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TSP Ep 126: Back From Hiatus and Ready to Talk About our Feature or Where Have all the Real men Gone!?
27 Plays1 month ago
Tom and Steve return from a long hiatus to discuss their favorite topic, Dick Head. They discuss how the film is going thus far and the next steps. And then they go away again!
So come along with us as we learn a thing or two!
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Transcript
Milestone Achievements in the 'Dickhead' Project
00:00:01
Speaker
Can't complain today. It's been a good day. It's been a fruitful day. We have taken an enormous step on Dickhead. you know a step A step that's ah not to be taken lightly either because, and we had talked about it in our meeting earlier that this is really kind of like the first time in like a few years that we've kind of let someone in on the project that isn't us. yeah And that's no small feat because, and we had talked about it, and we've probably talked about it on the
Collaboration Challenges and Team Dynamics
00:00:42
Speaker
show before. So if you've listened to the podcast before, you know that we've had our troubles in the past with... Well, just working with anyone outside of us as far as post is concerned.
00:00:55
Speaker
let me just Well, will definitely as far as post is concerned and just. I think that there was like also like this like growing period and you know what's a good word for it. And this will be a good way to lead into the the intro. There's been a big maturity in us as artists throughout this process. Yeah. I mean, not so much as like we don't laugh at the fart jokes and that we don't laugh at the poop and the. Just us a mature, that's that's funny already. But I think there has definitely has been a maturity in
00:01:33
Speaker
the level of like, maybe it's incorrect to say self-respect, but in the self-respect because, you know, when we had first we were had first done, when I did the first edit and we had watched it and talked about it,
00:01:49
Speaker
It was like, well, yeah, there's some funny jokes in here. Cause I remember I was leaning in hard on the comedy because that is just what kind of jumped out to me. And it has its funny elements without a doubt. Yeah, like, and it's in the sickest, twisted-est way. I know that's not twisted-est isn't a word, but go bear with me. Dickhead is a funny fucking movie. Well, also just the way we shot it, right? i mean
00:02:19
Speaker
It's funny, like in like a darker than black comedy. Yeah. Because right, it's like a guy is so in love with his sister that he murders her because she catches him masturbating on her. Yeah. like And then like tell that to somebody like, right? Like have an actual conversation with somebody about that. Good luck.
00:02:47
Speaker
Like, I mean, I didn't really like- And then you piece your body around to have more fun. And that's like, thankfully we were very cautious,
00:02:58
Speaker
I would say with that.
Artistic Growth and Influences
00:03:00
Speaker
You have to be, I don't think you wanna go over the top of that. No, I think we are already, we are already dancing on the line very hard with opening our film, incest. To incest, yeah.
00:03:15
Speaker
But it's like, I don't know, man, I feel like we're channeling, you know, we're channeling the greats. What great? David Lynch, my friend, you know, I'm thinking Twin Peaks because, you know, it's something that popped into my head. And now I know I've opened a can of worms and an invitation that I don't necessarily want to keep because it's not, they say blue velvet.
00:03:41
Speaker
No. This ain't Mulholland Drive. This ain't Eraserhead. This ain't Eraserhead. This dickhead. But this is David Lynch's, like, first student film. David Lynch's retarded cousin. Excuse my language, right? Like, we've coined the term soap opera horror because um Right, like we're hitting all those beats of, it's like a show they would watch in Twin Peaks. How's that? There you go, that would be their soap opera, right? Right, yeah. And this episode of Dickhead, Richard and Jennifer go to the mall.
00:04:23
Speaker
Right, and then we can, there's like definite, like the thing is, it's like there's a world here in our film. And thanks for joining us everyone, just in case you are unsure of what's happening or where you are, this is Twin Shadows podcast. How you ended up here, we're sorry. And this is episode, I know I just typed it, but I can't. 125. 125, you know, that's a nice, lovely number. A quarter of the way to episode 200.
00:04:50
Speaker
Yeah, ah court and then 25 episodes from 150 or 75 episodes away from 200 or 10,000 episodes away from completing the Criterion List. 10,000 episodes away from completing Dickhead. Well, we'll be talking about that probably quite a bit and we might actually not be 10,000 episodes away from completing Dickhead. We only might be 5,000.
00:05:19
Speaker
Yes, we have made some significant
Personal Milestones and Filmmaking Journey
00:05:22
Speaker
progress. So thank you everyone for joining us. Well, Tom, tell me, um so we got, I got a birthday gift.
00:05:31
Speaker
Yes, it is Stephen's birthday. Actually, but well, it's not his birthday anymore. But in the spirit of consciousness, it is his birthday. Yes. A happy birthday, my friend. Thank you, buddy. You know, it's been a really good birthday. One of my best, actually, with everything that's gone. Damn, that's pretty nice. That's pretty sad. Sweet, small birthday. um That's because you got my loved ones, so. You have to talk to some Aussies. What can we talk to? And what what a better gift than to talk to Aussies. Aussie, Aussie, Aussie. And we're drinking Redwood Empire's pipe dream. What you said is... On theme, because... On theme. Dickhead and really our filmmaking career is a pipe dream. Yeah. um I mean, let's be real. It's not easy to be a filmmaker. It's probably in like, ah it's probably in the top like,
00:06:25
Speaker
10 hardest jobs in the entire world and I don't mean hard as in like it's physical difficulty or anything like that but like there aren't that many people that are actual honest to goodness wake up, go to bed, filmmakers, like that's their job. yeah um That number is probably, like i mean and then I mean narrative feature filmmakers. I'm not talking about those pussy documentary, not kind just kidding, of course. ah Let me retake that. yeah
00:07:03
Speaker
You documentary filmmakers out there, you do provide a service But there is just something that is so competitively alluring about being a narrative filmmaker. And it's that nearly instinctual aspect of like sitting around a campfire and telling a story. We just tried- And making a living. Making a living while doing it. Getting to sit at that campfire and tell a story. Be like, hey man, I told my story. Where's my beef jerky and bundle of wood?
00:07:36
Speaker
and Exactly. And we made a huge um step towards um completing the the first big step. You know, I will never shit on people from making short films. I actually do really enjoy watching short films. Honestly, you should start off making short films. Oh, yeah, you really want to kind of figure out what your approach is. How are you going to do this in the short film realm? And I think something that's um that's important about short films, and maybe it's not discussed a lot and we could probably talk about this a bit, is ah using the short form narrative
00:08:17
Speaker
to tell a complete story within a constrained timeline. You know how many short films I watched where like the first five minutes has a character brushing their teeth? That's dickhead. No one brushes their teeth in dickheads. I know. Sorry for the mouth sound. They're all so dirty. But the but you know what i do you know what I'm saying? I've never seen a short film where they brush their teeth for five minutes.
00:08:43
Speaker
No, no, no, not for five minutes. I'm saying like in the first five minutes. They brush their teeth. They brush their teeth, they do their hair, they get dressed. That always happens in short films. And I know whenever I see that, that I'm watching someone that hasn't made like, that isn't like getting it in a sense. Because that's irrelevant.
00:09:04
Speaker
So like even in ah something that I think is interesting, we can it can bring it back to around our ah projects that we're doing is a jog at night.
Progress and Challenges in Film Completion
00:09:12
Speaker
Cause Fia has that moment where she gets dressed in the first few minutes. Oh shit, I did that, huh? Oh man.
00:09:19
Speaker
It's not done in the same way. um It's done as a scene transition. Yeah. um The issue I take and the reason why I bring Jog and I is because, you know, as I was a pound back on you, buddy, for making that a scene transition instead of what I think a lot of filmmakers do. And what a lot of filmmakers do is they like just like it's like a waste of time.
00:09:44
Speaker
Yeah. And I know you are so deeply invested in in your character, and I'm not talking about you like, as in like the actual you, I'm talking to the you as the audience, or the you and the short filmmaker that thinks their character, they want to show what like, you know, that their character like has a normal life, and this is what their day to day is.
00:10:07
Speaker
But you don't that that time is so precious. yeah we were taught you know We just recently shot a promo for a big project, or what is kind of becoming a big project, and it's that's kind of bothering me a bit, because I was like, I really didn't want to sign on any big projects while we were doing Dickhead, and that maybe that's been a ah problem of mine. But I think we can, in a sense. I mean, not to go off on a tangent here, but where we're at right now after this meeting we just had that we're gonna get into. I think our work on Dickhead is really gonna slow down.
00:10:44
Speaker
a Maybe. I think so. We didn't go over the to-do list. But there's a lot of work left. For us? For us. Actually, why don't we use this podcast so that we can talk about what we have left. Tell me your to-do list, yeah. Okay. Let's talk business. Let's talk work here. So this is a kind of a more of an impromptu, like, kind of cast, everybody. So Steven and I,
00:11:14
Speaker
I guess we can kind of announce it. I know Steven's gonna say soft picture locked, but I don't think we're changing, like literally probably aren't changing more than a minute. No, I don't even think we'd approach that. No, not at all. But so we are pretty much picture locked with Dickhead. Even though you're telling them that we're not gonna change more than a second. No, I said a minute. You said a second. Minute, because a minute is a lot of frames. Yeah, we wouldn't change more than a minute. No, I don't think so.
00:11:43
Speaker
Yeah. Cause that's, yeah, we're literally just like trying to just smooth. Yeah. It's literally like I was telling them, we're literally just, I want to adjust four frames here, eight frames there, nothing more than that. Just a few seconds. So I have my list of my to do list. Although the garage scene.
00:12:07
Speaker
I'll have to get there. That could still require some work. You think so? Maybe. I don't know. I have to watch it again. like Honestly, I've been going through it and I've been watching because I don't have all the audio and I still don't. I sent it all over. Yeah, but I don't have like the ah stings and stuff like that, which are kind of crucial. That's in there. No, it's not. I promise. I didn't find it at least with the ah well searching.
00:12:34
Speaker
I have the drive here. You can keep the drive for a bit. But regardless, my point is that I was watching the YouTube video that you uploaded for me to watch. Yeah, yeah, yeah. And, you know, I'm like, OK, well, I don't. Can we do something more here? And I don't know the shots like you do. You know them by heart. I don't. Which kind of which does suck because, um for instance, the doorknob chain, the doorknob opening to reveal the killer.
00:13:04
Speaker
that I think needs to be dragged out longer if possible, just for the building of suspense. And I did kind of drag it out, but it's also a shot that I know when you're gonna see it, you're gonna be like, yeah, no, I don't like it. But I did it anyways, just to show you. And just to show you what I want. and But what I've been noticing is like, yeah, there's really nothing to pull from extra to elongate things or finesse things. It's just, it is what it is. We've just gotten to that point.
00:13:33
Speaker
ah Yeah, we've literally... we I know it sounds weird to say, but we've literally exhausted the footage. Yeah, we have, which is... It's good. It's a good thing. It's also a bad thing in the sense that now we're getting to the point like, well, if only, you know... We've definitely... Well, the the crappy thing is it's all it's been there that whole time.
00:13:56
Speaker
And I think um if you're going to edit or work on your own work, I think I was shitting on short filmmakers earlier, but we tangent. Yeah, because they're brush brushing their teeth and combing their hair. I hope people that watch a lot of short films listen to this and I'm not completely crazy, but I think I have a point there that's really important. but and I'm gonna get to it and I know what it is, I'm gonna write it down, I have pen and paper. And it it is, and this will actually roll back to what Stephen was saying and it's about the... The value... he's right Of time.
00:14:38
Speaker
Which I guess I didn't need to write that down. But what can I say? That you could keep on topic. Yeah, the value of time. And the thing is, is like, because I was thinking about this too, um because I've been actually thinking about a lot of the scenes that we've cut out. And since we've been like, the way we've been like aggressively attacking things, it feels like all the scenes we've cut out, maybe we could actually probably add some of those in. But then I had this second thought, and this is where the, I'm gonna underline the value of time.
00:15:15
Speaker
And the thing is, we do not want dickhead to be two hours. No. We do not want dickhead to be 90 minutes. I don't even think we want dickhead to be our current runtime, even though that's probably what it's gonna sit at, obviously. I think it's not moving too much from there, yeah. But really, I mean, I was telling you, like, 70 minutes would be my sweet spot, an hour and ten. And the only, the shitty thing is the only way to get there is to gut scene six.
00:15:41
Speaker
Yeah, the only way to get there is to just cut things that I think are crucial. So it's really where it needs to be. And that's, and the thing is, it's like, and where I'll get back to the, you know, we the exhaustion of footage is we've really kind of tried to address everything. And like you were saying, yeah, there's definitely stuff that we can play with, but we can play forever. And the thing is, it's like,
00:16:12
Speaker
now that we've Now that we've engaged with um Adam, Patricia and John. Well, who do we meet with? Do you want to? Oh yeah. don' do that But let me let me finish this. But now that we've engaged with what will our sort potentially be our sound team, um we have to kind of like buckle down and say, this is it.
00:16:36
Speaker
because yeah we have a lot of work to do and this is gonna get into the to-do list, which we'll talk to, but we can also, Stephen wants to talk about that. Let me write down to-do list. Look guys, look how fucking mature the a podcast has become. um So earlier this evening, actually at midnight, the current time is 2.47 AM Pacific Standard Time. ah Stephen and I met with, so we put, something on let me even go back further than that.
00:17:07
Speaker
See when I picture locked now, I know soft picture. lock He's going to say soft picture lock, which I think is how I started this attention actually, which is ah kind of sweet because it's going to be like, whoa, do deja vu man, you know, in the matrix. I've been thinking a lot about simulation theory a lot to actually look.
00:17:28
Speaker
like dan But then also, I think are we apply too much ah order to chaos that is deserved. But earlier, Steven and I soft, I'm going to say picture locked because ah even if we change things... um We're not reordering the structure of this. No, we're like, like I said, we're literally 99% there.
00:17:54
Speaker
ah And what I mean like literally a minute is probably gonna be changed. I literally mean one minute 24 times 60 whatever that many frames probably that or less and it's because we're trying to just make things as smooth and as buttery as possible and um And that takes a lot of time, a lot of testing, a lot of perspective. Yeah, it does. Because something will feel good, and then you'll watch it later as a complete render, and then it doesn't feel the same. And you're like, no, this is too short. And this is actually something that I'm a little concerned with, and then I'll get into why ah the concern is.
Film Festival Experiences and Community Support
00:18:40
Speaker
And ah
00:18:45
Speaker
Me, sorry, that error. Don't worry, I gotta edit. I can edit. it And, you know, I stopped and I paused to write it down and now I only think about what I wrote down. Soft picture lock, soer your time the and the value of time. of time. Because it's so important, like so many of the films, like a big thing that Stephen and I did was, was it even last weekend?
00:19:15
Speaker
Maybe it was. Last Sunday, we went to a film festival. so Yeah. ah Was it last Sunday? Yeah, I think it was Green Jack Film Festival. We went to Green Jack Film Festival in Big Bear.
00:19:29
Speaker
And we watched two feature films and then we we stayed around for the awards ceremony. We ah talked to some of the filmmakers and um might have them on, but we watched two feature films and one was called Jack. We did stick around for the awards? We did. I don't remember that. We were very drunk. I don't remember that at all. It's part of the checklist. I thought we left early. It's part of the to-do list. We did not leave early. We actually stayed for the whole thing.
00:19:57
Speaker
I browned out. Oh, we, we more than browned out. Well, what does that even mean? No, no, I was actually doing fairly consciousness. I was actually writing a nice, good thing. Cause I remember that we watched the film Jackknife and the film angel something,
00:20:20
Speaker
angel something. Yeah. I will say, um ah well I do want to talk about the Green Jack Film Festival because I think it's a film festival that had ah has a lot of potential. Sounds like they're going to grow too. um I really liked the venue. I thought that was pretty cool. That was beautiful. Their theater.
00:20:44
Speaker
that they had, it was like, damn. and This is how you know Big Bear's got money, because that was a beautiful auditorium, was that is that what you would call it? Yeah, community center, yeah. Community center that we had. Like a performing arts center. a Performing arts center, literally, that it was, that we had that they had it at. And man, just the architecture of the inside of the theater was gorgeous. I mean, I was looking at all the yeah sound diffusion that was going on in there. I was like, damn, it was pretty nice, pretty nice place.
00:21:14
Speaker
But yeah, we watched ah two films there and it was, and I say it's funny, it's funny because, you know, Steve was talking about how nice it was for all 16 of us. Yeah. And, you know, I'll give it to the ah the hosts. You wouldn't have believed that there was like no one in the crowd. Everyone played it up like they were playing it up to a full house.
00:21:42
Speaker
Oh, nice. And i I really appreciated that because, honestly, I had a great time. Me too. um So the best part about it was the bartender poured like a drunken sailor. And we were drinking Ballantines. Ballantines. Ballantines. It's really in my checklist of my to-do list for Dickhead. To drink Ballantines? To drink Ballantines. All right. And do drugs. Perfect.
00:22:10
Speaker
I thought we deserved a few nice to-do lists, so I added it in there for us. Actually, I have a lot of to-do on the to-do list, and we're gonna get to the to-do list. And I saw ah wrote it down, and I looked down, and I read it, and I remembered I had a point. What's your point? Do you think these episodes are any good? No, I listen to them a lot. I'm not bringing it? You bring it. I mean, you're bringing it for me, baby. You bring it for me too, baby?
00:22:39
Speaker
So like, what's, uh, so what's the issue here? Uh, well, we just bring it for each other. No one likes us. And yeah, shit. I think that's, uh,
00:22:52
Speaker
I don't think, you know, in my heart ah of hearts, the heart of the cards, I don't believe that's true, but. Why look at our listeners now. I'm just looking at evidence. Jesus Christ, science is hard. You know, when they said science is, a science hurts, I think, I don't think this is what they meant. It's hard to refute. oh But yeah, you know, maybe ah we're all that matters. We did talk about ah Adam, Patricia and John. Yes.
00:23:21
Speaker
So everyone knows that, no, we haven't. So we picture logged. Soft picture logged, blah, blah, blah, blah. Watch the episode. If you made it here, you know what I'm talking about. So ah at that moment, we decided that we were going to try to look for some composers because our biggest fear
00:23:43
Speaker
is that we applied some of the best music in film history to our film. Our arrogance, our whatever. Sure, we should have used the royalty-free crap so that we were editing to what is maybe like maybe- More within our range. Yeah. Well, not even what's in our range, but
00:24:06
Speaker
just like edit to reality. Like yeah we didn't make Halloween. We didn't make Rosemary's baby. ah And our hubris. But the thing is, it's like we are playing off those beats in a sense.
00:24:24
Speaker
Um, good luck, Adam and Patricia. good I do hope you listen to this. No, we love you guys so much. Like, I hope you have no idea. Yeah. If we didn't already have babies, we would have like a family of babies. Then we're going to have one and it's going to be called Dickhead. Aren't you excited? Yeah. Oh, my God. It's so cool that they like this. Is that lame? God damn it. I shouldn't say that. Remember, I said no one likes us. But dude that was so fun. It was so fun to actually like work. And like have a good time kind of doing it. Yeah. Like, is that what filmmaking is like, is like working with your friends to make art? And that's like, are you serious? ah You don't want to do that. Everyone doesn't want to do that.
00:25:13
Speaker
Like I know some of you suck and that's okay. Cause you're like doing it with your friends. Like look at us, we made dickhead. I only mean know we shit on it and dickhead's an awesome movie. And I really do think it's awesome. Like, yeah, of course we got like shit that sucks. Like it, we can't avoid it. It's hard. Like filmmaking is really hard, but guess what? We get through it and we deliver. And I know that's arrogant to say, but we put Halloween in our movie as a score. We put Rosemary's baby, probably the greatest horror film ever made outside of alien. Yeah. Exorcist has got to be in there somewhere.
00:25:51
Speaker
Exorcist is definitely there like okay in the pantheon in the ah what is what was that? What's that monument where they statute all the president's faces? Oh, they're at much more. Yeah He know the Mount Rushmore of horror films Let's do this. Can we take a tangent for this buddy? Yeah, I know the three wait How many heads are in Rushmore for or?
00:26:12
Speaker
Four. Four. Yeah. They were like, we don't even got five. There ain't I mean, really, dude. To tangent off our tangent off our tangent. There ain't five and there certainly ain't five. And there won't be for a while. And then, oh, my God. Let's just hope that comes out before Civil War, the documentary. You know what I mean? Jesus Christ. But let's get back. ah Let's jump a tangent back.
00:26:42
Speaker
Mount Rushmore. Mount Rushmore of horror films. Alien. Rosemary's Baby. Exorcist. It's gotta be a slasher. Psycho. Psycho. Shining. Psycho.
00:27:00
Speaker
Yeah, it's gotta be Psycho. Yeah, Psycho. It's gotta be Psycho. That's the Mount Rushmore. Yeah. What about that Dr. Cardellini Mancini? Oh, the German silent film, Cabinet of Dr. Calgar. That's probably, maybe. Mm, that's like the bitch that built it, you know? what builds it he He's the one that chiseled the faces in. He chiseled the posters into the mountain. They dynamited that rock. oh
00:27:34
Speaker
Cabinet of Dr. Caligari is the artist that built the Mount Rushmore of horror. There you go. And yeah, dude, that's just like the most hipster shit ever. Let me push my glasses up to my forehead. But no, that's honestly true. And then jumping back to the previous tangent and it's our, you guys should be surprised to know that I actually remember what I'm talking about. And it was our hubris for using fantastic soundtracks for what it is.
Reflections on Filmmaking Achievements
00:28:02
Speaker
according to Steven and I. Not a fantastic film. It's not fantastic. It's a film we love. Oh, I love it to death. um and To say it's fantastic. I mean, that's that's a reach. The thing is, and this is probably from the years we've spent making this film and like it literally just being like a part of my life, like no matter how long I live,
00:28:30
Speaker
I'm stained with dickhead. Yeah. In the best way because I think it honestly, you'll look we'll look back on this in like 30 years and be like, those were the best days. That's what I said before. And it's like, you know, and we weren't wrong.
00:28:46
Speaker
ah But those were the best, I mean, they're gonna be better days for sure, I'd hope. ah Because I think we're better. And ah also I think we know how to enjoy the experience more, even though it's extremely stressful. Yeah, um to appreciate the struggle. The most, damn, i I hate that I'm never gonna get to a point, but, or to my previous point.
00:29:14
Speaker
So I really, freak I hope everyone is like, as I, you know what I hate to say? Like I, I hate that the fact that the thing I'm about to say, even though I say it jokingly is going to be misconstrued in some awful way, but like, I hope like everyone that has like the same level of ADHD is like I do right now. It's like, okay, with how like fucking fast we're jumping around, like, dude, this whiskey,
00:29:39
Speaker
Yeah. like I hate to pat my own back on this, but goddamn dude, this shit is fucking, fucking good. This pipe dream? This pipe dream is delicious.
00:29:52
Speaker
And everything is just hitting right. You know what, it's, I feel like it's been a long time coming for everything to hit right. And honestly, it's it's hard to believe. And I will say this too, you know, up until editing, we felt like we hit a really good stride.
00:30:10
Speaker
yeah Like everything was just coming together perfectly. What you did, it was this perfect storm. But then we went to editing and we just hit that wall, that Mount Everest to climb. And now we are just about at the summit. And honestly, it kind of feels like things are kind of getting smooth again. Like meeting with the potential sound team.
00:30:35
Speaker
I mean, they're the sound team to me if, if they're in, yeah you know, they have to agree to it. So meeting the potential sound team is like. or even if we if they were to say, yeah, we don't wanna do it after they watch it. I mean, we got a lot of composers at least who were interested, who I felt were very good, just not as good as Little Feather. A little further. Oh, fuck, a little further. You know? Okay, buddy. Jesus. But we still had a lot of great hits that you got.
00:31:09
Speaker
And I feel like we're kind of hitting that stride again where things are going to get smooth, just smooth sailing. Like we, we, we got past the storm. And the edit was absolutely the storm because well, the store took what, six years to six years to to pass. It wasn't a baby store. And that was a fucking, I wasn't an El Nino. That was like an El Alto, you know, like fucking the tall man or whatever that movie is. Um,
00:31:36
Speaker
And i I just remember thinking like I didn't really sleep ah very good last night because I was like kind of nervous. Because of this meeting? Just not this meeting because I think it was like a delayed reaction to when we locked. I remember that night because you were like, dude, doesn't it just feel so good? And I remember thinking it does. But like,
00:32:00
Speaker
It still doesn't feel real. yeah And then, cause it's like, no, we like we say we're locked, but honestly, we could edit this for another five years. And then every weekend, just look at another scene in depth and see, you know, every angle again, every, you know, like every little frame pinch and push. every Yeah, every shot again. Yeah. Just go, cause that's what we were kind of, we were starting to do was just go through every shot again. Yeah, that's what we're doing right now.
00:32:26
Speaker
And it's like we've all the shots are all the takes. Like I feel like we've we've like that's why I say we exhausted. It's like we've extracted everything that we can. Yeah. And now it's like, well, it's like maybe we can scrape something here. Yeah. Well, like now the thing is like it's ah we're not and adding to the timeline anymore. No, we're we're only if anything, just moving the timeline to make things flow a little better. Yeah. And then and that is still like That's just a hard science in of itself. Like we might end up changing nothing or just enough where it makes us feel a little better. Yeah. Cause I think, ah and I know this is, you guys, this has no context for anyone, but Steven and I and John and Adam and ah Patricia are Pat.
00:33:19
Speaker
um But John made this great point where he was like, you know you guys have watched it the 500 times, it matters to you, but only you. yeah He's like, trust me. and you we think of you know You probably think about this too, especially if you because we like older movies.
00:33:36
Speaker
yeah um where you do hear like kind of those weird sound things or it's like they probably just didn't get the audio so they dubbed it over weird because it's old or it's like in an Italian giallo or something where yeah all of it is dubbed and like sometimes and it's like he doesn't it doesn't really and those are the extremes those are the absolute extremes like those are yeah those Italian films where everything is like super overdubbed and it's like they did their best. yeah But dude, so like I was thinking about that big time and one ah ah movie I've been thinking about a lot lately is Tenebra as a Giallo by Dario Argento from I think 1982, if I'm not mistaken. And goddamn dude, that movie is fucking so good. And it's like, you know, I want to be making movies like that. And then I know like we made Dickhead, but it's like,
00:34:31
Speaker
Dickhead's not like that far off from like, in a sense. I mean, yeah God, there's the ho is hubris. But it's like, dude, I'm proud because, and I know it's, dude, that's like, it's like, maybe that's some like narcissism to like Satan levels. I don't know, but it's like, we fucking have worked our fucking ass off. yeah And I know it's like maybe pathetic that it took this long to work our asses off, but,
00:34:59
Speaker
I am a truly um proud of the work we've done. um yeah and We'll be the only ones that ever know how how much worse it could be.
00:35:12
Speaker
And it could be worst so much worse. We literally have the evidence. I think that render is still sitting in that drive and I look at it sometimes. and We should probably watch it like after we're done with the whole film and just kind of go back and watch that. Especially when we're on 2B and make no money.
00:35:34
Speaker
Remember what it could have been, Tom? Hey, look, we are to be. We never pay off our loans to so John and i to Adam and It's just like, yeah, you know you guys did so good. I'm sorry we weren't good enough. like i I mean, they're so awesome too. like Damn. God, I felt like such a fucking loser.
00:36:03
Speaker
Jesus, this is the Tom show. I'm sorry, dude. i'm We're very fortunate to have gotten them. And, you know, when you had mentioned value of time, that made me also think of the value of your time as a filmmaker. Because, you know, I had an epiphany, like I got super high on an edible one time by myself. Legally. Legally, of course. And, you know, I was thinking about Dickhead and it's so fucking rough.
00:36:31
Speaker
And I was thinking of how like I'm kind of getting in this perfectionist state and it's like, dude, why are you trying to be a perfectionist on this? yeah It's like, it it is what it is, man. Like, you you're not gonna find, you're not gonna recreate things here. You're not gonna find anything like that. It is what it is and so you you have to accept that and come to terms with that.
00:36:56
Speaker
and get it out there. Because really all that matters is getting it out there. I mean, it doesn't matter how long we work on it. And do you, so where it is right now, if we were just like, okay, yeah, you guys, we agree. 100% picture locked. Which I don't think, I don't agree with. I do think there's some stuff we need to look at still. Yeah. Because I do think we need to get feedback. Yes. um And I have something actually.
00:37:22
Speaker
I wrote it down, it's so cool. But honestly, yeah.
Future Aspirations and Impact of 'Dickhead' Completion
00:37:30
Speaker
just to say, you know, um, we're both in a horrific car accident where we're no longer able to edit. Like we, you know, we've lost our arms and our teeth and our nipples. And it's like, we can't edit no more. Like, and you know, uh, John and Adam and Pat, I should have started to put Pat first cause you know, women first, as they say, not France. Um,
00:37:58
Speaker
Would you be like, okay, this is ah the best it could be. Like they just knock it out of the park. They hit all the notes that we want in this in this fictional reality where we don't change anything of the edit.
00:38:12
Speaker
Does that sound impact enough of the film in your mind where everything just kind of works and everything sounds better and it's colored? Like, is this a film that you're proud of? Oh yeah, absolutely. It was 100%. I don't say we're done. It's never done. It's just i'm saying, are it's a film that you you're like, dude, this is worthy of the time and the learning process.
00:38:38
Speaker
I mean, it's definitely a film that I can say I'm proud of, um especially because I think within the edit, we still hit a lot of the beats that we meant to with the original script. I actually went back and noted a bunch of stuff on the original script, mostly for like sound to kind of consider, because there's a lot of audio cues in the shot script that can kind of influence the scenes further.
00:39:04
Speaker
um And, you know, it was interesting to kind of think of the film we have and visualizing those shots in those scenes, but also seeing what we hoped Dickhead would be, for instance, the cast being almost high school kids, yeah because they kind of come off as high school kids in the script.
00:39:31
Speaker
yeah And then just kind of seeing like how that would be, especially with Jennifer's character, because we cut out tons of her character, right? I mean, she had these...
00:39:42
Speaker
Her father, her her late father who- Her late father. Who she wanted to- Spoilers. To like, who she she was always in the shadow of and always longing for that person that wasn't there and how that plays into who she is as a person and her defense mechanisms and how they play out, which got all cut out. I mean, we didn't even film like half of them. But,
00:40:11
Speaker
Yeah, man, I mean, just to see... Damn, buddy, I gotta stop you for a second there.
00:40:21
Speaker
Thank God, because we made dickhead. Yeah, but those scenes were nice, you know? Oh, of course. And if it would have played out how we hoped, you know, like even the garage scene, if that would have played out how we hoped, I mean, that would have been really nice to get.
00:40:41
Speaker
Oh, it but within the context of the film, a lot of them probably weren't very necessary and a lot of them come out kind of cringy and it's kind of good we cut it out because it's like, I don't know how you sell it. You got to get the perfect person delivering it the perfect way. But you have to earn it too. And then at that you got to like hope and pray it's earned and deserved and with the edit we got now, we cut out all that shit. It was like, you don't gotta worry about earning anything. We're just giving you something very lean with some good amount of fat on it, but still it's cut very lean. And we don't... The runtime doesn't feel like it's runtime. We don't ask too much from our audience, where I think the script asked a lot from the audience.
00:41:37
Speaker
We're not asking that much from the audience within the edit You can just watch it and enjoy it if you want to watch it and delve a little deeper it's yeah, you'll you'll find these layers and these elements that play deeper and The way things tie in you'll be like, oh, yeah that leads into that and that explains that and oh Okay, I'm getting what's going on like you can find these deeper layers But you don't have to, it's it's a film that doesn't need it. you know I always go back to Starship Troopers, not to say we are Starship Troopers at all, we're not. We're way better. But, you know, Starship Troopers is like a soap opera action flick. Absolutely. And we're a soap opera horror film and...
00:42:17
Speaker
um Are you proud of that title? Yes, actually, I love it. I do. Well, I used to watch soap operas as a kid. No, dude. Well, my sister loved General Hospital, so we watched that. I would watch that with her every now and then, and then there was days of her lives that I would... We were a guiding light family. That would always watch guiding light, huh? Oh, I watched so much guiding light. It literally was not... We were not allowed to watch anything else during that time slot, and I think it was at the...
00:42:49
Speaker
maybe it was like at the 1.30 or two o'clock time slot. So like right when we would get home from school, cause I think we got out like a little after one. I think general hospital would have come out around that time. Oh yeah, it was like the competing channel was general hospital. Okay. But we were a guy in life family, like no joke.
00:43:05
Speaker
um and I believe you. And we would watch that, like you get home from school and it's like Dragon Ball Z would be on Toonami, you know, or Sailor Moon or Tushimuyo or something like that. Toonami, yeah. Toonami and... No, man.
00:43:23
Speaker
If guiding light changed, you would get me. You know, and like, I hated it. I wasn't a big soap opera, but, you know, there was a certain love and appreciation. And now looking back at it all these years later, because I don't watch soap operas whatsoever. Yeah, deep cut. But there's still up. You shouldn't have fucked Beth and the plane motherfucker. What were you thinking, bro?
00:43:43
Speaker
But there's there's these, ah there's a certain- I mean, I would too, but, you know, when you on a plane and you're like, we're gonna die, but we got room to fuck and you're a man and a woman. Why not? Right. Okay. Hold on. Serious question. Okay.
00:44:04
Speaker
Complete stranger. You and stranger. You're in a plane. You're going to the film festival for a decade. We made it into Fantastic Fest. Your dream? Your dream, yeah, Fantastic Fest. We're going to Fantastic Fest. You crash in the Swiss Alps somehow on the way to Fantastic Fest. I'm eating your ass, dude. I'm eating you. No, it's not me and you. It's you and some strange woman. Okay. Do I get to eat her after?
00:44:34
Speaker
You're gonna be rescued before any eating is happening. Oh, okay, great. You think you're gonna die, but you'll be rescued. And she's like, well, we got room to fuck. Well, I'll be honest, man. This is all, you're probably getting cut. No, I'll be honest. you All right. I've been in a plane and I've hit turbulence and it's very light turbulence. And I'm white knuckling that armrest. Oh yeah, you're doing like roller coasters. I'm like, I can't even move it.
00:45:03
Speaker
That's the reality. I would just white knuckle. But in a world where it's like, baby, I i mean, the answer is clear, right? Yeah, that's pretty clear. To-do list.
00:45:22
Speaker
Where were we? Value of time. So as I was saying, I had an epiphany. Epiphany. Oh, yes. And I realized we just got to get this film out there, not put too much more time and effort into it because it is what it is. And I have to accept that. And I think that's an important thing for filmmakers out there is to just understand and value that time.
00:45:48
Speaker
and how much effort they're gonna put into their film, but also for people at our level, you all needed to put a little bit more time into that film. And you all needed to make a little bit more aggressive decisions because I've seen many films um with people at our level and it's like, dude, you had you definitely have a little nugget there, but you didn't edit enough.
00:46:16
Speaker
when you should have and yeah, maybe that would have cut out too much. Could the film have survived if you did that? I'm gonna say but probably because it's like, we all think we're deeper than we are. oh yeah And it's like, after a decade, it's like, yeah, you could get away with cutting a lot of that depth and have the better film after that.
00:46:41
Speaker
And so like what you were saying with Dickhead, if I would be happy with it, it's like, yeah, I'm going to be happy with it. I mean, we did the best we could with that film, whatever it is, however it's received, whoever sees it. And yeah, there's nothing but pride because like you said, we saw other cuts of it that were bad. um We've seen the footage, which is bad at times, audio, which is bad at times.
00:47:10
Speaker
um continuity, screw up, flubs on our part, like me beating the reflections. Like, there's a lot of bad elements there at times. yeah
00:47:21
Speaker
So, you know, it's not like we made Citizen Kane. No. No, no, no, no. No, we're only trying to. Please, will have God. I mean, I think I was in a sense. You're trying to make Citizen Kane?
00:47:33
Speaker
in the sense that I was trying to make the best thing I possibly could. And I think we did achieve that because, you know, there's some shots in the film where it's like, damn, that took some effort and that came out good. For instance, we have a scene of Jennifer first seeing Tom or the killer for the first time.
00:47:51
Speaker
And we did that ah pullback with the zoom in yeah and the rack focus. And I don't know how we got that to line up perfectly. We probably didn't have to focus, probably set to where it would always be focused. But we were able to zoom in as we pulled back and you get that cool effect. And it works so beautifully right there. And then also the other standout scene for me.
00:48:14
Speaker
would be where we kind of switch perspectives between two characters, ah Tom, the killer, and Richard. And the way it just transitions between the two, I mean, it's like, dude, that's fucking...
00:48:27
Speaker
Good, that's really nice. That's something to be proud of. The lighting for Jennifer when she's in Tom's house and she's in a room secluded to herself, just that lighting's like, ooh, it's so nice. And even with- And Marianne's delivery. And Marianne's delivery, well, the acting we've always said is top notch for what we got. Yeah. I mean, the actors delivered. They did a lot with what they had.
00:48:57
Speaker
we and was ah But even the garage scene where we were revolving around them talking, like, yeah, unfortunately, a lot of that dialogue should get cut because it's just too long. It's too long-winded. And it's not fun enough yeah to keep you engaged. You know, we did the Tarantino talking about Madonna, but we're not Tarantino and we're not talking about Madonna as like a virgin.
00:49:23
Speaker
But we do have that, I mean, I don't know. But you know, it's nice. It's a nice shot. It has elements that are nice. We got a little cute wink at the audience. Yeah. That maybe we overplayed a little too much, but we still got it. We trimmed that. We trimmed it. We trimmed it. We trimmed it tight. But we got that, you know, we got to play with that. And there's some really good elements that I think Someone would watch it and be like, not bad. You guys aren't complete morons. You're not eating all the crayons. You left green. Yeah. yeah so So yeah, there's there's a lot of pride. And also at the end of this, regardless of whatever happens with our filmmaking career after this, ah we can at least say we made a feature film. You can watch it on 2B.
00:50:15
Speaker
Please watch the commercials because we get a mickle for every view. We're so paying back our sound team. But, you know, like, like not a lot of people can say they did an accomplishment like that. No. And honestly, Dick had an easy film to walk away from. You know, we could have also just been like, you know what, buddy?
00:50:41
Speaker
No one's expecting anything anymore. No one messages us messages us about the film. We could just let this quietly go away, never speak to them again. And that's it.
00:50:53
Speaker
Yep. And it would just would have been a nice memory of that one summer where we made a movie. Yeah, where we shot a movie that never is going to see the light of day. I mean, you could literally leave it there. And honestly, if- You could be telling that story in your 80s, well, once i I had this great idea for a movie and I tried to make it, but- Well, honestly, not just that, but if like, let's say we were hustlers trying to make it in filmmaking, it probably would be a good idea to have dropped Dickhead.
00:51:21
Speaker
move on to the next project and try to succeed there. yeah like If that's our hustle, that probably would have been the optimal choice, the most efficient choice. um But we did it. We we stuck it through. We're going to make this. I hope we're going to make other things. Maybe we won't. We will. it's not The thing is, is like
00:51:46
Speaker
If dickhead doesn't succeed, it doesn't mean that we're gonna stop trying to figure out how to make the stuff that we can make. Yeah. And the thing is, we've been planning on making cheap shit, like we have no money for forever and- We can continue to do that. And um you know like it's a beautiful thing to devote your life to because um if you can just like,
00:52:13
Speaker
if you can pull something off. And like, the thing is, it's like, I'm not saying like, Dick has gonna be on the top 10 list of anything except for the top 10 worst slashers ever. yeah But at least we're on a list. Yeah, we'll make a list. No, dude. that The thing is, it's like, you don't even go there. Like, it'd be like, lost in the middle. Which is like, pretty nice because maybe we could hit a few people.
00:52:42
Speaker
It's like, you know what was cool? When we I was looking for the composer, someone reached out to me and they said, oh, you know the guys that made the great and terrible Day of the Lord? Oh, wow. And I said, yeah, I do, dude. Jared and Clark are like the homies. We called them our friends. I don't know if they say the same about us. Oh, dude, I love those guys. Yeah, they're great.
00:53:07
Speaker
Like, if if we could have them on the podcast, like once a month, I would do it. And I know we should try. Well, yeah, we still have to finish that podcast. We never finish it. Yeah, we got to try. And like, we got to show them the movie. Yeah, we got to get their input. I think we could just start sharing this. You should just share out this YouTube. Be like, hey, listen, audio's wonky. It's going to be loud at parts. Yeah. um You'll have to forgive that. Sorry.
00:53:34
Speaker
But just watch it. Yeah. Cause like we need to like, and then we can work on that. Well, cause then we can give them like a week timeframe. Yeah. Be like, look, we got to get it done fast cause we're already moving on to sound. So could you get this done in a week? Just give us some initial notes or even like, if you want to go as in, please go on in depth as possible, but just let us know within a week. Cause we need it now.
00:54:01
Speaker
Yeah. So we can address those issues. Because, so I mean, you're saying we don might not edit more than a minute? Yeah, we might not edit more than a minute. Our audience might. After they watch it, they might be like, y'all need to edit more than 40 minutes, bro. Make this a short fit.
00:54:19
Speaker
I mean, no, we can't do that but... But you know what I'm saying. I do. The big edits could come there, although I don't see how but certainly it would be something to keep in mind. More than anything, I think, like, honestly, if you said, let's skip that step.
00:54:38
Speaker
I wouldn't be opposed to it. Cause I don't think it's crucial anymore because I feel like we've exhausted everything. And if we're going to cut anything out, we're going to just start to lose what it is. And I don't think we want to lose that. I have the like worst answer. What's the worst answer? I kind of want to share it to show off a little bit.
00:55:06
Speaker
Well, then we don't share this, that's for sure. But I think this is not that bad. It's not that bad if you understand what you're seeing, but I don't think a lot of general ah who are gonna ask, they might not understand it. They might not understand like, yeah, I see Steven in the corner. It's like, yeah, don't worry about that. that We're gonna fix that. our Yeah, I don't hear what they're saying here. Like, yeah, don't worry about that. ah Just turn up the volume. I don't think it's that bad. It's bad. and It's not that bad. It's bad. Like, it's bad, but you know, you can hear everybody talk. It's bad in the sense that
00:55:45
Speaker
You have to understand you're looking at a rough cut that hasn't been treated. Yeah. But there's some people who don't understand that. It's like watching the deleted scenes. Yeah. And you have to understand those deleted scenes actually equate to a movie. Yeah. So they have to understand that aspect. You know what I'm saying? Yeah. It's like, dude, it's ugly right now because it's not colored and we haven't finished reframing, which maybe we could do that and then render for the if we're going to share. But no, I say we just put it out there. I think I think The temps that we have is enough. But I, maybe that's my, like, again, I'm going back to my hubris. Damn, dude, maybe this is some fucking insane narcissism where I'm just like feeling good because like the meeting made me feel like really nice. And you also took a huge amount of edibles right now. Oh yeah. I did that too. And I just feel good. And it's like,
00:56:42
Speaker
I think I had talked about this earlier and this is probably like the nine hour podcast. Um, my apologize for that, but Wow, man. It felt really good because it was like that delayed reaction. Like when we had decided like that we were like, nah, dude, we're locked, right? And we were opening the Chinese whiskey. and Is it racist to call? Is it just racist to say countries anymore? It's literally a Chinese whiskey. Okay. And it tastes like manure.
00:57:14
Speaker
fuck it tasted like would do or rise test that did It was one of the worst things I've ever drunk in my life, but we still drunk it because that's all we got. Well, there's a cute little story about this maybe. And so ah when we wrapped, Steven bought me a bottle of Chinese whiskey. And I told him for like Christmas or your birthday. Yeah. And then decided you're like, Steven, I'm not gonna because it was like,
00:57:41
Speaker
I think it's a $200 bottle of whiskey. Yeah. If you buy the full and I was like, well, I'm going to buy a tub. This is like 50 bucks yeah for a small little sample. And.
00:57:53
Speaker
And you're like, no, we're not going to drink it until we picture lock. Yeah. And we finally cracked that baby open. Yeah. And, uh, it tastes like manure. Literally tastes like reviewers. It could be because we had overaged it. It might've been overaged. Yeah. In all their fairness, it is like a eight year old bottle.
00:58:13
Speaker
ah Yeah, man. I mean, I'm actually seriously proud. um And maybe that's just the white trash in me. No, dude, you should be proud. Like, at the end of the day, you made a feature. like But it's not even just a feature, dude. it's a like There are genuinely well done scenes. yeah Genuinely. like We actually like made a movie.
00:58:38
Speaker
like We gotta get Adam and Patricia's. We gotta message them tomorrow and be like, so you guys said you were gonna watch it. Did you guys watch it? It's been three and a half hours. Have you seen it? It's been five and a half hours. It's been 12 hours. It's been two weeks. Are you guys still there?
00:59:01
Speaker
It's been six years, Adam. Do you have enough money? Pat, please Patricia, you guys have mercy. Little feather. I got, yeah. for Little little feather, little feather. Yeah, man. I feel good. No, we should be proud, man. I mean, dude, like when we got to, generally, though, like,
00:59:30
Speaker
Should be that shit is cool. Like I agree. Yeah. That's what I was saying. And it's like, I, you know what I always think about. And I think, uh,
00:59:42
Speaker
And I'm actually curious to know your answer. And for our audience, again, I apologize. I hope you enjoy this. You'll figure out what we're talking about. It all makes sense in my head. So if you understand it, you are one with greatness. Shit. Maybe I talked too much. I forgot what I was saying. Well, if you forgot. No, no, it was important. Shit. Do you ever, do you have any idea?
01:00:11
Speaker
Um, you were saying like, can you imagine? We did this. So, about us picture locking in this film. Oh, I wanted to know. What's your favorite scene?
01:00:26
Speaker
o Ah, that's, that's tough, man. That's actually tough. Cause scene five really, there's some adjustments I want to make on it just switching to like tights and stuff.
01:00:40
Speaker
um Scene five really kind of took me. Scene four where Tom is watching Jennifer. I mean, the way you edit to that with the surrealist element where she's like kind of posing for the camera. I mean, that just came out so beautifully, especially with the music. It's just like, hmm. Scene six I fell in love with. Honestly, I think it's funny. It's such a great just characters talking, even if it's a little long.
01:01:07
Speaker
But it's it's all of the like good chunks of that dialogue and it's are of that scene and the dialogue between them. The thing I love about that is. And sorry to cut you off for a second, but since I just had talked about when I talk about scene six is scene six is like hills and valleys. Yeah. And it's like.
01:01:33
Speaker
all these ups and downs. And it's like us making porkies. It's like this is where the soap opera lives. And scene five, especially. Yes. This is where the soap opera lives. Yeah. And this is where it lives so beautifully. And it's like it's just dialogue framed like the fucking Last Supper. Yeah, it is.
01:02:02
Speaker
It's our last supper. It is our last supper. And if you catch that, I mean, right, it is literally framed in our last supper. But I would also say the scene with Audra in the garage, specifically Audra's section. I mean,
01:02:19
Speaker
Well, we always talk about how we were there on set and how we filmed it. And it was the biggest downer because she just was so good. So convincing. And we felt so terrible for what happens to her. And we wrote it that and we made it happen. But it was just, man, that was that's a powerful scene. And I always said, we need to earn it. And I don't know i still don't know if we have because of of what we're putting the audience through.
01:02:49
Speaker
But then there's also the scene with Jennifer and and Kevin in his room when Jennifer's talking about her father. I mean, that one came out really good. Another soap opera moment, but it was really good. And then the other soap opera moment, Richard and Jennifer in Tom's house having their final, kind of having their confrontation. And and then you have Richard like, everyone called me.
01:03:19
Speaker
And you know, it's just this beautiful exclamation of this serious element. It's so funny. You know, that's the ah biggest Geiger test or like biggest ah test. i've whatever If we ever have the blessed opportunity to watch this with a mass amount of people, if that doesn't get some kind of reaction, we just haven't done it. Like the whole the whole movie just can't work.
01:03:47
Speaker
That is without a doubt the creme de la creme of a reaction from our audience. Yeah. I mean, it's like either you're either you motherfuckers are dying this motherfucker. He's like, oh, incestual, rapist monster is going to barge into this room at any second. And this guy's like. My whole life has sucked because everybody's called me dickhead.
01:04:16
Speaker
And you're like, what the fuck? Because you remember, that's what the title of the movie is that you just are watching. yeah And it's just like, oh yeah. And then it's like, what happens next is like, he's the biggest dickhead of them all. Yeah, he he's literally a dickhead. And he's the dickhead. but We back it up and we doubled down in a way that pays off. And we did it like this like sweet surrealist kind of trick where we double a line.
01:04:47
Speaker
And it's like, and this to me is, this is my second favorite line. This is my second favorite scene. As Richard leans in to Tom. Oh, we did that a couple times where we we repeated the lines. Yeah, and he says. One on accident, one on purpose. Well, this is on accident. I don't know how this happened. This was probably some weird. No, you did that on purpose.
01:05:12
Speaker
Oh, then, damn, I'm a genius. I'm pretty sure you did ah did that on the cabin. You were like, yeah no, dude, leave that in. It's fucking crazy because he doesn't talk, but you hear him delivering the dialogue again. Yeah. Yeah, no, you did that on purpose. I remember. So maybe it's a false memory. no I don't know, but it's. But that false memory remembers. It's something that I was just, I've realized that's like,
01:05:38
Speaker
Oh, we cover our asses big time right here doing this edit. We cover our ass the entire time at israel because this is like. the audience is so mad at us right now. You think so? Because we just like brutalized the one woman if we sell them and over at all, like she doesn't just die. No. She is like, she dies while like Tom is like, who knows what, how he's reacting, but she's witnessed to her stalker watches her best friend, brutalized murder her to death. Yeah. Like,
01:06:19
Speaker
And then we come back and we say, yeah, cause this is the most horrific thing ever. And it's all about, you know, the men are like at fault here. Yeah. And it's all about me, not you. It's all about me. Yeah. And it's like, that's how dangerous these fucking psychos can be. Yeah. Like, and it's, if it's like, that's, I think that could be kind of triggering, man. Like,
01:06:50
Speaker
I mean, I think if we have any triggering moment, it would probably be Audra's scene. Oh, in a good way, of course. I mean, to trigger someone in a good way, but you know, it's just such a ah powerful scene that it's so uncomfortable and and as it should be.
01:07:11
Speaker
Yeah, definitely. You know, cuz I will say this too with dickhead, we don't necessarily glorify deaths. I mean, honestly, like, Terrifier, right? Two, which I mean, Terrifier one fine, but Terrifier two, it's just like, dude, this is hot garbage, this is... This just felt disgusting to me. Like when he's killing that girl for like 10, 5 minutes, I don't know. It felt like 30 minutes, half the film. Yeah. It's like if Tarantino it's like if tarantino made Feed the movie. but it but it's like ah It's so like grossly self-indulgent. It's like a what the fuck. It's like, who likes this? Who really likes this? And if you do like it,
01:07:57
Speaker
I don't know if I want to know you, dude. You know what I'm saying? Like, you kind of scare me. Like, it's just so gratuitous. But don't people just kind of really love being edgelords? Yeah, and that's why. It's just like, ooh, this is the edgy film. And it's like, yeah, that's not cool.
01:08:21
Speaker
yeah Aren't we so graphic? Are we so gory? I get it. I listened to Slipknot and all the death metal. I was like, yeah, fuck that shit. But, you know, when you, like, older now, it's like, eh, I don't know. I mean, some of it's good, but ah you got to earn it from the audience in respect to the films and And with Audra's scene being triggering, it's it's triggering in in a way that we meant for it to be. And it's not gratuitous, but just the implication and the illusion. It's just like, damn, this it's so intense. it's the ah It's the soap opera horror, bro. It's a heightened... um It's a heightened realm of reality and like...
01:09:15
Speaker
Uh, it doesn't take that much to make a Richard and we see these people in the news all the time. And yeah, literally. Right. With Trump, we see this shit, right? We see a lot of Richards. Yeah. And that's where I think a lot of the maturity i for myself is, or it's like really recognizing that.
01:09:40
Speaker
Yeah. they're Love can be dangerous, man. yeah And,
01:09:47
Speaker
Are like, can be a wicked game. It's a wicked game. We play, you make me feel this way. You know, and, uh, we, uh, like even just like in, uh, her house when she's attacking her house and way she tries to hide, you know, it's, uh,
01:10:16
Speaker
It feels real. you know Tom would know. So let's take it back because I could see you're starting to lose yourself here a little bit. Yeah, i dude, a little bit. So we had a big meeting, a big moment within Dickhead hitting a new stride where we're now looking for composers and Tom sent out on Reddit a post to find composers and we ended up finding this group of people a little further.
Team Assembly and Production Strategies
01:10:48
Speaker
Adam, Patricia, and getting their buddy, John, who's a sound designer to come in and assist with troubled audio like we have. And potentially getting the sound team together who will take care of all of the sound for us at a very affordable price. Because I mean, we're talking about a feature film here. I mean, easily sound.
01:11:14
Speaker
50,000 like for pro level, maybe way more than that. Probably. Yeah. low Like, like Babylon, you know, first man level, sure. Way more than that. But like at our level at a reasonable, like terrify or what they could probably afford, you know, 50,000 and they're offering us an amazing deal. I don't know if they want us to say how much so I won't, but it's an amazing deal that we can afford and I don't know what my point was.
01:11:48
Speaker
This is just catapulting us to the completion of Dickhead. Yeah, it's catapulting us to that completion, and it's amazing. And it really sets a deadline, an end time for the film. Yeah, I mean... Because I feel like... Well, I don't know how you feel about how... The picture was that wall, and we got over it, and now we're looking at it like, oh, we can actually make strides to finish this thing, which is insane sounding. It is. Because it felt so...
01:12:19
Speaker
It felt effortless. and That was the big thing, meeting with them. Because we met with Adam, Patricia, and patrician John. That's what we were talking about, setting it up. So we met with them because they're goingnna they're offering to do all ah the whole sound for us. um Sound design fully, cleaning up the dialogue, making that sound good, and composing. They're offering to do all of that. So we don't have to worry about sound if everyone is on board. Please, God, be on board. Please, yeah, because they sound amazing.
01:12:48
Speaker
and um Yeah, so we're hitting that stride where we can really... They felt effortless meeting with them because they just seem like awesome people. And one of the things I love most about meeting them other than them being awesome, which is important because you don't want to work with people you don't like. It's like, dude, and can I just have a beer with you guys? You sound cool. like Talk to me about your your life. Tough question.
01:13:15
Speaker
Would you work, rather work with like a cool person that's not as good or like the best of the best but they're literally like working with Satan? Oh, the best of the best? I'll work with Satan any day of the week, come on. But or I think a more reasonable question would be someone who you get along with who's not as good versus someone who's better but you don't get along with, yeah, you want to work probably with the person you get along with.
01:13:42
Speaker
because you guys can work on the film together and get to that middle ground. yeah you know And it was so effortless, just- And also, let's have some fucking pride and not, you know, force ourselves to work with the losers, even though we want to make the best film. No, but I was gonna say, you know, it was- Not that we are, Jesus Christ. No, we're not doing that. No, but I was gonna also say, for them, it felt so nice meeting with them, because it was like- And we got the best of both worlds. Well, hold on, because I was gonna say, i these people, it sounds like they know what they're doing. This don't sound like their first rodeo,
01:14:16
Speaker
It sounds like they can meet the goals that we set and that's the cool part. And honestly, it sounds like you guys are kind of a little above and beyond what we should be getting. So, to work meet with them and work with them is like, wow, man, like like is Like, especially with John, I was like, yeah, you strike me as someone who can fix all of our audio issues. And if you can't, no one can, the you know? like yeah if If you're not going to fix this, it's because it can't be fixed. And maybe, you um Kylie had told me an interesting story about Tron. There's a scene, apparently, in a hallway between the protagonist and Olivia Wilde.
01:15:08
Speaker
and they're having a conversation in a tunnel and the audio was shit. They were picking up some like um some noise somewhere. yeah And it wasn't salvageable. So they had literally spent like tons of money to this one sound person, a female sound person. And she was like, I gotta get this special machine to fix this audio. And it was like just this insane amount of money just for that little pocket. And of course she was able to salvage that.
01:15:38
Speaker
That's what it's gonna take, you know? It's like, dan it's no, but what I'm saying is like, if you can't solve it, it's probably because that's what we need to pay for to salvage that audio. yeah you know And literally it's like, you're just better off ADRing it. Cause that was their ah option, ah alternative choice was they're like, well, just ADR it. And I think it was, it must've been the director. And he's like, nah, I want the actual audio from that take. And so they went through all those efforts and it's like,
01:16:08
Speaker
we're just It's at that point where it is it it is what it is. And there's some hard truths we have to accept. you know God damn, they're hard. But the thing is, is ah we've accepted it, right? like That's the thing. We've accepted it. And you know what? If they're on board,
01:16:27
Speaker
I think we'll be able to hit the marks we need to. I mean, I feel very confident. Like if they're on board, I'm not worried about sound now. Yeah. It's like, okay, that's getting taken care of. However long it's going to take them to take care of it. Yeah. And that's also not necessarily a bad thing, right? We both were kind of thinking like, cause during the meeting we were talking and they were saying, you know, maybe six to nine months. And I was thinking,
01:16:57
Speaker
Well, six months isn't too bad because if we want to be done by the end of the year, that literally just pushes us into January of next year. yeah you know I mean, nine months is a little worse. But still, it's like, well, ain't no one shooting shit right now. You know what I've noticed? A lot of commercials having a lot of celebrities. yeah And it's like, oh, I bet these celebrities are doing these commercials because there's no films being made and they just need some money to get through.
Industry Trends and Long-Term Filmmaking
01:17:26
Speaker
Yeah. And I think we'll still feel the residual effects of the strikes and into 2026. Like right now is where you want to be. Yeah, definitely. Because this is where it's at because nothing's being made. There's the no man land. And there's a lot, you know, like someone like us can get a lot more eyes on our film because of just the situation Hollywood's in. Yeah, definitely. And I think they're still going to feel that into 2026.
01:17:56
Speaker
but not as much because you can crank out a film so fast nowadays. um But you know if that's when it has to come out, then I'm fine. like Literally, if you can say this film took a decade, like that then becomes a marketing aspect.
01:18:16
Speaker
but No, it really does. Like for a racer head, right? it took You said Lynch like a decade. I thought it was eight years. I keep thinking that. but That might be right. I think he said it. It's a long time. A really long time. Because he took he stopped for like a few years too. Yeah. So you know that becomes like this marketing aspect of the film.
01:18:36
Speaker
to look at it like a decade in the making. you know it's It's like, okay, well, you guys definitely spent your lives doing this film. So for some reason, for you and me, it was worth it to keep on. No, but that's that's something real. Like, okay, you two at least believed in it enough that you stuck with it this long. That says something to it. you know That speaks to to what we created.
01:19:03
Speaker
You know, like if we took five years to work on it, nah, that ain't cool. You guys suck. But when you take 10 years, now it's like, okay, it's a dedicated, it's a truly dedicated passion project. yeah You gotta have some passion to keep, to keep with it. I know, but damn man, it was like 10 years to kid.
01:19:28
Speaker
But
Emotional Journey to Completion
01:19:29
Speaker
just wait for dickhead two. The dickening. The dickening. Damn, man. It's just like it, it seems, uh, it felt like it could have been impossible for the film to be done before this past week. I, you know, I, I didn't have that feeling. that Once we got to picture lock,
01:19:57
Speaker
You know, I was like, oh, shut up, Tom. We're not at picture lock. But then I was just thinking about it more as we were drinking that night. And I was like, fuck, man. We're at picture lock, Tom. Do you understand? Do you understand the gravity of that? Like, and you can't, right? Because it's just like, it's hard to believe. We've been on this so long and this one process so long. And it's, I mean, even still, like I can't.
01:20:24
Speaker
I can't process it. It's still not real to me. It's like we've looked at, to me, it's like for a good portion of my life, I've looked at every angle of this film. Dude. Of this story. And it's like, that is not ah healthy. Dude, literally, I was going back through shots, right? Because I'm trying to finesse things. I'm like, well, Tom said it's good here, but let me see what other shots there are. I'm sure there's something.
01:20:53
Speaker
And I'm seeing like the before we slate and seeing everyone on screen. You look so fucking young, dude. You know, you look so different. It's like, shit. We spent a lot of time on this thing. yeah We spent a lot of time on this thing and to say that's done. That's insane. I'm still not processing it fully. I mean, I know we're done. yeah Like I know it logically.
01:21:22
Speaker
But emotionally, it's like, really? It's like a beaten child. I mean, I could come out of the closet. i can go to the light but It's like getting a hug from Aeris after being that beaten child or Aeris or whatever, right? Yeah, dude, it's seriously like,
01:21:43
Speaker
It feels like being a claustrophobic released back into open air. And you're sure like, are you sure this guy's not going to come down on me? You know, and because, and I think the thing too is probably a little over dramatic, but it's not that over dramatic because.
01:22:01
Speaker
I mean, I'm not afraid to a admit it. A lot of it was, it felt like we didn't make anything that was worthy of the time and it was like almost like a self embarrassment in some degree because... Well, we didn't. No, no, no. But I was just saying, there were times where I was just like, oh, fuck. I'd watch cuts sometimes and I'd be like, oh, God, buddy.
01:22:24
Speaker
but you and then so this was even I'm talking before we even reshot Scene 1. No, but I'm saying you're not wrong in that. I think that's completely true. But we got past that. We figured out a way to get past that and the fact that we're past that. That's the point where it that feels surreal because this has happened quickly.
01:22:47
Speaker
I felt like there was like a real quick, I felt like, uh, we had made a big stride when we went to the cabin and then we had been making good pay. It took us like a year from the cabin since the cabin into cabin was only a year ago. No, no, two years ago. That's it.
Creative Differences and Film Development
01:23:04
Speaker
Yeah. That's not bad. Yeah. So the cabin's like two years ago now. Yeah. It'll be two years ago now. Yeah.
01:23:12
Speaker
And we made that was the biggest stride. And everyone said we were just going to have gay sex the whole time. I know, dude. And all we did was have gay sex the whole time. But we also edited it where we needed a break. Yeah.
01:23:27
Speaker
I have a break from the gay sex. it's you know It's exhausting. Can I get back to work? My ass can only take so much before it's chapped. you know and then I got to put that Burt's Bees on there and my butt hole. My butt bees. Burt cheese.
01:23:44
Speaker
burnton cheese um
01:23:48
Speaker
And it felt like, dude, I think there was like a- Well, that rejuvenated you, right? It did. And I want to say, maybe you maybe you can correct me on this, but I felt like, so let's say 2000, we finished filming in 2016. Yeah. 2017 to 2020,
01:24:13
Speaker
only like 20% of the edit got done. Yeah. And even with getting screwed over, it still doesn't excuse how long it took. Because at that time, I think, uh, one, well, I mean, I don't want to make self excuses for it, but I mean, it really, uh, the Sean thing really fucked, like fucked with me for the pro with the project and and stuff and.
01:24:41
Speaker
I remember we took a big leap because we had a way better choice and I think he was the more exciting choice and that fucked us over. Yeah, because we had a really good choice and then I went back to that choice and they were like, nah, bro, I'm good. And I was like, fuck. yeah But you know, I'll admit, no, I can't say. It would have been interesting to have that editor with their perspective. Maybe they would have stopped, because they'd be like, man, you guys are misogynists. Like, no, no, no, no, they're the misogynists. We're trying to ah yeah highlight it, ah showcase how men are. I remember she was like, I could do so up a set of Supernatural. And I was like, that's never been a good look. But not with us. I mean, it was only a major setback in the sense, well, it was a major setback in the sense that
01:25:40
Speaker
when it didn't get where we needed it to get, it was like, well, what now? Yeah. And that's when we were like, well, let's get, but I'll say in my, cause I think he felt worse than me, but I didn't feel as bad because I did see your edit and you had a really good initial edit, dude, like your initial edit, we could have put out there and it would have been fun. People would have enjoyed it. We all would have had a good laugh and been like, we, it wouldn't have been good.
01:26:12
Speaker
ah No, it would have been good. It would have been fun. But now I think with the edit we've come to, I think we can say it's also good if I may dare say such a thing. um At least
Satire and Social Commentary in Film
01:26:25
Speaker
I feel like it's good. You know, to quote Jack Nicholson, it's as good as it gets. It's as good as it gets, but like, you know. For soap opera horror, our new genre. Yeah, our new genre, soap opera horror, because before that it was strictly comedy.
01:26:39
Speaker
Which was fine, and that's a great angle to lean into, especially with the title and everything. And we still keep those elements very strongly. That's what I think is the best part, is um we didn't lose any of the comedy and we only brought out more of the drama. Yeah, as much drama as you can have in a film like like that.
01:27:01
Speaker
do not think that, I mean, do not take our seriousness and our over exaggeration and our absolute faith and love in our film to not realize that we make some pretty fucking silly jokes. Yes. And we are not afraid to say, no, this is fucking don't, like, yes, it's very serious and realistic things are happening. But it's also like,
01:27:26
Speaker
Come on, we got the poop. We got poop scene. Yeah. Give us, you know. We did something. laugh and learn and feel, you know, feel the whole circle. Yeah. And you kind of do within watching it because you're like, OK, these guys don't take yourself so serious. And there are points where the film asks you to take it seriously because it has to like we have to kind of remind you to that, like, yeah, this isn't fucking.
01:27:57
Speaker
porkies. Well, not just that. It's not like, uh... And then, like, that's where the Thor love and thunder. I haven't seen it, but I heard a lot of people talking about it where they undercut Thor and just kind of make him a goofball and not the serious character. And it's like, no, we keep our characters serious. We have a certain respect for them. Yeah. But we also laugh with the audience and maybe laugh at them, laugh with them. I think the beautiful thing is
01:28:29
Speaker
Oh, we played it so straight. Yeah. That it just made it so much funnier. Yeah, it does. It adds ah it adds to the comedy. and Everyone is- Because we play it straight, we also show a certain amount of reverence oh to these characters we created. yeah no We're not disrespecting them per se. No, I'm just thinking we played it so straight that when you notice like Chris's facial movements in the scene with him and Jennifer on the bedroom, where he's like making the, it's like, you know, he killed himself. Well, okay. and This is what I'm working with here today. And it's like, oh man, if those land, they are done, they're excellent.
01:29:23
Speaker
they're excellent and they're, I mean, they're funny, you know, you can laugh at it. And that's- Please. That's what we're trying to do. You can laugh at it because we're we're laughing. Yeah. We just hope we're not laughing alone. Yeah. It's like, it's dark, but it's dark comedy. comedy, and start comedy yeah. With a bit of reminder that
01:29:52
Speaker
it's that there is also something to be afraid of here. Well, also a reminder that like, yeah, we can laugh at it and have fun with it, but it's like, in all seriousness, you don't laugh at this shit. You know, not not to say the extreme parts, but like, Kevin kind of date raping someone.
01:30:15
Speaker
not full date rape, just half day rape, or just lying and manipulating and scheming to get what you want. It's like, hey, we do it. We all scheme at times, but you know you You shouldn't. Don't do it. It's not good. and We show that. It's not good. and and you know There's repercussions for it and people suffer from it for those ah within the film. so we kind of We do critique it even though I don't think we necessarily put out a message per se. I don't think we we hit anyone with like, hey, look at man in misogyny you know and That was a song.
01:30:58
Speaker
I don't think we do that. The end credits song. Hey, look at me in the misogyny. You know, we don't we don't do that, but we do highlight the fact that like, yeah, this can happen in less extreme situations where it's not as noticeable, but it's not good. Yeah. You know, kind of pay attention to shit because. You know, we got to be better. It's like the best kind of horror because. Um.
01:31:28
Speaker
The realness of it? No, it's not even that. It's like a the ah horror isn't even necessarily the dude in the scary mask. No, which is the scary part, right? the Not all monsters wear masks. Yeah. Oh, dickhead. Not all monsters wear masks. There you go. That's the tagline. Actually, dude, that's so good. Hey, Steven did it.
01:31:58
Speaker
Dude, that is actually, what? That is so good. Is this just the intoxication or is that actually good? No, I'm brilliant. I actually think you are. It's my birthday. I get one. You get one, dude. I get one. I don't know what you blew out, but it's looking worth it worked, dude. Oh my God, not all monsters wear masks. That is the fucking type. to ah That's the tagline. That's the tagline.
01:32:25
Speaker
Not all monsters wear masks. Dick had not all monsters wear masks. Yeah. And that's what the film is. You know, literally, you know, there's so many. um There's only a few characters and kind of like in real life, there's only a few people who are like, genuinely like, yeah, you're a good person. like
Dark Themes and Character Complexity
01:32:43
Speaker
You know, usually it's like you're, we have good, we have bad, you know, it's like you're complicated. Most of us are complicated, but there's a few outliers who are legitimately good, just like there's a few outliers who are legitimately evil. Yeah, Hitler and Trump. Yeah. and Yeah, exactly. You know, but that's, that's life. Like we're all complicated. Um, but there's still those one good fuckers you're like,
01:33:10
Speaker
you Why are you so good? What's wrong with you? You're lying. You did something wrong. You killed a puppy. I mean, the cool thing is, is like, those people are pulling a lot of weight for us. They're pulling a lot of weight for humanity. and you know Thankfully, they're in the minority, so we don't even have to like appeal to that audience. No, we're not appealing to the good people. We're appealing to the masses here, dude. We're appealing to the complicated. We're appealing to the garbage. It's like you fucked up what's in your life, didn't you? I'm saying, you know, not only that, it's like, don't you kind of like to... Well, hmm.
01:33:59
Speaker
maybe it's not that's interesting because it's like everyone kind of it's it's just so tough because it's so sad in a sense because i've been i guess i've never really thought about it like that where it's like you know everyone gets what they deserve but like the women in the movie like the men get all get what they deserve Yeah. And the women don't. But that that's kind of a critique on how it really is, right? and I don't know. Yeah. It's like, damn, dude, that's fucking rough. Yeah. You know, Beau, he gets murdered, killed off screen, such a creep. Not all monsters wear masks. God damn. That's really good. But yeah, I mean, even Beau gets it, right? Yeah. And they all, all the men do and all the women, eh.
01:34:55
Speaker
Does anyone, any female deserve it? ah No. No. The closest is Lexi, but not really. She's literally just trying to cock block. Like, she doesn't deserve to die for that. She literally just loves someone. Yeah. She likes Kevin, so she doesn't want Jennifer to move in on her man. Yeah, that's it. It's like, that's understandable. So she doesn't deserve to die for that. Yeah. Like, yeah. I mean, all the men get what they deserve, all the women don't. That's how we were ahead of our time.
01:35:25
Speaker
Yeah, we're right on time. I hope so. Yeah, dude. Because it's dark. That's really dark. It is really dark. The whole film's always been dark. I mean, the ending's super dark. Yeah. You know, the ending's not a joke. I mean, it's like, that's twisted. And even the way it ends on the ending.
01:35:48
Speaker
Right? yeah The final shot, the final scene is like, wow, that's fucking dark, dude. Really? This is how this plays out? Law and order.
Sound Design and Finalization Challenges
01:35:58
Speaker
de A and order ending. did he Make a note of that. Law and order ending. But yeah, man, I mean, we met with the sound team. ah I feel great.
01:36:17
Speaker
They're, they seem like really good people. I mean, if they don't wanna work on it after watching it, it's not because they're bad people. It's just like, yeah, they realize what they're gonna do and they know better. It's like, I can't fault you for that, man. I i still like your respect to you because you gave it, it you know, they're, in all honesty, they're giving it a try. They're giving it a chance. yeah And they're gonna see. They're gonna see.
01:36:47
Speaker
And that's all I can ask for anyone who's going to work on this film and really dedicate themselves. Do you think if things work out and they're like, yeah, we really are passionate about this project, does that change the way you feel about where Dickhead is? No, because I'm passionate about it. No, I don't mean like how you feel about it, but where you feel it is and like its level of completion.
01:37:16
Speaker
No, because I feel like I know where we're at and also I feel like one of the areas where we're at is we're just We've finally gone past the Rubicon where we are just far too close to this. And I don't think there's any way for us any anymore to really gauge where this film is at. Like, I think we've gone past, I mean, listen to us talk about this film. I think we've just legitimately gone past the point of being able to recognize what we have.
01:37:53
Speaker
And that's scary, you know, cause obviously we have a good attitude about it. yeah So that's really scary.
01:38:05
Speaker
So, but but I think i think it's where it where it needs to be honestly, again, going back to that epiphany where it's like, you know, we can only dedicate so much time to this because it is what it is. It has its flaws and that has to be accepted.
01:38:20
Speaker
yeah And, you know, again with the audio, like how much they like, obviously we could get like fantastic top tier audio, but at the end of the day, it's like, well, it is what it is. How much time do you want to devote to really getting this audio perfect, pitch perfect? Maybe you don't. Maybe we don't need to. I don't even think
Comparisons and Market Positioning
01:38:43
Speaker
we need to though, luckily with this film, because it's so
01:38:48
Speaker
underground you know where that market where like the pink flamingos right it's like you're either gonna appreciate this or you're not like yeah we were gonna talk we're supposed to talk about films that we haven't yet we want to talk about um a night with the devil and antrum right oh my god dude and and you want to stop at 4 30 yeah well we're not gonna get it to it today because we don't have time but like with antrum that's a terrible movie it's not good But when I saw it, I was like, this movie's fucking stellar. This is, in my opinion, it's the best, and I'm pretty sure you would agree, it's the best uncorked movie that's ever come out of uncorked. If you watch uncorked movies. Dude, that movie is legitimately awesome. That's Sarah Magnum Opus it has with that production. It has the greatest premise. That's the most poorly executed thing of all time. yeah
01:39:44
Speaker
It's a film that has so many issues, but, you know, there's a certain brilliance to it and a certain element, like pink flamingos. There's something there that you could just like, hmm, that's good. I'm going to spoil something here real quick. So if you're if we're going to plan to watch Antrim, this is our, like... Well, we should talk about those movies, just on the full side. but So spoilers for that. If you want an unspoiled review, listen to the next episode. and or skip five minutes ahead. Because I want to talk discuss this because I think it's fucking incredible. So the premise of Antrim is, ah other than the like documentary aspect of it, but the film itself. Yeah, which is what we should talk about. the film and the film of it's in it, ah it's a brother and sister whose dog dies and their mom tells them that dogs go to hell. Well, cause the dog attacked him. Yeah. So they dig a hole to get his body out of hell and into heaven. And they go through the like the nine layers of hell. Yeah. Dante, right? Dante's inferno. They go through Dante's inferno to get their dog's soul. He's Joel, he's Dante. Yeah.
01:41:00
Speaker
To get the dog's soul because she's because in reality like None of this is actually happening and they're just tripping on shrooms or something. Well, yeah I mean, well, that's interesting you point that out because I was watching that Ryan Hollinger I don't know if you ever watches a video essays, but he critiqued Antrim And the way I took it is like they're literally she fucked up and they're actually going to hell not that it's all in their head Yeah, like they summon some shit but You know, just to quickly go into Antrim, like, yeah, man, I mean, I think that's a gem of a film. I really
Character Dynamics and Satirical Elements
01:41:37
Speaker
do. I think it's a gem. Yeah. Oh yeah, dude.
01:41:41
Speaker
It is. I mean, it's really fucking, it's really weird. and but It has its issues. Like you can't just show this to Ma and Pa. No. You know, they're not, they're gonna be like, are you fucking serious? What did you just make us watch? Yeah. And I think that's kind of where Dickhead is, you know, it's going to be like either people are going to love it and be on board or they're just going to be like, wow. Do you think, uh,
01:42:10
Speaker
we got any so We delivered any satire? ah Satire itself? Not really, no. Do you? Yeah, you do. What parts? In the sense that like ah Kevin is the hot guy that still has to date rape the girl that wants to have sex with him.
01:42:36
Speaker
He shouldn't have to try that hard. He doesn't, right? He didn't have to try hard at all. Jennifer was totally down for it. Yeah, but that's beside the point, right? Because, you know, there's also that power trip. But then he turned out also to be a super creep.
01:42:49
Speaker
Yeah. It's like, yeah, I guess what? The super hot guy is a fucking creepy asshole. Yeah, that just wants to get in your pants. The best friend that you don't, that's madly in love with you, but you don't love him and he's really weird and awkward about it, but you keep him around because you're kind of lonely and you like the attention. Yeah. But then there's also the critique on that, right? It's like,
01:43:20
Speaker
This guy, you know? But it's more than that too. It's not that she's just lonely, it's like but it's also like she sees herself in him. A kindred spirit. Yeah, it's a kindred spirit. It's not romantic. and but it But it's also like you couldn't be more wrong. Yeah, right. Yeah, damn. Yeah, yes she couldn't be more wrong, but she she believes Yeah. Well, like so many women believe that one creepy guy, he's marvelous. It's like, oh, God. Watch dickhead. Show it to your daughters. He's that marvelous. Right. And it's like, dude, that's all. And it's like, I don't know. I feel like that's a almost like
01:44:09
Speaker
well Well, people might cheer on Richard until they see what happens. Oh, I hope no one cheers on Richard ever. Like, you know, like in a weird way, like some people would be like, oh, he's like, because like Freeman is fucking cool, right? he's like Oh, he's great well, that's part of the.
01:44:27
Speaker
that's That's one thing with casting that we did really well, because that's part of the aspect where a lot of these people have charisma and charm, and they have screen presence. And it's like, yeah, but look what they're doing. Look at the actions, not the ah words, yeah you know?
01:44:46
Speaker
How do we get um back on the talking about Dickhead? Well, let me ask you this, since we got to wrap up soon. I'm going to finish off with the to-do list. I was going to say the to-do list. Go ahead. Okay. So this is our remaining to-do list. Opening credits and font decision. Yes. Working on that. Opening tile card, blood spraying
Final Production Tasks and Technical Details
01:45:09
Speaker
slash dripping. Actually shooting that shoot working not with that. That can be whenever, that's not.
01:45:16
Speaker
pipe priority no cop dialogue that has to be recorded if it's not us or if it's us we have to do it yeah but that's what sound so that's that's still something that has to be done yeah it's on the check mark we have to do it at one point it's not something that and probably writing it down with the actual lines are there too I've written it down, but we should probably rewrite it. Well, like I said, I have family that are cops, so it'd be kind of cool to get like- I was thinking we should just have them keep calling them dickhead. Hey, dickhead, put down the fucking knife, dickhead. Or like, hey, Steve, look at this kid. He's fucking covered in blood. He's a dickhead. Show them. Oh, shit. That's a guy covered in blood holding a knife.
01:46:04
Speaker
Show them. Pow, pow, pow. Well, that's pretty much what we got now. Yeah, Jesus Christ, don't I know it. But we got to do that. That has to happen. Yeah, that, yeah. um We have to organize those root tone folders. Yeah, we got to ask them what they want for organization. Yeah. For all the audio. Yeah. Into their timeline slash scene folder.
01:46:27
Speaker
We need to find the wild audio and look and see if we want to replace audio tracks for off-screen dialogue. No, we don't. That's what they're gonna do. You need to find the wild audio because you promised them that we have wild audio and room tone. And I was like... We do have some wild audio, like of just like Max breathing and shit like that. Yeah, we have some. I was like, this motherfucker's lying out his ass right here. We still got room tone for shit. Damn, we got room tone. What, between the slates?
01:46:55
Speaker
No, we recorded Rooftone. Like twice? Every time, dude. We were pretty meticulous. Yeah, you say that. You know the footage better than me, I'll trust you. We were pretty meticulous. It might not be labeled, but we'll have to find it. That's what I'm saying. This is something we have to do. Heather's screaming audios to replace, oh yeah, we gotta do, we gotta like, I don't know if we need that. Did we get wild audio of that? Because I know we have it in the audition, but the audition was filmed on my tablet.
01:47:26
Speaker
with the audio, so that's not good. An audio source, but maybe, I don't know. I was even thinking it'd just be overdubbed, or dubbed. Yeah, it could be just some random scream. Yeah, but I think we have, I thought I figured we have to figure that out. You know, because also, but like how much and how long it should, be she should be screaming. Well, also I'll say, you know, Heather, as weird as it sounds, she's a good screamer.
01:47:52
Speaker
Like, that was one of the aspects where it was like, damn, this girl's. Because, you know, a lot of people can't scream good. Like, it's an actual thing, right? That's what blah it's about, is finding that right yeah sound. And it's like, yeah, it's actually not easy to get a good scream. Well, I know we recorded some screams from her. Well, good. because Well, she's she has a good, great scream.
01:48:17
Speaker
I'm just saying we got to figure that out. Yeah. That's on the checklist. Green rectangle, triangle, detour. I wrote. What's that mean? We got to figure out the green rectangle, triangle. Ah, yes. Yes, we do the green right rectangle. We got to figure out. Okay. Then the best part is the next three, actually, we may have already checked marked off. Higher composer, audio designer, higher Foley, or discuss us doing Foley. Well, that might be checked off.
01:48:47
Speaker
Yeah. Higher slash perform color grade. That
Marketing and Festival Strategy
01:48:52
Speaker
might be half a check. Cause we know what's well, I'm going to do it. So yeah, maybe cut teaser trailer.
01:49:03
Speaker
Cut main trailer. okay Complete slash higher visual effects action list. So we need to go through list every bit of visx VFX we need to do and then figure out if we are doing it or if we need to hire someone to do it. and okay Drugs. Yes. Valentines. Yes. Reframe the shots for two to one.
01:49:30
Speaker
Yeah, which is kind of hard because there's some shots that are perfectly composed in 16x9. I was like, fuck. It's not working in 2x1 because I was looking at some of the shots and I was just like, God damn it. It works in 16x9. It doesn't work in 2x1. Well, you want to go back? No. 2x1 is better.
01:49:51
Speaker
Okay, it's definitely more interesting. It's, it's better like 75% of the shots work in two by one, I think, probably, probably like 90% of the shots work in two by one. It's just those few that don't. um But I can't think offhand with the edit. This was looking at other footage that's not there, like with the doorknob scene. It wasn't working in 2x1. But you probably will say no to it anyway, so it's like, it doesn't matter.
01:50:26
Speaker
Oh. Do we need to make a dickhead website?
01:50:32
Speaker
a Yeah, well, what we gotta do is honestly, it should be changed to a press pack, our press packet. Yeah. Because we gotta look into making a press packet um for festivals and all of that. And I think they do require,
01:50:47
Speaker
are not required, but you know having the website's a good thing, which is all the shit I don't wanna do. And like that's like, oh man, we're getting into the marketing and the yeah how we're gonna capitalize this. Like, oh man, can't we just put it out there and they'll come and give us money and you know and not we don't gotta worry about any of that. It's just some stuff we have to have, right? Yeah. Have to do a teaser, have to do a trailer, have to do...
01:51:16
Speaker
probably don't have to do a website. We probably don't have to. It would probably be good if we did. It would be good if we did. Um, I think I, it wouldn't be that bad to like, just put some BTS up and put that something for the trailer and, uh, you know, like link to the podcast and stuff like that. Yeah. Um, and then I guess to end it all off or then things we have to write the end credits. Hmm.
01:51:44
Speaker
That's something we have to decide on and do and- Well, we got all the paperwork for that, so- Yeah, but that's that's an effort. It's gonna take a few days probably to figure all that out. Yeah, also just reaching out to the people and be like, do you remember who was involved in this part? Because this is where you were the key person and you were the lead and- I think we just, dude, we can probably just like mostly make it up. Like, best guess, I mean- Margaret is family.
01:52:15
Speaker
they helped build the set, it'd be cool to give them credits like her dad, her brothers. You know, like special thanks too. Well, we should put them as like set dressers or set builders, I don't know. Set builders, I guess. I mean, it would be nice to give everyone credit who participated. Yeah, of course. But we don't know everyone who participated, like all our extras.
01:52:42
Speaker
Yeah, I don't remember. I mean, we'd have to go through and watch the movie and like write that circle who people are. Yeah. Yeah. Because I literally don't know who some people are. Yeah, me either. Because they were, uh, Michael, I think brought a few people right the first time. There were like some people that were just like friends of friends and. Yeah. And it's like, well, we got to get their names. Jake or Alex friend or something. And it's like, I don't know who you are. And I don't remember who you are. And you were there for one day. Yeah. yeah like eight seconds. It was a day to go. Yeah. Like, no, I got nothing. And that's ah there's a quite a few extras around just like I got nothing. Yeah. um But for the most part, yeah, all the cast, it's just like all the people that helped them like crew it. Like like you said, like all people that helped build the bathroom set painted Charlie's rooms. um I don't remember all those people. I don't remember who was all doing that.
01:53:41
Speaker
I mean, on the days of, I mean, I don't even know how who we're gonna, are you gonna be credited as the director of photography? I will be alongside.
01:53:52
Speaker
Yeah. Because it's like, damn, dude, we all operated the camera, you know? Like, are we going to put, like, everyone was a first AC, like... Every single first AC, just, like, yeah half the credits. I mean, dude, like, if we listed all of our jobs, it would be, like, half the fucking credits. Our name was going to be on that list. Well, we'd list all our... I mean, we'll figure it out.
01:54:17
Speaker
Right. But that's, that's, yeah, that's going to be a huge undertaking getting all the, and also the spelling. We got to make sure we spell it correctly, you know, the typos. Cause that's what I was thinking too, is like, oh, we also have to make sure we're crediting, uh, the sound team and everything correctly and their companies and, you know, a little feather for the father. Yeah. Yeah.
01:54:42
Speaker
And it's like, when I think about it, cause it's like, no, that will actually probably take like legitimately like it'll take like two or three days. I think it will take like two or three days, which is, which relates to three weeks to a month. Yeah. Cause we got to get word from people to respond back. and But also like we only meet like once a week. Yeah. Well, like I'm leaving for Vegas for a whole week. So yeah. So like I'm saying after this week, it's like,
01:55:11
Speaker
I'm going to get some good work and then we're not going to meet for three days of working on credits equals to like a month of post. I don't think credits will be that bad.
01:55:24
Speaker
Oh, can you imagineual make somece you imagine when one of the last things you do is credits when you're at that stage on that to do list, you're going to be like, yeah, I'm going to crank this out right now. Yeah, I i mean, I hope so. We are. do And then if people don't respond badly, well,
01:55:40
Speaker
I'm just saying, dude, it's something that we have to do, right? It is something we have to do, yeah. And I was just saying, because, you know, some of this stuff I think is really easy and we're already taking care of it, but like the color grade and reframing, like reframing is going to take a day. Oh, yeah. Reframing is going to take probably a whole day, if not more than a day. But then we're done in a day.
01:56:06
Speaker
yeah Because anything that's too advanced, but you have to think like every um every day is a week No, I don't think it's gonna be like that. I think we're gonna crank it out on one night No, no, I mean like but every day is like equal to like a week of post time, but we don't do that we for the most part, just meet on Friday and then we actually work on the film. And then Monday through Thursday or Saturday through Thursday, we ain't doing shit on the film. Yeah, that's what I mean. Yeah. So like a week has gone by and we've only done one day of work. Yeah. So a day equals a week. So like if it sounds like we got nine months.
01:56:47
Speaker
Yeah, so I'm saying like, those weeks gonna add up quick, motherfucker. That's what I'm saying. and You ain't listening to me, bro. That ain't gonna add up right now. Right. I mean, nine months is ah is a lot of weeks, but I mean, ah how long is color gonna take? How long is finding and fixing v VFX gonna take? Yeah.
01:57:08
Speaker
I mean, not all these things, we can't, it's not like, oh, we have to meet to work on all of these things. Yeah, there's definitely stuff that we can divide and conquer on. And it's like, okay, on this, you work on this, and then I'll work on this and we just like merge the projects or whatever. Yeah, however you do that. Yeah.
01:57:28
Speaker
Cause it's like, oh no, you're just like literally paying out the green triangle all day. Like, yep, that's what I'm doing for this frame. If we can't figure it out. Yeah. That'll be a nightmare. Right. The Bermuda rectangle, man. Yeah. The Bermuda rectangle. It's like, Oh, well we're just going to paint it out. I guess that's going to be rough. And, uh, you know, that's going to take, that's probably going to take time if we have to do that. And then, um,
01:57:53
Speaker
it's going to take ah a lot of time, I think, to, uh, Honestly, where we're not recognizing that we need to do, and it's going to be the biggest hurdle probably after this, after editing, is the marketing. yeah The post-post of the film, where the film's done and now what? And getting all that shit together and making doing that hustle. It's like, do you want to hustle that hard? is like Yeah, you want to. It's also like, I feel so gross. I mean, that's why maybe we can just try to just roast. We we have to just get the package together and then. Yeah. That once we don't have to necessarily push it, it's just like it's there. ah And then the festivals can promote it. Yeah. Yeah. I mean, that that and, you know, that takes its own.
01:58:47
Speaker
effort that we're not even acknowledging like um hitting deadlines for one with festivals I mean but like what the festivals are going to want networking within the festivals the marketing to the f like All that shit, we we ain't there. We might never even be there, you know? Because that's... That's a very real possibility. That's its own thing within itself. We might be on to be. To be or not to be. But I mean, you know what I'm saying, like... We'll definitely make a festival, dude. There's no way.
01:59:27
Speaker
There is no way. But I'm talking about like South by Southwest, for instance. Oh, fuck. We ain't making South by Southwest, buddy. Sundance, for instance. You know, there's like a lot of- We ain't making Sundance. There's a lot of effort in marketing put into getting a film even seen, let alone accepted, and then all of that. i think that comes I think we could submit to Sundance for romanticism. Oh, we're submitting to it regardless. They'll reject it, but we're still submitting to it. like right you know we just You just do it. Right. But it's like du realistically, I think we have our site. like beyond The Beyond Film Festival would be awesome.
02:00:07
Speaker
Um, fantastic film fest. Uh, I mean, this one's screen fest, I think is one screen fest in LA. Yeah, that would be incredible. Um, you know, can try Becca, try Becca, Tim.
02:00:26
Speaker
I mean, I don't think we're good. You know, I don't think we're that good. I mean, it's not even that it's not that we're that good. It's just that's not the audience. That's not not only is that not the audience, but I mean, they have like, you know, Adam Sandler in their movies and shit. Yeah, da they got Danny Elfman after movies seven a posesy like Kristen Stewart, lesbians like scenes. It's like credible. We don't got that. And with that,
02:00:57
Speaker
Cut.