WEBVTT 1 00:00:05.040 --> 00:00:10.039 Old. He is, folks, it's show people fake good money to see 2 00:00:10.039 --> 00:00:13.519 this movie. When they go out to a theater, they want cold SODA's 3 00:00:14.439 --> 00:00:19.160 corner in No monsters in the Projection Booth. Everyone for ten podcasting isn't boring. 4 00:00:20.199 --> 00:00:41.799 Shut it off, Hey, folks, Welcome to the Projection Booth. 5 00:00:41.840 --> 00:00:44.880 I'm your host, Mike White. On this special episode, I am talking 6 00:00:44.880 --> 00:00:49.719 with a number of people who had movies at the twenty twenty two Fantasia Film 7 00:00:49.759 --> 00:00:54.000 Festival. First up, we're going to hear from director Molly Elfman and actress 8 00:00:54.079 --> 00:00:59.119 Katie Porter about the film Next Exit, which is currently streaming on Hulu. 9 00:00:59.640 --> 00:01:03.880 After that, we'll hear from Rodrigo Godino all about his film The Breach, 10 00:01:03.079 --> 00:01:07.079 which is, as far as I can tell, not out for public consumption. 11 00:01:07.200 --> 00:01:10.840 Yet. The same goes for the third movie that you're going to hear 12 00:01:10.879 --> 00:01:15.760 about, Relaxing from the Future, where I spoke with director Luke Higginson and 13 00:01:15.920 --> 00:01:22.000 actress Gabrielle Graham. With that one, I can't even find a trailer online. 14 00:01:22.480 --> 00:01:26.879 The one person you won't be hearing from his filmmaker Satoshi Miki, who 15 00:01:26.000 --> 00:01:30.799 had two films at the festival. What to do with the dead Kaiju and 16 00:01:30.079 --> 00:01:36.519 convenience story. Unfortunately, both mister Minki and his translator were a little too 17 00:01:36.599 --> 00:01:42.640 far from the computer microphone to pick them up properly. I tried some heroic 18 00:01:42.760 --> 00:01:49.000 measures to rescue that interview, but it just didn't happen, and it's so 19 00:01:49.079 --> 00:01:52.840 bad that I'm not even going to be able to air it. That said, 20 00:01:52.879 --> 00:01:56.560 let's go ahead and play the trailer for next exit and then our interview 21 00:01:56.760 --> 00:02:01.719 right after that. It is irrefutable. Our consciousness continues beyond our physical bodies, 22 00:02:02.400 --> 00:02:07.439 my life beyond study. The strictly a volunteer program. So why cannas 23 00:02:07.479 --> 00:02:12.039 some people see ghosts. It's a strong connection between Rio and his father, 24 00:02:12.159 --> 00:02:19.360 brought them together and the rest as well, history in the making. I'm 25 00:02:19.400 --> 00:02:23.840 taking a trip. Where are you going? It's difficult to see this is 26 00:02:23.879 --> 00:02:28.759 supposed to be goodbye. I'll come back and home. You are you two 27 00:02:28.800 --> 00:02:32.280 together? She should be so lucky. When's your appointment? Seven days? 28 00:02:32.360 --> 00:02:38.080 Mends in five? Your serial killer? Yeah? No, six am? 29 00:02:38.120 --> 00:02:44.520 The car leaves sharp race up. We're not pounced. We're not in this 30 00:02:44.639 --> 00:02:47.599 together. Okay. How many people know what it's like to be us right 31 00:02:47.639 --> 00:02:52.280 now? At our institute. We now briched dozens of new participants day from 32 00:02:52.360 --> 00:02:54.000 this world to the next. Once you're in a state of passing, who 33 00:02:54.039 --> 00:03:04.520 we terminate your physical form three two one. Wait, let's try and have 34 00:03:04.599 --> 00:03:17.199 some fun today, please. Okay, So what's fun? I didn't I 35 00:03:17.240 --> 00:03:22.000 want my life to mean something. I don't want to hate life on my 36 00:03:22.120 --> 00:03:24.960 name. Embrace what's next? You practice that you got like an Instagram handle 37 00:03:25.000 --> 00:03:32.960 for the afterlone. What you do here still matters? You know that every 38 00:03:32.960 --> 00:03:40.280 time you disappear, another little piece of my heartbreaks lost to everyone. So 39 00:03:40.719 --> 00:03:46.639 I never even had anyone, but I did. I can't get stuff. 40 00:03:47.319 --> 00:03:59.280 I see you this darkness. It's your assistible Molly. Are you related to 41 00:03:59.400 --> 00:04:02.360 Richard Alman? Yes, that's my uncle. Okay, fantastic. I've had 42 00:04:02.400 --> 00:04:06.120 him on the show before. I was fantastic for Witch Projects, for the 43 00:04:06.159 --> 00:04:11.159 Forbidden Zone. Yeah, the new one or the other one, the original 44 00:04:11.639 --> 00:04:15.039 that came out when I was very very very very very very young. I 45 00:04:15.159 --> 00:04:18.800 need to watch it again as an adult. I was like, dad, 46 00:04:19.000 --> 00:04:23.279 but what are you doing? It's a weird film to see your parents? 47 00:04:23.319 --> 00:04:30.160 And oh, I'm sure yeah shows up in there too. Yeah, it's 48 00:04:30.160 --> 00:04:34.079 fun. So were you always faded to work in show business? I tried 49 00:04:34.160 --> 00:04:39.199 not to. I went to school for writing, and I've always wanted to 50 00:04:39.240 --> 00:04:42.519 be a writer as a journalist for years. I was actually a professional horseback 51 00:04:42.600 --> 00:04:46.360 rider for a while and was competing and doing all of that, and actually 52 00:04:46.399 --> 00:04:49.600 my first job in Hollywood. I was teaching horseback riding at the time, 53 00:04:50.000 --> 00:04:53.879 and one of my students was Missy Stabilee, who used to be one of 54 00:04:53.920 --> 00:04:57.879 the headline producers over at Universal, and she said, you'd make a good 55 00:04:57.879 --> 00:05:00.319 producer and I was like nah, And she was like, I'll tell you 56 00:05:00.319 --> 00:05:02.839 what, come work for me. Will ride horses in the morning, and 57 00:05:02.879 --> 00:05:05.839 then you'll learn how to produce. And I was like, life could be 58 00:05:05.879 --> 00:05:10.959 worse. She was one of the most inspiring, amazing women that I have 59 00:05:11.079 --> 00:05:16.439 ever met, who taught me how to produce with compassion and also strength simultaneously. 60 00:05:16.959 --> 00:05:23.000 My way into the industry was actually through Missy, and honestly not through 61 00:05:23.000 --> 00:05:26.319 my parents at all or my family at all. Although I do think there 62 00:05:26.360 --> 00:05:28.879 was probably a piece of me in my brain that knew that I had permissioned 63 00:05:28.920 --> 00:05:31.920 to. It wasn't like just to say I think I probably had permission to 64 00:05:31.920 --> 00:05:36.639 it, but at the same time, my parents definitely weren't pushing me towards 65 00:05:36.639 --> 00:05:41.079 it in knowing the challenges with the industry, I think it's hard for a 66 00:05:41.120 --> 00:05:45.160 parent to encourage their children to know that they're going to live a very challenging, 67 00:05:45.199 --> 00:05:48.519 struggling life by taking that road. Now, I do think that's why 68 00:05:48.519 --> 00:05:53.839 I've got a different path with the genre though, where I do think I'm 69 00:05:53.839 --> 00:05:58.040 trying to carve out a different space for myself a little bit than what I've 70 00:05:58.079 --> 00:06:01.519 seen them do. Katy and acting for a long darn time, how did 71 00:06:01.560 --> 00:06:06.759 you get into things? I started acting when I was about eighteen, just 72 00:06:06.879 --> 00:06:12.160 doing like high school plays, and then I went to college and majored in 73 00:06:12.639 --> 00:06:15.879 theater, which is a ridiculous thing to major. And if you go to 74 00:06:16.120 --> 00:06:20.079 a tiny liberal arts school, I think it's different if you go to Juilliard 75 00:06:20.199 --> 00:06:26.879 or like a conservatory. It's just one of those things that really made sense 76 00:06:26.920 --> 00:06:30.399 to me. Just taking a body class of voice class, getting comfortable with 77 00:06:30.519 --> 00:06:34.680 language, looking someone in the eye, and holding space for someone, like, 78 00:06:34.720 --> 00:06:39.639 all of that stuff just really resonated with me as a young person. 79 00:06:39.680 --> 00:06:42.879 I didn't really know what it meant. I just knew it felt really good, 80 00:06:42.920 --> 00:06:46.079 and originally I thought I would just stay in theater and maybe go to 81 00:06:46.160 --> 00:06:54.160 Chicago or New York and do regional plays. But when I was twenty twenty 82 00:06:54.279 --> 00:06:59.199 twenty one, I auditioned for The Young and the Restless on a whim and 83 00:06:59.319 --> 00:07:03.240 I ended up getting a part. But I met some people who really encouraged 84 00:07:03.319 --> 00:07:06.879 me to go to LA. So I graduated college and went to LA at 85 00:07:06.879 --> 00:07:13.519 twenty two and then just got a waitressing job and was nanny forever and just 86 00:07:13.600 --> 00:07:17.639 did the hustle, no real connections to entertainment, had no idea what I 87 00:07:17.680 --> 00:07:23.800 was doing. But met Mike Flannagan like a month into living in LA through 88 00:07:24.079 --> 00:07:29.160 mutual friend and he obviously is like the first person to get me into a 89 00:07:29.199 --> 00:07:31.759 film, and that was when I was twenty four. But it's just been 90 00:07:31.839 --> 00:07:36.720 like a slow burn finding my way in the industry. One of those early 91 00:07:36.759 --> 00:07:42.839 films that you mentioned, Oculus Direct to Buy Mike Flanagan, stars Karen Gillen, 92 00:07:42.959 --> 00:07:46.319 and it seems like she's through line for both of y'all, because I 93 00:07:46.360 --> 00:07:49.800 know that Molly, you've worked with Karen before. Next Sexit correct. Oculus 94 00:07:49.920 --> 00:07:54.399 was our big project that we all met each other because I met Karen on 95 00:07:54.480 --> 00:07:58.399 Oculus too. I was at the time producing a film for Mike that was 96 00:07:58.439 --> 00:08:01.480 supposed to go directly after that one that never actually happened because then we ended 97 00:08:01.519 --> 00:08:05.759 up making Before I Wake instead, And so I was actually prepping that one 98 00:08:05.879 --> 00:08:11.279 in Alabama and stopped by set and I'm actually an extra in the auction scene. 99 00:08:11.319 --> 00:08:13.879 If you want to go back and shack it out, yes, yes, 100 00:08:13.040 --> 00:08:16.759 yeah. And I remember I met Karen and she showed up that day. 101 00:08:16.959 --> 00:08:20.120 We're all getting loaded into the van and there was somebody running late Karen, 102 00:08:20.639 --> 00:08:24.600 and she came running over and she's like, hullo, and I was 103 00:08:24.639 --> 00:08:26.680 like, this woman is ridiculous and I love it. And then we met 104 00:08:26.720 --> 00:08:31.360 again more formally after that, and I read her script and we worked together. 105 00:08:31.600 --> 00:08:33.720 I met her there two. Yeah, I had a scene that was 106 00:08:33.840 --> 00:08:39.159 actually cut out of Oculus, but Karen there briefly, and then we became 107 00:08:39.200 --> 00:08:41.799 friends later on in Los Angeles. Tell me about Next Exit. How did 108 00:08:41.840 --> 00:08:46.279 this project come about? No, this has been a long time in the 109 00:08:46.320 --> 00:08:50.320 making for me, and it started a long time ago when I was still 110 00:08:50.320 --> 00:08:54.000 trying to find my voice and figure out what I wanted to say, and 111 00:08:54.200 --> 00:08:58.320 going through a lot of dark kind of stuff in my life, a lot 112 00:08:58.320 --> 00:09:01.080 of tragedies, and trying to figure out my way through them. So I 113 00:09:01.120 --> 00:09:05.559 started writing this. I put it down a million times. There was always 114 00:09:05.600 --> 00:09:09.279 something else to do throughout all the years. And then whenever I would caught 115 00:09:09.360 --> 00:09:13.159 in something and I didn't know what to do, I kept finding that I 116 00:09:13.240 --> 00:09:16.200 naturally was gravitating back towards the script, kept being the thing that would bring 117 00:09:16.200 --> 00:09:18.960 me out of that dark place and bring me out of the darkness. It's 118 00:09:20.000 --> 00:09:26.480 actually Rose McIvor, who was four years this ago now. I was producing 119 00:09:26.519 --> 00:09:30.120 a short film for her that she had written and was directing, and she 120 00:09:30.440 --> 00:09:31.879 asked me what I wanted to do, and I told her about this script, 121 00:09:33.240 --> 00:09:35.320 and she actually brought me to a horror convention that she was doing in 122 00:09:35.360 --> 00:09:39.639 Hawaii, and she said, you're not allowed to leave this hotel room until 123 00:09:39.639 --> 00:09:43.799 you finished the script. And it's silly. And it's how I realized the 124 00:09:43.840 --> 00:09:46.320 beauty of that is nobody really was giving me permission to just be a writer 125 00:09:46.480 --> 00:09:50.720 at that time. There was always something else I was supposed to be doing, 126 00:09:50.879 --> 00:09:56.799 and being given that permission really allowed me to finally finished a draft that 127 00:09:56.879 --> 00:10:00.279 I could then bring to the producers that ended up coming on board, Derek 128 00:10:00.320 --> 00:10:03.639 Fische and Arna Hacopian, who also did We did many more drafts from that 129 00:10:03.759 --> 00:10:07.120 that wasn't the draft by any means, And then we got Lindsay Lindsay Helms 130 00:10:07.159 --> 00:10:11.320 and Jill Neviles from Helm Street to come on, and they also it is 131 00:10:11.360 --> 00:10:16.919 a dream to have executive producers that actually believe in the creative. That was 132 00:10:16.919 --> 00:10:20.120 an entirely different process than I'd ever had before in my entire past, So 133 00:10:20.639 --> 00:10:24.200 it really was a dream. We kept saying, this isn't how it happens, 134 00:10:24.679 --> 00:10:30.000 and consistently I will say, this isn't how it happens. Katie, 135 00:10:30.039 --> 00:10:33.360 When do you come on board with this? Was it like end of twenty 136 00:10:33.480 --> 00:10:37.399 nineteen. MSB sent me this draft of the script to me. I said 137 00:10:37.440 --> 00:10:41.679 it to you right after I went with Rose there, right after I went 138 00:10:41.720 --> 00:10:45.399 to Hawaii. We went like twenty eighteen, twenty eighteen, twenty nineteen, 139 00:10:45.759 --> 00:10:48.600 and I was hunting Katie and Katie was it was funny because we'd wanted to 140 00:10:48.600 --> 00:10:52.440 work together for so awesome yeah, and so I had to hunt her. 141 00:10:52.679 --> 00:10:56.799 I was a little hesitant. I had had a lot of close calls with 142 00:10:56.960 --> 00:11:00.639 casting, and then it didn't go on my way. So I think there 143 00:11:00.679 --> 00:11:03.360 was a part of me that didn't quite believe the part was mine, and 144 00:11:03.399 --> 00:11:09.399 I was intimidated by the part two. I wasn't really sure what to do 145 00:11:09.480 --> 00:11:13.000 with it, and I think that was just like a fear response, which 146 00:11:13.120 --> 00:11:18.840 usually when there's fairy should dive in because you're probably gonna grow, which I 147 00:11:18.879 --> 00:11:22.679 did on our set, and with this one, she offered me the part, 148 00:11:22.759 --> 00:11:26.399 which I couldn't believe out of every actor she could have hired, I 149 00:11:26.440 --> 00:11:31.600 was like, really me, cool, Yeah, awesome, great, yes 150 00:11:31.840 --> 00:11:35.639 me, Okay, I'm gonna do it. Yeah, that's what it felt 151 00:11:35.679 --> 00:11:39.559 like that. Yeah, there was this push pull and then settled into it 152 00:11:41.120 --> 00:11:45.159 commitment. How do you approach a character like Rose? How do you build 153 00:11:45.200 --> 00:11:48.320 that? A lot of talking with Molly, She was really helpful with helping 154 00:11:48.360 --> 00:11:56.840 me create her emotional journey. I kept trying to think about what healing looks 155 00:11:56.879 --> 00:12:03.559 like and how it's a healing. Is their contractions and expansion and contractions and 156 00:12:03.639 --> 00:12:07.440 expansion, and when is she contracted? And when is she exploding through pain? 157 00:12:09.039 --> 00:12:11.559 When is she healing? When is she in trauma. Some of that 158 00:12:11.840 --> 00:12:16.759 was manifested physically, like we talked a lot about body movement and the clothes, 159 00:12:16.799 --> 00:12:22.080 the costumes that wears. That was really helpful, like feeling really layered 160 00:12:22.120 --> 00:12:26.679 and then peeling off the layers and then just making choices and going into that 161 00:12:26.799 --> 00:12:31.919 fear I was talking about where this could be wrong and dumb, but I'm 162 00:12:31.960 --> 00:12:37.000 going to try it, and then you either pull back or you push forward. 163 00:12:37.080 --> 00:12:39.600 And I had a great director who knew the characters inside and out. 164 00:12:39.679 --> 00:12:45.440 It's pretty extraordinary actually to work with a writer director because they have all the 165 00:12:45.480 --> 00:12:48.799 answers for you. Molly, do you always direct while you write? Thus 166 00:12:48.879 --> 00:12:54.679 far? But that's not by choice necessarily. I would be very open to 167 00:12:54.840 --> 00:12:58.000 working with somebody else. There is one project that I'm coming up that was 168 00:12:58.039 --> 00:13:01.919 a script that was brought to me that I would intrigued by and potentially will 169 00:13:01.360 --> 00:13:05.799 eve another one that I was brought and rewriting it right now. I think 170 00:13:05.799 --> 00:13:09.600 it's just important for me before directing that there has to be there's a couple 171 00:13:09.720 --> 00:13:13.320 very important things. That there has to be a message in it that I 172 00:13:13.399 --> 00:13:16.000 relate to and can connect with and that I find important, and that there's 173 00:13:16.039 --> 00:13:20.480 a reason why the film should be in the world. I am not a 174 00:13:20.600 --> 00:13:26.440 nihilist and I am not someone who wants to create because it's fun to make 175 00:13:26.480 --> 00:13:28.480 a movie. I do feel like if you're going to make a film, 176 00:13:28.519 --> 00:13:31.399 it needs to have a spot and it needs to have an intention for what 177 00:13:31.480 --> 00:13:35.919 you hope. Now, whether about that hope comes through and that intention comes 178 00:13:35.919 --> 00:13:39.759 through and anything is successful, you work your best to achieve, but I 179 00:13:39.799 --> 00:13:41.840 think that it's important to start with that, And for me, this film 180 00:13:41.960 --> 00:13:48.759 was for anybody who has felt depression, anxiety, mentalness, darkness of any 181 00:13:48.840 --> 00:13:52.120 kind, that there is hope and that it's not coming from a place if 182 00:13:52.159 --> 00:13:54.279 everything will be okay. It's actually gonna be a lot of hard work and 183 00:13:54.279 --> 00:13:58.720 that's going to be challenged, and actually it'll be fun too at times, 184 00:13:58.759 --> 00:14:01.679 really an odd way that you're not expecting. And I really wanted to capture 185 00:14:01.720 --> 00:14:05.639 that, and that's something that I really personally related to. So I am 186 00:14:05.679 --> 00:14:09.879 writing a couple of things. I am starting to work with writing partners, 187 00:14:11.039 --> 00:14:16.639 and I love that because I am like intention and emotion and feally love somebody 188 00:14:16.639 --> 00:14:20.399 to help me with that structure. That is the one that that's why i'mde 189 00:14:20.440 --> 00:14:24.559 the structure on this one's so simple, because the structure isn't necessarily my strong 190 00:14:24.639 --> 00:14:28.600 suit. I think my stronger students emotions. You said that you were writing 191 00:14:28.639 --> 00:14:31.519 this in twenty eighteen, give the script to Katie in twenty nineteen. I 192 00:14:31.519 --> 00:14:35.159 seem to remember there was something that happened in twenty twenty that might have affected 193 00:14:35.200 --> 00:14:41.519 your production. I don't know if he's gotten at all all that happened. 194 00:14:41.600 --> 00:14:45.080 I'm talking to Katie. And then COVID happened, and I was actually supposed 195 00:14:45.080 --> 00:14:46.600 to go make another film at that time. I was scheduled to go do 196 00:14:46.679 --> 00:14:50.159 something else, and there was so much time and so much energy, and 197 00:14:50.159 --> 00:14:52.960 we were casts, we were financed everything, and then it just fell apart, 198 00:14:54.000 --> 00:14:56.159 and I was devastated, and I was sitting there, and once again 199 00:14:56.240 --> 00:14:58.759 I went to the script. I also didn't do well at the top of 200 00:14:58.759 --> 00:15:03.120 code. I had a lot of anxiety. I know some people were just 201 00:15:03.200 --> 00:15:07.159 dealt with it was I thought the world was potentially That's where my headwed. 202 00:15:07.360 --> 00:15:11.799 I'm a very nervous person in general, and so I went back to the 203 00:15:11.799 --> 00:15:15.559 script, and actually it made so much more sense to me. The idea 204 00:15:15.720 --> 00:15:18.879 of one thing happens, and then look at the ripple effect, and you 205 00:15:18.919 --> 00:15:22.639 can think it's going to go one way, and it will for one person, 206 00:15:22.720 --> 00:15:26.080 but it'll do something else for somebody else. And so the script became 207 00:15:26.200 --> 00:15:28.559 so much more relevant. And that's actually when I started working with my producers 208 00:15:28.559 --> 00:15:33.240 on the script and doing another draft to make it a little bit more timely. 209 00:15:33.720 --> 00:15:35.840 Ironically enough, Helm Street, that's right when I met them, and 210 00:15:35.879 --> 00:15:41.080 they were okay with making it during a pandemic. There was almost nothing else 211 00:15:41.080 --> 00:15:45.159 we can make, and oddly, podding with a group of under twenty people 212 00:15:45.320 --> 00:15:50.399 and driving across the country and buying out motels that nobody was in became the 213 00:15:50.480 --> 00:15:54.320 safer way of doing it than trying to run it. Traditionally, the hardest 214 00:15:54.320 --> 00:15:56.240 part about doing a film during COVID is how do you go home? What 215 00:15:56.279 --> 00:16:00.559 about the loved ones are there? How do you We were all isolated. 216 00:16:00.679 --> 00:16:03.840 We were literally in this bubble. So also it was January twenty twenty one 217 00:16:03.879 --> 00:16:07.200 when we started, so we also have the insurrection in the background. We 218 00:16:07.240 --> 00:16:11.120 also have the world on fire all around us, and we were in this 219 00:16:11.240 --> 00:16:18.399 little pod and five Dodge caravans traveling across the country and it, oddly was 220 00:16:18.559 --> 00:16:22.159 one of the most kind of heartening experiences that I could have had that, 221 00:16:22.240 --> 00:16:26.639 even in some of the darkest times, that being with one another and supporting 222 00:16:26.639 --> 00:16:32.440 one another life is really all about, and that is inherently part of the 223 00:16:32.480 --> 00:16:34.919 message of the movie. So it was very interesting to be experiencing it while 224 00:16:34.960 --> 00:16:38.639 we were making it. That's another thing is that whenever I'm in those places, 225 00:16:38.679 --> 00:16:41.639 people always make me feel better. It is others. Whenever I get 226 00:16:41.639 --> 00:16:45.360 too caught up a knee, I always have to look at other people and 227 00:16:45.360 --> 00:16:48.919 other experiences. So I was terrified of COVID every single day, and every 228 00:16:48.919 --> 00:16:52.120 single day when everybody tested negative, I felt like it was a gift, 229 00:16:52.279 --> 00:16:56.440 and so I just appreciated it. Kitty, what was your experience, Like, 230 00:16:56.519 --> 00:17:00.320 how was that for you? Moving throughout all these locations, And I'm 231 00:17:00.320 --> 00:17:02.960 sure it was a little bit of a ghost town at times when you're showing 232 00:17:03.000 --> 00:17:07.720 up in these places, it was really special. I like shooting on the 233 00:17:07.839 --> 00:17:11.480 road. I learned it felt like being a part of a circus. It 234 00:17:11.680 --> 00:17:17.480 felt almost like akin to being in a theater troop and like medieval times, 235 00:17:17.480 --> 00:17:19.000 except we're in cars and its present day. But you know what, I 236 00:17:19.000 --> 00:17:23.799 mean like a traveling circus that's coming to perform an area. There was something 237 00:17:23.839 --> 00:17:30.039 really satisfying about that and bonding. So when we would go and shoot, 238 00:17:30.319 --> 00:17:34.079 it felt like everybody really had each other's back and we were all in it 239 00:17:34.119 --> 00:17:37.720 for the storytelling. And it was an adventure. I mean, it's always 240 00:17:37.720 --> 00:17:42.759 an exciting thing to drive across the country just to see the world and see 241 00:17:42.759 --> 00:17:45.920 it with people you love. And it was fun. I had a great 242 00:17:45.920 --> 00:17:51.720 time. It must have been such a coordination effort just to rent all those 243 00:17:51.759 --> 00:17:56.079 places, to get all those Judge caravans and just get all that stuff working. 244 00:17:56.599 --> 00:18:00.720 Yeah, I are you Garre to go with my shoulder right now, 245 00:18:00.759 --> 00:18:04.799 and I'm just gonna hear I can hear his break, heavy breath. Yes, 246 00:18:06.039 --> 00:18:08.960 sitting as you were asking that question, it was at the same time. 247 00:18:10.000 --> 00:18:12.240 I think oddly, what it does is you don't have a lot of 248 00:18:12.359 --> 00:18:15.920 options, and so you'd lean into what you have. I think one of 249 00:18:15.920 --> 00:18:19.559 the challenges when you get back to la is it's we can do this, 250 00:18:19.599 --> 00:18:23.000 and we can do that. We're on the road, the car isn't working, 251 00:18:23.279 --> 00:18:26.960 and they and these are the three places you can go. What are 252 00:18:26.960 --> 00:18:29.920 you going to do? And it makes you be nimble and think on your 253 00:18:29.920 --> 00:18:33.599 feet. And I also think it was such a gift. It's funny that 254 00:18:33.680 --> 00:18:37.119 life sometimes gives you what you need, right. I love to plan, 255 00:18:37.240 --> 00:18:41.839 I love to be organized. I love a color organized calendar and Excel sheets. 256 00:18:41.240 --> 00:18:45.160 And I had to show up every single day and be like, this 257 00:18:45.240 --> 00:18:48.079 wasn't what I planned, What is the intention of this scene? What do 258 00:18:48.079 --> 00:18:51.839 I want from these characters? And shoot that? And it made me can 259 00:18:52.039 --> 00:18:56.799 stay with the emotions and the characters and didn't let me get too heavy at 260 00:18:56.839 --> 00:19:00.240 any time. And I'm so grateful for that because I got to stay in 261 00:19:00.279 --> 00:19:03.599 a much more vulnerable place because of that. And now I don't want to 262 00:19:03.640 --> 00:19:06.440 make a movie any other way. I would like a little bit more organization 263 00:19:06.599 --> 00:19:08.599 that would be nice, and a little bit more resources and better food. 264 00:19:10.960 --> 00:19:12.039 There's a couple of things that would have been nice. We were in, 265 00:19:12.160 --> 00:19:17.519 like literally this place on the boarder of Texas and New Mexico that was so 266 00:19:17.759 --> 00:19:21.759 lovely and hospitable to us. There was just a very few options. I 267 00:19:21.799 --> 00:19:25.359 think there's a McDonald's at Taco Bell and the place that we ordered our food 268 00:19:25.400 --> 00:19:32.400 from, and gluten free, dairy intolerance Molly was struggling a little bit of 269 00:19:32.400 --> 00:19:34.599 that. She managed to get food poisoning as well. Yeah, of course 270 00:19:34.640 --> 00:19:37.759 you did. Trying to be super healthy was the wrong way to go. 271 00:19:37.839 --> 00:19:41.160 You just needed to lead the other direction. I think people doing the hash 272 00:19:41.200 --> 00:19:45.799 Browns were much better off than I was. So as a writer director, 273 00:19:47.319 --> 00:19:51.920 how are you with your writing, because I imagine you have to let people 274 00:19:52.160 --> 00:19:55.839 improv a lot. You have to have that ability to be loose and not 275 00:19:56.000 --> 00:19:59.920 have to stick to the script as far as your calendar or the script. 276 00:20:00.039 --> 00:20:03.000 As far as the script goes, I think the most important thing for the 277 00:20:03.039 --> 00:20:06.000 script is that you better have done your work for why those words are on 278 00:20:06.039 --> 00:20:08.200 the page, so that when you go off the page, you're doing it 279 00:20:08.240 --> 00:20:12.079 for the right reasons. So that's actually where I like being the writer because 280 00:20:12.119 --> 00:20:15.960 I know, for instance, I've written that line fifteen different ways. They 281 00:20:17.000 --> 00:20:18.960 don't know all that, they don't need to know all of that, so 282 00:20:18.960 --> 00:20:22.079 when all of a sudden something's not working, I already have that in the 283 00:20:22.119 --> 00:20:23.440 bank account in my brain where I can be like, actually, yeah, 284 00:20:23.480 --> 00:20:27.440 let's spin this way. And we were pretty good at again always knowing the 285 00:20:27.440 --> 00:20:32.640 intention of the scene and all of the big scenes. They just nailed completely 286 00:20:32.680 --> 00:20:34.960 and totally, and we're very accurate. And I do want to say that 287 00:20:36.039 --> 00:20:41.079 both Rabel and Katie incredibly accurate actors. And then we always did a little 288 00:20:41.079 --> 00:20:42.920 bit of a fun take because I love that. I love that spontaneity, 289 00:20:44.079 --> 00:20:47.319 both of them. We're throwing out things, especially when you're just driving in 290 00:20:47.359 --> 00:20:49.079 a car. I would always do the full take, and then I would 291 00:20:49.079 --> 00:20:53.359 just keep going and just keep throwing stuff at them, and I love that. 292 00:20:53.440 --> 00:20:57.440 It also keeps it so fresh, it keeps it so open, both 293 00:20:57.480 --> 00:21:02.519 of them throwing down amazing. They'd always do it the way like it was 294 00:21:02.559 --> 00:21:04.119 intended, and then I'd always give them a chance to do what they wanted. 295 00:21:04.519 --> 00:21:07.839 And I love those takes. That's just so much fun. But they 296 00:21:07.880 --> 00:21:11.880 knew the characters. You can improve when you actually know the characters. Like 297 00:21:11.039 --> 00:21:15.720 Katie, you have one of my favorite ones. You're time you're in that 298 00:21:15.799 --> 00:21:19.640 person. Oh yeah, yeah that's not me, that's her but character. 299 00:21:21.279 --> 00:21:22.359 Yeah. It just blew out her mouth and I was like, yes, 300 00:21:23.480 --> 00:21:27.400 perfect, Yeah, she knew the character. She was so that day she 301 00:21:27.559 --> 00:21:30.400 was so in the zone and it was one of my favorite monologues in the 302 00:21:30.400 --> 00:21:33.960 film, and she just nailed it. And so when those things come out, 303 00:21:34.000 --> 00:21:37.000 they're coming out from the right place. It's not somebody trying to fuck 304 00:21:37.039 --> 00:21:41.720 with your writing or anything like that. It's wanting to enhance it. And 305 00:21:41.160 --> 00:21:45.559 yeah, and very truthful and vulnerable. I know that you've played Tribecca where 306 00:21:45.559 --> 00:21:49.519 else as the film played before, about to be a fantasia in about three 307 00:21:49.599 --> 00:21:53.880 hours. That's our international premiere. So yeah, that's Tribecca was our premiere 308 00:21:53.880 --> 00:21:59.640 a couple of weeks ago. Fantasias now the international premiere. I believe we 309 00:21:59.720 --> 00:22:03.440 had of North Bend that we're going to, and then there's some other ones 310 00:22:03.480 --> 00:22:04.160 that I don't know that I'm allowed to say, So I'm not going to 311 00:22:04.240 --> 00:22:07.920 stay right now, do I know. And we'll play fright Fest as well 312 00:22:07.960 --> 00:22:12.559 in the UK. I'm very excited about. And I think there's gonna be 313 00:22:12.599 --> 00:22:15.680 a couple of others, and I think we should have some news out about 314 00:22:15.680 --> 00:22:19.720 the filled soon and I'm very excited about that. Was Tribecca was the first 315 00:22:19.759 --> 00:22:23.119 time you guys saw it with an audience. I did a couple of casting 316 00:22:23.200 --> 00:22:27.559 crews before, so I definitely had that. It was the first time with 317 00:22:27.720 --> 00:22:33.240 all strangers, but not all as our cast post there. I was so 318 00:22:33.359 --> 00:22:37.240 relieved when people were laughing, Oh yeah, and you didn't get to see 319 00:22:37.240 --> 00:22:41.759 that one. I actually chickened out and didn't watch Trybecca. I went out 320 00:22:41.759 --> 00:22:45.319 to dinner instead. I just I wasn't ready to watch it with an audience. 321 00:22:45.319 --> 00:22:49.599 But we did a screening in Los Angeles for some folks and watched it 322 00:22:49.599 --> 00:22:53.680 with them in a beautiful theater and it was satisfying. Are you going to 323 00:22:53.759 --> 00:22:57.720 stick around for fantasious screening? I don't know. We're in Montreal, so 324 00:22:57.759 --> 00:23:02.480 I'm I've seen the movie. It's like, it's not mine, it's for 325 00:23:02.519 --> 00:23:06.559 the audience. It's for the people now, so I just want people to 326 00:23:06.599 --> 00:23:08.880 have their experience with it. What are you working on now? I know 327 00:23:08.920 --> 00:23:12.000 you've got a lot of projects in the hopper? Have you already shot all 328 00:23:12.039 --> 00:23:15.920 of Fall of the House of Baser. Yeah. I wrapped a couple of 329 00:23:15.920 --> 00:23:21.920 weeks the weeks ago on that project, and I'm I think I'm unemployed right 330 00:23:21.920 --> 00:23:25.799 now? Yeah, because like, I'm pretty sure I'm unemployed, just waiting 331 00:23:25.839 --> 00:23:29.240 for auditions to come in. Hopefully something will come up. Am I Like? 332 00:23:29.359 --> 00:23:32.720 How many projects do you work on at a time? One million. 333 00:23:33.440 --> 00:23:36.160 There's a lot. I will be going into production a couple of weeks or 334 00:23:36.160 --> 00:23:40.720 a film I'm producing with Laura Moss. I am in the process of setting 335 00:23:40.759 --> 00:23:42.640 up the next one that I'll be directing, and very exciting about that. 336 00:23:44.079 --> 00:23:45.960 Is there a good place for people to keep up with the film, to 337 00:23:47.079 --> 00:23:51.119 find out where it's playing and when it's coming out on streaming or digital? 338 00:23:51.119 --> 00:23:55.160 When I make it that it is our next exit underscore film on Instagram and 339 00:23:55.279 --> 00:23:59.599 next exit film on Twitter. We have to update that Twitter though, because 340 00:23:59.599 --> 00:24:02.640 we have a very good I'm a better at Instagram. I'd host everything on. 341 00:24:02.720 --> 00:24:08.480 Molly Elseman so very excited, but yeah, we can't wait for more 342 00:24:08.480 --> 00:24:11.480 people to be able to access this film and see it. I hope that 343 00:24:11.680 --> 00:24:15.160 it resonates, and I hope that people enjoy it and have some fun with 344 00:24:15.200 --> 00:24:18.559 it. Molly Katie, thank you so much for your time. It was 345 00:24:18.640 --> 00:24:22.519 great talking with you. Good luck with your international premiere. Thanks Mike, 346 00:24:22.640 --> 00:24:30.119 nice to meet you. Thank you. Amy Lefoy spotted at First Look like 347 00:24:30.160 --> 00:24:41.759 a local you. I don't know how you would tell you've ever seen anything 348 00:24:41.799 --> 00:24:56.000 like Christmas. This guy's insides have been shredded. It's doctor's cool persons, 349 00:24:56.240 --> 00:24:59.359 physics genius. He leased to play U up in Links Creek about fifteen months 350 00:24:59.359 --> 00:25:02.799 ago. I gotta head up to a Lynx creep. I'm gonna need some 351 00:25:02.839 --> 00:25:07.680 transportation. Something happened to this house since I last saw it. It's not 352 00:25:07.720 --> 00:25:33.119 the same. So let me see if I can get a man. What 353 00:25:33.279 --> 00:25:38.240 is allways? Act Magic Richards? They are opening the gates day out here 354 00:25:38.640 --> 00:25:52.720 and by telling your Parsons, he's at the center of it. What did 355 00:25:52.720 --> 00:26:10.279 you do? Up? Next, we're going to hear from director and Rue 356 00:26:10.319 --> 00:26:15.359 Morgue magazine Hancho Rodrigo Guccino, all about his film The Breach. Rodrigo, 357 00:26:15.440 --> 00:26:18.079 thank you so much for your time today. Well, I'm very excited to 358 00:26:18.079 --> 00:26:21.240 talk to you about The Breach. Do you mind know if I ask you 359 00:26:21.279 --> 00:26:25.359 a little bit about The Last Will and Testament of Rosalind Lee? Please go 360 00:26:25.400 --> 00:26:30.359 ahead. I'm so curious as far as how you put that one together. 361 00:26:30.480 --> 00:26:34.160 That was your first feature, if I'm not mistaken, what that process was 362 00:26:34.200 --> 00:26:38.640 like, and that I want to compare that versus The Breach. The Last 363 00:26:38.680 --> 00:26:41.839 Will and Testament of Rosald Lee is my first film. Yeah, it was 364 00:26:41.880 --> 00:26:47.880 something that I wrote it came out of my heart. In my mind, 365 00:26:47.920 --> 00:26:53.839 it was a horror film that had some high thematic aspirations. It was an 366 00:26:53.839 --> 00:26:57.680 experiment because it was one person another person. Do you hear them, you 367 00:26:57.720 --> 00:27:03.079 don't see them, another person you're seeing, you're with them. There's only 368 00:27:03.079 --> 00:27:07.480 two people in the movie, but they're not connecting. They're speaking monologues and 369 00:27:07.559 --> 00:27:11.200 so on. Then anyway, so it was an experimental film that I did 370 00:27:11.200 --> 00:27:15.920 on one location. I found this incredible location and addressed it to suit the 371 00:27:15.960 --> 00:27:19.559 movie. Now with the breach, this is very different because this is a 372 00:27:19.599 --> 00:27:23.599 script that came to me. I didn't write it. I rewrote it when 373 00:27:23.640 --> 00:27:27.200 it arrived on my desk. It was called Gone up River. It had 374 00:27:27.240 --> 00:27:32.119 to do with people turning into bugs. I basically said, look, I'll 375 00:27:32.160 --> 00:27:34.799 shoot this if I can rewrite it. They gave me the go ahead, 376 00:27:36.119 --> 00:27:42.279 Raven Batter and the Craig Davidson AKA and Nick Cutter and his co writing partner 377 00:27:42.319 --> 00:27:48.279 Ian Weir, and a lot of that was solving plot problems and so on 378 00:27:48.279 --> 00:27:51.559 and so forth. But I wanted to obviously imbue it with my visual style 379 00:27:51.559 --> 00:27:55.799 and also my kind of horror happy places as a better way of putting it 380 00:27:56.119 --> 00:28:02.000 and build tension up until that final third act. For a week get to 381 00:28:02.000 --> 00:28:04.359 see everything warm out of the ground, and we get to see it in 382 00:28:04.400 --> 00:28:10.680 broad daylight. So they were two different processes. As I said, one 383 00:28:10.759 --> 00:28:15.839 of them it was more personal. This one was a bit less, but 384 00:28:15.680 --> 00:28:22.000 still really interesting and challenging and fun to do. Having the horror take place 385 00:28:22.119 --> 00:28:26.359 out of doors and in broad daylight, it's so refreshing. It's so much 386 00:28:26.440 --> 00:28:30.319 nicer than seeing just a creepy basement. You've got a creepy basement. You've 387 00:28:30.359 --> 00:28:33.359 got a lot of creepy stuff in here, but that broad daylight really helps 388 00:28:33.640 --> 00:28:37.000 mark this as a separate thing. I'm happy to hear you say that. 389 00:28:37.119 --> 00:28:41.400 I think that so many horror films, yeah, rely on the dark and 390 00:28:41.440 --> 00:28:47.240 the shadows to generate that sense of suspense, which is legit and totally fair. 391 00:28:47.799 --> 00:28:52.839 I think that maybe something that I learned with Rosalind Lee was that the 392 00:28:52.000 --> 00:28:57.000 entire movie spans one entire night, and that can be a little bit monotonous. 393 00:28:57.039 --> 00:29:03.480 It was nice halfway through the movie to be able to have the light 394 00:29:03.519 --> 00:29:07.079 come up, and we're just halfway through the movie. The sun's coming up 395 00:29:07.519 --> 00:29:11.200 and we're going to do the rest in the full lighted day. It certainly 396 00:29:11.279 --> 00:29:15.960 was challenging to shoot that way because of course weather and light doesn't cooperate. 397 00:29:15.079 --> 00:29:19.359 As a night time you can really control it better. But I'm really happy 398 00:29:19.400 --> 00:29:22.640 that we did it that way, and I'm glad it resonated. I was 399 00:29:22.680 --> 00:29:27.960 really impressed by your sets and the amount of wires and just insanity when it 400 00:29:29.039 --> 00:29:33.079 came to this electronic device that you know, we don't know what it does. 401 00:29:33.200 --> 00:29:37.519 For so much of the movie, it looked fantastic and the whole cottage 402 00:29:37.519 --> 00:29:41.880 in the wood looks terrific. Oh. Thanks, that was a lot of 403 00:29:41.920 --> 00:29:47.960 doing. I have to thank our production design and people on set for putting 404 00:29:48.079 --> 00:29:52.920 together the machine. And I should say Jim Goodall as a production designer and 405 00:29:53.200 --> 00:29:57.359 with respect to the house and so and so forth, that that house was 406 00:29:57.400 --> 00:30:03.559 built in a hotel ballroom, in several ballrooms in parts outside of the hotel 407 00:30:03.599 --> 00:30:08.720 and so on, where we had taken over shot a good percentage of the 408 00:30:08.759 --> 00:30:15.200 movie. So it was really put together piece meal or shot piece meal, 409 00:30:15.240 --> 00:30:18.400 and then put together in editing to make it look like one house. But 410 00:30:18.480 --> 00:30:22.480 that house as such doesn't exist. So I'm happy that you liked it so 411 00:30:22.559 --> 00:30:25.720 much, and where did you get your cast? They are very solid. 412 00:30:26.279 --> 00:30:30.240 A great director once said to me that casting is a ninety percent of the 413 00:30:30.319 --> 00:30:34.400 role, right, You cast well and you don't have to worry about directing 414 00:30:34.400 --> 00:30:38.319 the actors so much. And that's really how I came to this project. 415 00:30:38.319 --> 00:30:42.920 I was looking for serious actors and I was actually surprised. I didn't think 416 00:30:42.960 --> 00:30:47.880 that Alan Hawk. You never know, right, but I didn't think that 417 00:30:47.920 --> 00:30:51.960 maybe some of these actors maybe when they saw the script they would be like, 418 00:30:52.000 --> 00:30:56.960 oh no, this is maybe beneath me material. I was just really 419 00:30:56.000 --> 00:31:00.400 happy that they that they didn't look at it that way. They were just 420 00:31:00.480 --> 00:31:04.279 great sports about it. Natalie Brown, who's a stellar just a stellar actor. 421 00:31:04.799 --> 00:31:10.680 She's just incredible, and she was able to get into the gooey and 422 00:31:10.680 --> 00:31:14.519 the gory makeup and just go for that head wound and everything, and she 423 00:31:14.640 --> 00:31:18.240 just really brought it. But also obviously outside of that, they imbued their 424 00:31:18.319 --> 00:31:23.640 characters with They lifted those characters right off the page. And that's what we 425 00:31:23.680 --> 00:31:30.559 need in movies and horror movies particularly a lot of times when the directors might 426 00:31:30.680 --> 00:31:37.880 lose sight of acting and characterization when they have their eye on the gimmick of 427 00:31:37.920 --> 00:31:41.480 the movie or the gore effects and so on and so forth. But for 428 00:31:41.559 --> 00:31:44.680 me, it begins and ends with the actor. If the actor of the 429 00:31:44.799 --> 00:31:48.720 characters aren't alive, if they're not three dimensional, then the movie's going to 430 00:31:48.799 --> 00:31:52.759 suffer immensely. So I'm glad. I'm really happy, and you're not the 431 00:31:52.799 --> 00:31:57.079 first one to mention it. So I'm happy that's that people are taking notice 432 00:31:57.079 --> 00:32:01.799 of. That was fantagious, like your premiere. That was a world premiere 433 00:32:01.799 --> 00:32:05.799 in the movie. Yeah, it was a great premiere. Gosh, it 434 00:32:05.839 --> 00:32:08.039 sounded so good, it looks so good. I was like a kid in 435 00:32:08.079 --> 00:32:14.079 a candy store. I was really happy. It's fantastic. It was just 436 00:32:14.200 --> 00:32:17.759 really everything I could have hoped for. Really, how long did it take 437 00:32:17.759 --> 00:32:22.759 for the whole film to come together from the time that I got the script 438 00:32:22.759 --> 00:32:27.160 to the time I was shooting was actually quite fast and could have only been 439 00:32:27.200 --> 00:32:30.960 a couple of months. I shot the movie in I believe it was September 440 00:32:30.960 --> 00:32:36.039 at twenty twenty somewhere in there, and so ever since then I've been posting, 441 00:32:36.119 --> 00:32:39.200 So the post process was quite long. It was about a year, 442 00:32:39.240 --> 00:32:43.359 I would say, and the film was finished, I turned it in. 443 00:32:43.960 --> 00:32:47.039 I think it was May in terms of movie standards, it was actually quite 444 00:32:47.119 --> 00:32:51.200 quick. But you're looking at what a year and a half, two years, 445 00:32:52.440 --> 00:32:54.319 it feels like there was something else going on in twenty twenty, maybe 446 00:32:54.359 --> 00:33:00.559 like a global pandemic or something. Yeah, that was one of the things 447 00:33:00.599 --> 00:33:05.480 on that script landed on my desk at that shit, I'd love to do 448 00:33:05.519 --> 00:33:08.359 a movie. Come on and where everyone's stuck in this pandemic. Let's turn 449 00:33:08.440 --> 00:33:15.640 this this pandemic frowning into a smiley And thank god the script was solid, 450 00:33:15.880 --> 00:33:20.440 and thank god that everybody was on board for me to make some changes to 451 00:33:20.440 --> 00:33:24.160 it, and away we went. Shooting the film during the pandemics really had 452 00:33:24.160 --> 00:33:29.319 its challenges, but ultimately it was It was really exciting. It was really 453 00:33:29.359 --> 00:33:34.680 fun, and I hope some of that translated onto the screen. I'm unfamiliar 454 00:33:34.680 --> 00:33:39.400 with the original source material, which was what an Audible exclusive. It's funny. 455 00:33:39.440 --> 00:33:43.160 I never read the novel and I don't know anything about it. I 456 00:33:43.200 --> 00:33:45.279 know when I got the script it was called Gone up River as a movie 457 00:33:45.720 --> 00:33:50.119 that was a script about people turning into bugs. So I did change quite 458 00:33:50.160 --> 00:33:55.279 a bit. I changed characters, I changed relationships. I've changed some genders. 459 00:33:55.319 --> 00:34:00.880 I added plot points that took out plot points, introduced the whole idea 460 00:34:00.880 --> 00:34:07.920 of a breach and using Meg's character as a as as a breach, basically 461 00:34:07.000 --> 00:34:12.760 that this creature uses her to get into the world. I did a bunch 462 00:34:12.760 --> 00:34:15.000 of things to it. You know, the book came out later or the 463 00:34:15.000 --> 00:34:19.719 audible, and it's called the Breach. Maybe I added some stuff from the 464 00:34:19.760 --> 00:34:22.039 script to the book. I'm not too sure. I wanted it to be 465 00:34:22.119 --> 00:34:27.400 a bit more mysterious, something a little bit less defined, a little bit 466 00:34:28.039 --> 00:34:34.719 more visually interesting. So the idea of somebody trying to come into our world 467 00:34:34.719 --> 00:34:39.960 and using people's bodies but failing through this machine, succeeding when he does it 468 00:34:40.000 --> 00:34:45.679 through this woman's body, through her child. Basically, a lot of these 469 00:34:45.719 --> 00:34:49.360 ideas are buried in the script, and if you saw alas whole testament of 470 00:34:49.480 --> 00:34:52.679 rosal Late. I don't like to give people the story up front. I 471 00:34:52.800 --> 00:34:59.320 like them to investigate. It's a great place to investigate the story and to 472 00:35:00.000 --> 00:35:02.320 immerse yourself in it, but to be an active viewer. I wanted some 473 00:35:02.400 --> 00:35:07.599 of that in this script as well in this movie. To get the audience 474 00:35:07.639 --> 00:35:13.239 to not just sit there and be told the story, but to invite them 475 00:35:13.239 --> 00:35:16.639 into participating in it and try to figure out what it's about and what's actually 476 00:35:16.679 --> 00:35:21.360 going on. There was one name in the opening credits that surprised me, 477 00:35:21.480 --> 00:35:24.280 which was Slash. How did he get involved with us? I've known Slash 478 00:35:24.320 --> 00:35:28.679 for about ten years. We worked on a western together, a horror western 479 00:35:28.760 --> 00:35:30.880 that never got off the ground. It was called Cutthroats nine. It was 480 00:35:30.920 --> 00:35:37.960 a remake of a nineteen seventy two Italian Spanish co production, and we worked 481 00:35:37.960 --> 00:35:40.360 really well together when we're working on that. It's too bad it never got 482 00:35:40.400 --> 00:35:44.119 off the ground, but we saw it eyed a lot of things, and 483 00:35:44.159 --> 00:35:45.880 he's got a really good eye for story. So when this came along, 484 00:35:45.920 --> 00:35:49.119 I sent him the script. I said, what do you think of this? 485 00:35:49.199 --> 00:35:52.960 He said this is cool? And I said, when I produced, 486 00:35:52.039 --> 00:35:54.960 you want to do some music? He said, yeah, let's do it. 487 00:35:54.960 --> 00:36:00.480 It just happened really organically and quite quickly, because, like I said, 488 00:36:00.519 --> 00:36:02.559 but I got the script and a few months later I was shooting. 489 00:36:04.000 --> 00:36:07.079 So Rodrico, where's the best place for people? Keep up with you and 490 00:36:07.159 --> 00:36:12.199 keep up with the movie online? So you can checkout Romar dot com, 491 00:36:12.280 --> 00:36:15.480 Rude Dashmore dot com. There'll be some updates there, but also just launched 492 00:36:15.480 --> 00:36:22.760 on Instagram. I just got on Instagram eyes underscore wide, underscore cut on 493 00:36:22.840 --> 00:36:25.840 Instagram and that there'll be news. I'll be posting the there about where I 494 00:36:25.880 --> 00:36:30.360 am, where the movie's playing, and everything else related to the breach. 495 00:36:30.920 --> 00:36:35.320 Thank you so much, trying to go really appreciate this. Thank you so 496 00:36:35.400 --> 00:36:39.960 much, Mike, thank you for having me on the show. And last 497 00:36:39.960 --> 00:36:44.599 but not least, we're going to hear from director Luke Higginson and star Gabrielle 498 00:36:44.679 --> 00:36:49.360 Graham about Relax. I'm from the future. Enjoy the interview. Luke, 499 00:36:49.400 --> 00:36:51.559 I want to start with you. Can you tell me a little bit about 500 00:36:51.559 --> 00:36:53.719 you and your background. I know that you've done a ton of editing over 501 00:36:53.760 --> 00:36:57.320 the years, and then tell me a little bit more about that and your 502 00:36:57.440 --> 00:37:01.239 directorial efforts. I went to school, and most people go to film school 503 00:37:01.360 --> 00:37:07.039 want to be writers and directors, but I went to I really fell in 504 00:37:07.079 --> 00:37:08.880 love with the editing process, and I spent a lot of hours in the 505 00:37:09.000 --> 00:37:14.599 editing room and that sort of became my career path. Out of school, 506 00:37:14.679 --> 00:37:19.920 I immediately went into freelance editing, and did indie films, music videos, 507 00:37:20.239 --> 00:37:24.320 TV, whatever, and that's been how I've made money. But I've always 508 00:37:24.760 --> 00:37:29.119 wanted to do writing directing, never stopped doing that, and just done little 509 00:37:29.159 --> 00:37:32.880 shorts paid for out of pocket whenever I could. Actually, the very first 510 00:37:34.440 --> 00:37:39.679 thing that I edited out of film school was a microbudget feature written, directed, 511 00:37:40.239 --> 00:37:45.079 starring, and produced by Tim Dorn and April Mullen of Wango Films, 512 00:37:45.079 --> 00:37:49.960 who produced Relax. So literally the very beginning of my career was with these 513 00:37:50.000 --> 00:37:52.199 people who helped me make my first feature, which is a very fun, 514 00:37:52.280 --> 00:37:55.440 full circle thing. Gabrielle, how about yourself? When did you get into 515 00:37:55.440 --> 00:38:00.880 acting. I've always been a performer, didn't get serious about it until I 516 00:38:00.880 --> 00:38:04.079 went to university. Once it was time for me to graduate high school, 517 00:38:04.079 --> 00:38:07.400 I was like, I either want to be a midwife or I want to 518 00:38:07.400 --> 00:38:09.360 be an actor. And then I didn't have the science credits, so I 519 00:38:09.400 --> 00:38:13.519 just went to York or like, I was in the conservatory there, and 520 00:38:13.559 --> 00:38:16.360 then I studied there for like for five years, and then right out of 521 00:38:16.760 --> 00:38:21.119 university I got an agent and then how long, I don't remember how long 522 00:38:21.199 --> 00:38:23.880 ago that was. I think it might be eight or nine years now, 523 00:38:24.320 --> 00:38:30.239 I think I'm guessing, but yeah, I've always loved performing and being on 524 00:38:30.320 --> 00:38:34.440 screen. This was based on a short film that you made Luke back in 525 00:38:34.639 --> 00:38:39.400 what was it twenty twenty thirteen, twenty thirteen. Wow, that's wild. 526 00:38:39.440 --> 00:38:44.039 Can you tell me about how that was making that? Since graduating, I 527 00:38:44.199 --> 00:38:46.360 just tried to make little shorts whenever I could, for as little money as 528 00:38:46.360 --> 00:38:52.000 I could. And I just had this little idea stuck in my head of 529 00:38:52.599 --> 00:38:58.800 I fundamentally like the idea of someone as sort of consequential as a time traveler, 530 00:38:59.440 --> 00:39:06.760 having no good plan or set way of behaving, and that sort of 531 00:39:07.159 --> 00:39:09.159 little seed of an idea was just stuck in the back of my head. 532 00:39:09.199 --> 00:39:14.360 And I one day just sat down and banged out a script that was very 533 00:39:14.360 --> 00:39:17.239 close to the finished short and sent it to some people. People liked it. 534 00:39:17.360 --> 00:39:22.559 My good friend Zachary Bennett. I asked him to play the lead and 535 00:39:22.880 --> 00:39:25.639 he did it for free, which is wonderful, and he's actually in the 536 00:39:25.639 --> 00:39:30.480 feature right now. He plays Chuck in the feature. And yeah, it 537 00:39:30.559 --> 00:39:34.239 just all came together really quickly and easily, and it was fun to make, 538 00:39:34.320 --> 00:39:38.320 and people liked it pretty immediately, and they played TIFFs and the sort 539 00:39:38.320 --> 00:39:42.360 of number one thing that people said when they watched it was, so, 540 00:39:42.400 --> 00:39:44.320 what are you doing with this? You did in feature, You're doing a 541 00:39:44.320 --> 00:39:47.360 TV show? And so I thought about that for the first time when people 542 00:39:47.360 --> 00:39:52.480 started saying that, and proceeded to spend a decade banging my head against the 543 00:39:52.480 --> 00:39:54.119 walls. I had to turn it into a feature script that I liked. 544 00:39:54.239 --> 00:39:59.239 But it Yeah, that's how it came to be. Was there a moment 545 00:39:59.239 --> 00:40:00.840 when it all came into place for you and You're like, Oh, this 546 00:40:00.880 --> 00:40:05.840 is how I'm going to turn this into a feature. No, it was 547 00:40:06.000 --> 00:40:10.679 more of a slow process of many versions and revisions, and the main thing 548 00:40:12.119 --> 00:40:16.079 that made it fall into place was showing an early version of the script to 549 00:40:16.119 --> 00:40:22.559 a few people I trusted, and across the board, the relationship between Casper 550 00:40:22.559 --> 00:40:27.320 and Holly was the thing that people connected to, was the thing that people 551 00:40:27.400 --> 00:40:32.519 liked, and so that went from significant but side part of the script to 552 00:40:32.840 --> 00:40:37.440 really the central sort of focus and relationship of the film, which was I 553 00:40:37.440 --> 00:40:42.480 think what unlocked it into being something that worked. When did you feel that 554 00:40:42.559 --> 00:40:45.280 it was ready for prime time and you started to pursue this as a feature. 555 00:40:45.800 --> 00:40:52.800 Basically, when Tim My producer read it and said, I think this 556 00:40:52.840 --> 00:40:55.440 can be a movie. He who got really excited by it when I showed 557 00:40:55.440 --> 00:40:58.760 it to him a few years ago. I was editing a film that he 558 00:40:58.840 --> 00:41:02.000 produced and talking about it and he was interested and he immediately was like, 559 00:41:02.079 --> 00:41:06.320 I think we can make this not going to be too expensive. I think 560 00:41:06.360 --> 00:41:10.320 it's got some legs. Then we proceeded to yet try and figure out casting, 561 00:41:10.480 --> 00:41:15.239 and like in Loop and Gabby here, we got all of our lead 562 00:41:15.280 --> 00:41:22.840 cast in different ways. But Gabby is the one person who I found early, 563 00:41:22.960 --> 00:41:25.920 and it was from watching Possessor. I was just watching Possessor Random Lakes 564 00:41:25.920 --> 00:41:29.079 so long to see it, and I was immediately like, who is this? 565 00:41:29.079 --> 00:41:34.519 This is this person pops on the screen incredibly and I looked her up. 566 00:41:34.519 --> 00:41:37.000 I looked if she was playing a character in that movie named Holly, 567 00:41:37.119 --> 00:41:42.239 which seemed magical and it's a comedy, and I was like, I wonder 568 00:41:42.280 --> 00:41:45.159 if she's funny. And I looked up and so she did the Lena Waits 569 00:41:45.199 --> 00:41:50.159 show twenties, and so I watched that show, which was really good, 570 00:41:50.199 --> 00:41:52.719 and she's great on it. I was like, and even though it's a 571 00:41:52.800 --> 00:41:58.960 really different character than Holly, she just clearly had comedic chops and had timing, 572 00:41:59.039 --> 00:42:00.719 and I was moment on. I was like, this is my hallway 573 00:42:00.840 --> 00:42:05.920 and we need to get her and I begged her to do it and she 574 00:42:05.960 --> 00:42:12.679 said yes, I couldn't not every What did you think when you first saw 575 00:42:12.719 --> 00:42:15.239 the script? Well, yeah, I just I couldn't not say as I 576 00:42:15.280 --> 00:42:17.559 love the script and I love I just love the fact that I get to 577 00:42:17.679 --> 00:42:22.760 it was so different from what I usually get to play. And I don't 578 00:42:22.760 --> 00:42:28.280 think like I've ever seen or rarely ever see like a black like punk a 579 00:42:28.320 --> 00:42:30.800 punk black girl on screen. So I was like, this is so different 580 00:42:30.840 --> 00:42:34.880 from what I've done. I would love to do this and explore this world. 581 00:42:35.079 --> 00:42:40.360 Like she's just so badass and unapologetically herself but also lazy. It was 582 00:42:40.400 --> 00:42:46.039 like very much meat the tea and yeah and funny, and like even seeing 583 00:42:46.039 --> 00:42:51.239 it, I was like, you don't realize how funny, exactly how funny 584 00:42:51.239 --> 00:42:53.639 it is until you watch it, and it's even funnier watching it. So 585 00:42:53.920 --> 00:42:58.920 yeah, I was like I could do it. Tell me about the actual 586 00:42:58.920 --> 00:43:00.960 shooting of it, and when did you make this? Was this during the 587 00:43:00.960 --> 00:43:07.119 pandemic? Yeah? We shot it end of November through December. It was 588 00:43:07.159 --> 00:43:12.679 eighteen days. We I think December twenty third, twenty twenty one was the 589 00:43:12.719 --> 00:43:16.480 last day of shooting. We only had rest for fifteen days. It was 590 00:43:17.280 --> 00:43:22.119 a lot, a lot to get in a very short time. And as 591 00:43:22.239 --> 00:43:25.519 as my ad was fond of reminding me, there's a lot of locations in 592 00:43:25.519 --> 00:43:30.199 my film for a low budget movie, and it was a real organizational challenge 593 00:43:30.239 --> 00:43:37.440 and a lot of lines for specifically for Gabby and rest learn and deliver a 594 00:43:37.480 --> 00:43:39.920 lot of lines per day. But yeah, we got it done. It 595 00:43:39.960 --> 00:43:43.719 does not look like a low budget film. I would not think that, 596 00:43:43.840 --> 00:43:46.719 but it has a good sheen to it, and then I think casting some 597 00:43:47.119 --> 00:43:52.360 real good faces and some real solid actors, of course Gabriel yourself included. 598 00:43:53.280 --> 00:43:57.920 It is so nice because you think that you know, even the title of 599 00:43:57.960 --> 00:44:01.360 it is coming from Casper, but then whole film hinges on Holly and just 600 00:44:01.599 --> 00:44:06.320 her reaction to all of this, and just feed them those nachos right from 601 00:44:06.320 --> 00:44:08.440 the beginning, and you don't know where we're gonna go with this. And 602 00:44:08.519 --> 00:44:15.280 Julian Richings I love him and he always brings such a great presence to films, 603 00:44:15.320 --> 00:44:17.800 and that face is so good. Oh yeah, absolutely. Now he's 604 00:44:17.800 --> 00:44:23.239 a legend disease and I wanted him in the film and asked him to be 605 00:44:23.320 --> 00:44:29.400 in it, and I was unprepared for how unbelievably sweet he would be. 606 00:44:29.519 --> 00:44:31.320 He's like the nicest man in the world. And Yeah, there was a 607 00:44:31.320 --> 00:44:35.559 pleasure, pleasure to work with. That's amazing. Yeah, it just feels 608 00:44:35.559 --> 00:44:38.000 like you had so many moving parts. Just like you said, all the 609 00:44:38.079 --> 00:44:43.440 locations and just all of these kind of monologues as far as what's going to 610 00:44:43.559 --> 00:44:46.360 happen, all the characters. You just kept adding more characters. I thought 611 00:44:46.360 --> 00:44:49.719 that we were done. It was going to be like a two person thing 612 00:44:49.800 --> 00:44:52.599 than a three person thing, and it just kept building. I really appreciated 613 00:44:52.679 --> 00:44:55.880 that my ad did not, but thank you. Yeah, I'm glad. 614 00:44:58.679 --> 00:45:00.599 Gabrielle. What was your experience like on it? Oh? I love it. 615 00:45:00.639 --> 00:45:04.480 I had so much fun. Like I said before, like just being 616 00:45:04.519 --> 00:45:09.400 able to explore just being like a punk badass was fun. And like listening 617 00:45:09.440 --> 00:45:13.519 to the music every day. I did that a lot. And working with 618 00:45:13.960 --> 00:45:15.480 Yeah, even working with the Reese was final. It was interesting because we 619 00:45:15.559 --> 00:45:21.199 have like nothing in common, but like on screen, there was so much 620 00:45:21.280 --> 00:45:23.360 chemistry and I was like even like when I was watching it was like, 621 00:45:23.360 --> 00:45:28.599 oh it actually it worked really well. But yeah, no, I had 622 00:45:28.639 --> 00:45:32.000 lots of fun. That's good In praise of Dabbian Rees in particular day, 623 00:45:32.719 --> 00:45:39.320 Like we said, we shot in December and Hamilton, Ontario and it was 624 00:45:39.360 --> 00:45:44.719 cold, and the plan for the film was to shoot it in late summer 625 00:45:44.920 --> 00:45:47.920 early fall, and that's also what sort of the wardrobe was based around, 626 00:45:47.920 --> 00:45:52.599 because I didn't want people in heavy winter jackets like all the spouder cool leather 627 00:45:52.679 --> 00:45:59.000 jacket. It's light, light costumes and very cold weather to get that in. 628 00:45:59.079 --> 00:46:04.760 And specifically there's a scene in a playground between Holly and Casper, which 629 00:46:04.800 --> 00:46:07.880 is one of my favorite scenes in the film, and it was so fucking 630 00:46:08.000 --> 00:46:15.119 cold, and they were just such unbelievable champs about it. They were rushing 631 00:46:15.119 --> 00:46:20.119 to the warm up van between every take and sitting on a cold metal playground 632 00:46:20.159 --> 00:46:25.039 structure while they delivered these so they're very thematically important and emotional lines and that 633 00:46:25.119 --> 00:46:29.880 were also add to be funny and they just nailed it. And I am 634 00:46:30.440 --> 00:46:35.039 very rightful the cast. It moves so quickly. Did you end up editing 635 00:46:35.039 --> 00:46:37.760 your own film or did you hire an editor. I did. Yeah, 636 00:46:37.760 --> 00:46:42.440 I edited it, and then basically for the first few months I was not 637 00:46:42.960 --> 00:46:45.719 comfortable letting someone else touch it. For the first little bit I needed to 638 00:46:45.760 --> 00:46:50.679 cut it and do my version of the film. But then I did get 639 00:46:50.719 --> 00:46:53.960 to a point where I was like, Okay, this is good, but 640 00:46:54.159 --> 00:47:00.280 I am hitting a wall where I'm losing my objectivity, where I know that 641 00:47:00.360 --> 00:47:04.960 this can be elevated to a new place, but I am too stuck in 642 00:47:05.599 --> 00:47:07.920 what I've done and what I know about it. And we brought in this 643 00:47:07.960 --> 00:47:13.440 other editor named Matthew m Asked, who has worked on the show Cardinal and 644 00:47:13.519 --> 00:47:15.559 a bunch of other stuff, and who's a very accomplished editor, and he 645 00:47:16.119 --> 00:47:23.719 basically took my edit and just did a past himself and just did in some 646 00:47:23.800 --> 00:47:30.079 scenes just a couple of tiny little tweaks. He did one big structural change 647 00:47:30.119 --> 00:47:36.480 involving Doris and the introduction of Doris, which really helped unlock the pacing of 648 00:47:36.480 --> 00:47:39.719 that section of the film, and just really I can't say enough. You 649 00:47:39.840 --> 00:47:43.840 just elevated. He just brought it to the next level. He was working 650 00:47:43.880 --> 00:47:47.880 pretty good, and then that was what it needed to be to be polished, 651 00:47:47.960 --> 00:47:52.360 yeah, which was a great collaboration. Yeah, we talked a little 652 00:47:52.400 --> 00:47:54.679 bit about the cold, but what about the COVID How was that as far 653 00:47:54.719 --> 00:48:00.480 as like shooting in safety conditions. Yeah, I'm very proud that no one 654 00:48:00.519 --> 00:48:05.159 caught cold on our set. We were shooting in a real danger zone when 655 00:48:05.159 --> 00:48:07.639 we were shooting the bunker stuff. But there was another film just across the 656 00:48:07.719 --> 00:48:12.559 lot that like got shut down twice while we were there for comrading. So 657 00:48:12.639 --> 00:48:15.239 I am proud. I think we did a good job of avoiding that no 658 00:48:15.239 --> 00:48:19.480 one, no no cases, which is good because I don't know how we 659 00:48:19.519 --> 00:48:22.760 would have afforded to keep going. Give me hand and able to see we 660 00:48:22.800 --> 00:48:24.800 had shutdown, we would have been like, hey, Ray, so I 661 00:48:24.800 --> 00:48:29.800 want to come back from your comedy tour to do a couple of pickup shots 662 00:48:29.800 --> 00:48:34.639 in Hamilton. And I'm grateful that that worked out. Yeah. I'm not 663 00:48:34.719 --> 00:48:37.480 really good at following the rules, like the COVID count of calls by keeping 664 00:48:37.519 --> 00:48:40.480 my because you constantly had to go on say and then come out, and 665 00:48:40.480 --> 00:48:43.840 then it's like on and off. It's not really good at that, but 666 00:48:44.199 --> 00:48:46.880 I stayed pretty secluded. You're also one of the people whose job it was 667 00:48:46.920 --> 00:48:52.159 to not wear a mask. So it's yeah, Gabriel, how do you 668 00:48:52.159 --> 00:48:54.800 find a character like Holliger? Just what's your method when it comes to building 669 00:48:54.800 --> 00:49:00.800 a character. I think I bought coaching, and it's the main thing that 670 00:49:00.880 --> 00:49:04.920 my acting teacher told me to do was immerse myself in the music, just 671 00:49:05.000 --> 00:49:08.920 to constantly do that and then listen to it and experiment with how Holly moves 672 00:49:09.000 --> 00:49:14.079 and her voice and her attitude. So music is a big thing for me. 673 00:49:14.519 --> 00:49:16.119 And then just looking at like the script as a whole, and then 674 00:49:16.159 --> 00:49:22.519 looking at the trajectory of Holly's story and she makes a full circle because she 675 00:49:22.559 --> 00:49:25.360 goes from not she used to care and then she just stopped caring and then 676 00:49:25.880 --> 00:49:30.599 this thing happened, and she also like going back to who she really is 677 00:49:30.119 --> 00:49:34.840 and how that happens and like all the important you know parts in the story 678 00:49:34.880 --> 00:49:37.920 that get her to that. Yeah, by the end, you're leading an 679 00:49:37.039 --> 00:49:42.480 army. It's pretty great. Yeah. Yeah, Gabby was amazing through that. 680 00:49:42.920 --> 00:49:46.679 She really was so committed and so like just for to day one moment 681 00:49:46.679 --> 00:49:52.320 one just had the character down and just was she was a rock to the 682 00:49:52.320 --> 00:49:59.360 whole thing. Really real good actor. This Gabby helped too like just such 683 00:49:59.400 --> 00:50:02.519 a bad ass. Look. Ye he said, you guys had Reese for 684 00:50:02.840 --> 00:50:07.679 fifteen days? How long did the shoot take in total? It was eighteen 685 00:50:07.760 --> 00:50:14.880 days in total, And yeah, so yeah short when Reese was on board. 686 00:50:15.400 --> 00:50:19.519 Reese's Reesetarvey is one of the funniest people on the planet. He's unbelievably 687 00:50:19.519 --> 00:50:24.039 funny, and he is an improv whiz and he is so like quick. 688 00:50:24.159 --> 00:50:31.519 And when we got Reese as Casper, I immediately knew that despite our budget 689 00:50:31.599 --> 00:50:36.440 level, having two cameras was probably going to be essential, Like we were 690 00:50:36.480 --> 00:50:38.920 going to need Ay, we were going to need Holly and Cash we're both 691 00:50:39.000 --> 00:50:44.599 there at the same time, and to have the two actors like able to 692 00:50:44.639 --> 00:50:50.599 play off each other and to be able to get reactions and improv and have 693 00:50:50.719 --> 00:50:53.719 all that be captured and usable in the edit. And so that was a 694 00:50:53.800 --> 00:50:59.599 decision made early on that with a different actor, you might want to shoot 695 00:50:59.679 --> 00:51:02.760 this a little differently in terms of how the camera would move for some of 696 00:51:02.760 --> 00:51:08.000 the dialogue scenes. But like this, it was essential for who we had 697 00:51:08.079 --> 00:51:12.119 and what we were doing that we shot it this way and that it was 698 00:51:12.599 --> 00:51:16.079 yeah, we didn't lose anything because it was gold like the improv that gabbing 699 00:51:16.119 --> 00:51:21.079 rested together was like needed you needed that on camera. It seems a little 700 00:51:21.159 --> 00:51:23.599 unconventional, but I can totally see why you'd want to do that. Well, 701 00:51:23.639 --> 00:51:28.039 that's not a thing at two cameras. It depends on the budget level. 702 00:51:28.079 --> 00:51:30.320 It's definitely a thing if you have money, but it's a lot cheaper 703 00:51:30.320 --> 00:51:35.239 to have one camera. It's the whole thing of time is money too, 704 00:51:35.280 --> 00:51:38.840 and if you can get what you need with two cameras, it's probably worth 705 00:51:38.880 --> 00:51:42.679 it, basically, but it's a trade off, right like that, you 706 00:51:43.440 --> 00:51:46.320 having two cameras limits what you can shoot with one of the cameras because the 707 00:51:46.360 --> 00:51:50.840 other camera might be in the shot. Like, you make sacrifices when you 708 00:51:50.960 --> 00:51:53.760 do that. But I thought it was one that was worth making. So 709 00:51:53.760 --> 00:51:58.280 when it is the first time you guys see this with an audience at the 710 00:51:58.480 --> 00:52:01.559 screening at Fantasia that happened last week, I think, Gabby, you basically 711 00:52:01.559 --> 00:52:04.440 hadn't seen any of it, right, Like you had seen a couple of 712 00:52:04.440 --> 00:52:07.760 little clips for your ADR, which we a bit of a side note, 713 00:52:07.840 --> 00:52:12.880 was a bit of a clusterfuck for Davy. We had to record a dr 714 00:52:13.239 --> 00:52:19.280 to get the film ready for Fantasia and thankfully very little for for Gabby, 715 00:52:19.639 --> 00:52:24.079 but there was some stuff we needed and we booked her at a recording studio 716 00:52:24.760 --> 00:52:30.599 fully being like we need adr recording for a movie. And she came in 717 00:52:30.760 --> 00:52:34.719 and in Ottawa where she was doing a movie, and we zoomed in and 718 00:52:34.800 --> 00:52:37.159 we were just like, okay, let's see the footage up on the screen 719 00:52:37.199 --> 00:52:39.239 for her to record a DR two. And they were just like, what 720 00:52:39.360 --> 00:52:46.400 footage? What video? So that was a real that was a real heart 721 00:52:46.440 --> 00:52:51.880 in the throat moment, and Gavey was a real pro and made it work 722 00:52:51.960 --> 00:52:59.599 regardless. It was a scary situation. But the first time Gabby saw was 723 00:52:59.679 --> 00:53:04.119 Fia and the first time I saw it with more than six people was that, 724 00:53:04.239 --> 00:53:07.760 which was really cool. How many times did you see it? Like, 725 00:53:07.800 --> 00:53:13.039 how many times did be watched it? Obviously that's yeah, counting when 726 00:53:13.039 --> 00:53:16.800 I'm editing a hundreds, but like in terms of no stopping front to back 727 00:53:16.840 --> 00:53:22.639 with a group of people, probably like fifteen to twenty something like that. 728 00:53:22.960 --> 00:53:30.760 Yeah, but I get tired, yes, very much. But that you 729 00:53:30.920 --> 00:53:34.679 like, were like, I wass say seen that I was sitting that Yeah, 730 00:53:34.760 --> 00:53:37.440 yeah, yeah, that's all I see all I see is the stuff 731 00:53:37.599 --> 00:53:42.360 I wish I had done differently or better. But I will say the fantageous 732 00:53:42.360 --> 00:53:45.480 greeting was very special because that was seeing with an audience full of people that 733 00:53:45.599 --> 00:53:50.199 laughed at all the jokes and that cheered at a couple of the big moments. 734 00:53:50.280 --> 00:53:54.639 Was like that that really allowed me to silence my inner self critics for 735 00:53:54.760 --> 00:53:59.760 at least a little bit and enjoy the experience. It was really great. 736 00:54:00.079 --> 00:54:01.719 Yeah, I loved it. I loved it too. It was like interesting 737 00:54:01.719 --> 00:54:05.280 for me too because it was the first time I saw it, so I'm 738 00:54:05.280 --> 00:54:07.519 also I also have the actors bring on and I'm like, well that was 739 00:54:07.559 --> 00:54:10.840 good. But well after I told you, goes like it was amazing. 740 00:54:10.880 --> 00:54:14.599 It was. I loved it. It was so funny and I loved I 741 00:54:14.639 --> 00:54:17.239 was surprised at how much improv that they kept. I loved the scene at 742 00:54:17.280 --> 00:54:21.280 the park. Yeah, it was just so fun and I helped a lot 743 00:54:21.320 --> 00:54:24.599 of people get to see it. I was very emotionally prepared for ninety minutes 744 00:54:24.639 --> 00:54:29.920 of uncomfortable silence. I was really liking, like letting myself if it happens, 745 00:54:29.960 --> 00:54:31.519 you just have to be ready for it for that. But yeah, 746 00:54:31.800 --> 00:54:36.119 when we got the first last, I was like, okay, and then 747 00:54:36.119 --> 00:54:38.039 it just kept going all through it. It was a magical experience. It 748 00:54:38.079 --> 00:54:42.599 was really great. Yeah, did they laugh or react to anything that you 749 00:54:42.639 --> 00:54:46.079 were surprised? Yeah, a few times. Actually they laughed at all the 750 00:54:46.079 --> 00:54:49.519 stuff that I wanted them to laugh at, which was great. But yeah, 751 00:54:49.559 --> 00:54:52.320 there was a few things. There was a couple times where a joke 752 00:54:52.440 --> 00:54:59.480 that I was actually expecting to get a big laugh got almost drowned out by 753 00:54:59.480 --> 00:55:02.920 people laughing at something a moment before that I hadn't thought was a big laugh 754 00:55:02.960 --> 00:55:07.840 line, Like but it's a couple of times in your first diner scene with 755 00:55:07.880 --> 00:55:12.639 Reese with with the Balls, there's some like a bunch of back and forth 756 00:55:12.719 --> 00:55:15.159 patter there, and there was like I'd be like, oh, this line's 757 00:55:15.159 --> 00:55:16.920 coming out, they're gonna laugh at and then they instead laughed at the line 758 00:55:17.000 --> 00:55:20.559 right before it, and so yeah, but it was Yeah, it was 759 00:55:20.599 --> 00:55:24.840 great. The Yeah, it was great. People people liked it. How 760 00:55:24.880 --> 00:55:30.599 much when Polly's like smokes doors like me turned into dust, Like how much 761 00:55:30.639 --> 00:55:32.039 of a proud moment that was for everyone. I was like, wow, 762 00:55:32.280 --> 00:55:37.360 everyone was clapping and I was like whoa. Yeah, people clapping and cheering 763 00:55:37.679 --> 00:55:40.800 for that sort of day climacting moment was that's I'm gonna I'm gonna remember that 764 00:55:40.800 --> 00:55:44.559 for a while. That was a good seal. Yeah, So what now, 765 00:55:44.679 --> 00:55:49.199 what's next for the film? Um, we are. We've submitted to 766 00:55:49.199 --> 00:55:53.440 some more festivals and there's interesting people that are watching the film. We're kind 767 00:55:53.480 --> 00:56:00.559 of figure out the distribution rights for North America right now. Hopefully I will 768 00:56:00.599 --> 00:56:05.559 have news on that soon, but I can't say yet. But regardless, 769 00:56:05.599 --> 00:56:07.599 in twenty twenty three, we'll be getting we'll be getting a wide release. 770 00:56:07.800 --> 00:56:13.400 And yeah, now, is this a full time job for you now trying 771 00:56:13.400 --> 00:56:15.840 to get it out there and get the distribution and all this kind of stuff, 772 00:56:15.920 --> 00:56:20.119 or are you working on other things at the same time. It could 773 00:56:20.159 --> 00:56:23.880 be if it paid, but no, I'm I'm I'm back to editing right 774 00:56:23.920 --> 00:56:29.000 now. But I'm doing this sort of and when I'm not raising a baby 775 00:56:29.239 --> 00:56:32.960 or editing for money, I'm doing stuff for relax And but yeah, it's 776 00:56:32.960 --> 00:56:37.199 all going well and I've got a great The producing team on the film is 777 00:56:37.239 --> 00:56:42.920 fantastic. Wangel Films has really they've been shepherding lifting the whole time and they're 778 00:56:42.920 --> 00:56:45.920 on top of it. I'm excited. I'm excited for the mix ups. 779 00:56:45.360 --> 00:56:52.199 Gabrielle. I know that you probably are just out there auditioning, doing your 780 00:56:52.239 --> 00:56:57.599 thing, because I know it is always go for actors and actresses. Yeah 781 00:56:57.719 --> 00:57:00.599 only Yeah, that's all that it is. It turned just it's like a 782 00:57:00.760 --> 00:57:04.320 it's a job. So I'm doing all day every day and memorizing lines and 783 00:57:04.440 --> 00:57:07.679 I'm distening memorizing line nitions, and I take classes as well, and I'm 784 00:57:07.679 --> 00:57:13.199 going to go to Italy for an acting intensive. That's what I do in 785 00:57:13.239 --> 00:57:15.360 between my jobs. Like I know, I see it as a sport. 786 00:57:15.559 --> 00:57:22.679 Just thinking I'm tuning Italy in December sounds a lot nicer than Toronto and December. 787 00:57:22.079 --> 00:57:24.599 Is there a good place for people to keep up with you guys in 788 00:57:24.639 --> 00:57:30.960 the film online? Yeah, you can follow me on Twitter Luke Cut's video 789 00:57:31.599 --> 00:57:37.400 and on Instagram. Relax the movie has an account that starting to get a 790 00:57:37.400 --> 00:57:43.199 little more active and yeah, and look up, look up Relaxing from the 791 00:57:43.199 --> 00:57:46.519 Future. And there's there's stuff coming out significantly every few days, which has 792 00:57:46.559 --> 00:57:51.039 been nice, awesome. Today we're one hundred percent on Rotten Tomatoes und percent 793 00:57:51.119 --> 00:57:54.079 fresh, which is pretty cool. Yeah, excellent, Gabrielle about yourself. 794 00:57:54.119 --> 00:57:58.920 Are you on the socials one? I deleted my Instagram for a bit, 795 00:57:59.320 --> 00:58:04.599 but it's not the activated. So if you're wonderful me mister grab my last 796 00:58:04.639 --> 00:58:08.519 name, Graham, Gabrielle, Luke, Gabrielle. Thank you so much for 797 00:58:08.519 --> 00:58:10.960 your time. This is such a pleasure talking with you. Thank you so 798 00:58:12.039 --> 00:58:14.679 much, Mike. This thing has been great to do. Thank you. 799 00:58:15.119 --> 00:58:17.760 Thanks for listening. Folks. If you want to hear more of what's playing 800 00:58:17.760 --> 00:58:23.079 at the Fantasia Film Festival, be sure to check out Fantasia Festival dot com 801 00:58:23.079 --> 01:02:51.599 Today to the po