'm going on is like, man, it was just a point where the lesson that was needed to learn was
00:30:28
Speaker
cut the bullshit, let's just do the work and get it done. Because it was like, we don't need an editor, we don't need this, we don't need that. Let's just meet, cut and get the movie done. And it's in a place that is so, and I've talked about this before, but it is such a goddamn heartbreak that people won't know how bad it was when they see how bad it is.
00:30:52
Speaker
Oh yeah that'll be heartbreaking weather like yeah this will be sucks to you guys eight years you have no idea like they have they have no idea like the horror show like i. I think we still have that render of what that one of the address didn't it's just like.
00:31:11
Speaker
I literally just was like, it's over, it's over, it's done. We failed, let's just put this in the back hold and just start making another project or something, because it felt unsalvageable.
00:31:25
Speaker
And I just remember thinking like, oh, maybe this is, maybe we just made a mountain that we couldn't climb, but you know, buddy, you were there with the oxygen. You sure, you sure put me over that goddamn cliff. One rock at a time, buddy. Yeah. You know, and we're still on the ascent, but yeah. And I think that's when it's good in that respect, taking that time with it because
00:31:51
Speaker
because if we didn't then it would be shelved to the back or now. You know I'm gonna stand behind this film and be proud of it if it reaches where I want it to be.
Post-Production Expertise Needs
00:32:01
Speaker
Which it's just you know there's so many technical issues that it's like we gotta we gotta find someone who who knows how the expertise of fixing that like audio.
00:32:12
Speaker
Yeah. Oh, yeah. So pretty much if we get the audio fixed, I'm pretty fine. Yeah, everything else is pretty damn good. Yeah. Yeah. I mean, even if we have to grade it, I don't really mind. I think we can do it.
00:32:27
Speaker
I don't want to do it. I don't want to do it. It would take a lot longer. I don't want to do it. I'll be honest. I don't want to do it just because I'm not sure if we can get it where it needs to be. Would you? Here's a question. Would you not want to do the grade of the film? Would you want to do the grade of the film if the only thing that we could afford would be something that you could do?
00:32:49
Speaker
like you feel is out of quality that you can accomplish. Like we're not getting like this super professional colorist, we're just getting a colorist that we can afford, but because they would be putting the work in and getting it on time with deadlines, would you rather pay for it even though it's a work you could do yourself? Oh yeah, especially now in post, that's where I fatigue out, man. But also, I think this is where I'm at with paying someone versus doing it ourselves.
00:33:20
Speaker
Cause you know, I was listening to this really good YouTube video on rap music and they had one of the rappers, they did a little sound bite of him and he was like, man, I was trying to go to all these studios, you know, and sound mixers and they were charging me all this money. And he was like, fuck that. I'm just going to do it myself. And he taught himself how to mix his own record. And that's, and he said, because no one else is going to put in the time and passion that I'm going to put in. No one's going to try the things I'm going to try. No one's going to make the mistakes I'm going to make.
00:33:49
Speaker
they're just gonna streamline it. Or they have a more linear vision. And that's where I'm at with anything else from post on. If the difference is we hire someone out, like let's say to do the coloring, we hire someone out to do the coloring and they do an okay job, versus us deciding to do it ourselves,
00:34:14
Speaker
and we do a much slower job, but the end result is a lot more interesting, then yeah, I'm gonna say let's us do it. So basically we have to find someone who's gonna work cheap and who's gonna dedicate themselves complete to this project, which is probably impossible to find, because we're the only ones attached to the project like we are. So I mean, look how it was with the edits.
00:34:40
Speaker
Right? An edit of the film was completed. But it wasn't our edit and we were really willing to do a lot of things different. We cut scenes out, we moved scenes around, we rearranged shot orders, we really got in there and delved deep into it. And sure, maybe a professional could do what we accomplished.
00:35:06
Speaker
but they would probably be like very expensive. I work on Marvel films kind of an editor, you know, where they have such a wide knowledge base that they know like, oh, you know, this actually should be here. And they can break down a story like, like what they make per project is what we would have spent making five dickheads. Yeah, exactly. Yeah. So, so I mean, I'm sure that person is out there who will, who just has that wealth of knowledge and ability.
00:35:35
Speaker
But the reality is we couldn't find an editor who was gonna do what we needed them to do and accomplish what we needed them to accomplish, and it took us to do it. So if that's what it's gonna take for the other areas of post, yes, I will do it, I will learn it, but I'd rather not just so it gets out there, it gets done faster, and we can move on. And also,
00:35:58
Speaker
You know, they're going to have a lot of the thing they're going to have a bigger knowledge base on us. Right. That was the thing I wanted to bring up too. And like about the editing is we are not professional editors. We have to teach. We were teaching ourselves and working on it and practicing and.
00:36:14
Speaker
doing the edit over and over. We've recut scenes 20 times, 15 times, just completely taking out every shot and trying to put every shot in. We've looked at it all a thousand times. We're literally, we're just like, we're picture locking through exhaustion almost at a point where it's just like,
00:36:31
Speaker
It's like, can we do anything with the scenes? We've exhausted every shot, every take. Unless we completely reimagine scenes, like with pulling in shots or angles or something, we're pretty much, that's how much we've exhausted of the footage.
00:36:53
Speaker
With that in mind, it's like then we have to edit it to a point where it's really good. Like we've like we know what shots work. We know how to end up in second. Now we have to fit them together and then we have to like pace the movie and figure all that out too. And before it was just, I remember.
00:37:09
Speaker
thinking, I can't edit this movie. Like when we were shooting, I was like, this is a, this is a movie. Like there are people here that like are actually really good at what they're doing. Like I'm not, I can't edit this. Like this is too good for me. And then, you know, now looking at back, I feel like I'm way more confident of an editor. I don't, I'm not, I don't fear it at all. If I need to just sit down and cut something, I can just cut it together. I do think just a big thing too is
00:37:38
Speaker
It's editing is very momentum based. It's very much like writing. Yeah. Where it's very momentum based. Like the problem is is like when we like we'll do it for like three, four hours on like on a Friday. We have to like start up and build up because normally it's like it's always kind of rough and then we're kind of like bickering like no, not that one. This one. But then by and then by the end, it's just like.
00:38:00
Speaker
You know, we were like doing the fusion dance, but we keep fucking it up. Yeah. And then eventually like we actually get the dance right. We're like fusion. Oh, and then it's just like and then it's just like. And then in that last hour that we had to warm up to, we like actually make huge strides and accomplish things. We're like those like two, three hours. It's just like we're cold and right. And it's like you have to kind of like get back into it. But it's like if you're just always doing this, right, like you said, it's gym reps.
00:38:27
Speaker
I mean, not necessarily in the point where the quality of the editing, but like actually just getting into the process of it, being able to not fatigue out the stamina, you lose the stamina. And I mean, I'm sure, of course, there's probably like freaks out there that like, well, I could just, you know, uh, two clicks and I'm doing like, okay, all right, whatever. Sergio Leone, like suck my dick, you know, but, you know, that's not me. Yeah.
00:38:54
Speaker
I'm not I am not the point 2% filmmakers like I was in Starcraft. Yeah, I cannot do that like it. I think every everything for dickhead we've had to fight strike a struggle, you know claw every inch.
00:39:12
Speaker
We, you know, buried our nails. We're down to our goddamn bones and our fingers. It's just goddamn Skeletor reaching up and bawling himself over that hill. Yeah. Because, yeah, I mean, it really has like kind of killed us in a sense. And then when you find when people that listen to this podcast, like I hope someone in the history of the universe, someone listens to this episode and then watches Dickhead.
00:39:35
Speaker
It's like these fucking assholes. Exactly. They fucking sold me all this shit? And my biggest hope, my biggest dream, my biggest wish is that someone in the universe listens to this episode and watches it and appreciates just a little bit what we tried to bring to the table. Because when I watch the movie, I'm like, there really aren't, isn't a movie like this?
00:40:01
Speaker
there are Halloween there are movies no not like we are we're wearing the clothes of Halloween but like we're like a big tittied awesome like bitch you know like awesome we're like or Halloween is like you know a real sexy dude he's a he's a Chad right Halloween the Chad
00:40:21
Speaker
And we're just trying to be the bitch of the ball, trying to get laid with the nerds at the punch table. And that's who we're hoping for, right? We're not getting the Stacy, the cheerleader lady, whatever. That chick, she's going home with Chad, Michael Myers' boner. But we might be able to give a hand job to Emilio over there in the corner, getting the punch, the non-spike punch. And that's my dream.
00:40:52
Speaker
That is but a humble dream. I think things are starting to take over a bit. Well, I know the Rice Krispy Treat's taken over. The dry mouth on these, dude. Have you noticed extra dry mouth? I think it's probably the whiskey. It's probably because it's so strong. Oh. It's like sucking up all the moisture. I know, dude. I'm like, gee, holy crap. Because last episode when we had that, dude, my dry mouth, my lips were stuck to my gums, you know? Like, were they curling? I was like, shit.
00:41:21
Speaker
look like you're doing like a racist character but yeah with dickhead sorry i ran to the bus demon it's your turn you go no that's fine your turn to rant no that's fine i had a rant but i forgot like i said the rice crispy treats hitting but yeah i mean it i don't know it it can be scary
00:41:44
Speaker
I think it can be scary, just not knowing. How far off base do you think I am? I think you're a little whimsical.
00:41:52
Speaker
Oh, I think so too. I think that buries deep into the romanticism. At least I know... I think we both have a really heavy romanticism. Hold on, let me put it this way. Do you play baseball at all? No. Do you know baseball? I know... You know the basics, right? Yeah. Okay, so you know what a grand slam is? Yeah, that's when bases are loaded and you hit a home run. Yeah, that's what you think you're about to... Okay.
00:42:15
Speaker
I'll give you I'm not even I'm not even getting a double I'm hoping that the whoever is uh, cuz I can't even run so I have a pitch hitter Or whatever a bat hitter. I know that was a big controversial ruling where like the hitters don't even run anymore, right? I'm like the big fat guy that comes up to plate. I'm like huffing and puffing. Sorry I'm taking over your analogy here and I I'm just trying to roll with it but uh, and I smack my you know, the bat on the
00:42:41
Speaker
on the plate there and the dust flies up. The little clay is getting in my teeth and I'm like, yeah. And I get a ball. And I'm like, okay, yeah, I got three more chances, all right.
00:42:55
Speaker
and then he, I'm just hoping the pitcher hits me. I'm so fat, I'm hoping the pitcher just swipes my titty off, dude, and that's my whimsy. Yeah, I would say that's close to what I was gonna say, because I feel like you essentially see it like you're hitting a home run. I don't see it like that at all. You are, you're doing that Homer Simpson, you know, the slow mo, and then you hear the hit of the ball, and then you just see it repeating.
00:43:24
Speaker
Yeah, as it slowly, and everyone's like, and to everyone's shock, it passes the law and it's all right.
Creative Decisions in Filmmaking
00:43:34
Speaker
But in reality, you're just bunting it. And it's like, doo, doo, doo. Yeah.
00:43:41
Speaker
But I would say this, and the reason why I feel this, at all honesty, is because you're getting too excited too soon. Because where it's at now, yes, we appreciate it. Because we know the story behind the scenes and the journey. But if people watch it, you can't hear audio. Even the edit, it's not there. It's too fast paced. The coloring's all off. All the coloring's all off, yeah. You know, there's a lot of other issues.
00:44:10
Speaker
that it needs work with that would draw anyone out of it. You know what I'm saying? So I think that if we can hit what we imagine we can hit at the end result, then perhaps, yes, it is now time for you to celebrate. But also with that said, if we hit the marks we hit, I don't care if it is successful, I know I'm gonna be proud of it. Because I know,
00:44:38
Speaker
That's fucking good. Okay, it's in my, I'm like William Friedkin, rest in peace. He just passed away. Oh, yeah. Oh, rest in peace. But he always says Sorcerer is his best film. And Sorcerer is definitely starting to gain some recognition. I fucking love that movie. I think I tried to make you watch it. Do you think you did watch it on my recommendation? I've been wanting to watch it, yeah. Oh. I still have it. Yeah. Remember, I watch a movie once a week and usually it turns out to be Mission Impossible. Oh, no. Just watch Sorcerer this week.
00:45:08
Speaker
But you're going to the dump. It's perfect analogy. That's true. But, you know, for him, yeah, it probably is true that he that for him, that that is his best film. Obviously, that's what he's saying. I don't know what my point was. Damn it, I just lost it. But anyways, yeah, if we can hit the marks, we think we can hit. Then, yeah, I'm going to be very proud of it in that.
00:45:34
Speaker
you know, then it's up to people to receive it however they want. But it's like, I did be accomplished what we set out to and more. Because already with the edit, to see it real, to see it as a movie from script, from when we were imagining in our heads, putting the words to paper, to now
00:45:57
Speaker
this thing that we have shot, it's like, damn, yeah, like, this is becoming that movie that it was always meant to be different, surprisingly different, in some ways painfully, in some ways, thankfully. I will say there are some scenes now when I watch them, I'm like, this is good. And I don't mean that in like,
00:46:19
Speaker
Oh, wow, we actually like that scene that we do like actually see now. Yeah, like that's the scene with Audra. That scene just hit so differently now. Yeah.
00:46:30
Speaker
It hits and you're like, well, we had intention and intended. The intended intention is there. Oh my God. Then when you watch those, because before I remember the staging, I can tell a quick story. The timeline of the edit was like, okay, I did a rough cut.
00:46:56
Speaker
And it's and it was like, OK, see, we made a bunch of notes and we were like, let's see if we can get something better than this because it was it was very rough. But it was it was too like the timeline in the script. It was very much almost like an assembly cut. Yeah. This and this and this and this and this. Well, not really. No, no, because I say what you came out with. And this is me. In my opinion, but it was.
00:47:22
Speaker
It was good, it was hopeful. I just finished the Sidney Lumet book making movies. And when he talks about the dailies and he says, yeah, I'm seeing the shots and I know I'm onto something. And seeing your cut, it was like, okay, yeah, we got something here. Not necessarily what we wanted, but we already knew that since,
00:47:48
Speaker
the first day on set, right, where we had this vision of, for instance, for me, like how the houses looked, you know, and then showing up and then seeing how the houses looked. Oh, yes. And it was like, well, sometimes it feels like a set, you know, in a bad way, but then sometime, because in my head it was, you know, it's a real house. It's just someone's room. It's not a set.
00:48:15
Speaker
you know, are the clothes, you know, just to, I would say from idea to film, I would say it was like 95% accuracy from like what I envisioned. Oh, not me. Like 5% accurate.
00:48:30
Speaker
Not me, but as long as the story was happening in the way it was supposed to, you know, it was really a pale imitation of what's in my head. But, you know, what's in my head, it's real. You know, what's in my head, Jennifer, our protagonist, she's a real person who I got attached to. Yeah. You know, what's in my head is, you know, with our ending, that really happens. And so there's that extra element of
00:48:56
Speaker
of, well, just that, that, that real element there. And then when you're on set, you know, you have the lights there and the camera position and it's like, oh, okay. This, of course it can't be real because it's a fictional story. So there is already that separation like that, that, um,
00:49:15
Speaker
getting hit with the bat of reality. Oh yeah, I mean, like to me, like, at least what I had imagined, like when I would watch the movie in my head, when we would talk, because we'd always sit at like the kitchen table and we would write and we were just like, we would write, we'd each write and then we would meet up and then we would go over each other's writings and then like we would like tear the shit out of it and like write jokes. We wrote way too many jokes, I think. And they all made, a lot of them made it in.
00:49:45
Speaker
No, I think that's great we did that. I honestly think that's a saving grace we did that. Because if we would have made this more serious, like I think how it kind of... Well, it never was serious, obviously, when we came up with it. I mean... No. Our killer has bandages around his head because of auto-erotic asphyxiation and he gets off when he murders people. That doesn't make it into the movie necessarily.
00:50:06
Speaker
It's very hard to sell that because there was definitely a cowardice when it came to how sexually explicit we wanted to be. Also, I think that could be cheesy. If you don't do it right, you're going to run into some cheesiness and it's like, I'd rather avoid that.
00:50:23
Speaker
Yeah. Yeah. But there was definitely, because I mean, we cut things out. In hindsight, I'm like, God damn it, why did we listen to people? Why did we cut it out like this? Because when we watch in the film, you're like, oh, remember that scene that how we wanted to do it like that? And how much I want that to be one of the takes, and it never is.
00:50:44
Speaker
Yeah, there's a certain reassurance to the writing, right? Because it's like, oh, well, if this was actually done the way it was written in the script, yeah, probably would have been a lot better. What do you know? The emotional amplitude that I was looking for in that scene required what I wanted, but we got talked out of it. Yeah. And not by the actors. It was just when we were just showing this. No, it was ourselves most of the time where it's like, dude, we got a rap today. Let's just do it this way and fuck it.
00:51:11
Speaker
Well, not that too, but also it was just like, I think it was just like, oh, we can't show this. This would be too extreme or something like that. But the scene I'm thinking of in particular, Margarita had read it and she was like, there's too many swearing. He's swearing too much here.
00:51:33
Speaker
you know what scene I'm talking about? Oh, once you say that, yeah, I remember. Yeah, so it was just like, you guys gotta cut down on what he's saying, because we wrote like, it was just like, you dirty fucking cunt, like you fucking bitch, I'm fucking yucky. Yeah, he's like fuck over a hundred times and saying every derogatory word you can say on a film and not get in too much trouble. And problematically too, towards the female. Towards the female too. And, you know, he's this,
00:52:01
Speaker
a white knight that's supposed to then be paid by the princess and he's not. Yeah. Oh, we should probably cut that out, huh? No. No? No. No one's gonna listen to this. That's true. And anyone that listens to this is gonna watch the kid. And honestly, yeah, you know, and that's what we need to listen to ourselves because the reason why people talked us out, because it was too extreme, it was too much. That's what I mean. It wasn't us that were saying it was too extreme. Yeah, but it was meant to be.
00:52:31
Speaker
Exactly. And honestly, if if the audience would have seen that, because with the way the scene works now is kind of I think it's kind of playing more naturally where it kind of happens and then it's over. Yes, it plays very more real life like which take that as you will. Yeah. But I think if it had that original element. It would have silenced the audience, it would have put them in an uncomfortable space.
00:53:01
Speaker
we probably would have upset people, like, just kind of taken them out of it, be like, whoa, what the fuck's happening now? Like, this was not this film throughout the entirety, and now all of a sudden this. But that was what we wanted. That was the turning point. Exactly. But we also realized in why we were able to be talked out of it, because we knew how risky it was, right? Because that's why I'm saying the cowardice came in. I don't think that's cowardice, because maybe it's not, but it's definitely, it was,
00:53:31
Speaker
Definitely a lack of confidence. I don't know about that. Because I mean, look at... Well, hold on. In hindsight, think about it. Look how we're talking about it. We're fools for not even doing a take of it. Like, one take. Oh, yeah, absolutely. For not doing one take, sure. But I'll say this. Right? Yeah, because it doesn't hurt to just take the take. Yeah.
00:53:52
Speaker
But we also were meeting resistance. But anyways, that's what I'm saying is if we were just like, but anyways, what I want to say, though, is look at Billy Wilder, right? He didn't know how the audience would react. Right. Remember, he was talking the article we read about him. Yeah. Where he talked about some like it hot.
00:54:12
Speaker
And that classic line, well, I'm a man. Well, nobody's perfect. And they were like, oh God, we couldn't think of anything more better or clever to say. So we just left essentially the working generic line. And that got the biggest laugh from the audience completely. And they themselves thought it was gonna be this flat line dud. And they were kind of dreading how the audience was gonna receive that final joke. And so what I mean is,
00:54:41
Speaker
I think we have the real understanding that, yeah, sometimes maybe we're wrong. Oh, definitely. I think I'm wrong most of the time, and I have to come around to being right. Yeah, and we were surrounded by people we trust and respect, so we took their points of view to great consideration and rearranged the film.
00:55:03
Speaker
around that. And I would say, you know, if we did use that and we did put in the film where he's like, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, and it did get played. That's risky because the audience might fall dead and be like, okay, so you guys are misogynistic, right?
00:55:21
Speaker
And I'm like, whoa, whoa, whoa. Uh, no, no, no, no, no, no, no, no. That's not what we're trying to do. You guys are little sexist fuckers. And this is what happens when the girl doesn't give you what she wants, huh? That's who you guys are. And why is it so gratuitous? It's just gross. It's pornographic because it's pointless. That could be the risk. Whereas where it is right now, it's fine.
00:55:44
Speaker
No one's going to complain to me. Well, when you said it like that, I'm makes me feel way worse because I think we need to take the risk. And I think the risk was worth taking, especially funny. We're already taking a lot of risks in the context to the film.
00:55:59
Speaker
the message that that would send is it just puts everything it just would have been the cherry on the cake it would have been the this like right it would have been the uh cream fresh whatever it would right the frosting whatever it because the thing is it's like
00:56:19
Speaker
We don't directly, and this is what I love about at least our writing and in general is we're not shoving any messages down anyone's throat. Really, it's just a slasher. Well, we are, but we're not. It's there. We're not shoving it down our throat. If you want to see it that way, Hal, if you want to talk about it, please do. Yes, exactly. We're not shoving anything down anyone's throat. It is a slasher with
00:56:44
Speaker
uh with layers yeah right it is the slasher onion um that's what the podcast is but see that's what the movie is that's what dickhead is that's what the podcast is too yes slasher with with onions but i think you also have to look at it like you want to get that firecracker that bottle rocket you bought in mexico that's supposed to go in the tube and shoot out and be this awesome explosion that's real legit
00:57:14
Speaker
But you know, who knows if it might light. But we still got the firework, buddy. It's just a little sparkler. No, no, no, I know. Cause that scene does accomplish what we want. It does. Oh, it does. I'm just thinking of the, I'm thinking of the Kubrick, the 110%. That's what I'm thinking of. But what I would say is it can still hit the mark, but it's gonna do it in a more real way where that way is a little more
00:57:44
Speaker
It's over-dramatic. It's very traumatized.
00:57:49
Speaker
even though that's kind of how I am when I get pissed, Jesus Christ. Well, no, to me, and this is why I think I like it is because we both had the same reaction when we were writing it. And also it's kind of a cathartic release. For him, yeah. For him and for the audience to some degree, because what happens is so extreme. But I don't think we can predict what the audience is going to think. No. I don't think that's something we can do. And the thing is, the more real life
00:58:19
Speaker
The way that we portrayed it will work and there's valid points to that. It's just, I think I prefer the explosive, the hundred and, you know, probably 25%. Like we don't go over the top, but it's... It is over the top. But it's meant to be over the top at an over the top moment. It's way more, to me, it's more raw than what we got. Well, I'll also say that we wrote it. So obviously that's what we wanted. Well, we wrote both.
00:58:49
Speaker
Well, compromise down. We wrote one and then compromise down. But I would say this, we should have just done the take. You know, it doesn't hurt to do an extra take, you know, always take this as a lesson. Just be like, look, this is most likely the way we wanna, we're gonna go, because we agree with you. But this is a way what originally was in the script. And, you know, acknowledge now, be like, you know, we don't necessarily know how it's gonna play in the edit or how the story is gonna be in the edit. So let's just go ahead and do this take,
00:59:19
Speaker
Maybe this is gonna be the best one and we'll just do one cause you know, let's not waste time on it cause it's probably not gonna work but let's just maybe not convince them it's not gonna work but certainly word it in a way like let's just do one more this way. Cause what is it gonna hurt? And then if we had that shot, assuming we don't technically screw it up, then we could have just dropped it and been like,
00:59:41
Speaker
Yeah, you know what? They were right, it doesn't work. Or we could be like, you know what? We were right, it does work. And we're not running with actual film, so. I guess technically we could still do it. No. It could be ADR'd.
00:59:56
Speaker
No, you see his mouth. I'm thinking of, like, in a cutaway, just having that. But the reaction, when it... It needed to be... It has to be in, like, a take. ...onset in the take for that level of emotion. Yeah. Because that was, like, a complete breakdown of someone. Yeah. Which maybe we did need to maybe sell the turn better, too.
01:00:22
Speaker
No, no, no, no. I think we have to keep that as subtle as we can. No, but to just light switch got flipped, you know, to really sell that. That's what I mean. To really sell the transition, I guess, is a better way to word it for our character.
01:00:36
Speaker
Yeah, but yeah, well, I just I think it it's still the scene accomplishes what what it was meant to what it's meant to which is to show like, you know, a breakdown in the growing, you know, anger, you know, love turns to hate a dark side, blah, blah, blah, whatever. But yeah, you know, that's great. That is great. Yeah. I mean, I'm just happy that
01:01:03
Speaker
It's not what we've seen. One thing, and I know because you were asking Jared and Clark this too, it's like why it feels like finishing the edit is so big. It's just because to me, it's like the most hands-on we are because we're doing it.
01:01:22
Speaker
And while we probably will hopefully be able to work with and pay for people in post, it won't be nearly as hands-on where every decision that has to be made for the edit is on us to find. And while a composer might struggle with finding a sound or us finding a sound that we like with them or something, that's us just kind of getting to breathe and approve.
01:01:48
Speaker
Yeah. Well, also the fact that like you said it perfectly, find, we have to find the solution. Whereas let's say we do the Foley. Well, it's pretty, it's kind of dictated already what the Foley is going to be. Now granted, we might have to find, Oh, well, are we just going to call the Foley and only live dialogue or something? Now that would be something to explore, but it's not like.
01:02:11
Speaker
Nothing exists in front of us right now. You know, we're literally creating the steps in front of us. And it can go, not in an infinite number of ways, but it certainly can go a lot of different ways. Very close to infinite, it feels like. Yeah, like hundreds of thousands of different directions, you can take a film just by rearranging the clips and having access to all the clips. And so in that respect,
01:02:40
Speaker
It is such a crucial part in post because I mean, it's the retelling of the story. It's the third draft of the story. And also the edit, it feels like it is so easy to bury your nose in and lose the woods for the trees.
01:02:56
Speaker
Yeah. Or whichever the way that saying works. The trees through the woods. I don't know. Whatever. You're only seeing the trees, you ain't seeing the forest, right? Like you're not seeing the bigger picture. Like with coloring, you're matching the color for a scene. Yeah. The scene's done. You just have to decide what colors, like schemes you want to go to and then accomplish that.
01:03:16
Speaker
Which to me that seems far easier because it's already dictated by the lighting. We understand the mood. The edit dictates the color of the scene to some degree. The edit dictates the soundtrack. The edit dictates the foley. It's not the other way around. We can cut on a sound, but we know that there will be a sound here.
01:03:39
Speaker
Yeah, we want a sound to be here what that sound is I mean right you can so easily throw in and mix like you said like we've cleaned the audio is at least like at least I know you're saying you can hear it, but I can hear the audio at least but But if we left that completely untreated
01:03:55
Speaker
It would be, you wouldn't be able, you couldn't even edit. We had the treat just to be able to edit the film like to a degree because you're losing all the emotion in the terrible audio. And then once you clean it up to where at least it's, you can hear it or hear the words and the dialogue and not just.
01:04:19
Speaker
And just like weird, echoey things. And a lot of that, luckily, I think has been at least somewhat worthwhile. I have 10 years, so take that as you will. But the big thing that I want to come across is, you said you're building the steps in front of you, and then you get the whole staircase.
01:04:36
Speaker
But and it's not moving you built it. Yeah, you just have to now paint it, you know, I'm putting shit on it It's like it's like with the writing once the house is built Then you can go in and be like I'm adding a sentence here. I'm gonna change dialogue here But no, you can't do that until the head it's done and like you said every time we go through the edit it feels like we find more things to try to fix and it's just like you can just go forever it feels like I
01:05:04
Speaker
we're like once scene one is colored it's colored no i don't think it can go on forever i just think it can go on for as long as it takes to be right and but what i mean i mean the emotion the feeling of it oh okay yeah that's something else no i just meant like
01:05:20
Speaker
Like you and Clark both said, we keep going back to that podcast, but diminishing returns is what you use that word. Yeah. Our words to say like, yeah, we're doing these things, but we're not getting a good output. You know, the effort and the result is not the same in its lesson.
01:05:43
Speaker
Right. So you have to there's a an equation probably here where it's quality versus time. Yeah. And it's like you've probably stalled out and you're going like point two percent, three percent. And then it's like what. But then you're also this time graph is like.
01:05:59
Speaker
And then wait, but where do you, where does that make the quality then go down because you know, uh, how much time you're spending on it? Yeah. Yeah. And with this film, I just want to get to the point of acceptance. Yeah. You know, where it's like, it doesn't really matter if it's a frame longer or not. Uh, this is the only camera angle we have our, this is what we have to go with because the continuity is just so wildly different. It's stark.
01:06:26
Speaker
And then, yeah, I can accept that. Like, yeah, we only have what we have. We weren't Steven Spielberg with a professional crew in there. So there's lots of issues in all areas and we have to just accept with what we got. And I'm fine with that, absolutely. I have no complaints about that. I think you think I'm not okay with that.
01:06:53
Speaker
I always get the feeling that you're like, I got to like pull a miracle to make you happy. Well, yeah. And now I'm just like, I just got to get Stephen to accept it. I'm like, I feel like it's like that's a task in and of itself. Well, yeah, I want to be convinced of the choice. You know, yeah, yeah, yeah. Because I don't know the footage like you.
01:07:16
Speaker
And then I see it where it's bad and you're like, hey buddy, that's the best we got. I'm like, come on man, please don't tell me that's the best we got. And sometimes you're right. Sometimes I'm right. I think it has yielded good results in the end. And it's got me in a better spot when you tell me like, no, that's what it has to be.
01:07:36
Speaker
Okay, I see. You're right. You're right. That's what it has to be. And that gives me just a better sense of completion with that. That's just gonna be what it is. And yes, I wish it were better, but...
01:07:52
Speaker
That's what's on our SSD. And a big reflection of that too is also just, I think my own self worth, maybe thinking that I'm just not good enough, but also the same as I see the flaws and I know you will see them. And I'm just like, I don't know, but I don't know how to fix them. Or I don't, or at least I'm stuck. And it's like, oh, because I see them and I'm like,
01:08:19
Speaker
But also I've like, I think internally I've come to like a dreaded acceptance. Yeah. But also when you get to those points and I kind of come in and be like, well, let's re-examine it all. And then sometimes we figure out a better solution. And sometimes that solution is like, you know what? How necessary is this scene in here? You're like, let's just fucking cut it. You know, which isn't a bad thing. It's not because
01:08:46
Speaker
We've made some drastic cuts of scenes, some big-ass scenes. And dude, I think we got it in scene six, man. I know that's your nightmare, but I really put in some time on that. Continuity's all over the place, so that's what really needs to get matched. And I know you have some arguments with some of the close-ups and how certain people look because of lighting. And, you know, that always sticks in my head. I'm like, God damn it, you're right.
01:09:14
Speaker
I think of what Sidney Lumet said in that book about, um, he said he had an actor, right? And it was supposed to be a romance and she could do all the serious stuff, but then she couldn't do the like tenderness. It was network. I think he was talking about Faye Dunaway. Oh, really? Yeah. Oh, she's supposed to be like tender. Yeah.
01:09:34
Speaker
He makes a good point. Wow, I didn't think there was tender moments from her. Is it Faye Dunaway? I don't know. I don't know. Well, he never says. He does say. No, he doesn't. I thought he does. He mentions an actress where you can kind of, you know, extrapolate who. But I'm pretty sure he doesn't say. Yeah, it's Faye Dunaway. I'm pretty sure, I think that's who he's referencing.
01:10:01
Speaker
Well, or it's somebody. It's definitely somebody, but anyways. Right. And regardless, it's a very famous actress. I know he at least mentions that. I thought it was, um, hey, darling, that one actress, you know, she always had that accent, that fake accent that all actors had. Oh, transatlantic? Transatlantic, and she was real popular. I think she was with Howard Hughes. Everyone talking about? No. Oh, gosh. Sorry.
01:10:30
Speaker
Can't think of her name. Stupid brain fog. But anyways, I see the angles and I see the shot and how it looks. I'm just like, God damn it. This isn't being sold the way it needs to be. But if we can get scene six,
01:10:49
Speaker
how it's kind of getting assembled right now. It's like, I think you're going to be pretty happy. And that'll make the whole film work because the certain scenes we did cut out. Yeah. So they took away everything that was necessary to make the film work. So just by being able to.
01:11:05
Speaker
you know, maintain that, we can still accomplish what we wanted. Like, yes, we're not getting exactly what we wanted, because certainly we wanted this monologue to just work. Not to say it was written to work, you know, I think that's kind of some inexperience as writers. I will say that with all the dialogue and a lot of the scenes that we cut that didn't work, it's because the deeper meanings were never captured.
01:11:31
Speaker
The intention behind the dialogue wasn't met. The lines were just said. And you never, it didn't feel like what was coming out was authentic. And I don't, I mean, that could be a mixture on, I'm blaming myself because I'm here. Not blaming the actors, not at all. Our actors were fantastic. They made our dialogue actually work.
01:11:53
Speaker
It was just us being a little too lofty. Yeah trying to sell things that we Didn't give ourselves the time and like right like you said we didn't do the rehearsals like we should have and well Not just that but I think within the writing too We just didn't know how to write better like to just make it tighter. Yeah, you know and like, okay This is what you want to do. You can cut out this this this and this make it a little more streamlined and then have it foreshadow things and reveal character like you can really utilize this to be this
01:12:24
Speaker
A vital scene where you know, I'll say we would we just didn't know how to Go that level deeper to extrapolate that Yeah, we didn't know how to pull that out of the the performance either right like it's like we and we just and the thing too is We accepted what we saw We didn't accept what we needed
01:12:47
Speaker
So instead of like doing the necessary number of takes to get what we wanted or to change the scene up to get what we wanted, we just accepted that we needed to move on and just get to the next scene or take or shot or whatever. Yeah. Well, yeah, because I mean, sometimes we were spending
01:13:05
Speaker
you know, like five hours on one shot. Yeah. And especially in like first scene six where we did like in crazy feet. If scene six works at all, we're gods like in my mind, because that was like the most crazy day, like a 22 hour
Challenges of Long Shooting Days
01:13:22
Speaker
day. Yeah. Working non stop. And we did not stop working. Yeah. All day. We filmed 18 hours. 18 hours. But also that's like us.
01:13:32
Speaker
breaking down, setting up breakdown, just being like literally just shooting, which, yeah. Yes. 18 hours of shooting in that one day. Yeah. That was supposed to be what, like an eight hour day. Yeah. It was like, dude, this is, it's already pre-planned. We know where the camera movements, we know the lights. Dude, we're just going to knock it out. Honestly, we can probably finish early buddy and just get drunk. You know, that was kind of the thought plan to that. And cause it was also like a, it's almost like a cast reunion. That's that scene. Cause everyone is there.
01:14:03
Speaker
Yeah. Everyone is required to be there on set that day. Yeah. And so it was like, oh, dude, we'll just get through this and then we'll just party. You know, like it's like a halfway point because I think we shot it like almost halfway. Yeah. It's just kind of like this fun celebration day to just kind of have it easy because it's such a simple scene. But then our inexperience of, oh, yeah, it's kind of hard to memorize like.
01:14:25
Speaker
20 lines or 20 pages of dialogue. And then our dialogue. And our dialogue on top of that. It was like, oh, yeah, I guess that is hard,
Importance of Film Pacing
01:14:34
Speaker
huh? But, you know, I. Yeah, there's a couple of characters that have like three page monologues almost. Yeah. And it's like, oh, yeah, that that probably is. And then we're doing it all in one day, all in one day. Yeah.
01:14:47
Speaker
Yeah and yeah but you know if we can get like and I want to talk about the pacing because you were talking about how the pacing is fast and I think that's where we have to make it as fast as we can but also we need to like make scenes breathe more that need that moment those moments to let the audience breathe as well but I think it's a huge blessing
01:15:10
Speaker
as first-time filmmakers that if you know what you got isn't Citizen Kane, and I literally mean Citizen Kane. If you make anything less than that as your first film, do the audience a favor and make the film as fast as possible because
01:15:26
Speaker
it's like yeah that's great it's a it's a real i've been like when i because i watch a lot of movies and i watch in particular a lot of very cheap indie horror movies because i like to just kind of like see what what's out there and uh like what we're like trying to put out in like the same kind of level of production yeah that's not necessarily product or quality but our level of production is like
01:15:50
Speaker
Around these guys. What do you mean? They have like the similar size crews budgets. Okay, like We don't have like and not doesn't I don't say like money makes movies better. Yes, it does It makes movies easier to make better Okay, that's fair because you can make very bad movies are made for a lot of money. Yes, that's very true And very good movies are made for very little money. So the bad movies still look good when they're made for a lot of money Oh, yes, you know sometimes
01:16:20
Speaker
Like, what? No, no, no, that's too much of a tangent. I was gonna say, some of these Marvel moves are pretty goddamn ugly. Because you were onto something that I wanted to follow up with.
01:16:29
Speaker
So it's a real blessing that you make a short movie because I'll tell you the biggest, and Jared and Clark even fessed up to this and we brought it up as a criticism for their film. And it's a criticism for every single film that we have seen of our peers. They are too long and they have definitely fat. There's a lot of fat that didn't get trimmed.
Indie Filmmaking Challenges
01:16:55
Speaker
And that is a big no-no for cheap productions because then you see the seams, the seams start to fall apart. They fall apart real, real fucking fast. You don't get very long for like a blank wall with like a single sword on it. You don't get to hold on that shot very long. That's our film, by the way. You don't get to just hold, like if you're not shooting in like, that's why,
01:17:19
Speaker
Hair Trigger is great is because they have like that the that beautiful like farm that they're on. Yeah, that gorgeous set. Yeah. Yeah. So they get they get away with that. You can get away with that. You know, Jared and Clark are in that cabin. You can get away with that. But like we have pretty cheap sets. Yeah. Like I would say that was our I'm sorry for the lips or the mouth. I'm so sorry. That dry mouth. But we are sets. That is, I think one of the biggest things that bothers me the most is our sets are
01:17:49
Speaker
So goddamn cheap. We couldn't afford anything. I know. Oh, I know. I know. It was like it was something that we were like, you know what, it's it's really, you know, we'll do our best. There is a set there. Right. There are this is an actual home. So, you know, there is an attempt to make an attempt.
01:18:10
Speaker
But it's just, you know, like we didn't spend thousands of dollars like set dressing and like getting really nice and cool looking things and, you know, wonderful costumes. Are not even like just creating sets that would be more interesting in the frame, you know, to just break up things. Because you're always saying, this shot's so boring. And it's like, yeah, you're looking at a blank fucking wall.
01:18:32
Speaker
There is nothing here to see. You know, that's probably also why I wanted to go in tight a lot too. Yeah, it's just to hide the set. Yeah, now thinking about it. And I don't think... Did you be fair on the set dressing and our set dressers? There are some good looking set pieces that are in the movie. No, to be fair to them, we didn't spend shit on set. We spent all of our set money on the set we built.
01:19:02
Speaker
Well, which looks nice. We brought some set pieces. I got a little Halloween decoration here that I got from my mom's house. I was going to say, we didn't buy any though. That's what I was going to say. We didn't actually invest money into this stuff for the most part. And I think that was a huge.
01:19:18
Speaker
problem. Give the audience a little something to look at in the back. Tokyo Story, right? One of the best things why that film's so beautiful is because you feel like you're in a Japanese home. Yeah. And you're seeing all the pieces of the home with the character within the home. But it looks so beautiful. It's also dressed so nice. That's what I'm saying. It's dressed so nice. Ours is just dressed like our poor asses. Which I did want, honestly.
01:19:43
Speaker
Yeah, we definitely accomplished that. Oh, we definitely accomplished that. But the problem is- I still live in that house and it looks exactly the fucking same. No, but the problem is that we try to clean it up and turn it into a set. But we turn it into a set with what we have so it looks poor and then it looks like a set. You know what I'm saying?
01:20:02
Speaker
I thought that was the Willett, it wasn't. No, you ain't drinking, but this is not Willett. Dude, you should try this. It's... I'm getting close to finishing. It's a new world, man. I like this heavy stuff, man. It makes you... I am drinking slow. Oh, I love that Willett, man. Just sipping. It's expensive to have though. Although I drink like three drinks worth in one cup.
Tight Editing in Films
01:20:25
Speaker
Oh yeah, because we... I figured... So we don't have to refill.
01:20:30
Speaker
I will say, you know, that's, I think that's great advice is make it as short as you can. Cause I know for, let me ask you how long do you want it to be? For Dickhead, I want it to be around. I would prefer, cause you know, the general consensus is yeah, make it 90 minutes. I would prefer it to be 80 minutes, hopefully 75.
01:20:51
Speaker
I'm thinking 75.2. I think that'd be the sweet part. Like I said, I want the audience to suffer for as little as possible. And not overstay the welcome. And enjoy the scenes that we have and make the scenes that we have that work the best. We stretch those out to the limits. Literally. Let's just have only the good stuff in it and cut the bed. And you know what? That's probably going to put us around
01:21:17
Speaker
80 and then let's just okay now now we got to start making some real cuts and let's go and there are some there are some necessary beds unfortunately no there are but even the beds were I think you could tell the effort that's put in to be like sorry look we're
01:21:35
Speaker
Making it look good, you know, like there's effort to salvage something. The hope is that people accept the respect that it had to be in the movie, that we just didn't get it. Yeah. And that we're going to get you to the next cool scene as fast as possible or the next good scene or the next interesting scene as fast as possible. Yeah.
01:21:53
Speaker
And that's our promise to you as the viewer. And I think that's the promise because, man, the worst thing and I will say maybe it's because we edit it and we're like I said, it's the nose thing, right? Our nose is against the screen. Is that when we watch the cut, when we do the when we watch the renders, they feel so fast and that feels so good. No, it's too fast because I like it because I mean, I watch some of these movies and I'm just like praying to the gods like, please,
01:22:23
Speaker
cut, please, let's do something. And you know, like people are trying to be like David Lynch, people are trying to be like, oh, if we just hold on this for 90 more seconds. And I'm like,
01:22:39
Speaker
Maybe like 90 more frames. And like I see all the time because like I'm all I've been something I've been doing lately is I count like seconds. Really? On a cut when I'm watching movies. You're really breaking them down there. So then I'll cut number one, two, three. And I noticed modern movies barely get past three. Yeah, it's like every three seconds there's some kind of cut.
01:23:09
Speaker
And it's like, Jesus Christ, give me a goddamn breath. But indie movies, I've noticed. Oh, yes. I already know. Sometimes I just stop counting. I can't count that. I only got 10 figures. And it's like, oh, OK, 72.
01:23:32
Speaker
And don't get me wrong, I love wonders, and I love not cutting. Yeah, I love the log shop. But you got to do it in the right way. But you got to earn it. You got to, yeah. You got to earn it. Every second that your film is taking up people's lives, sucking up their breaths, the finite amount of breaths they have.
Advice for Indie Filmmakers
01:23:55
Speaker
Their $6 rental. You should be
01:23:59
Speaker
Earning it, right? You gotta earn every frame that's on that screen and when you don't earn it, cut it, end it. And I think that's the most important thing to indie filmmakers that are on our level that we can say. We said there are a couple of very important facts. I think people, this is actually going to be a really good episode for filmmakers to listen to. Hopefully, either think that we're idiots and do the opposite and make it work for them or think that we're geniuses. Which is probably the best way to go.
01:24:25
Speaker
and accept our love and our knowledge and our genius into practice. Our god-like abilities without even finishing one film. The problem is we're really teaching ourselves
01:24:40
Speaker
Filmmaking with dickhead. Oh, yes dickhead like is our we're good. We went to dickhead university Yeah, dhu, all right, right we had mr. Ward as our teacher Do you read sutter cane but like what I want right? I really mean is
01:25:03
Speaker
Like we, like I said, when I watch The Renders and I don't know, like I said, I don't know if it's just my closeness to it. I cannot see the movie with new eyes. That's just never gonna happen. But this is where I'm excited. This is where I'm like excited for other people to watch it. And maybe this is where I'm trying to push that too much. Just because I'm getting excited to that point where- No, we need other people to watch it without it out. When I wanna start seeing people to watch it to be like,
01:25:30
Speaker
Okay, this, am I completely lost it? Because the movie feels fast in a good way in a lot of places for me. Well, no, that's what I'm saying. The movie's too fast. And that's a compliment because I've seen when movies are, you know, I always used to hate like when I was growing up, I was like, man, I wish this movie was longer.
01:25:49
Speaker
And now I finally got my wish all these years later. And I'm like, fuck, dude. It's like a cut. Cut shit, man. It's like a real genie, buddy. I swear to God, man, I'd always complain that movies weren't longer. And I'd always complained that there weren't enough sequels. You fucker. You fucker. You know, I believe in God. God gave me what I wanted, buddy. God gave me what I wanted. Those were your two genie wishes. And your third wish was probably for like a goddamn Mountain Dew or something.
01:26:21
Speaker
God damn it. No, but yeah, because believe me, I love slower paced movies, but I think you have to be really good to make slower paced movies that are good. You gotta fucking hurt it, dude. You gotta fucking hurt it. Right, like tar. And I know you haven't finished it yet. No, I did. Oh, you did? That movie was fucking great. Right? Was that up everywhere all at once? Yeah, it was. It was Best Picture. Everywhere all at once.
01:26:49
Speaker
Still probably wins, but I liked Tarway more. I was like, damn, this film's fucking... It's kind of like a little secret horror movie, right? And it doesn't shove anything down your throat. It does, but it also doesn't. Is she a villain? Is she not? You don't see her necessarily be villainous. You never see her villainous, which is fascinating. A couple things where it's like, oh, you bad, but look at all that jazz in his character, right?
01:27:14
Speaker
Yes. So her badness isn't necessarily portrayed. And isn't it so fucking interesting that they chose to make it Cate Blanchett a woman in this role? How easy would it have been to cast like a Clive Owen here or like a Peter Dinklage or whatever area? You have to have it a woman because then people really
01:27:36
Speaker
take the time to watch it and listen. And also it makes, to me it made the, the fact that it's a woman, it actually made the movie far more interesting to me because it's, this is generally a like male driven, like victim, like, I don't know, victim, villain type role. Well, me too, right? Me too is kind of like, who's the one who's fucking up? Yeah. And then to just kind of see like all the people who are,
01:28:05
Speaker
who are being victimized. You got your LGBTQ people who are victimized. You have women who are always oppressed. Oppressed is probably the better word. Oh, I got pee, buddy. Me too. So I'll just keep talking. Finish your statement and then we'll... Oh, hey, if you want to grab a couple waters. Oh, yeah. So he leaves and he doesn't even close the door. That tells you a lot about Tom right there. I'll tell you that. But in regards to Tar, just...
01:28:35
Speaker
to see, I mean, it is more interesting because she's a lesbian. And if you were to make it a man, a white cis male,
01:28:50
Speaker
I don't know, maybe, I don't think it would have been received in the same way, so I think that kind of just brings out the story more and the thought process more and the view of it more. And it's a great movie, it's really interesting. I mean, you should see it, because nothing's ever, I mean, I don't want to go into spoils, but nothing's necessarily ever shown to be true. It's all just after the fact.
01:29:16
Speaker
kind of delivery of information. Now you're definitely, you're definitely kind of, or maybe not. Maybe it's just a perspective I have, but certainly you see her as the wrongdoer and that she is guilty of the abuses of power she has, or she commits. And so I feel like she is guilty, but you actually don't. Well, damn, is that a spoiler?
01:29:46
Speaker
Possible spoilers for Tar right now. You actually don't necessarily see her be, you know, guilty, bro. Shit. Crispy treats hitting me in the face right now.
01:30:02
Speaker
So I love tar. I think it was a little slow and a little too minimal, which I think that's very much a style, especially within indie films right now. And
01:30:18
Speaker
I don't know, I don't like it. I like it for its novelty sake, but I don't necessarily a big fan of it because again, going to the earning thing, I don't think people are necessarily earning slowness because your film shouldn't be, in my opinion, it shouldn't be slow per se. The scene should take as long as they need. Now, if the scene's dated a long time, slow, then perhaps that's how you play it out.
01:30:46
Speaker
But I don't think you should necessarily go out to create a fast movie or a slow movie, create a movie that respects the scenes that are written and try to understand the pacing that those scenes have necessary. And I don't know if tar was always deserving of some of its slowness. It probably could have had some time shaved off. Let me get my man, Sidney Lumet and the Warner brothers to tell him to shave. But really, I mean,
01:31:17
Speaker
I don't know, maybe Tar is the best film of the year, that year. Oh, Tar was the best film of that year. Tar is the best. It wasn't. No, no, no, no. I would say Tar is the best film of the year for me after seeing it, because it was like, it can't blanch it. The story, the writing, the writing was so good. The directing was great. I mean, it was just- It was scary. It was scary, right? No, I didn't see it that way. I mean, I'm not disagreeing with you. That scene was, she's in the woods. I like, oh yeah.
01:31:45
Speaker
I like how you're saying that because it's like, yeah, you're right. It is this kind of thriller, scary movie, right? Because you kind of think like, is this movie going to take a twist at some point where now it's this thriller suspense horror film or something? Because there's even ghosts in it because I watched a review on it because I was like, what the fuck is the end? I don't know. What's the end? I mean, I don't get it. Yeah. Stephen, no, understand the cosplayers. Yeah.
01:32:12
Speaker
So I watched, you know, the breakdown of it and there's ghosts in it. Yeah. Did you know that? Yeah. There's some shots with the girl in the background and she's not really in the room. The one that killed herself. Yeah. Spoilers, I guess. I already said that. Oh, yeah. Because I just spoiled it earlier. But so when you said that, I was like, oh, yeah, this this does actually play like a suspense thriller because, you know, I
01:32:36
Speaker
It's delivered as a drama, and so that's certainly how I received it. But when you said that, I was like, yeah, that's right. It's such a good film. But I also see why everywhere, all at once, one. I could see how that would be the winner. Tar is a deep end film.
01:32:57
Speaker
You know, in this hypothetical pool of filmmaking that we're talking about. Thank you for the water, by the way. Oh, yeah. I got an extra one. I thought I grabbed two extras, but apparently I can't count before. You grabbed two. Oh, no, you can't. I thought I grabbed. Well, I'm going to steal some of that water to. Yeah, that's good. Because you'll need it.
01:33:19
Speaker
Oh, maybe I should drink it and eat like you then. Oh, a little bit. No, I put water in mine. Oh, you did? Oh, I need it. Yeah. You can't go. We needed to go from this to the Willet. Oh, yeah. I know. Once I saw you drink it in your face, I was like, fuck. I was like, oh, I forgot what 40. This is or this was like a $20 ball or something. No, no, no offense. Slain, Irish whiskey, triple cast. You're just not Willet. You're just not a good. You're drinkable, though. Yeah.
01:33:49
Speaker
I wanted to say you were saying tar is deep end tar.
Comparing Film Pacing
01:33:55
Speaker
So in the pool of films tar is deep end. It's deep and rich and everything is given to the slow immersion and pacing.
Appreciation for Sci-Fi Set Design
01:34:07
Speaker
Well, I would say like
01:34:11
Speaker
everything everywhere at once. They, you know, they dip their toes in the pool. That's a joke. I don't mean that. You know, they're waist deep. They're waist deep, which is a very comfortable place to be. It's a very, the film is like when Edgar Wright makes really good movies.
01:34:37
Speaker
That's like the level that everything in the world wants. I like Edgar Wright more. But I get what you're saying. There's an energy to the film that is just very palpable that you like. I mean, the movie openly admits to ripping off The Matrix and it does a very good job.
01:34:55
Speaker
of ripping off the Matrix. Yes, it does a great job of ripping off the Matrix. What are the best? Yeah, it's like the best Matrix sequel that was ever made. Yeah. Right? It's right there with the Matrix, to some degree. No, no, no. I think... The Matrix is pretty damn cool. Everything around... Although there was Dark City that came out that year, I just want to throw that out there. The year before, 98. The year before, and the Matrix is around.
01:35:25
Speaker
Although not really, they probably ripped off the Matrix and just got out sooner. You know when John and I were doing the crazy noir watch?
01:35:33
Speaker
uh dark city was one of the movies we watched and that way that's like the probably the third time i've seen it and it's one of those it's better as you watch it's one of those eyes wide shut movies the more you watch it the way better it gets the way more you appreciate the performances uh just it because the first time you watch it you're just like this movie's weird and stupid but i like jennifer connie but the set but but you're so engrossed because the set design just sucks you in it's
01:36:03
Speaker
Well, it's because of the ending. The ending is cheesy. It's beautiful to look at. It's so Gothic and cool. You love it, right? It's so much style and mood. I love it. And then the story is just like, what the fuck?
01:36:19
Speaker
Oh fuck, this is so stupid. Well no, the story's good until like, it's good until the very end when they're having psychic battles over a knife. Yes, and that takes you out and when you first watch it. Big time, because it also makes you kind of like think the rest of the movie's like, oh. Yeah, and then the first time you watch it, what do you remember? That. So when you go and watch it again, you're like, yeah, I know that happens. But let's watch all of the other parts. And it's like, oh, yeah, this is great.
01:36:47
Speaker
Yeah, and then like I said, this is like probably the fourth time I've watched it. I'm like, this movie only gets better. Yeah. It's like Eyes Wide Shut. The more you watch Eyes Wide Shut, the better it gets. Well, the Eyes Wide Shut was always like a solid. Yeah. Or I don't know if Dark City was like my, what is that? Dark or Secret Pleasure, whatever they call it. Guilty Pleasure? Guilty Pleasure. You know what it's kind of like? Is Event Horizon.
01:37:17
Speaker
No, that's not true. I think the more I watch event horizon, the less I like it. Yeah, I was going to say event horizon loses its.
01:37:26
Speaker
Okay, well, it's like set horizon, except they both go in separate directions before you watch it. I'm sorry to become, just since we started talking, obsessed with, like, when I close my eyes, I just see, like, a set just with, like, these cheap threads just shredding, like, it seems, and it's just, like, everything just is just this facade that just gets ripped away, but it's like someone just slowly pulling the string, just, like, tattering it.
01:37:49
Speaker
And as a filmmaker, you have until, that's how far the string gets pulled, how fast it gets pulled, it's like your budget. You have to pay the bitch to pull it slower, right? And that image is just really strong in my head right now because I think that's what the audience views, right? So you only have so long before they lose immersion. Before the string's ripped out.
01:38:13
Speaker
Right. I mean, unless you have, I'm not saying that that budget helps really good. Yeah. Budget helps with that because you could, you have the ability to purchase more, do more, paint more. Well, you can, there's some really great films that are still considered great, but then they say like, yeah, we had budget problems and you could see the areas they have budget problems.
Budget Constraints & Visual Quality
01:38:32
Speaker
And it's like, damn.
01:38:34
Speaker
of all the films to give a budget problem. This was the one you said, no, you only have this much versus others where it's like they almost have infinite cash and then you see the end product. Yeah, because I don't want to say you have to have a huge budget to make a like a good looking movie.
01:38:51
Speaker
It's like set wise, like separation wise, because I'm thinking of like Turbo Kid or... Well, here's a great example, because I just watched the trivia of Sorcerer. Sorcerer came out the same year as Star Wars. Sorcerer was more than a hundred million to make. Star Wars was like under a hundred million.
01:39:12
Speaker
You've seen Sorcerer. I mean, I can only imagine who had the better looking set design, costumes, effects. Even though Sorcerer, they literally built a bridge that went on hydraulics and all this crazy shit. I mean, Star Wars is like... I mean, look at Star Wars, dude. Like, hands down, that's...
01:39:32
Speaker
I mean, we were talking about tar, like how great the sets were and everything in tar, and they were. They're amazing, beautiful, contemporary, modernist sets of these locations. But damn, Star Wars still, right? I mean, there's something to a glowing light, a glowing little keyboard button on a wall that's glowing, right?
01:39:52
Speaker
Star Wars is amazing, dude. The art in that film is just so great. The art and set design of that movie has a level of immersion that is incalculable. There's a reason why it's now a franchise and probably the most successful movie in
01:40:11
Speaker
in film history right like outside of the is that just is that part of us just being like dorky sci-fi nerds no because i think about it the numbers prove it whenever i think of really good set design i always think of sci-fi and i always think of three movies alien star wars alien space odyssey space odyssey and you know what those are space movies
01:40:33
Speaker
Oh, no, when I think like great set designs, I'm thinking, I mean, yes, those obviously come to mind, but honestly, one of the first ones that ever comes to mind is Blade Runner. Although you can say, what genre is Blade Runner? Yeah, but it's also like in the city, right? Yeah, but dude, it's absolutely cyberpunk, future-based sci-fi.
01:40:56
Speaker
Oh, well then, okay, fine. F you, man, play time. Don't tell me that's not some of the greatest set design you've ever seen in your life. That movie's science fiction. Because those backdrops are the greatest backdrops. I was like, what the fuck? How did they do this? This is amazing. That movie probably has one of the best art directions of all time. Yes. That's a movie that needs to learn how to cut.
01:41:22
Speaker
It lets you enjoy things a little too long. Yes. But playtime is really good. I mean, there's a lot, dude. But still, playtime is such. La Aventura. The Morena Bad. Yeah. Last year, Morena Bad. God. The set design. You know what's that thing, dude? You know what I hate? And this is inherent. This is actually kind of funny. Listen to this.
01:41:51
Speaker
A lot of movies, it's like rich people's houses. It's like really fancy ballrooms and palaces. Oh, I hate that. And all our movies, like the cheap movies, it's like where they live. You could tell they're in their kitchen. Could it be less real? Their mom's cooking in the background. It's literally their house. It is the furniture that they have.
01:42:19
Speaker
all the practical lights or the lights that have been in that house for 45 years. Yeah.
01:42:25
Speaker
And like maybe like there's one or two extra lights that you have for fill. And that's like our filmmaking, right? And it's like, you know, we don't have a mansion with like decorated wallpaper that is actually designed for the movie or we don't have carpet. Like we're shooting on goddamn concrete. And there's a real charm to that. And that's one thing I love. And when you have money where you can actually dress the real,
01:42:54
Speaker
Yeah, it's like there's a real beauty there and that's where I think the indie powerhouse comes those come in Yeah, cuz that's your ghost stories. That's your well, that makes me think of not just ghost story, but um Before sunrise before sunrise, right? It's just like hey, we're in where were they?
Use of Real Locations in Films
01:43:12
Speaker
Pairs. Oh, no first one. It's like Belgium or Belarus frog something like that. Hey, we're here
01:43:18
Speaker
They're not in Paris and they're not in America. And they're somewhere beautiful. It is European. Is it Prague? I think it might be something like that. But anyways, you know, like that had amazing locations, sets. Well, I guess technically it's not sets at all, but it has this amazing location. A set is just the stage. A location, essentially, right? It's just the stage. It's the stage, yeah, exactly. So they had that and it was amazing. The other one that I love, because it's real,
01:43:46
Speaker
And maybe he adjusted it here and there to make it work for his film. Clerks. Oh, absolutely. I mean, that shot in a real Kwik-E-Mart, right? Yeah. And... Kwik-E-Mart. And it has a charm, doesn't it? Like, it has... Because it's real. It's fucking real, you know? And it just adds to the immersion of the film, the string. You know, like, it's the most cheapest set ever, because it's literally his real set, right? It's where he really works. It's real.
01:44:14
Speaker
And that string just doesn't get pulled. You know, they don't pull it with that. Yeah. And so. Exactly. So yeah, there is that charm, like to the indie. I guess that's like the next step above us, right? Like you got some money and some know-how. Or you're broke, but you got some know-how.
01:44:31
Speaker
No, it's like you're still shooting in your house, but like you put some stuff up. Yeah, that's what I'm saying. You have to know how you understand that. Let's just throw this here because that works better in the frame. There's like some bamboo tree in the back and like you have like Satan's dick in the corner of the house because you can afford to get Satan.
01:44:51
Speaker
On set now could you sold your soul? I'm gonna go pee. All right. Yeah, so that's yeah, so that's so that's what is really important is They're the understanding those levels and then acting accordingly
01:45:08
Speaker
Right. Like you can make like a really cheap movie look really good, but you need to also, but you need to make it look really good. I know I was a sentence, a dumb repeatable or whatever. Cause I want to really like emphasize this. So I'm going to get kind of closer to the mic and it's, it's really difficult to like accurately afford like
01:45:38
Speaker
everything to make an easy life on set. If you have the time and the planning to really go in and get really good, interesting lighting, understand how the shadows are going to move, really like key lights and eye lights and all the fancy lights and stuff so that you can go in and get it done, it will really make a difference.
01:46:04
Speaker
And like maybe just shoot some fog in there or have some kind of like, I know they have like those soften filters. I'm not really a cinematographer. You should really look up Kshusa, Jenafield. You should look her up, man. She's fucking phenomenal. And I think we should really have her on again so we can learn more because she really works with what she has and makes just something like beautiful films, beautiful.
01:46:32
Speaker
Go watch a Wounded Fawn. I mean, man. That's a movie that I have a little bit of issues with the pacing a bit. It does feel a little long at times.
Indie Cinematography Praise
01:46:44
Speaker
But not in a bad way, just in a noticeable way. I hope that isn't insulting or anything, but it felt like it wanted to be like that. Wanted you to really just feel and think, but oh my God, the cinematography, the look of that film. Travis Stevens and Kasusha, man, you guys. Holy shit, it just,
01:47:12
Speaker
To me, it was like my favorite looking film of the year just because of how awesome it looked.
01:47:17
Speaker
and the style that was achieved it. I absolutely adore it. I'm talking about a wounded fawn. And us having to have Kasusha on again, so we can kind of talk about this topic. Last I was in here was about set design. But that had pretty damn good set design, huh? Or at least the way she worked the set in the frame. Yeah, that's what I brought up. Like with the lighting too, like utilizing lighting. Right. If I was going to say, if you have a cheap looking set, you can make it look better with better lighting.
01:47:47
Speaker
Yeah, cuz then you're actually kind of like painting the walls right exactly you're you don't have to
01:47:54
Speaker
like right you can make a white wall interesting with light just like you could make a white wall throw a gel on it just like you can make a white wall look really bad yes you can make a white wall look really bad like we did yeah a couple times more than a couple and that's where you really start to realize that it's like oh it's not really just like that you painted the wall it's that you painted the wall with light yeah like you painted the wall but then also paint it with light
01:48:23
Speaker
Well, one of the scenes we cut out, the early scenes, I mean, we had a painted wall, but also just the way it was framed or the way it worked within the frame.
01:48:35
Speaker
also just the blocking. The blocking was what was really off. Maybe that was it. Our blocking was just bad. Our blocking was really bad. So that kind of set us off with the framing being bad. Yes, because we have other shots in that room that look pretty nice. Yeah, no, we have some really cool shots. I think another one of
01:48:54
Speaker
The other main protagonist that nice I know it's you don't like the tight shot and it is tight, but I like the angle and stuff It's not that I don't like tight shots. It's just I feel like you have to earn them. They can't just be thrown in I feel like Because a tight shot to me and I know I've said this a thousand times on this podcast But I'll say it for like the 10,000 in one time god. It tastes like nail polish now
01:49:24
Speaker
Damn it, we fucked up, Ed. I know, we reversed the order. But to me, what's really important is, what's the topic? I was talking, well, I went back to set design and you were talking about Kasusha's film, Faun, that is Dead. But what, Wounded Faun? Wounded Faun, there we go. Oh, I was, damn it, I lost it, shit. This whiskey I've had already. I don't think it's the whiskey, I think it's the other thing. I've had a couple things.
01:49:54
Speaker
Man, I had a really good point and I lost it. The framing of tight shots have to be earned. Oh, tight shots have to be earned. Thank you, buddy. Damn, you're a genius. Tight shots have to be earned because they should create a reaction in the audience. And you can start with a tight shot.
01:50:17
Speaker
if what's happening in this scene is not just saving coverage, I don't know, right? If there's like, are we really supposed to be feeling what the character is emoting through their action at this moment? If not, we're just looking at a bored face. And then you're like, you see everything. The facade on the wrong type is bad.
01:50:47
Speaker
No, I- Or the face, sorry. I don't feel that way, but because of your feelings, I probably will never do another tight shot again.
01:50:57
Speaker
You can. Some of ours look great. But then I would also say that, you know, look at First Man. That movie was nothing but tights. I'm not saying you can't do it. I'm just saying it's how I feel about the shots that we got and how shots I feel in editing. Let me ask you, because I think First Man, nothing but tight shots. And if you're going to have nothing but tight shots, I think that's the way you do it. I thought it was a beautiful film. I love the cinematography.
01:51:28
Speaker
How do you feel about it? Is it kind of like, you know, they had great space scenes, they had great dramatic scenes, but when it came to those character-driven scenes and the tight shots, I just want feeling it. I actually really, I'm with you on, I really enjoy the cinematography, even though it is a bunch of tights, but also it's committed to, that's how they're telling the story. Yes.
01:51:52
Speaker
And I do think it's earned in a sense because of how visceral you, it's like trying, it's as close as you can put you into a first person movie.
01:52:05
Speaker
Yeah. It's trying to make you there. That's what that movie- You feel it. Right? You're Neil Armstrong's Siamese twin in that movie. Yeah. Right? You're banging his wife with him, right? You're burying his daughter with him. So that's what Armstrong meant, huh? You're shooting off the space with him. You feel like you're there. Yeah. And that's largely due to the cinematography and just the fact that it's like, when it cuts,
01:52:33
Speaker
from not on a character, it's almost like an insert. That's how tight a lot of these shots are. It's where it's like if you were looking down at the panel, it's like eyes distance away, right? It's like arms, you can reach out and touch it like it's arm's distance.
01:52:54
Speaker
Even though eyes could see pretty far, but I do what you want. I yeah, it's like eyes distance miles away as far as the sun. I'm at arm's distance. It's like your arm's length away from the shot. Yeah, like you can reach out and touch it. And then it just like you're like rattling and the sound is like almost like physically moving you. And yeah, it's first man is like fucking hidden masterpiece that I think people really slept on because
01:53:23
Speaker
I'm your arm's dog. He's too tight. He's boring. Like, Jesus, dude, that was the greatest movie ever. I'll say. Especially in IMAX. Completely different movie. Especially high. Completely different movie. But, you know, I was just kind of randomly drifting a little bit. And you know, it's kind of crazy that the sun is so bright.
01:53:49
Speaker
It blankets space in the stars. It's kind of fucking crazy, man. Like this light source is so bright, your eyes literally can't see space. That's what the reflections are in the night, isn't it? Of the moon, not the stars. Oh, the stars are emitting the light. It's okay, buddy, I know you're high, but the planet's right.
01:54:18
Speaker
yeah uh however like the moon right there is no moonlight it's just sunlight bounced off the moon it's a big fill card right like it should hurt vampires just the same like that's pretty well actually that's a really good point why does it hurt
01:54:34
Speaker
Because, well, it was... The sunblock does work for Blade. The UV, right? That's what actually works. Well, remember a Blade where they could go out in the daylight? He's like, I got sunblock on. Yeah. Yeah. It's like 70 proof. Yeah. That the moon is like... They had like 15 minutes in the sun. Because it's a fill card, right? The moon is just a giant fill card. That's a good point. That's... Yeah, that's interesting. That's what we'd say. He's like, shit, yeah. So it has to be the UVA rays that kills a vampire. It just directs that light.
01:55:04
Speaker
It has to be direct. It has to be a bouncing light. Yeah. Oh, that's funny. Because technically all the light we see is kind of the same. It's just the different radiation during what time of day and stuff, right? Is it that bright with like the ultraviolet? Isn't that like a different spectrum? Yeah, ultraviolet. We really shouldn't be discussing this. We really shouldn't be.
01:55:31
Speaker
All right, buddy. I mean, we barely know filming. We start talking physics, astrophysics. RGC the UV. Okay, back to film. We know that, everybody, ladies and gentlemen. So do you want to go out to the script or do you want to keep talking? Because I did have
01:55:53
Speaker
There's a couple questions I thought of. Let's do the questions. Okay. Let's do it. I'm feeling great, by the way. I'm feeling great. Yeah, me too. But I'm just, we're already an hour and 49, which I guess is that long. That's not very long at all. I feel like we've been doing this for two hours and 49 minutes. I thought it was two hours, but it's... Yeah, I thought it was two. That's a one? Okay. Well, now it might be because that was like three minutes ago. Oh, it's all right. Anyways.
01:56:20
Speaker
I always like to just, you know, ask this question and we ask it all the time, but it's always fun to just kind of hear and catch up. What's the best film you've seen this year? And then what's the best film that has come out this year? Like how I separated it in two. The best film I've seen this year. Ooh, I've seen some good movies this year. Yeah, so you feel like they were good, huh?
01:56:48
Speaker
Oh, you mean like, oh, you mean new releases? Yeah. Well, I mean, a movie that you have seen this year that you were like, oh, shit, this is great. And then also new releases. I've been keeping a list of all the movies I've seen this year. Oh, damn. On Letterboxd. Let me look at the list real quick, everybody. The best movie I've seen. I watched Straw Dogs for the first time this year. That was pretty fucking good. Oh, it's great. I did not watch it because
01:57:17
Speaker
Well, I saw this remake. No, the original. It's with Dustin Hoffman, right? Yep, Dustin Hoffman. Yeah, it's got Dustin Hoffman. Oh, I watched Oni Baba this year.
01:57:33
Speaker
That was probably the best movie I've watched. It's a Japanese film about this woman and her daughter in law. There's a feudal war going on and they hide in these giant reeds and they find injured samurai and murder them and then throw their body down a well.
01:57:52
Speaker
Yeah. And the daughter and this guy, the samurai Ronan comes and meets them and is like a neighbor kid, but like his parents died. So he comes and stays with the woman and the daughter-in-law and he starts like hitting on the daughter-in-law. The mom wants to bang him.
01:58:16
Speaker
And so the mom starts getting jealous of the daughter-in-law because the man's forcing her to go off and fuck like out in the middle of the dark. And then he starts getting his own place back, like he starts rebuilding his original house. And then he like starts to start making her move in, but they don't know if her husband's alive or dead.
01:58:37
Speaker
the woman goes down into the well where they've been bearing all the samurai and puts on all the masks of the samurai to like haunt her and so she starts being freaked out and not fucking the dude so he's getting pissed so she's gonna like wear the armor and murder him to kind of like restore order and so she's gonna try to push him down the well
01:58:59
Speaker
And she ends up not being able to take the mask off. She kills the guy but she can't take the mask off like it like melted to her skin. And she's like when she like peels it off and like kills her or some shit. And she murders the daughter and the daughters murders her and shit and it's fucking crazy. When did this come out? Like 1964.
01:59:20
Speaker
What? That sounds wild. Oh, spoilers for Oni Baba. Yeah, definitely spoilers on that. But that was a wild fucking movie I watched this year. It was on Kasusha's recommendation, actually. Oh, really? Yeah. That sounds crazy. Yeah, especially for the 60s. It's so fucking cool. The Japanese in the 60s were like the best films of all time. Bangor after banger, you know? That was like the Korea of today. They were really killing it, right? Because especially in the US, they were just kind of...
01:59:50
Speaker
It was still like from the 50s, those kind of movies too. And then also just really experimental stuff, right? Well, the 60s were like the end of the Westerns and starting where, but they didn't really find themselves till like the 70s. Yeah.
02:00:07
Speaker
So dang, so the Japanese killed it that year, huh? That decade. The 60s. Do you think, because the French duet was the 50s, right? Yeah. So did they kill it that decade? Yeah, it was like the French, then the Japanese, and then the 70s, it was us. Back to the US. And then the 80s, it was probably nobody. Is this time right now, do you think it's the Koreans?
02:00:35
Speaker
I think it's the Koreans. Yeah. I mean, it might be on the tail end because old boys might mark the beginning. That was 20 years ago. Yeah, that's what I was going to say. So maybe we're entering in like a new hellscape. I haven't really seen a lot. Oh, I mean, parasite was wasn't too long ago. Yeah, but that was the last like that I know of. I haven't seen too. Oh, I guess I don't hear a lot about it because, you know, well, because I was thinking I saw the devil.
02:01:02
Speaker
Yeah, but that was a long time ago. I know. That's what I'm saying. That movie is almost as old as Oldboy. No, it is not. I would say it's like three or four years apart. Then maybe Oldboy was a beginning and then it's been 10 years, so now nothing. 20. Yeah, I know. That's what I'm saying. There's 10 years ago. Although they had Squid Game, dude. I don't know if you ever saw it. No, I never did. I loved it.
02:01:26
Speaker
And I don't normally watch TV series, and I'm really excited for the sequel, like, for the second season. Dude, it was fun. You should check it out. It's pretty damn good. Yeah. It's pretty damn good. It's Korean. You can feel safe. Yeah. Oh, I have no doubt that it's not good. No. I just end up always just rewatching Simpsons. That's your go-to, huh? Yeah. Mine would either be, it's always sunny or a curb.
02:01:53
Speaker
Yeah, I have a Treehouse of Horror playlist. We almost watch it every single night. Really? I can almost quote the Raven poem by heart. I just have to hear it start and then I can just do the whole episode.
02:02:09
Speaker
Because I've watched it like every single night. And sometimes it's Star Trek, but most of the time it's Triassa Horror. I almost always wake up in the middle of the night to pee and to have a Triassa Horror playing. I love them. I love them. They're perfect to me. Because they're Simpson parodies of amazing things.
02:02:30
Speaker
Yeah. And it's when Simpsons was parroting things the best. For The Treehouse? Yeah. How long? The Simpsons Shining Treehouse, the horror episode, that segment is almost as good as the goddamn movie. Yeah. Yeah. Perfect sequel.
02:02:51
Speaker
Yeah. Like the perfect parody. Yeah. Like it's, it is so goddamn good. Well, let me ask you the more, not interesting, but maybe the more, um, I can't think of words. Why am I trying to say the more controversial one was the best movie you've seen this year? Oh, the best movie I've seen this year that came out this year.
02:03:16
Speaker
Yeah, that's what I mean by that. Oh, my God. Can I have a second to look at what came out? Sure. Because nothing is coming to mind. Well, that already says a lot. Well, I will say I have not seen Evil Dead Rise, which I am hoping I really like. No, I'm just asking for a movie you've seen this year, and you will like it. You won't say it's the best movie you've seen this year, though. Damn, dude. The best movie I've seen this year. Oh, I'm just looking at all this garbage.
02:03:46
Speaker
God, what was it? Air was pretty good. Oh, okay. I did like air. Oh my God, a lot of these movies. Wow, a lot of these movies really sucked, dude. I didn't see asteroid city.
02:04:10
Speaker
Oh yeah, Asteroid City. This is a bad year from movies. Yeah, I'm going to say Air is the best movie I've seen this year. I really liked Air. Wow, that sounds so sad. So the best movie I've seen this year, aside from TAR, because that's the most recent, I was trying to think, but I couldn't.
02:04:29
Speaker
Oh, and aside from the criteria, because I mean, you know, we saw angry men. Yeah, I was going to say I was going to try it. I was trying to look at a movie I'd never seen before. Yeah, that's what I was trying to think. I mean, because I watched like alien this year.
02:04:47
Speaker
I watched good movies this year that I've seen before, so I'm not going to count those. I don't know if I saw it this year, but it was close to the start of the year. Maybe Pink Flamingo. Pink Flamingo? Yeah, isn't it Pink Flamingo? No, that's a casino. Flamingo. What's it called? Pink. No, pretty pink.
02:05:09
Speaker
What is it called? John Waters, yeah. Yeah, Pink Flamingos. Oh, okay. You were looking at me like, what the fuck? No, I think that's just my face right now. I thought I had the title wrong. No, yeah, I love that film, dude. No, that's a great one. Yeah, I fell asleep on it. But from what I saw, I loved it. No, that's a great one. But Tar was really good that I've seen this year.
02:05:35
Speaker
I know there were some older movies that I was trying to watch because I'm just trying to, if I do watch a movie and I'm not going to the movie theater, I kind of want to see.
02:05:47
Speaker
I don't know, like the classics, you know, because I'm envious of how many of the classics you've seen. And I'm like, oh, wow, that sounds really cool. I should watch that, huh? Like Sorcerer. Yeah. But other than that, but other than that, you've seen like 310 to Yuma and some of those, you know.
02:06:05
Speaker
A lot of the well-known classics. Yeah, but you don't like the Westerns. But there's a lot. No, I do. What's the one with, uh, isn't it Cary Grant? Or Jimmy Stewart? High Noon? High Noon. Yeah. Dude, that movie's so fucking rad. That's one of the raddest movies I've seen. Oh, yeah. I love Westerns when they're done well. I just... Oh, yeah. The good Westerns, like Once Upon a Time in the West. Isn't that like just one of the best movies ever? Oh, yes. Yes, without a doubt. Don't you just think about that movie and you're like, wow.
02:06:34
Speaker
God, it's so good. That's one of my favorite movies I've ever seen. But. Yeah, just Western isn't like the one I go to like for super. Well, no, maybe I go for superhero, but there's just certain ones, you know, just certain. But if it's good, I don't care. Why are we talking about this? I don't know, but I got a movie you should watch. Have you seen After Hours? Sounds familiar. Scorsese. Oh, OK.
02:07:04
Speaker
I almost wanna do like a movie night with movies that take place like in one night. Yeah. To me, those are my favorite. Oh, I love them, like collateral. Yeah. And I also love when movies are in real time. Yes. Like the movie Nick of Time. Yeah. Maybe it's not the greatest, I don't know, but just the fact it literally starts from this minute and ends at that minute. It's so fucking great, dude.
02:07:35
Speaker
I love that aspect of a film is when it's like that. Before sunrise. Although that's not... Yeah, that's just over the course of a day. So just in one night. Yeah. It's before sunrise. Yeah, that makes sense. It's not real time. And we would be like 14 hours long. I'll stay with them.
02:07:57
Speaker
I probably would. Yeah, I'd be like, could I just tag along? How sad is it that watching their real-life time is still the best day of your life? Yeah, that's pretty sad. Right? Yeah. Yeah, that's so funny. That would be so meta. You know a movie I love when I was thinking about that gets shit on a lot? Her.
02:08:25
Speaker
Her is amazing. Who shits on it? Everyone, I was talking about it at work and everyone was like, her sucks. And I was like, I'm so sad. That movie is up. Well, I'm far more whiskey, so I don't know about it. I still have whiskey. No, I know. I know what you're saying. God damn, I'm going deep tonight. I'm as deep as you want, buddy. But I liked her when I saw it the first time. Yeah. And then watching it again on the Criterion and just like appreciating things more. Like even the set design and that in the artistic direction.
02:08:55
Speaker
Yeah, Spike Jonze, he's just, he's a good, what's the asteroid city guy? Wes Anderson? He's a good Wes Anderson. Oh yeah. Right? Oh yeah. Like when Wes Anderson was making Rushmore. Yes, those two, they're in the same genre. They're like this. They dig outside of genre, right? Oh yeah, they're their own thing. Yeah, like,
02:09:21
Speaker
Bottle Rocket and Rushmore and Royal Intellibombs, they're a genre. They are Wes Anderson movies. I mean, it's a blend of so many genres that it becomes its own thing, right? It's a spaghetti of, or it's whatever, the fuck you blend into Wes Anderson. And he falls into that category.
02:09:51
Speaker
Yeah, but he's so good. Him and Spike, not Spike Lee. He's good too, but Spike Lee's good. But Spike Jones. Spike Jones. Yeah. Like those guys, they're like, you know, they sit in the corner at a party. They probably- They might be the party, I don't know. They probably go out and smoke a cigarette and then like five chicks buck out there and they're like, what's the meaning of life, Spike Jones? Oh, you know.
02:10:22
Speaker
Sometimes when my dick wakes up in the morning and I look at it and I think, life's great, isn't it? And I want to fuck you. And then all five of them just start dripping out of their panties. Damn, Spike Jones. Yeah. And Wes Anderson, he's doing that? He's trying.
02:10:48
Speaker
He used to. He did once or twice. He used to. Oh, that's great. But yeah, back to her and how faced by Jones is. Yeah, watching it again, I was like, holy shit, this fucking movie is amazing. It's a great fucking film. It's better than Oppenheimer. I don't know what that, what's the taxi? Tracab driver's name? Scarsgard? Taxi driver's name?
02:11:16
Speaker
Yeah, because he said Oppenheimer was the best film in the past hundred years. Oh, Paul Schrader. Paul Schrader? I don't know, man. I did miss an hour of the movie. And thank God. You, I mean, I will say you did miss the best part. No, I can only imagine what you're going to say. Well, other than Florence Pews.
02:11:39
Speaker
Though I will say that I laughed so hard at this movie twice. You said superhero movie and I instantly thought of superhero Einstein. Brainiac. Yes, superhero Einstein.
02:11:52
Speaker
And then the corniest thing I've ever seen in a movie happens in this movie, which automatically disqualifies it for being good or the coolest movie ever. Yeah. And you miss this part. Oh, really? So you'll have to watch it. Better than. You'll have to watch the first hour of this when it comes out on the line. Better than Brainiac stepping out of the showers? Oh, yes. So when Oppenheimer is banging Florence Pugh,
02:12:17
Speaker
She's reading a book, the Bhagita. And he's translating like the Hindu. And while she's writing him naked in bed, he goes, I have become death to destroy her own morals.
02:12:45
Speaker
It just cringed so hard. Well, it makes sense. They both exploded. Exactly. That's the point. It's the crudest, stupidest sex joke of all time. Yeah.
02:12:58
Speaker
And I was just like, uh-oh. It's trappin'. Shit. You're watching a Nolan movie. He's gonna make you pay. Daddy wants his money. Yeah. Yeah. Wow.
02:13:19
Speaker
Now you kind of make me want to watch it again. Just to see that. And then you watch the awkward scene where the woman, his wife imagines him fucking her in front of all the men in the room. And you just see his little balls dangling there. You see Killian Murphy's balls for like a split second. You can see his nutsack. And then she's like Florence Pughs, like just riding him in the chair and he's sitting there naked, getting fucked by her. And the wife's just like,
02:13:49
Speaker
My husband cheated on me. He's a bad man.
02:13:57
Speaker
His name's Oppenheimer. Why don't you fight for me, Cocksucker? You know? And then it turns out it's the worst movie I've ever seen in my life. I hated it so much, but it looked great. Except for the editing. Fuck the editing, but it looked great. Oh yeah, that editing, it was so fast paced, right? Speak at three seconds. It didn't make it three seconds.
02:14:24
Speaker
Save but for a few shots. Oh, be cut. Oh, what? What? Eight seconds. Jesus. God damn. I almost said a bad joke. But yeah, you know, Nolan and sex are just two things that don't seem to go together for some reason. No. Yeah. Like that's gross. You imagine Nolan is like, yeah, you like that. You like up and out. You know, I think it's not his first nude scene.
02:14:53
Speaker
It feels like it. I guess Memento was in, he knew it in it a few times. Yeah, but there weren't boobies, I don't think. Sex scene? Oh yeah, sex scene. I don't recall a sex scene ever in his films. Do they bang in Inception? Leo in What's Your Face? I can't remember. I think they do, but it's not like Shone. Because they, well, they had a pretty good chemistry.
02:15:21
Speaker
but sex scene. I mean, she was under 25, so Leo was like, all right, all right, all right. No, but they don't show a sex scene. They might have sex, but they don't show a sex scene. Oh, I thought they did. So is there no, oh, Prestige has a sex scene. Okay, I was gonna say maybe Prestige. Prestige definitely has a sex scene, but I don't believe it has nudity, because I think that movie's PG-13. I don't remember they're bringing boobies. Maybe there's like a quick boobie. I don't think there's a lot of boobies.
02:15:50
Speaker
The booby beater did not go up there. I love that one. Scarlett Johansson definitely does not show her boobies in that one. And the other chick, I can't remember what her name was. Because they have like the two chicks that they bang. And it's like, because they're twins. His wife. They're both married, kind of.
02:16:11
Speaker
Yeah. Dang, his twin banged his wife. How weird is that? I guess I got a banged wife tonight, but she wants it. She told me every time, buddy. I don't know why every time I'm around. That's when she likes it. I told her no, but she just touched me anyway and I just happened to do it. She just goes so wild. I don't know why she gets extra weird on those days. Then she gets pregnant and it's like,
02:16:37
Speaker
Well, that one ain't mine. I'm out of here. Although genetically, wouldn't that be? No. Come on. Wouldn't it? No. Your identical twin brother's kid is not your son. Well, they would be brothers. Yeah, that would be his uncle. One of them's the uncle, but they don't know who. But genetically, they would be like direct within the same family.
02:17:06
Speaker
Yeah, but one's not your dad, bro. They're both your dad. You both got to call him Papa. Yeah. In this situation, it's like some weird Mormon shit. How did we get on this topic? We're talking about Nolan and sex. Oh, yeah, he doesn't really do that. He's like a weird guy. I think he probably like like he does it quietly. I think he like fantasizes about fucking animals.
02:17:38
Speaker
He looks like the kind of guy that would wonder how biggest steps till he'd need to fuck a horse. You know a guy died that way? Yeah, well, he wants to do it the other way. The horse fucked him. Yeah, Nolan doesn't let the horse fuck him. Jesus, man. But he'd probably reach arounds. No, I'm sorry. Shit.
02:18:09
Speaker
God damn it. Oh, Nolan, see what you do to me. Oh, shit. So, yeah. Okay. Did you have any other questions, buddy? No, that's it. How about you? I'm good. I think let's turn to the script. So if you had read... Dang, dude, how many pages is this? It's like 17 or 18.
02:18:35
Speaker
So if you had read, read, if you had listened to the previous podcast to the end.
02:18:45
Speaker
I mean, I'm assuming there's no one here now. But that's true. There's a chance, I guess. There's probably one desperate friend of ours that wants to prove their worth by making it here. And we do believe that you aren't worthy. But previously, you made it this far, which it was a much shorter time, so maybe you actually made it. We read text episode six, but Steven had the option of picking one or the other.
02:19:14
Speaker
Yes, and so we are we're reading in order And so this is text episode seven We're all fucked anyway written by not steve. Okay, and on last week's episode you said that this was One of your favorites to write because of how disgusting it is. Yes Um, so there are You have yet there's a couple there's a lot of voices we have to do
02:19:40
Speaker
I'm sorry. That's why I didn't pick it last time. Yeah, there's a lot of voices we have to do. And when we get there, you're going to be whatever the one that is attracted to me, and I'm going to be the one that's attracted to you. It's either green or pink. I can't remember which one was attracted to who at this moment. So when we get there, you'll know your character. But for now, you're Steve and I am Tom. Am I reading the action then? You want me to read the action? I can read it if you want.
02:20:09
Speaker
Sure. You're always great every in the action. Uh-huh. Interior, mid lab, mid shift. Steve sat behind the counter tapping a pencil on the table. Tom was sitting behind one of the workstations reading the news. Aliens, goddamn aliens. Dude, aliens. If you say alien one more time, breaks off the tip of the pencil. I'll snap you in half.
02:20:39
Speaker
This is monumental. It's a stork. It's literally the biggest discovery since fire, man. Since the fucking bomb. It's all bullshit until ET lands on my dick. Pushes the bottom half of the door open, making the suck it sign from wrestling.
02:21:04
Speaker
Dude, all the government ploy. This is the giant squid. Some assholes will use that to make a bunch of money. Everyone will call it fake inside job. Miracle of God. We'll go to war with Iran for some reason, and in 10 years we'll just be back to having senators jerk each other off, making fun of each other. Do you think this is seriously any different?
02:21:31
Speaker
Well, I wanted to but why you gotta bring it up like that
02:21:37
Speaker
Dude, you're not that dumb. Look, outside you think aliens, real fucking aliens, would be cool with us capturing them? Shit. Little green men zapping hobos and rednecks left and right. Totally not real. 100% zero chance. It's a distraction. Some shady government guy is moving a huge pile of cash to the next Epstein Island right now.
02:22:07
Speaker
Steve grasps the squeaky office chair and scoots over to Tom. Yeah, you're probably right. But isn't that the boring answer? Isn't that the same shit, different day kind of shit that just, I don't know, makes you want to do a massive amount of drugs and forget the world? I mean, it's all just an escape from this existence, which on the surface is just that existence. No magic, no ghosts, no demons, no sexy alien babes.
02:22:34
Speaker
Just as Tom finishes his statement, a blinding white light shoots into the lab from the side door, Steve shading his eyes. Ah, the sun, the sun, it burns.
02:22:47
Speaker
The light fades as the door to the outside closes. Two smoking hot babes stand at the hallway entrance of the lab. Oh, this is what you meant by pink or green wants to fuck one of us. Yeah. Each of us. Yeah. Yeah, division one at the other. Yeah. But you don't know who's who. Yeah. Okay. I'll know by the time we read this, I'm sure. That's funny. Yeah, you're cool.
02:23:16
Speaker
Wait, I didn't get that far. Two smoking hot babes stand at the hallway entrance to the lab. They're wearing sexy translucent plastic outfits. One pink, the other green. Green? I call green. Fuck! You always call the blonde. Fine. Pink. Okay, so you're pink, I'm green. Okay. Two mysterious very hot women walk over. Their long white boots look like something out of a 70s disco movie. Who am I? You're pink.
02:23:46
Speaker
Who me? We're headed to talking. We think you're a bit out of line. About what? The green dressed woman glides over to Steve. Aliens, of course. I mean, look at us. We don't pick up hobos or rednecks. Tom and Steve exchange sharp glances. What did you do?
02:24:14
Speaker
Steve picks up his mug. It's been sitting on the desk. He shifts it. What did you put in my fucking mug? I thought we talked about this. No more drugging my fucking morning coffee. It's not morning and I promised you I wouldn't do that again. After the last time you sat in the back of the office and hit under the table crying about status. Status is licking your wiener and leaving a chalky-like residue all over it.
02:24:44
Speaker
Statues licking your wiener. I decided that wasn't a good idea. I'm trying to be a better friend. The only thing in your mug is whatever the fuck you call coughing. All right, so if you both are really here, stand on one foot. The two oblige, the blonde pink dressed one grabbed and lifted her leg almost impossibly up her back. This revealed a very tight camel toe.
02:25:15
Speaker
I'm, you're green, right?
Introduction of Characters Green & Pink
02:25:17
Speaker
Yeah. We aren't here to listen to your orders. Now get up. We're leaving. Isn't this story being a bit rushed? We don't even know your names. Call me green. And you, Pink? Steve pointed to Pink, who slowly lowered her leg until it perfectly touched the ground. Both Tom and Steve watched Amazed. Okay.
02:25:43
Speaker
Let's go. It will be loads of fun for you too. And for you, will you be having fun too? Entirely.
02:26:00
Speaker
This is going to be a hard script. Is that your sexy voice? Can you do a little better? Geez. Wow, baby, make it sexy. Are you going to make it sexy too, baby? I thought I lost. That entirely depends on you. Oh my God, that sounds even worse. That entirely depends on you guys. Now let's ditch this lab and get to our lab.
02:26:30
Speaker
Green grabbed Tom, who tried to struggle, but Green wasn't much too strong.
Comedic Space Reveal
02:26:35
Speaker
It is unclear if Green has superhuman alien strength, or if Tom was, in fact, a little bitch. These things do tend to work out for us in some way, buddy. I have a feeling we'll end up at the Del Taco dumpster before this is all over. P.U. Stinkies. No dumpster for you, darling.
02:27:01
Speaker
Pink grabbed Steve, who was pulled down the hallway. The two babes dragged Tom and Steve out into the bright white light, cut two interior spaceship minutes later. The interior of the ship looked like an affordable budget for Tom and Steve to produce if they ever actually shot this short, meaning AA cartons with LED lights lining the walls of a tool shed with a green screen gaff tape to the back wall.
02:27:26
Speaker
Recovering from the blinding white light, Steve looks around, touching the cheap-looking walls. Your ship is kind of a shithole. Also, it's really hot in here. Don't you have an AC or something? Oh, honey. We can't afford an AC, silly. This is the best we could get. You mean you don't like it? You don't even have any seats? Like, what were we supposed to sit down?
02:27:54
Speaker
Green pointed to the floor. In fact, the floor wasn't even a floor, it was a series of giant beanbag chairs. Lava lamps were the only light in the shed. Tom plopped onto the beanbag and sank in. Just make yourself at home. You do realize we aren't in space? These aren't aliens. In fact, that green screen is just a green screen. It isn't showing anything.
02:28:20
Speaker
Why do you have to have a stick up your ass, dude? This is awesome. Sure, it's a hot tin can, but when in our lifetime would we ever be approached by two very attractive ladies, these two ladies? This is in heaven, but it's close. Oh, this is in heaven. But thank you for your kind words. Steve, you are correct. This isn't a spaceship at all. It's just a shed. We knocked you unconscious and brought you here.
02:28:49
Speaker
How was that, you hard now, bitch?
Humor in Alien Antics
02:28:53
Speaker
Steve rubbed his neck, a small amount of a red, gooey substance attached to his finger. He rubbed them together, sniffing. This isn't even blood. It's just ketchup. Why the subterfuge? You two are so hot you could get taught to eat his own socks. The two aliens looked at each other smiling.
02:29:16
Speaker
Oh, really? Why don't you take a seat, Steve? Steve cautiously sat on the beanbag chair. He sunk in. Immediately after doing so, straps zoomed across both men and they were trapped to the beanbag. No struggle. These are Tesla brand seatbelts. No one can break escape these things. Tom's broke immediately. He fools. Pink pressed a button on the cardboard panel. Another set of seatbelts flew over Tom and Steve.
02:29:46
Speaker
These are Volvo brand seat belts. Tom Golt. What do you want with this? This is some weird butt stuff bullshit. Just know we are totally into that. Green laughed way too much. It sounded like a bad fake laugh. Steve, you are rather perceptive. I like that. I'm glad that you picked me.
02:30:10
Speaker
We're going to have a lot of green. I thought I had pink. You are pink. No, you're fucking green. Yes, we are going to do some butt stuff with you. Sweat began to pour down Steve's forehead. Some butt stuff.
02:30:31
Speaker
He was lying about being into butt stuff. Tom smiled. He was totally into that. Why though? I mean, yay, but why? Pink places her white boots on Tom's chest and zips it, pulling out her dirty feet. Oh no, please don't tell me Tarantino is also alien. No, but I want to be a little more comfortable before my monologue.
02:30:59
Speaker
Oh, fuck off. Seriously? Just let us go. Fuck off. Listen, we have seen some shit. It's well and well for you two. Just know that if you let us go, we'll not say anything. Hell, we'll probably get blackout drunk tonight and forget it even happens. Green removed her boots and rubbed her dirty feet on Steve, using her feet to rip off his shirt. Panic.
02:31:25
Speaker
No, not my man titties. Oh, you don't like that, huh? You don't like when I rub your man titties? Green massage is Steve's nipples with her dirty big toe. I have so many questions, so many. You see, we capture men. Men like you. Tie them to these beanbag chairs and do things to them.
02:31:52
Speaker
It's just we're bored. We've lived for eons, traveled every galaxy, escaped the very massive black hole at the center of the universe. It costs time to stop. And our Earth is so very bored. Many more. We get it. But you just said this isn't a spaceship. Why are you using a shed?
02:32:21
Speaker
If you would have let me finish, green guy can please. Green shoved her toes in Steve's mouth. He coughed a little, but instinctively started sucking on them. Good boy. This is getting a little sexual even for our show. Shut it. Man, listen, this has been fun, but we don't have forever what we do. But you don't know. Wait. But you don't. And I'm already getting a little bored of this game.
02:32:52
Speaker
The screen nods and presses another button on the cardboard panel. The lights all shut off, complete darkness. Loud, very expensive sounds begin whirling around. If it wasn't pitch black, Tom and Steve would certainly need another loan. Can you believe this is only halfway? Oh my god. You done sucked on that toe, buddy. Oh god.
02:33:18
Speaker
Yeah, it was pretty nice dough, buddy. All right, fine, let's just get in. Have some fun. Go to Jacko's later. All right, look, who comes? Wait, hold on. Oh, look who comes around after he gets stuck on some dough. You ain't too, you are too predictable, buddy. Don't forget they said they were gonna put things in our butts. Giggling into the darkness, the lava lamp comes back to light. The pink and green colors clash. Oh, wait.
02:33:49
Speaker
Hi there, Greenum. Do you like it when I sucked your toe? Oh, fuck. Careful there, buddy. I'm doing good. The script's way better than the last one. The script gives me hope, buddy. At this point, you're just drinking water. That's like a Woodson Churchill drink. He would do like those highball glasses.
02:34:16
Speaker
He'd do like seven eighths water, and then like one eighth Johnny Walker Red, like six of them. Really? Yeah. That sounds great. Yeah, and he was just drunk all day. But a respectable drunk. I mean like a crazy man drunk. But yes, go ahead and let's read. Let's just take it from the top. Green smiled. Green just smiled.
02:34:44
Speaker
Green just smiled. She was holding a remote. It had a lock and unlock button on it. Looked just as cheap as the rest of the set. It's time for the main event. So soon, it's been five minutes, maybe even less than that. These stories really are too quick, huh? Okay, enough meta commentary.
02:35:06
Speaker
We are over our limit. Unseen to the camera, but even seen to Steve and Tom's anuses. The beanbags opened up revealing tubes with four little fingers. Rip. Perfect round holes. Rip. Oh, okay. Sorry. Four little fingers rip perfect round holes in each of their genes.
02:35:28
Speaker
Not cool. I hate green, baby. I sucked your tongue off. Please. We don't gotta make any mistake here. I mean, no offense.
02:35:38
Speaker
Tom breathes slowly patiently. The cold metal claws tickle the butthole. Steve lifts himself away. The seat, Steve lifts himself away. The seat Tesla belt snaps, flinging and slapping Green directly in the face. Her perfect makeup and dark eyeliner skewed. Now you done it, gone and fucked it all up. Green wipes at his face, looking in the mirror. Her cool dark eyeliner smudged slightly. Steve, baby, why?
02:36:06
Speaker
Don't you trust me, baby? My butt! We are so fucked. We're all fucked anyways. Steve closes his eyes tight. A blinding white light fills a room. It's one of those cheap star wipes built in transitions. Cut to exterior outside the lab night. Laying on the ground, feet to feet, looking up at the sky, Tom and Steve lay back.
Post-Alien Encounter Reflections
02:36:33
Speaker
Hey buddy, you okay? A note pinned to Tom's chest, he pulls it off, ripping his shirt a little. He lays back and reads it. Sorry babes, but we can't do this. Totally uncool to mess with Green's makeup. Maybe some other time when she gets over the embarrassment. Tom shrugs and tosses the paper to the side. He sits up, his bare ass cold against the concrete.
02:36:59
Speaker
That was close. You know you cock blocked both of us, dude. Totally not cool.
02:37:05
Speaker
They were going to fuck us in the ass. What part of that was cool? Man, buddy, dude, bro, I am certain after the anal probing, they would have let us play with their sexy alien boobies. Now we just have to buy some new jeans and you need a shirt. Steve lay there bare-chested. His shirt had blown away. Our green kept it. It's not entirely, wait, it's not really clear. So, aliens, huh? Told ya.
02:37:36
Speaker
That you did. Jacos. Jacos. You want to go to Jacos?
02:37:43
Speaker
She cut two interior jockels twenty minutes later. Steve wore a shirt that was nearly a crop top and tight. It did make him look ripped, barely. They stood at the entrance and the small circular holes safely pinned their butt flaps closed. The bartender in her twenties looked over. She recognized the two. She nodded, smiled at them both, and grabbed the new bottle of divorce from under the shelf.
02:38:10
Speaker
She poured two thirds the glass and went third with water. Tom and Steve took their seats both down the glass instantly, slamming it on the table. Two more, Bree. Step. Just like in the story. Tom slid his card over the table. Man, what the fuck was up with that shit? Dude, they were like redneck hobo aliens. But they were pretty fucking hot, right? I know, right?
02:38:38
Speaker
Like, um, popping an ice cube in his mouth. Goddamn, dirty feet, red elbow aliens, man. Bree refilled the glasses and took the card. Thanks, Bree. The bar was rather empty with only a handful of patrons. Cheers, buddy. Cheers. Also, raising my glass to the ceiling. Cheers, green. Cheers, pink. The door flung open, a bright white light shunned into the bar.
02:39:12
Speaker
He just had to open your mouth. How would I know? Except green and pink did not enter. In fact, it was two men wearing the exact same clothes as green and pink, except the boots. These guys were barefoot. Y'all got some explaining to do. You're fucked up, my cousin, sweet eye makeup.
02:39:38
Speaker
Tom just slammed his head on the bar. Oh fuck, not tonight. Squeeeepy! Bree looked back and forth at the two weirdly dressed men and Tom and Steve. You got three seconds to get the fuck out of here. Steve downed his drink. You must obey.
02:40:01
Speaker
It's only like a few pages left. I'm drunk. I suck some dirty toe tonight. And I still can't get that fucking taste out of my mouth. Do you guys walk around stepping on cow shit all day? My cousin has glorious feet. They are so pretty. So pretty. I've never had to honor myself. Tom slams his drink and the two stand up. The alien men squared up against them.
02:40:32
Speaker
We don't want to fight, especially not you two. We just agree that you kicked our asses and you go brag about it to your cousins and then suck their toes and just, you know, leave us out of it. Yeah, go back to your ho-dunk. Hail Billy Watt, trash, shit, lava lamp, living shit, holy fuck off.
02:40:56
Speaker
Green and pink males slam their fist into Tom and Steve's faces, another shitty star wipe transition. Cut to exterior Dautaco dumpster morning. Laying in the dumpster surrounded by ketchup and hot sauce packets, Tom and Steve slowly woke up, each with a note pinned to their chest. Steve pulled his note off first. Y'all are assholes. Trash belongs in the dump, sincerely green and pink.
02:41:25
Speaker
Steve wasn't certain if it was a man or a female that left the note. He stretched instead of kicking Tom awake. Tom's eyes opened and he stood up. The note on his chest had his debit card pinned to it, tucked his card into his pocket, and read the note. Sorry you didn't get to finish your drink. I guess next time. Oh, by the way, closed out your tab. Thanks for the generous tip. Love, Bri, a little heart is drawn next to the name. Tom scratches his head.
02:41:56
Speaker
How much did you tip? No idea, but I want some tacos. Steve stands there frozen. Tom holds the door open for Steve. Where are we? Did I skip us? You skipped the page. Oh, I did? Oh, there's more? No, Del Taco morning. Yeah, at the top, let's get a taco. Then let's get a taco? You say that? Oh!
02:42:23
Speaker
Okay, okay. Sorry. I say I want some tacos. Then let's get a taco. Steam vaulted over the rusty help dumpster. I want you to say in a specific way. Can I direct this a little bit? Can I show our audience how I direct it a little bit? Oh no.
Directing the Taco Scene
02:42:38
Speaker
So when this line was written, you're supposed to mimic a character in a film. This is from Reservoir Dogs.
02:42:48
Speaker
Harvey Keitel after he they're sitting in the car together casing out the joint He's like fuck it. Let's get some tacos So I want that reading. Can you do that? Fuck it. Let's give us some tacos How does he do it see then that's how I might ask Because I don't know how to act fuck it. Let's get a taco So kind of like yeah, right
02:43:17
Speaker
Then let's get a taco. No, you're not happy. I can see it in your face. Where's Benicio? He's goddamn standing. He's trying to act again.
02:43:41
Speaker
This is how he drives. Then let's get a taco. All right. It's fine. Let's just continue on. Let's get a taco.
02:43:56
Speaker
Steve vaulted over the rusty old dumpster and just doubled his fist. His first few steps as a bright morning sun baked his face. Tom followed after brushing dried sauce packets off his clothes. Cut to interior Del Taco morning. Tom walked up to the counter. He smelled from sleeping in the dumpster all night. He smelled from sleeping in the... yeah. The Del Taco employee recognized him as this happened every so often. She put her hands on her hips.
02:44:25
Speaker
Three breakfast tacos and water, which you will use to fill up with soda, right? Yeah, the regular. Tom taps his card. It beeps in a familiar sound. Decline? No, no, fuck what? Jesus, how much did you have? I had like three grand in my camera. I was rich.
02:44:48
Speaker
Quite the tip, buddy. Here, I'll get your breakfast. God damn it, that bitch stole all my money. Steve tapped his card with the same annoying sound to follow immediately after. Shit, dude, sorry. Cancel, then I guess we don't have any money. Steve stands there frozen. Tom holds the door open for Steve. We gotta get out of here. Cut to Interior Jocko's parking lot.
02:45:17
Speaker
Morning moments later Brie sat outside the bar smoking a cigarette. Her shirt was a bit torn and her jeans ripped Tom and Steve rushed over. Hey, what the fuck, dude? Yeah, you can wait for the bee, huh? Hello?
02:45:48
Speaker
You want me to get that one again? Show some actual concern.
02:46:02
Speaker
I love it too well. I love it too well. I know, Ryan. God will not tell you that. All right. Jesus, all you hear is the sound of my fucking lips. Hey, what the fuck, man? Yeah. Startlebree popped up. Her ass had a round hole. Oh, you didn't. Yeah, I did. Sorry about your cash.
02:46:32
Speaker
The guys wanted some hats and... with beer cans on them. Fucking redneck alias! Motherfucker! Goddammit! Suckin' motherfuckin' son of a bitch! Goddammit! Tom shook his fist at the sky. Well, how was the butt stuff?
02:46:54
Speaker
It was butt stuff. Bree shrugged. Fade out the end. Next time on Tex, the boys get some real work done. Well, buddy, what did you think of that one? Tex episode seven, huh? Yeah. Yeah. Quite outdoing yourself, huh, buddy? I think that was a pretty good one. Oh, yeah. Definitely one to remember.
02:47:24
Speaker
So you like this one way better than froggies, huh? Oh, yeah. Yeah, this one is it's it's almost like because I wrote these on the same day. Yeah. I wrote six and then I finished that short story. And then I was like, you know what, I'm going to write text seven. Yeah, I did that all in one day. And then as I was writing seven, I was like, God damn, this is actually pretty fucking good.
02:47:50
Speaker
And then I was thinking, wow, I'm surprising myself by how much I like this. But six, I was just like, I already talked about this a little bit with you guys. It was just one that had been stuck in my head. But seven, I was just like, this is actually do that. I was like, let's make this one. You want to suck on a toe, buddy? I think we could get a good cast for green and pink.
02:48:18
Speaker
Oh, I'm sure we could get the best, buddy. Okay. I mean, it's for art, right? A man must sacrifice himself for his art. It's a sacrifice. It's a very bad sacrifice. Well, we're sponsored by Liquid Ivy. And we need it.
02:48:43
Speaker
Why, liquid IV, we needed it, we needed it. So go to, if you're like us and you in part take the long and either in meditation through our voices or through other means like we did.
02:49:03
Speaker
which are probably not recommended. Actually, I recommend it. You know what? Release your soul. Have a spirit. But you know what? Be responsible and drink liquid IV. Be responsible and drink liquid IV.
02:49:21
Speaker
Oh, that was great. I'm really on fire tonight. I don't want that person to end because it's like, but then I'm also thinking about that episode of Seinfeld where George learns that he needs to leave while the joke is high.
02:49:36
Speaker
Really? Yeah. So he's like, he'll say something really funny, but then he'll say something again and he loses the room. Yeah. So he needs to learn to leave the first time. So if there's practicing like, and he says something really funny and he's like, Nope, I'm out of here. Thanks everybody. Have a good day. He just leaves in the middle of the meeting at work.
02:49:55
Speaker
So I think that's what I'm doing right now. Though I want a podcast for like two more hours because I'm like feeling great and having a good time. But we need to go and do some editing. Can you fill it up? Can we do it? We're on the record. I'm down. Yeah. Are they good? Yeah, they're all asleep. Okay. Let's do it. Cut.