WEBVTT

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Hey everybody, this is Less Drive. Yes, yes, I know aka

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Survivor Man, and you're listening to
Brian on Sasquatch Honesty. Hey there,

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and welcome back to Sasquatch Honesty.
Thank you so much for being with us

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for the show. It is Friday. I hope you're having a great week.

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We have an amazing show lined up
for you. But as always,

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I want to start by inviting you. If you've had an encounter and you'd

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like to be on the show,
shoot me an email you and get me

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a Brian apparent on my World Productions
dot com. Get over to the website

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check it out, but come remember
there and help support the show. As

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promised, I got to sit down
with the minds behind the new Sasquatch Sunset

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movie. Wayne and I have talked
about the trailer of the movie. I'm

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sure most of you guys are familiar
with it. If you haven't looked at

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it, go and take a look
at the trailer. I'll be honest with

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you. It pissed me off when
I first saw the trailer, so I

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wanted to sit down with the minds
behind this. And it's David and Nathan

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Zelner, their brothers, they wrote, directed, and produced this film together.

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Nathan actually starred in the film alongside
Riley Kehoe Jesse Eisenberg. I reached

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out to them because I wanted to
know what the genesis of this project was,

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why they did the movie. So
I said down and had a conversation

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with them a couple of days ago, and now I'm bringing it to you.

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I'll just say this, I've screened
the movie. I've watched the entire

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thing. I went back and watched
a couple of different parts of the movie

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several times because I was scratching my
head and asking myself, why would they

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do this? Why would they portray
this this way? I think you'll get

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a better understanding after you hear this
conversation with David and Nathan about why they

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did some of the things that they
did. Again, it's one of those

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films I think, honestly, there's
nothing else to say about it other than

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you're either gonna love it or you're
gonna hate it. I don't think there's

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gonna be much in between here,
and I think they're very much aware of

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that. What I know after this
conversation, they're very much aware of that.

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I hope you enjoy it. I
want to hear what you think about

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it. Please let me know.
Send me an email Brian at Panormal Worldproductions

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dot com. You can send me
a voicemail. The button is right here

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in the show notes, or you
can head over to Panormal Worldproductions dot com

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and hit the contact us button right
there. Let me know your thoughts about

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the trailer, let me know your
thoughts about this interview. And certainly the

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movie's gonna come out on April twelfth
in limited release, and it's gonna be

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widespread release in theaters everywhere on April
nineteenth. But enough of that. I

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know you guys are ready to get
into it, so I'm gonna stop talking.

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All you have to do is sit
back, relax, and enjoy the

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show. All right, folks,
on a welcome O guest to the show.

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So it is David and Nathan Zelner, the minds behind the new film

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Sasquatch Sunset. Welcome to the show. Guys, Thank you, thanks for

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having us. We are definitely glad
to have you. So let's get right

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into it. Let's talk about this
film. I got to see the film.

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I screened it a couple of days
ago. I finished it up last

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night. I went back and watched
a couple of other parts of this,

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and I'm very curious about your inspiration
behind this film. Why Sasquatch Sunset?

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Why now is this something that you
guys have been into for a while,

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Why this particular subject and why now? We've always loved Bigfoot since we were

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kids. I think maybe a lot
of people are age we're obsessed with this

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show In search of Leonard me Mooy
hosted, but each episode to us about

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a different form of her normal phenomena
or in one way or another, And

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there was a Bigfoot episode and they
focused on the Patterson Gimblin film. We

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were just completely obsessed with it from
then on, and then this time went

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by, especially in the edge of
the Internet when there would be other Sasquatch

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videos on YouTube and whatnot. We
would start off as a joke talking about

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you're seeing the same thing. It's
just Bigfoot. Wall can whether it looked

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legit or it was clear that it
was fake, it was always the same

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kind of content. We're like,
this is a complex animal, just like

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every other animal. What else is
it doing? So we started just for

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to say she had our own curiosity. Initially just trying to think about what

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was going on in the interior lives
of sasquatches, and most films that have

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been made or either like family films
or horror films, they're always from a

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human perspective, and we thought it
was most interesting to approach it from their

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perspective and try to get in their
minds and see the world to their eyes

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as much as possible. I love
that perspective for sure, and I've taken

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some questions from my audience. I
posted about this upcoming interview and a couple

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of people asked the same question in
different variations. You mentioned the Patterson Gimlin

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film. Is there anything that is
stuck out? Maybe it is the PG

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film, maybe it's some of the
other stuff that's out there on the internet.

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Is there anything that stuck out to
you over the years that you've considered

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to be evidence of possible sasquatch existing? Do you think that's a possibility.

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Is that something that you've given credence
to over the years. We want it

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to be so bad. We're like
skeptics by nature, but then we want

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to be wrong. And I think
the Patterson Gimblan film is so iconic it's

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one of the most famous pieces of
film in film history, or maybe the

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most famous frame of film and film
history. And there's a reason, whether

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people are believers or not, why
they connect to that, why it resonates

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with so many people. And we've
talked about the way, you know,

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Bigfoot represents kind of the connection to
humans and the natural world, or to

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the gray area between human animal behavior, all of those things that there's the

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need. It's not a casual thing. There's a reason why we are so

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fascinated with it, and not just
in America but all of the world.

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How they have their different versions of
Bigfoot. And this is probably probably to

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your listeners as all obvious, but
to us was really interesting to learn how

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independently, all over the world,
so many different cultures centuries ago, they

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had their own versions of this in
their own accounts. It was really interesting

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to us. Yeah, I think
that's most compelling evidence would be just like

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the history of this legend and how
you hear stories from the eighteen hundreds of

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people going west and having encounters.
And I think I heard the other day

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that there was some reports in Lewis
and Clark journals about Sasquatch or whatever.

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So it's something that has been with
us for so long, but even before

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Europeans came to America, indigenous stories
of the wild man of the woods and

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whatnot. Yeah, I think that's
so fascinating. Let's get into the film.

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This is one of the questions that
came from the audience, and it

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was certainly on the forefront of my
mind. I host several shows. I

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have a co host of another podcast
we do called that Bigfoot Podcast, and

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Wayne wanted to ask this question as
well. I'm totally immersed in this,

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guys. Wayne had this question and
it was something that several of the audience

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members have asked me to ask you
guys, and it was on the forefront

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of my mind. Typically in movies, I was in law enforcement. I

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worked with people that consulted on a
lot of movies. Back in Atlanta,

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it was a huge hub for making
movies. Did you guys consult with or

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reach out to any what would be
considered mainstream sasquatch researchers and putting this film

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together? How did you guys get
the information on what you guys were going

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to film and the behaviors of these
creatures and those kind of things that we're

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going to see in the film.
It was a combination of things. We

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wanted to go with some of the
most familiar tropes people had in terms of

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Bigfoot as an entry point because there's
not one prevailing thought on every single aspect

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that there's a lot of debate with
it. Which is fascinating is we try

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to stick with the most common traits
in terms of their physicality as a baseline

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and their demeanor. So that was
a starting point with a lot of research

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online. There's so much on YouTube
people having videos of either hearing sounds or

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or finding things like the sasquatched the
nests they're building, or the glyphs or

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the tree knocking. So taking those
elements that a lot of people have had

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different perspectives on in different accounts with
and then adapting those to this story and

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trying to be as true to the
informations out there as we could, and

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then beyond that, at a certain
point, you have to fill in the

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gaps with things that you know,
we don't have any knowledge or exposure to,

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and that was from was just reading
about and studying a lot of like

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primate behaviors and making an amalgamation of
those that suited the story. Is there

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any memorable moments that stuck out why
you guys were filming. Was there any

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anecdotes that you can share with us
that you guys really enjoyed about the filming,

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something maybe unexpected that happened during the
filming. Yeah, Like, well,

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one of the main things with the
film is we really wanted to legitimize

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these creatures and make the audience connect
with them, and so it was really

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important to film in their natural habitat, like we filmed up in Humble County

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in primordial redwood forests. But along
those lines, we also wanted to really

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show their interaction with nature, especially
animals, so we incorporated a lot of

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them not talking, but interacting with
different creatures like that they would find in

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the forest or like this friends we
called it the Friends of the Forest sort

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of thing with this sasquatch, And
it was fascinating, Like we were worried

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about how some like how would a
porcupine or a skunk or a ractoon react

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to these large creatures and they were
the most lawn Plus it was just like,

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oh, it was like anything else, anything else of it. So

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that felt like an interesting connection of
oh, yeah, Bigfoot probably like they've

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maybe seen this before. They were
so like cool with the Bigfoot customs that

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it felt their acceptance of the Bigfoot
helped legitimize it as a viewer hopefully and

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the hope because well, if the
animals, if they feel real to the

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animals, hopefully they feel real to
the audience. So that's why we never

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we didn't shoot on any sound stages. It was very difficult. Normally with

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creature work like this, they're done
on sound stages and very controlled environments with

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very controlled lighting. To make this
relatable and believable as much as possible,

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we wanted to shoot on location in
remote areas with natural light, kind of

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a seventies feel in terms of the
naturalism with it, because we thought that

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was just important to make to give
as much credence to these creatures as something

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real. Yeah. I don't know
if this is a spoiler alert or not,

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but there's not any dialogue in this
movie. Did you guys find it

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difficult as writers, directors, producers
making this film making these characters relatable without

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the use of dialogue, Because that's
one of the most powerful things in filmmaking

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is obviously the dialogue. The written
word, and then what we experienced with

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the soundtrack. How did you guys
approach that? Was it something that you

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found difficult when you were making the
movie to create this connection because the actors,

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in my personal opinion, do a
phenomenal job creating that connection. I

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felt connected to these characters after I
went through this movie. So how did

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you guys approach that as filmmakers?
Did you find it difficult going into it

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and did you have to adjust while
you were making the film? We definitely

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had to it just I'd say it
was both difficult and then also liberating.

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They had to rewire our brain in
a certain way for how to tell a

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story because we've done some movies that
are very dialogue driven, and so you

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don't have the shorthand of that free, easy exposition. But I think because

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so much of this film is about
basic needs of these creatures and their intentions

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are pretty straightforward and very relatable just
on a universe, it's easy enough to

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follow the plot. And I think
as we were making it realizing how much

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even though they communicate with grunts,
there's no subtitles or anything like that,

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but it's very clear what their intentions
and needs are and through the way we

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chose to shoot it, through their
physicality and through their facial expressions, particularly

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through their eyes. We felt very
comfortable and liberated and giving information that way.

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Tuss It felt like maybe the way
silent films were made, where it's

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like you have to tell the story, find other ways to tell the story

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and make it clear. But by
doing that through the body language and through

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the facial expression, it helps you
connect them on an emotional level more directly,

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which was one of the most important
things to us with this, because

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if you didn't care about these creatures, the movie would feel like a gimmick

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and get boring in ten minutes.
We wanted as it went on to become

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more and more invested in them and
find this connection to them, which,

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like I was saying before, is
one of the big things that I think

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white people are obsessed with Bigfoot.
If people are into big Foot, it's

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not like a passive thing. It's
a deep love and fascination. And I

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think it's because there's some element of
their existence that we have a connection to.

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The movie definitely blends elements of adventure, discovery, loss, but there's

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clearly this tongue in cheap element that
permeates throughout the film. How did you

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guys balance that to create this cohesive
narrative that's going to resonate with wide spread

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audiences. And were there challenges that
you guys faced when you were putting the

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film together and doing that, and
how did you overcome As everything we do

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tends to not intentionally it ends up
being a mix of kind of comedy and

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pathos and just an intuitive process which
way we never enforce it one way or

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the other. Whatever feels like the
most real moment in it that we've all

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seen movies where you see that it's
something as like a false note just feels

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bullshit, And so for us,
it's never forcing it. So if something

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it's just what feels relatable on a
human level. So if something even if

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on the page it was a little
more dramatic, we're doing it is no

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in real life. This is a
very funny as in terms of like human

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folly or whatever. This is something
that is inherently funny. Let's embrace it.

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And then if it's something that's at
this moment is truly sad, and

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let's not pull the ploy punches with
it. Let's embrace the full spectrum of

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existence on this world with both the
comedy and tragedy, and everyday life is

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comedy and tragedy, and these are
heightened elements in this film, but we

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wanted to be open to the full
spectrum. Let's talk a little bit about

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the casting process. There's a small
cast in this movie. That had to

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be an important thing. When you're
putting this together, you have to seek

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out people who are going to be
able to pull this off. The prosthetics,

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the makeup, the things that they're
working around and working through, the

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lack of dialogue, all of these
things. What was the casting process like

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for you guys going into this and
could you talk a little bit about the

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selection of the actors and how that
came about. Yeah, we wanted to

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work with actors who were good at
both comedy and drama, but also just

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got the tone that we were going
for and have the same sensibility that we

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were treating this project with a lot
of respect, and it's not something that's

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done with a wink or the slight
Like David was saying, some of these

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situations are really funny, but the
creatures themselves, you know, like very

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serious. It's the dire circum dire
circus in Life or Death. Yeah,

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and so you know, we have
Jesse Eisenberg in it, and we've known

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him for a while, we have
had the opportunity to work with him before,

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but we sent him the script and
he read it and instantly loved the

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opportunity to play this type of creature
and to disappear and do something that was

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out of his you know, comfort
zone and things that he was known for,

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and just saw the humanity in this
project and the and the humor.

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And Riley was the same way.
She's done a lot of really daring roles

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and this was just something that felt
very original and fresh to her. And

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they every everyone involved really took the
characters and just elevated them to be real.

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Uh. I almost wanted to say
real people, but real creatures.

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Do you like to really identify with
him that word? Yeah, And both

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of them, you know what,
we'd like to have them. They're both

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able to do comedy and drama,
and they're both very adventurous in there in

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the roles they choose. So I
think that speaks to what drew them to

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this. And then Riley had spent
a lot of her time growing up in

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Oregon, and her dad's from there, and when he was young had a

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big fit encounter that he told us
over the phone, and it really resonated

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with us. It's a pretty good
one. Were there other films or directors

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that inspired you to create this film? Were there things, frankly that you

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saw on other films that you wanted
to steer clear of and make sure that

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you didn't do with this film when
you guys set out to start the process.

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I think the most common thing just
growing up watching lots of primate documentaries,

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nature documentaries in general, but particularly
primates. In terms of movies,

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I think the most influential one to
us is that Dona Mann sequence from two

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thousand and one, which is so
spectacular to us, we've watched over and

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over again. It's really profound,
So I think that was a big influence.

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Indirectly. I don't know the first
couple of Planet of the Apes movies

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in the seventies and just not quite
as literal of a connection. But I

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think anything related to any kind of
ape like creature that is different from what

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we're familiar with, I think it's
a mix of all of those things.

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I think the reason why we want
to do this. The most big Foot

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movies are either their family films or
the horror films, or like a spoof

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or something, and they're from a
human perspective, And so we really wanted

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to do it through the eyes of
the Sasquatch, even though there's moments of

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absurdity. We wanted to treat the
creatures with a certain sense of reference instead

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of this kind of like Boogeyman in
the distance. We really wanted to be

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in the world, just out of
our love for the creatures. Yeah,

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and in this movie there are some
encroaching human elements, but to the Sasquatch,

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the human is more like the Boogeyman
or the mystery. And so it's

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turning the script on that in that
regards like we don't show any humans,

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we would just show the evidence of
them. It's similar to how like a

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lot of people's experiences with Bigfoot,
but there are less interested in the humans

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are more actually feeling the impact of
humanity on their environment and their life.

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And in an effort to do everything
we could there were talking about to add

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a certain legitimacy to them and to
make normalize or naturalize them. We know

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part of that was having them be
azomically correct, which is completely absurd when

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you first see it, but then
I hope then normalized quickly in the way

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that people don't freak out when they
see a dog or a cat or a

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cow walking around without clothes off.
Its like that what an animal looks like,

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and so we wanted to design them
as that we were real animals.

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That was a really important part of
the process. And you mentioned this earlier.

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I just want to circle back to
filming outside, not filming on a

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sound stage. I thought that was
really impressive. Did you find it challenging

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to do the cinematography that way in
the elements outside? Was there anything that

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you didn't anticipate or maybe came up
during the filming that you found difficult to

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do this kind of film or was
it completely natural as it appears to be

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in the movie. Technically it was
a huge challenge just because of the elements

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and these suits. They're pretty heavy
and made of foam and covered in fur,

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and they get a little water logged
with the rain and stuff like that,

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with sweat, with sweat. Yeah, technically we just rolled with whatever

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the elements gave us because we were
out there to be in that environment.

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It was rainy or sunny, or
if you had crazy looking clouds and fog,

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or if you had a spectacular sun
rays, we just embraced whatever was

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there. Yeah, So I think
that was a challenge too, because,

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like David said, these suits are
normally on sound stages and we just wanted

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to shoot in natural light. So
it's really a testament to the creature team

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of how hard they worked to keep
the prosthetics in place in the third place,

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in between takes when it was rainy. But I think it made it

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just made everything feel that much more
authentic because we did it that way.

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I guess the final question before we
get to where people can see it and

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how they can see it, is
what do you want people to take away

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from this film? If you had
just a elevator pitch of why you made

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the film, what you want people
to experience, what they will experience,

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and what you want to take away
to be from Sasquatch Sunset from the audience

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perspective. If you guys want to
take that individually, that'd be awesome for

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me and I think we feel similarly
just everything we do the art that we're

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inspired and then in terms of what
we like to see and then the work

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that we attempt to make. We
never like to be didactic or force a

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message or an idea how people's throat, because just as a viewer, it's

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it's kin almost a condescending because it's
I'm being told what to think, And

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I think it also really limits the
boundaries of what that piece of art can

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be, whether it's a movie or
music or painting or whatever. You're like

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put in a box and this is
what it is, and it's nothing more

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than that. For us, we
like something that ideally works on different levels

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and creates a dialogue. It respects
the audience and creates a dialogue with them

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where they can bring some of their
own thoughts to it. We really like

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the idea of this working on different
levels. We're on the surface level.

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If it's just a wild time at
the movies, then if people want to

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joint in the out level, that's
great by us. But if they want

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to look at some deeper layers to
it and what it says about our connection

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to the natural world and what that
means to us individually, then that's fantastic

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too. Yeah, And I would
say I'm curious is to specifically for this

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podcast, like what the Bigfoot community
people who are obsessed with it the same

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way we are, what they think
of our interpretation of some of the theories,

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and how I feel like they'll really
enjoy it because I feel like it's

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we're treating them with the respect the
big Foot, with the respect that it

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deserves, and not like making it
the butt of s Yeah. Yeah,

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so we hope, you know,
different people have different views on the specifics

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of Saspat's behavior, but we tried
our best to have something that felt find

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out a certain truthfulness and legitimacy and
respect for in the combination of traits that

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we, you know, we put
together with them. Yeah, We've done

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like a whole range of types of
interviews, but we're you know, very

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much looking forward to with the actual
Sasquards podcast. I can tell you I

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know that there's some people pissed off
by the trailer. I can tell you.

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I don't know how many people guess
know, but I was talking to

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Renee Holland she was on Finding big
Foot. We were talking before we did

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the interview, and Renee, yeah, people were pissed off about that.

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I get it, and I was
one of those people honestly in the beginning,

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and then I watched the film and
I'm like, okay, this makes

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sense. And now there was a
couple of moments I was like what the

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yeah, but the rest of it
I was able to get into, and

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by the time it was over,
I was like, holy shit, I

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felt connected to those characters. I
thought it was interesting. I think people

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are going to love it or hate
it. Yeah, I think it's a

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movie that's for people who aren't familiar
with it. But and I just enter

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it from with some some of the
more absurdest comedy, and then I think

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people who are really into Sasquatch and
really are into studying it will pick up

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on all the nuances. Yeah,
but hopefully they'll give it a shot.

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I think there's no single movie or
book or anything that can please an entire

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Bigfoot audience because everyone's too absoluteist in
their views, and so we knew that

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going into it we weren't going to
please everyone, so we would just try

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to do something as honest as we
could, and then hopefully people could respect

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it in different ways on that level. So, yeah, hopefully they'll give

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it a chance. Regardless of if
people love or hate it. I hope.

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It's got to be clear that our
love for Sasquatch and respect and reverence

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for it, which I think is
very different from a lot of other films

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out there where they just treat it
as just a horror trope or something very

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good. Gentlemen, I appreciate it
very much, and I'm looking forward to

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getting people's reactions when it comes out. I can't wait. Yeah, and

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we're curious too. Yeah, hope
hopefully people give it a shot. The

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question of the hour for everybody they've
been blowing up my inbox and my social

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media since I posted about this is
when and where and how can they see

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this film? When a Sasquatch Sunset
going to be out there for the masses?

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It comes out. Limited release is
April twelfth, which will be in

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New York, La, Austin,
Texas, and San Francisco, and then

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April nineteenth, it'll be nationwide.
And it's not a beauty think. It's

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a strictli in theaters, and we
really made this to be seen on the

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big screen. We wanted to feel
like an epic in these giant, thousand

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year old redwood forests and everything we
made it. People will be watching all

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kinds of different ways eventually, but
we really made it to be seen big

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and this is a great film,
I think seeing in a communal aspect with

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a group of people all experiencing it
together. So yeah. Oh. In

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a quick side note, I thought
it was funny we had our premiere last

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night and this is a deep cut
for bigfoot fans. But the drink we

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00:22:56.960 --> 00:23:00.880
had at the after party was called
the powder Some Gimlet, which I thought

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00:23:02.000 --> 00:23:04.839
was a really good drink name.
Yeah. Yeah, you always get the

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00:23:04.839 --> 00:23:08.440
inside scoop here on Sasquatch Hot to
see David Nathan, thank you guys so

361
00:23:08.519 --> 00:23:11.680
much for your time. I know
you're busy doing a lot of press,

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00:23:11.720 --> 00:23:15.000
and we really appreciate you stopping by
and talking about the film. Everybody go

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00:23:15.079 --> 00:23:18.759
check out Sasquatch Sunset. It's gonna
be in theaters April twelfth, limited release

364
00:23:18.799 --> 00:23:22.440
April nineteenth for everybody else. You
guys, go check it out. It

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00:23:22.519 --> 00:23:25.640
is definitely worth watching. Thank you
guys again so much. I really appreciate

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00:23:25.680 --> 00:23:29.519
it. Thanks Brian, thanks for
Ray, thanks for having us excellent guys.

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00:23:29.599 --> 00:23:33.960
Enjoy the rest of your day.
They say you don't gotta go home,

368
00:23:34.640 --> 00:24:08.039
but you can't stay I don't want
to be out step child, this

369
00:24:08.559 --> 00:24:15.960
child, that child everything. Can
you ride back right back? Joy from

370
00:24:15.079 --> 00:24:57.599
me? Enjoy staying right, you
come it right away? Still stay steps,

371
00:25:00.319 --> 00:25:33.599
do do do do don knocking do
do do do DOSSSSTSSTS and Thames uss