The Chilly Effect is sponsored by Walt Street, Window dot Com and listeners like
you Yeah now most und check Charing June twenty eight, twenty twenty three,
allegedly according to that thing we call a calendar, and this is indeed the
show you're looking for. How do I know this because you're hearing me rattle
on like I do. Anyway, it is Welden's Day, Wednesday, the
middle of the week, and we are doing a video tonight. But if
you're hearing us on the live stream, you have no idea about it.
If you're hearing the live podcast version of this thing that goes out via the
various internet radio stations and all that, you don't care. If you're hearing
the podcast or whatever, you don't care. But if you go over to
Rock Then and a couple of other places on occasion like Rumble, you will
see us. No more YouTube. But anyway, had to do a video
tonight. Why Okay, a guest I've wanted for quite a long time.
I'm really happy to have with me, Dylan Avery, And well we could
we could go into the thing that I'm sure everybody's gonna ask me hate million
questions about afterwards and why didn't I mention it. It's because life moves on,
and you know, great work of the past is great work of the
past. That's true. And we will discuss that briefly maybe, but I
want to talk about some other stuff anyhow, because I took note of something
on a social media before we went to air and was talking to him about
it, and well, hell, you'll hear it in the moment, so
anyway, welcome to it, Dylan Avery. How you doing tonight, sir,
I'm good man. How are you doing. I'm doing okay. You
know, you probably have never heard of me before. I know I've heard
of you a lot, and certainly you and I had interesting times on a
platform called YouTube. You viral famous and all that, me subsisting for a
while over there. But either way, I'm gone from YouTube. Do you
still exist on YouTube? By the way, mmm, I suppose technically.
I mean, like it was not like none of the none of the loose
Change stuff was ever like under like my personal YouTube or anything. So I
have a YouTube. I mean, it's got like a lot of the short
films I've made over the years, and like a lot of my music videos
for Remo Conscious and stuff. Like that. But I mean, like,
you know, nobody, nobody really like followed me personally after the fact,
which is fine, But I'm just saying, like the the the Loose Change
traffic and my personal traffic don't align with each other just because they were just
like two completely separate things. And I don't even think I made my own
YouTube until like twenty seven ate something like that. So yeah, yeah,
well I got it strange. And I've got just one question really related to
Loose Change, and that is that, Look, let's just be honest for
a moment. It was an intensely earth shattering thing when it comes to all
media and the well nine to eleven truth in general. H. You made
great waves among people, people who are considered to be extremely important, among
the fringe, among the you know, the dreaded conspiracy theorists. H.
You made a lot of waves. And you have gone now from that moving
forward, right, and you went through a time when well there was a
lot more of a wild West feel to the internet. Uh and video production
and stuff like that. Tell me something, what is it like to be
attached to something like that? And uh? And then well again clearly because
there are people probably still discovering loose change as we speak, right, I
mean I've gotten word from people as of a couple of years ago. Hey,
I finally saw a loose change, and I'm like, oh, well,
when did you land on the planet? You know, Um, it's
it's a weird thing. But um, what does it like to go from
that to attempting to you know, not not just be yourself. It's not
like you were swallowed up in that and that's all you were. But what
does it like to go from that to you know, to really wanting to
make sure that people see the other talents you have because you have First of
all, loose change is primarily such a huge thing because it is innovative,
it's interesting, it is the pacing. I don't know about your process or
your storyboarding or anything like that, but clearly you have talent as a filmmaker
that has nothing to do with nine to eleven truth that you could have made
movies about toasts and done well, I think, but you did seize upon
something at exactly the right time. What does it like to go from that
to this modern era of strangeness that is video production and all that as we
speak, where people have gotten a hold of you know, all sorts of
fancy programs and things that were rarefied and hardly ever seen when you started doing
that movie. What is that transition? Like, can you tell me about
that? I mean, that's a really good way of asking me that question.
And about that. Oh, one of the last things you mentioned was
like the world of strangeness, and I mean, like that was kind of
well, I mean it was the one of the last takeaways, but I
think one of the biggest takeaways because that really is it is this current world
of strangeness and kind of where the country is and where the world is in
general, and to kind of like look at that side by side to you
know, early two thousands Bush administration, Iraq War like it it. You
know, it's gonna sound so cliche, but like it feels both so long
ago and also like yesterday. But um but you know, like the post
nine to eleven era, I mean, we're obviously still living in it,
but um, I don't know. I'm trying to like look back and identify
a point where like the threshold was finally crossed, and maybe it was the
twentieth anniversary of nine to eleven, because you know, like twenty twenty one,
it was a pretty interesting year. And then you know I did I
actually did something with architects and engineers for nine eleven Truth called The Unspeakable.
It's free to watch on YouTube if anyone wants to go check it out.
But that was my nine to eleven twentieth anniversary piece. So I mean,
like I'm still I'm still involved, and it's still something I care about,
and I you know, like I said, it's free on YouTube, So
if you're looking for some new nine eleven documentary to watch that's also made by
the guy that made Lose Change, it's on YouTube. Like I said,
the Unspeakable the thumbnails Bob mclvane, and that was you know, that was
really what kind of drew me to it. And I don't really want to
get into the whole like protracted like backstory of how I kind of wound up
directing that, but you know, I found something that within the last twenty
years I felt hadn't really been focused on or it was something that I at
least felt was like a new angle for me. And it was, like
I said, an opportunity to sit down with Bob McIlvaine, who is someone
i'd never really interviewed, and you know, kind of did my toes back
into it. I guess as it were. But um, you know,
and going back to my original answer, you know, like you mentioned the
world of strangeness, and I mean, I guess that's really kind of my
main thing right now, is that the world is just so very strange and
like things have just gotten so weird and I'm just like, I'm so over.
I don't want to say I'm over politics, because I mean, obviously
you have to pay attention and you have to know what's going on in the
world, but like, I'm so over politics and I'm just like, I'm
so over Like I don't know, but every everything is, everything is exhausting.
Look, Dylan, I know I'm interrupting you here, but there's a
reason. Go ahead, and man's your show. As an artist, right,
it has been a weird, transitional time period. It doesn't matter if
you're a musician or you're a videographer or you're you know, creating a paintings.
It has been a strange time. The world itself has really shifted in
a psychological way that I think is unique to this time period. And uh,
you know, it's it's very cliche, right, we live in interesting
times, but we certainly do. It is a huge difference that twenty years
since nine to eleven and the twenty years previous. Now, look, I'm
in my fifties. I forget exactly how old you are, but I know
that you know you're not You're not the kid anymore. When I first saw
you on the internet, you were the kid, but I wasn't much more
than one myself. But but either way, Uh, it's been a transitional
time period. And as an artist, the world around you, no matter
how much you want to claim it doesn't affect you. It has to,
you know. So let's get back to your art abit because, uh,
something else I recognized, you know, I was looking at your link tree
and I saw this, this background piece, and I was like, well,
that's different because not everybody has a cool background piece on link tree.
I've got a length trade minus is basic, you know, uh, not
into the visual aspects of things. But it's just me. Yours, by
the way, looks exactly like you know the scene in the Matrix where they
have the dance raved Zion right the well, which scene a few of them,
but a bunch of them look kind of the same, the Rave and
Zion with the with the people dancing around. It looks like you have the
rehearsals there that you filmed in the background. UM. Now I know they're
not that you didn't grab up anybody else's work or anything. That's how it
fell. And not to cut not to cut you off, but I mean
like that's literally like I was like texting people, um with my limited cell
service there that was a festival called Unleash in Austin, Texas last September UM,
and I was literally describing it to people. It's like I feel like
I'm in the Rave scene from Matrix reloaded. Um. And I'm also again,
I'm really glad that you've mentioned not only my link tree, but that
background because I like, literally in the last week or two have kind of
like put that link tree together and it's you know, as I was discussing
with you off air, you know like that's something I'd want to do for
a long time, I was like, I really do something on my site
because for I think like the last year or two, it's just been the
trailer for Asteroid, the movie that Corey and I made together our narrative comedy,
independent feature film that we made once we moved back to New York.
And that was fine because I mean, again, that was like the biggest
thing that I had going on. I got to finally direct a narrative future
film, which is what I always wanted to do. So did that,
and so, like I said, that was just my website for a long
time. Actually, I think I remember I swished it from the trailer to
the actual movie, because that's on YouTube too. If you want to see
something that I made with Corey, which is, you know, my old
partner from Loose Change and us moving back to our hometown and writing a silly
little script that we could film in our hometown for cheap, and I mean
it's led to where we are now, which is making feature films in upstate
New York and we have a very successful production company. Things are actually really
good. So if you want to see the genesis of that, and also
because I'm sure we're gonna be probably circling back to that at some point,
but if you look up Asteroid twenty twenty one on YouTube and you're you're down
for a silly little independent comedy that was shot in August twenty twenty in the
middle of the pandemic. But you know, it has a nice little amount
of twists and turns, and it's got a pretty awesome script that everyone was
really happy to be involved in, and a cameo from a certain director.
So, you know, if you're into that kind of thing. So it's
me, the cameo is me. So but uh, there's another good question
though, because look, going back to New York City, I'm from the
Northeast. Right now, I'm living in Macon, Georgia, but but I'm
from the Northeast. I grew up primarily in New Jersey, but I also
lived in New York, you know, and New York from what I understand
from you know, a couple of remaining friends that I still communicate with from
up there. I haven't been back in many years. But has New York
changed a lot? Or is New York still pretty much the town it was?
You know? Is it still pretty much the well not just the city,
but the city and state arrangement. Is it still the same as it
always was? Well, that's where I wanted. That's where I want to
jump in because I live up state, not New York City, but in
my journeys to New York City over the last couple of years. I mean,
I would say that for the most part, New York City is the
New York City I remember. The biggest change is that the like the COVID
outdoor seating where they like took up a whole bunch of like parking spaces and
like lanes and like turned it into like outdoors patio seating because people couldn't be
indoors. A lot of those are still around, at least the last time
I was there. So you know, if you if you already had trouble
finding parking in New York City, you definitely will now. Not that I'm
particularly complaining, because when I'm in New York City, like I parked my
car somewhere and I'm just subway everywhere, and I love it. Oh yeah,
But they see the city in the state always have a lot of people
don't understand this from outside of the area. It is unique the way that
the rest of the state and the city are related to one another and yet
separated from one another at the same time, right because there is a bit
of a culture exchange that goes on. It's almost like it's two different countries
that are cooperating quite well, where one is sort of landlocked within the other.
Now that's how I'm describing it geographically. That's incorrect. But the truth
is there is an exchange between New York City and the rest of the State
of New York that is of interest. So I was curious about that.
Okay, so we have some residents remaining from the COVID experience in New York
in the city, but I mean as upstate New York changed as the rest
of the State of New York changed, Because that was always curious. I
mean, I love to even go into Buffalo as a musician. Amazing how
quickly they could clean up three feet of snow by the way and actually continue
to function. And meanwhile, I'm in a place like Georgia where they drop
a quarter inch of ice on the ground and the whole place stops. You
know, Atlanta, GA is crazy, Uh when when a quarter each of
ice shows up. But it's interesting that relationship between the city that never sleeps
and the state that has a unique sort of flavor that it ends up capturing
from that city. That's the way I see it. How do you see
the relationship between New York City and the state of New York. And I
don't think anyone's ever actually asked me that question in an interview before. I'm
aware of. No man, no man, I'm I'm trust not a complaint,
not a complaint at all. I'm like, Wow, I actually like
have to think about this. Um. I mean, I guess I can
kind of speak in relation to how things have changed again, um, at
least how I've noticed them. Um. And maybe because I mean, like,
I spend a lot of my time here in Oneana, which is between
Binghamton and Albany, and Binghamton nobody's heard of. Albany is the capitol.
I go up to Ithaca a lot to film this fan gim that I went
to high school with here in Oneana. So I go to Ithaca a lot,
Like every once in a while, I'm up in Buffalo, usually again
for a concert. And when I'm in Buffalo, I try to cross the
border really quickly and just dip into Canada. But I don't know. I
mean, again, I hate to make it like two big picture and not
New York City specific and two COVID specific, but I mean, like that's
really just kind of what I've noticed in terms of like changes just because again
I've spent most of this time in New York and obviously I've traveled. I've
gone out to California a bunch of times and all this and that. But
I mean I have noticed, like what I've noticed right here in Oneana,
which is just like a lot of restaurants now and just aren't open on Mondays.
And some restaurants are open on Mondays, but then they'll close on Tuesdays
when all of the other restaurants are open back up, so like they have
a monopoly on Monday, and then you know they'll but they're still only open
from like eleven to five when they used to be open from like eight to
six. So again, like this all sounds like generic stuff, Um,
but it is kind of unfortunately, I think, still like post COVID stuff
where it's just like we're still not back to normal. And I mean,
I know COVID itself is a controversial topic. Um of course it is.
And in the area you're talking about, by the way, would be particularly
affected because there's so many universities and college is in the area you're talking about
between two alone. Yeah, I mean, but there are a ton of
them just concentrated in that area for people that don't know, um, you
know everything from let's see, Cornell's not too far away, but you also
have that's in a good where I go all the time. Well again,
just just thinking about back to what I really know about the area. UM.
You know, so you have people that actually you come from many other
places that coalesce in that area, younger people, there's a heavy concentration.
UM. So you would think, okay, so the progressive thinkers, the
younger people, the energetic saying, I don't know if that's ever actually changed
anymore than you know it does generationally. UM. So maybe that that constant
refresh of new people coming from everywhere, UM, creates a unique situation in
the place that you're at. The reason why I bring this up is because
as someone who is creating films, as someone who's creating that sort of art,
um, you're going to be affected by the culture you're steeped in.
At least that's the way I see it. Now. Maybe maybe you're one
of these guys who's immune to this, But it seems to me as though
anybody who I've ever known as a filmmaker, UH is certainly affected one way
or another. It begins to speak. Um. I mean, look,
if you're Kevin Smith, you're constantly referring back to your hometown. Um.
If you're you know, uh, some other people, maybe when you get
moved into LA you know, everything becomes about Los Angeles and that sort of
weird subculture, which, by the way, I think Los Angeles belongs on
another planet. I've always said this, Oh I can, I can tell
you about Los Angeles. Well, right, I mean you could say this,
being in your hometown as opposed to being in a place like Los Angeles,
how does that affect you artistically as a filmmaker. Well, I mean
that's really kind of That's exactly why Asteroid happened, because I mean Corey and
I were out there in LA. I was out there for a decade,
He was out there for five years. We both kind of left there around
the same time for different reasons, and both landed back here in our hometown,
both of us assuming temporarily until you know, he found because he and
his wife, Danyelle, we're trying to move to either Vermont or Massachusetts.
I was just back in the hometown because the girl I was seeing at the
time, was having some issues with her mom and we were from we were
from Oneana, so like, you know, Corey and I so and that's
really kind of it, because like, you know, the whole point of
me going out to LA was like, all right, well, I need
to get on sets. It's Hollywood, it's Los Angeles, Like it's a
rite of passage, like you want to you want to be in film and
you want to like you know, get into the industry for real, Like
that's what you gotta do. Because you know, we had already taken a
couple of trips out there for Loose Change, like you know, when the
movie was supposed to be you know, distributed by Magnolia Pictures and Charlie she
was going to narrate it and all this stuff, and then that all you
know, went up and blaze the smoke. So you know, like I
already had previous experience with LA and you know, I already knew a couple
of people out there, and you know, Loose Change had kind of run
its course. So I was like, all right, got to move out
to California and I'm gonna start with San Diego and then I'm gonna work my
way up to Los Angeles and then I'm gonna get on as many sets as
i can and you know, hopefully find a way to write and fund and
direct and shoot a feature film. So you know, I was, like
I said, it was in LA for almost a decade. Corey moved out
later on in February twenty fourteen because he had finally kind of run his course
in Oneana and he wanted you the same thing. And he saw the things
that I was doing out here and he was like, yeah, man,
I want to come out there and give it a try. So so then
he came out there, and then you know, we've got like we've got
a job at this one company together. And then like, um, I
was working with Kevin Booth, and then you know, Corey got involved with
Kevin Booth, and then through Kevin Booth, he got involved with this marijuana
millionaire and like, you know, so it's just La connection. Shit,
Um, Ghost of Sophia is it? Call there? That's the one that
Corey and I were working on. Yeah. Excellent, excellent piece. Here
you go, excellent piece there. I didn't I did not recall that you
guys were on that, but I don't we were supposed to be in the
credits because but we also worked on it like way or and this isn't like
a this isn't like a slam or anything. Like I love Kevin, Like
it was great to meet him and work with him. Um, I just
can't remember because I mean, like Cory and I were in there in like
the very beginning stages where it was I don't know if I'm like throwing shade
by bringing this up, um, but like Ghost of Sophia was originally funded
by marijuana Mike of Advanced Nutrients, um. Because like in the like original
original versions of the documentary, like that was like a whole like plot point,
and that was like the whole beginning of the movie. And like we
went we went to Big Mike's mansion like two or three times to like shoot
this like opening scene, you know this quote opening scene, end quote.
And I remember one of the times we went to one of these parties and
can I swear ye fucking Max Landis was there and and I had already seen
Max Landis like on the Santa Monica peer shooting his um the his his movie
that he directed me him her I think it was, but like so i'd
like I had already like just randomly like run into Max Landis once before.
And then Corey and I go to Big Mike's mansion up in the Hollywood Hills
to shoot another opening scene for Kevin Booth's Uh Bulgaria documentary. And I walk
in and there's fucking Max Landis and I'm just like this Los Angeles. This
is two Los Angeles right now. Um. So, like I said,
I don't think any of the big mic stuff wound up in the final cut,
because yeah, that's right, I watched it when it came out.
Um, but it's so funny that you mentioned that. Um but yeah,
so so Los Angeles is. I was a nobody, no name musician and
the next thing I knew was I was going to a strip club with Tommy
Lee. I mean, weird it well. And that's and that was kind
of the nice thing too, is that I kind of felt like a nobody
in LA and I was like, well, great, I mean nobody here.
And that's really That's was kind of the honest truth, because like when
I put out like casting calls for short films and when like I started like
meeting people and getting jobs, like nobody was like background checking me and shit
and like googling. Men they were just like, oh, you're the loose
change guy. Never mind. People were just like, you got a camera
and you can shoot great, awesome, here we go. So like and
I mean, like in the big editing job that I got UM that pretty
much like kept me alive. Like that next year and a half I was
in la um the reason I like, I didn't I didn't find the job
because of Loose Change. I found the job because when I first got to
la in April twenty eleven, and I had this ridiculously overpaid job at a
production house to work on this national geographic show where I was basically like updating
a spreadsheet like maybe once at the end of the day, and I was
literally just like sitting around like most of the time, just waiting for someone
to give me something to do. And I kept trying to like branch out
while I was there. I was like, hey man, you can,
you can I edit this and I do that, and you know, so
I was like trying. But anyway, so I was making like way too
much money to do basically nothing Monday through Friday. So I was like,
all right, I'm here in la this is it. I've made it to
the city. I've got a really cushy, well paid job, you know,
that's going to take me from April to October. What am I going
to do on the weekends. And I had already like passed around a couple
of short films and things that I wanted to shoot when I was back in
New York. So I was like, I dug a couple of those up.
I found one that I wanted to focus on, and so I,
you know, put out a Craigslist casting call and I got a bunch of
actors together that also wanted to just shoot some stuff. And I shot a
silly little short film Olsen, which I think is still on my YouTube.
I don't really recommend anyone go watch it. There's a couple of cool moments
in there. There's a really cool shot where the guy, the main character,
like takes the clip out of the gun and like gives the clip to
someone else. But the guy was like, oh, there's still one in
the chamber, So he cocks the barrel back and the bullet flies out and
he catches the bullet. That's like a shot that I've always been pretty proud
of. But and so I did that, And so the actress that played
the character Dan Yelle, and that she was friends with these people who had
shot and directed and produced this Crop Circle documentary called The Fieldful of Secrets,
and that had been in production since like two thousand and nine, and so
cut to like the end of twenty and eleven, and the editor had finally
quit because he was tired of working on the movie for so long, and
just the film had just been through like so many different versions and revisions and
plot twists. It's just like the editor was just over it. So they
had to find any editors. So they asked this actress Nicole Watson that they
knew, like, Hey, do you know any good editors in town?
And she was like, yes, actually there's this short film but I was
just in. The guy's name is Dylan Avery, and he actually not only
directed it, but he edited it, and the edit was really good,
so maybe you could hire him. So then the producer Dax hit me up,
and through Jax, I drove the Malibu and at Charlie, and then
of course Charlie was just like and you're the guy that made lose change,
Like great, awesome, You're the perfect editor for that. So that documentary
is called a Field full of Secrets, still distributed by Gravitas Ventures. I
don't know where you watch it, but I would assume like to be Roku
all those free to watch sites. That was cool. I mean again,
like like I said, that job kept me going for a long time because
we not only edited that documentary and then had to do like revisions on it,
but then he had me do it like a smaller TV cut of it,
and then he's had like a couple things here and there. And actually,
speaking of that, speaking of making future films back in Upstate New York,
there's something that we're doing at the end of September going into October called
Zombie Apache And that's actually from Charlie, the director of Field full of Secrets,
because he's been trying to get a narrative feature film off the ground for
years and then he had this big, multimillion dollar globe trotting picture that he
was trying to get off the ground, and then he got sick of trying
to get that made and he wrote a chief little horror film and then he
sent it to me. I was just like, dude, this is perfect,
Like if like find like a small amount of money for this and bring
it to up State New York and we'll shoot it. And then, you
know, long story short, he found more than a small amount of money
and now he's bringing it here at the end of September, and so we're
shooting for three weeks starting on like September twenty fifth. And it's great Zombie
Apache. That's hoombie Apache. It's gonna be exactly what it sounds like.
And I'm so stoked. I don't like, I'm over trying to like make
ground. I mean this, I hope this doesn't sound like dismissive, but
it's just like again, like I'm just happy to just be making films.
So it's just like I'm not trying to make like high art. Sometimes I
will, sometimes I won't, you know, I'm not trying to change the
world anymore. Like I'm bringing a six figure feature film to Upstate New York
from a friend of mine and we're all gonna shoot it together and have a
great time and you know, move on to the next one. Well exactly,
and look, you know, and I love some of the stuff that
came out in recent years, like the Pizza Gate massacre. Did you happen
to see that. I'm so sorry. Pizza Gate Massacre is the name of
a film. Have you ever heard of that? I've heard of pizza Gate.
Okay, Well there was this thing that they did, like a farcical
thing. It looks like it's filmed on I swear to you, like VHS
cam quarters. It's it's got this like a sound footage thing. Or no,
it's it's a it's a scripted deal where they come up with this.
It's wild it Go ahead and look it up sometime if you really want to,
just like let your mind go into strange conspiracy land. H Well,
that's the thing, like I hear pizza Gate in my mind just like runs
through the nearest wall, like I see. But that's the thing is that
this was perfect for that because I hate I hated all that. It made
me crazy when people I'm so conspiracy out. Yeah. Well this was a
great answer to it though, because this was like a farcical look at it
and had a really interesting plot to it and really fascinating believable characters where somebody
is trying to film a documentary in the storyline. It's very interesting. Anyway.
The reason why I bring it up is because I started to note that
there is a time coming here where there's going to be a confluence of this
stuff where you know, in some cases people are going to make narrative pieces
out of stuff that was done before. Like I know that there was an
attempt to sort of make a narrative farcical version of like you doing certain films
in the past that somebody pitched as an idea, and I started it was
meant to be like a comedy version of you guys doing what you had done
a long time ago, right, And I thought it was interesting. I
don't think it ever got made, but I saw it pitched around. Some
of these films are interesting, Uh, the different ways that you know,
the art gets kind of sent back through the meat grinder and put back out
as a different sausage, you know what I mean. And so what I
was wondering is here's the long way around to the question. What I was
wondering is you know, first of all, if you would be into that
kind of thing, if at some point you felt like, you know,
I might do a farcical answer to some of these things to finally sort of
just vent about you know what, all the stuff that you're kind of over
regarding conspiracy land. If that was something that you you'd be interested in doing,
because I think you would make a hell of an interesting cut and a
hell of an interesting movie out of something like that, where if you took
and just decided not to look at yourself so seriously, and maybe others not
mentioning any names, maybe others h you know, in the conspiracy culture,
so to speak. I like, I'd love to see you make a cartoon,
believe it or not, that that really took lots of interest, loving
shots at a lot of things, you know, in the land of stuff
that you care about, but you've also been exhausted from. I think it
would be an interesting look. And that's how I felt about that Pizzagate massacre
thing, which was really an insane movie that you know that somebody got into
it and you know it said, you know, after a while, they
were exhausted, and let's take this and really throw it up against the wall
and turn it into something else. So I was curious about that, but
you know what, never mind, you've mentioned Asteroid a few times and I
got I'm ashamed to say I haven't seen it, So do me a favor.
I'm already interested because Asteroid's an interesting name. What the hell are you
doing? Are you doing space movies? I don't know, haven't looked at
any of it. Okay, tell me about it from somebody who has no
clue about what's going on, because I don't when it comes to that movie
at all. You know, I was aware that you were doing some talks
here and there. I was aware that you were doing some other films,
but I have not exposed myself to any of that on purpose so that I
could get a first impression from you. How how crafty of you you really
saved it there at the end. Yeah, you know, like I said,
like Corey and I had just moved back to our hometown, and we're
like, all right, we're here, like we're not in La anymore,
like we can, like we're back here in Oneana. Like, hey,
let's just write a silly, little, cheap little comedy script that we could
shoot back in our hometown, not even just for fun, you know,
like, hey, who knows, maybe we won't shoot it. You know,
maybe we'll shoot it, maybe we won't. Maybe we'll find the money,
maybe we won't. But let's just write a silly little script about being
back in our hometown and around that same time, you know, um,
well, because that was kind of the catalyst too, because after you know,
landing back in New York and him and his wife kind of trying and
failing to move to other states. You know, his wife got a really
well paid job doing human resources that paid more than her old job in LA
and Corey was like, well, my parents are here. Your parents are
here, Like I mean, we're back here with our our kid and soon
to be second kid. Let's just stay here in Oniana. So they bought
a house right on the outside of town, and like Corey had been there
for like a week or two, and he was just like all right,
cool, like I just got a house, you know, like things were
looking pretty good, like knowing my luck and Asteroid's gonna hit my house.
And so this is kind of like a private thought that he's having, like
in his backyard. And then like a couple of days later he calls me,
it's just like, yo, I got I have. So I have
a white board in my home office here, you know, I'm just moving
in. I have a couple ideas on the white board for movies that we
could make. So come on over and let's pick an idea and let's write
it. And so I went over and they were like two other ideas on
the white board. One of them was about like an uber ride gone wrong.
But I was like, well, you know that movie Stubor just came
out with Dave Bautista, and you know, I don't, I don't know,
I don't, I don't see anything there. But then the other idea,
it's probably nine hundred Reddit posts and creepy pastas about that already anyway exactly.
Oh yeah. I was like yeah. But then the other idea was
Man's house gets hit by asteroid and I saw that and I was like,
bad, I don't know what that movie is, but we should write that
one. And we did. We just kind of started. But it's just
like, all right, well, here's like our opening scene, and you
know, we figured out we wanted to have like a married couple with a
you know, moody teenage daughter, and you know, we could make all
of our silly little oneona jokes and small town jokes and keep it kind of
like cheap and character driven in simple because you know, that was the only
way people are going to watch the whole thing. We just had fun with
it, and I mean like that was really it like every Monday at least.
And you know, a lot of this was written over the winter too,
so you know, because we started in October twenty nineteen and then like
powered through the winter January February. And it was nice because it was really
nothing much else to do. So yeah, like I over there on like
a snowy day and we'd have some coffee and you know, smoke a little
weed and just work on our silly little script. You know. We had
to just have little index cards with like plot points that we'd be like shuffling
around on his big dining room table. And in fact, like if for
some reason you wind up watching asteroid and make sure you're watching the right asteroid
from twenty twenty one, that says like Kyle Carbon Well, because there's like
there's like a disaster films like ninety six or ninety seven. But if you
see the thumbnail and it's three people standing in front of the house that's being
hit by an asteroid, then you'll know you've found the right one. But
um, well, look that's interesting. Now I've got Now I've got a
couple of quick sort of fanboy questions and I want to give you enough room
to let the answer breathe. So and so here they go. Is all
right? Look, you obviously started at one place, coming to notice internationally
and stuff like that, through one project, and now you've been through a
whole lot of other things, a maturation process as a filmmaker. I'm sure
your dream ideas have changed. You know, what's the big thing? What
would be the greatest thing to happen? Right? Maybe you started out with
one idea and maybe it's changed over the years, or maybe it hasn't.
Maybe you still have this one big dream idea, Like if I had all
the resources in the world to work with for one project, what would that
dream absolute project be for you personally? What would it be? And you
know, tell me about it, and you know what would it take to
make it happen? Has it already happened? I don't know. Maybe you've
already lived your dream. If you have, tell me how you did that,
because I don't know anybody who could tells me that. Usually even if
they've lived their dream, they usually have another. But tell me about it.
What would be your dream project at this point, after going from well
being a completely unknown independent guy who rose to prominence, went through a whole
bunch of different things in the business. In the industry has gone through many
changes now over a significant period of time. Where does your dream project,
like, if I could do this tomorrow, this boom, what would it
be? Well, honestly, the answer to that used to be direct to
narrative feature film. But I've done that. Okay. I hate to give
you such a short, anti climactic answer, but I mean, no,
that's really it. I mean that was because again, that was my whole
mantra, and that was my whole reason for being out in LA And that's
why I fought so hard and so long to stay out there and survive,
because I was like, well, you know, I'm out here to do
the thing. I'm out here to make a movie. And even if I
don't make it here in La, I gotta I gotta make the connections,
et cetera, et cetera. But do you have a specific Wait, you
don't have a specific like, Look, I want this actor, I want
to tell this story. I want to nothing like that. I want to
do a slasher flick, something crazy, nothing like that. No, I
mean, like, there's I mean there's a couple of movies that I'd like
to directors. I mean, there's one that Corey and I are talking about
writing. We haven't really made progress on it, but I'm just saying,
like, for the longest time, that was my Like I'm I'm If it
sounds like a cop out, I assure you it's not. Like that was
my That was my thing. That was my goal for the longest time,
especially post loose Change and especially moving out to California and especially being in LA
I was like, I just I just want to direct, like a real
feature film with actors in the script. Like, I mean, I know
I can do it. Um. That was my go too, Like I
said that, that was the dream. That was it for so long,
that was the only thing I wanted to do. Um. And then I
did with Asteroid, and then you know, that led to us bringing more
film stuff state in New York. And like, I don't believe this has
come up yet. I know it came up in like our back and forth,
but I actually just finished I'm almost done, you know, excuse me,
recording an album of original songs, you know, like so like and
that used that was my dream too, because I was like, I wish
I could dig up my old music and figure and finish all that stuff too.
So I've made the feature film I've I'm I have, I have done
like creatively, Well, you know, I kind of already you kind of
already hit your creative dream that you wanted to begin with. All right,
well, let me let me throw another curveball at you then. Uh.
Look, as far as television goes and television has changed in that very same
time period that you were steep in the business, is there a television property
that you would love to participate in or do you have no desire to play
around in the in the new world or old world of it? I mean,
or are you one of these guys who's like, you know, secretly,
I've always wanted to do a Star Trek uh you know something like that.
I mean, tell me, look, I'm actually a Star Trek fans.
That's why I brought it up. But um, you know, and
I know that's a cliche, passe and all that, but I am what
I am. Um, the thing is, do you have anything like that?
Is there? Actually? Yeah, yeah, I can kind of answer
that question and your previous question again. Um, but maybe also with the
caveat that maybe I don't want to do that anymore. Um, but I
always thought it would be interesting to do UM and I hate to It's tricky
because like live action means so many different things now, but I always wanted
to do kind of a live action version of The Max. And I know
this is an extremely deep cut, but it was. It's a comic series
by Sam Keith. It was adapted by MTV into MTV's Oddities back in like
the super late nineties, really obscure cartoon, big purple guy with the yellow
claws and he is obsessed with his social worker named Julie, who's a leopard
queen in an alternate dimension called Pangaya or same cartoon. You know what.
We were talking about this on on my network about okay, okay, so
you know exactly what I'm talking about. Okay. So I always thought,
but but not like full live action, because the thing that makes The Max
work, and especially with the animated series is Sam Keith's artwork. And so
to try to find a way to shoot all of the real world elements with
like a real world Max, or all the real world elements with like still
an animated Max and then maybe when they're in the outback it's like full stand
key style, full like cell shaded and maybe again this is like an intense
undertaking, but I mean after you know, into and across the Spider Verse,
like I mean, fuck, anything's possible with animation. But so again
going back to the caveat like for a long time, that was like that
was like the big, big, big dream project, Like oh if I
could really just make anything and someone at a studio was just like, go
make this, then that would for a long time it would be it.
But I think that in my attempts to do some tests for that and to
try to figure it out, it's like, I don't know, I don't
know if it would work, and maybe there's like a fine line because like
since City kind of managed to pull it off, but I mean they really
took a lot of live action backgrounds or CG elements and really kind of still
made a look photorealistic. There was never like an actual well there were a
couple shots where they went like full on comic, full comic, but anyway,
so you see the challenge there, because like you can't just make just
a live action the Max and just have like a CG MAX and that's it,
like you have to like immediately, yeah, immediately, I'm picturing motion
capture stuff like Andy Circus style and uh, you know, and a few
other things having to be blended together. Yeah, a lot of shading and
yeah, yeah, I mean, you know, again, I don't know
the proper terms, I don't know how that works exactly, but I mean
mechanically, I'm thinking about it, and it's like that would be a crazy
thing to try and pull off, and you would create some unique reason even
just in uh in in starting to do the groundwork for that, you'd probably
create you'd probably have to create a new uh a new methodology for doing something.
It would take it would take probably just a year of pre production,
like just to get to look like just right right, I mean, that's
that's a crazy project. But that okay, So that would be the only
like television sort of like if at this point Paramount owns a lot of the
MTV stuff. But if Paramount came to you and said, look, we
want to do live action the MAX, you'd be like, I'm in,
I mean sure, yeah, in this in this hypothetical dimension where that happens
here, absolutely Okay, Hey, that's what I'm throwing at you. Yet
No, trust me, I hear you. I'm not. I'm not throwing
shade back at you. Like yes, if if for some reason, I
was in a room where that meeting was happening, I'd be like, yes,
let's yeah. Hey, I never knew what I was gonna get there.
You could have told me, look, I want to do uh you
know Rosanne meets Friday the thirteenth to Horror Movie Edition. You could have told
me anything, you know, it would have been cool. But I find
this really interesting because the max is it would be very difficult. Good.
That's that's why I want to do it, because it would be difficult,
but it would be worth it. Yeah, definitely definitely. Okay, So,
um, last thing. And I am also a fan of animation,
certain animation styles. Um, And I don't know what you feel about,
you know, direct sort of colorized animation. But have you ever considered doing
a project like that full on animation? M not in a long time.
Okay. I used to like, I used to have like cheeky little ideas
like you know, this is like like teenage edge lord type shit. But
you know where I was like, oh, well, I want to make
a make a movie that looks like a children's movie with like really cute animation
and just like put Q scenes in there so that they can be in the
trailer. And so like you just see this like extremely like family friendly trailer
where it just like it just seems like you're running the mill like children's film.
But then in the end it's just like rated R. And you're like,
wait, sorry, what sort of like that Muppet sort of like that
Muppet murder movie that came out not too long ago. Except people to make
a good movie. Okay, I got yeah, hypothetically, yeah, but
I mean again, like it's it's like sausage party, Like I mean,
just like just describing that to you, it just sounds like a gimmick.
So it's just like all right, well apart from apart from cheeky marketing tactics,
like what's the movie actually about? And what is the actual movie?
So and again that's like I said, that's that's some Edgeloord ship that never
got off the planning stage. That's the only thing. That's the only thing.
And then again like the Max would also be and especially like I said,
now, especially after seeing Across the Spider Verse, like I mean,
animation can do a lot now, because I mean I think that would be
it like you would I yeah, you would have to find a way to
like emulate Sam Keith style but not be ripping it off, but also kind
of create like a new visual language with it um where like I said,
like when you're where you're in the outback, it's like full full on art
um, you know, like like in in Spider Verse when like when Stacy's
talking to her dad, and like every cut between each frame is like a
different impression is painting, maybe not like that extreme, but so maybe like
when you're in the outby outback, it's like full on, and then maybe
when Julie's in the real world with Max, you know, which is And
again that's how that's like, this is why I kind of like hit a
roadblock with it. While I was like, all right, well, the
Max in reality when he's not in the outback still looks like the Max with
the big purple outfit and the clause. But then he also wears his homeless
Dave outfit, which is just you know, the trench coat and the hat
when he's like you know, out in public and he's not the Max,
so like how would that work, Like would a real life trench coade go
on top of like animated Max. And you know, so it's it's a
lot of things like that to consider and like what what's the appropriate move that
also isn't going to make your VFX people, So I can want to jump
out the window well, right, and you don't want to end up like
one of the Spawn movies. Uh, not not mentioning which one. I
mean one of them came out good, one of them didn't. Uh but
you know, and I'm not saying good as in that's the best they could
have done, but you know, sort of like quality, right we are
talking about the one with John like Guizamo as the clown, right, yes,
yes, okay, yeah no, And again like a great, great
idea, just like not the perfect execution, but I mean, right,
you know, it's got its charm. But and that's and that and that
was that was kind of like that period in time where it looked like there
might be a live action Max because like I think it was right around that
sing when was that ninety eight saw the Yeah, so ninety eight that would
have been around the same time that the Max was either on air or had
already wrapped up or was about to be on air, But that probably would
have been around the same time that people were talking to Sam Key, because
he's mentioned it off handy. He's just like, oh, there's been many
talks about a max movie. It's never happened, um, which you know,
and it's actually a shame because like one of the reasons that I wanted
to do it is because William Messner Loebs, who's the guy that wrote all
the dialogue in the Max at least you know, in the first you know,
the first issues that are the genesis of the MTV series. You know,
once Sam Keith took over the writing, it became it became a little
too sam Keith in some people's opinion, Um, but that was a great
balance about like Sam Keith's artwork in Sam's world and like the dialogue that Mester
Loves came up with, and Mester Loebs has had medical issues for years now,
and I mean, like it was it was a decade ago that I
wanted to make a Maxi movie just so I could, you know, hopefully
help them with their medical bills. So I can only even imagine what they're
doing now, but you know, and that was the thing. It's like
this guy had like helped treat this like iconic piece of art that's a lot
of people know about and a lot of people don't. And I think was
kind of like part of my thing where it was just like, well,
it'd be nice for you know, new people to discover The Max, would
be nice for the guy that wrote the dialogue for it to actually have his
medical bills paid, you know, not trying to make it sound like some
big philanthropic thing, but you know, the dialogue, Well, let's point
at something really quickly here since you mentioned it. The dialogue in The Max
is some of the most unique stuff I've ever seen put to us. Unique
dialogue ever put to animation in English yet I've ever seen, which is really,
really, really something because there's been a lot of attempts to make trippy
this and that and the other thing. I mean everything from that, Uh,
what is that the Midnight Confidential or whatever where they're really trying too hard.
No, no, no, The Midnight something or other the guy apparently
as a podcast and he goes out to different parts of the universe and it's
really as it's an attempt to be way too trippy. You know. It's
like adult swim after way too long of a bender. Um, you know,
stuff like that. We're in an interesting time where a lot of things
can be done, but for somebody to write uniquely layered dialogue like what was
in The Max is really rare. So uh so we need to point to
that quickly here that if you do to go back and dig that up,
somebody listening to us right now, you go and dig up The Max and
you go check it out, you're going to find something that is not easily
compared to something else elsewhere when it comes to the the the dialogue psychologically,
it is a completely different sort of art from that. It's the whole thing.
Like I remember, like because I like I think I was just like
getting home from a paper route one morning and I saw a trailer for and
it was for like the series finale too, so like I hadn't seen the
show or heard of that at all, and I just saw the commercial for
the series finale. I was like, what is this thing that I am
looking at? Like and so like I think, I like tuned in and
watched finally when it aired, I was like, all right. Well,
now I have a whole lass show to catch up on because I have no
idea what I just saw, but I know it was really fucking cool.
Um, So I'm so glad you knew what I was talking about with the
Max. I was not expecting that at all in the Days Kitties, in
the Days Kitties, when we didn't have on demand every damn thing, so
you had to actually work at it to go back and catch up on a
series. Yeah, of course, just just got to remind people every now
and then that not everything was available for download on the internet right away,
you know, because they don't remember or they weren't alive. That's the other
thing. Anyways, Dylan, you know I'm about to run out of time
on you because I didn't want to keep you over an hour and we're just
about there, and I have not asked you about what's coming up in the
near future for you. I'd like you to point people too. I'm obviously
in the show notes, gonna give you guys the link tree away so you
can go watch Asteroid, which he just gave me a pitch for and I
purposely avoid it. Now I'll go watch it, hopefully I'll be able to
get you back on in the future, and when I do, I'll tell
you about what I thought of Asteroid, but but that'll be for later.
What's coming up soon? What are you putting out soon? Or what are
you working on that you'd like to tell people about, or maybe you could
hint at something that you can't really tell people about. I mean, floor
is open to you. What what's upcoming for Dylan Avery And also aside from
the link tree, which again will be in the show notes at you know
wherever I post the podcast, and we'll make shorts up on ROCKFNP guys,
so you can follow up and catch up on Dylan's work, but tell people
what else they could do or we look at aside from that, mostly just
the album that I'm wrapping up. I'm pretty stoked about that. Oh,
I didn't even ask you about you you know, I'm also a musician.
I didn't even ask you about music. Again, I got lost on the
film. Yeah, yeah, I mean, you know, a decade ago,
when I was living in La I you know, I wrote a song
and I was pretty stoked about it, and I recorded it and that was
gonna be the first song of an entire album, and then I recorded that,
wrote a couple more, and then kind of hit the wall and was
so happy with the recording of the one song. I was like, I'm
not going to do anything else as good as this. How I'm gonna make
a whole album a crap. And then, you know, last summer,
I kind of started knocking, just like just random lyrics would just kind of
like pop around in my head, and then you know, I you know,
a bunch of things happened, and like I started singing more, and
then a bunch of more things happened, and then I was sitting on my
couch at the end of last year, um like mid to the end of
December, and I just had a whole bunch of shit weighing down on me,
and I picked up my guitar and I started singing a song that was
based off of one of those lines. It was bounced around in my head
a couple of months ago, and I coincidentally, like that week I had
to go up to Ithaca, speaking of Ithaca to film the Jim Cotto New
Year's Eve shows, and I purposely just booked myself a hotel for that entire
week leading up to it because I was like, I just need to get
the fuck out of oneana. I'm gonna bring up my guitar and my laptop.
I don't really know what I'm gonna do when I'm up there. And
then but then like like the day or two before I had left, I
had written that song, and again like I didn't just like write the song,
like I picked up my guitar and it just fucking came out, which
had never really happened ever before. So then like in Ithaca leading up to
New Year's Eve, I fucking tracked the whole song and demo mode guy even
like I borrowed I like texted the drummer from the band. I was like,
hey, packy, this is gonna sound really weird and random, because
again, like nobody in my life knew that I made or played guitar or
like made music at all, or like at all nobody knew. So texting
the drummer of Jim Cotto was just like, hey man, this is really
random. But like if a microphone, I can borrow something and I really
got to record. He's like, yeah, man, I got a baby
bottle, Michael, So I get on down to you, and I like
I ran up to the local musicians supply store, and I even got myself
a brand new like XLR USB adapter and a brand new micstand because I didn't
bring those things up because I didn't think I was gonna need it. But
I was like, well, you know whatever, And it's funny because then
like I bought those things, and then you know, I recorded the demo
of Fallen, and then I got home, and then while I was in
Ithaca, I got a call from someone who lived in my mom's building telling
me that my mom wasn't doing really good. So like, as I was
driving down to Ashell to go see my mom, I started like workshopping another
song in my head and then went down there and my mom said a bunch
of things that really kind of bothered me, and so then I turned those
into lyrics for that song I was already working on on the way down.
And then I got back to New York and then started digging up the Google
docs from like a decade ago of songs that I had written and songs that
I had started and not finished and like all these things, and so the
album is like half stuff from a decade ago that I never finished or I
did or I never recorded, and then half of it his new stuff from
you know, the last couple of years or the last couple I mean almost
a year now, Summer Breeze, yeah, August. But no, I'm
I'm I'm really really stoked about that because again, like I started making an
album a decade ago and I basically gave up, and like literally over the
last decade, I've been like fuck, man, Like I've I've listened to
that old song and I'd be like, I really should I should have done
something with this, Like I should have done something with this, Like what
is it too late? Like I've seen everyone else like making music and making
beats and all this stuff, and you know, I was just like,
man, well I can't do that. But now I am, and I'm
feeling really fucking good about it. I see that our host has disappeared or
at least no longer visible. Yeah, I think he dropped out and had
technical difficult He's on that one. Cool, so but we're still rolling.
You know, you brought up something interesting. Um, you said that that
one song just pop you open up your case, and that you you picked
up your guitar and that that song just kind of appeared. Yeah, I
like writing simple songs. And I've had that experience before where you just you
don't know what you just basically I'll just pick up the guitar and I've done
this a few times and you'll get a rift, you'll get a rhythm in
your head, and you'll work it out and then you know, like basic
things, so chorus first, ending, a little arrangement, and then after
the end of the afternoon. If you're looking at this and going, huh,
it ain't the world created a song, but hell, it's a song
and it's not too bad, you know. So that that's an interesting experience.
Um, when you write, do you normally write like with lyrics?
First you hear a melody in your head? Do you start on the guitar,
the piano or how's that process? So, and a lot of it,
a lot of songs, Like for me at least, this is you
know, my process. And again this is part of what tripped me up
a decade ago because like I started one song, like I wrote and finished
something beautiful and like one day and I was like, oh my god,
great, I wrote a song. This is great, this is everything I
need right here. But then like as I started writing others. I just
started getting caught into a loop. And I was just like, well,
I don't know maybe, but so for whatever reason, that will happen.
But then a lot of the things that happened starting last summer, and a
lot of those things that I later turned into songs, especially the one fall
that came out on the couch. It's I referred to it as like a
seed, so like like just can't stop waiting for the other shoot to drop.
That was like that was a hook that was just in my head for
a while, and I did, I did. I would just be driving
on the highway and like I'm not even like thinking about writing music or thinking
about songs, but I would just be driving and just like just can't stop
waiting for the other shoot and not even like not even a melody, but
just the just the thought, just the phrase the seed. And like I
was driving on a back road like in last autumn, and I was looking
it was fall, and I was looking at the autumn leaves and I was
thinking about the girl that I was hooking up with at the time, and
I was like, you know, the autumn leaves are just so pretty,
you know, just like the leaves on falling, just like simple shit,
really simple shit. But then, like I said, then I picked up
my guitar one night and like I was just like just fucking around with chords,
and like I wasn't even really like necessarily trying to write that song or
revisited or even finish it, but I just like I found like doo doo
doo doo doo doo doo doo doo, and like I found these chords and
then I was just like, don't get used to the sunshine because and then
just like then the chorus came out, and then I was like and I
still, if I'm being completely honest, like I still am like blown away
by that entire process, because like I I had no songs, I had
nothing, I had no album, I had no music. I had like
my one acoustic guitar and that's it. And just like one day I sat
and I just belt it out an entire song, and then like I wrote
another, and I wrote another, and then like I just I just kept
managing to find songs to write and melodies, and like I would get stuck
on or like I would I would think I would run out because I had
written one about it was recent and then but then I would like, all
right, well, let me go back. And like there was literally one
day where I like, I had just written a new song and I think
it was I don't know if it was Run or something else, but like
I was at the gym and I was listening to what I had so far,
and I was like, man, I'm making such good momentum. I've
got like five six songs. I don't know I'm gonna write next. I
just gotta I just gotta keep on going. Then I remembered, I was
like, oh, yeah, I keep on going. That's a song from
a decade ago, which originally like a decade ago, i'd split it up
into like three parts. It was gonna be like a little like kind of
like Floydish like three part thing, kind of like Pepper throughout the album.
But then like I just looked at those three and like the part one was
basically done, in part two was just a couple of lines, and I
was just like, all right, fuck it, it's just gonna be one
song on And so I kind of combined him and and kind of like the
Blessing and the Curse of those old Google docs from a decade ago. Is
that for a lot of them, I didn't write down the chords because,
like for something Beautiful Is, it was simple shit, so I didn't need
to write it down. But then for Keep on Going, I just wrote
the words. So I had to like figure that one out from scratch.
But it was great because it also kind of freed me because I didn't feel
like I had to like the beauty of it, you know, the beauty
of it is now and then the muses just conspire to create a circumstance that
you'll produce a song, right I mean, And that's just the beauty of
it, as as somebody. You don't know when you're going to write the
good song. You don't know when you're gonna write the bad song. You
don't know when you're gonna write the song that becomes something later. It's a
process that you really at the end of the day, I don't feel as
though anybody's got good If you control it, then it's not really organic,
you know what I mean. If you actually control it, it's it's a
little different. What you're just driving something falling together that you've only got partial
control over. I love that that that to me sounds like an honest creation.
I described it. I described it the entire time, and I still
will to this day as an out of body experience because like I like,
I like, I literally like I just blasted these songs out, but I
mean, like not even in just kind of like, oh, here's some
chords and here's some words. Like every single song that I wrote and recorded
for this album, like it all just felt like it was coming from somewhere
and all, like it all was so effortless, which is weird because I
struggled for so long to make music and to fucking even just record one song,
and then before you knew it, with the span of one month,
I had put an entire fucking album together and like just like constantly like rearranging
the track list and just like all right, well maybe I'll do this song
and no, I'm actually gonna strike that one, and then moving this one
up here, and then realizing like all right, well, if I am
going to do these three songs that's kind of the trilogy, then then this
one definitely needs to go up here. Like but just like everything just like
clicked together, and like, I don't know, I'm still shocked. I
still listen to it, and I'm like, I'm I'm both excited to finish
it up and get it out, and I'm also kind of sad because it
really was just this like pure fucking like just like this flood of shit and
just like just the Catharsis of like, oh my god, I'm fucking naking
music. I'm doing the thing that I always wanted to do, and it
was just like this adrenaline rush and just the fact that like I didn't even
have to think about it, like I always just had the right chords and
I always just like knew what the next line was going to be, and
I would basically just like and I would just like start the voice recorder on
my phone and just like pick up my guitar and just like start playing.
And that was the beauty of it, because I just have like the voice
recorder on the phone and I have the Google document open, and I was
just like, oh that's good. Oh oh shit, what did I say
like five minutes ago. And then I'd like stopping, I'd rewound and I
was like, oh, yes, that's what it was, and then go
over to Google Doc. But it's like I'm I'm still blown away. And
I'm like, I'm I'm terrified next excited for it to come out because I've
never really done anything like it, but I'm so proud of it. And
I know and I'm I'm sure that all sounds like so standard and cliche,
but just like just the fact that I fucking I did the thing, and
like there's some really fucking cool shit on this album, like considering that they
all started with me just like playing acoustic guitar, and like some of these
beasts just go super fucking hard, like the kind of stuff that I would
listen to I think to other people make and just go like I'm never gonna
make fucking anything nearly as good as that, and somehow I have. So
that's excellent. So people will be able to catch up with you if you
go to at I am dealing Wade on link Tree or at Wade. Excuse
me, what's excuse me? I am doing avery? Crap. I just
I totally flipped because I got knocked off of a Zoom meeting and I'm trying
to pull myself. I am dealing avery. There we go, there's a
good correction. I am doing avery at I am doing avery on link Tree
or I argue, or right now, if you googled me, hopefully it
should bring up my link tree, so yes, yes, but don't look
for Dylan Wade. I don't know who the hell Dylan Wade is, but
that's a friend of mine. That's a friend of mine. I'm sorry.
He was a podcaster and I worked with him, and he's a guy in
a wheelchair. He's a nice guy. But I often would think of you
two together because it both named Dylan. That's it, and I just screwed
up so perfect. Anyway, can we cut that out book? No?
Leave it in? Leave it in at I am Dylan Avery on link Tree
at I am Dylan Avery. Also on Twitter, uh, and I think
on some other social media where I have that handle everywhere, thankfully. So
there you go, all that stuff and you see that at the top of
the lenk tree, which again will be in the league in the show notes
at I Am Dylan Avery. Good God wanted that up at I Am Dylan
Avery. There we go. But when is the album coming out? I
didn't. I got kicked off the zoom. No, that's fine, and
I didn't mention it. I was pushing for July twenty one. Um,
I'm just I'm basically in mastering now and there's like one or two songs that
I just look tiny shit to fix. Um So, I was pushing for
July twenty first, barring that maybe the twenty eights or because it's like it's
a summer kind of album. Um So, like I'm I'm pushing, I'm
pushing for next month because like once you push it through to the digital outlas,
you know, it takes like two to three weeks. Making CDs will
take me like a week, but you know, the CDs are just for
the supporters and people who fucking push me along the way. So the big,
the big wide digital release, I'm pushing for the end of next months
and that way I can be done with that one and already start working on
the new songs I want to record, so right, and plus the name
of your video production company. Also because you got that at the top of
the link tree there, which really interesting and again I like it. Just
go over to the link tree to check out the Zion dance party because it
is really cool as a background, and that was I love that. It's
just absolutely a smacks of that, not just the one from Reloaded, but
I think it's in another one of those two where they have one of those
raves right reloaded was the big one. Revolutions just has a bunch of mac
fights and the fourth one doesn't exist. Oh yeah, well I was going
to ask you what you thought of that. But okay, now I know
boys, because we don't we are. You're gonna bring me back on the
podcast and we're gonna talk about Matrix resurrections for an hour. Oh my god,
fucking shit, man, I mean you want to talk about like wasted
potential and like, yeah, I get it, like the movies about Warner
Brothers wants them to make a new Matrix. But the this is all I'll
say about it. And then if we're gonna come back to this another time,
they're gonna come back to another time. But if it was just like
generic action movie like a lot of it would be excusable. But you are
a Matrix sequel, like you like redefined actions cinema, and you pioneered so
many things, and you hired the best, the like, the best choreographers,
the best of the best for everything, and for this, for this
much anticipated matrixy will come out and the fight is just like sloppy handheld and
just like it's just it just it was not. It was not. It
just was not. I mean and like I I've when I when I heard
about it and I heard about the premise, I was like all right,
And even when I saw that first trailer, I was like, all right,
cool, like this is interesting. But like watching it, I'm like,
and you know, only only one of the little Chowskis came back,
and it just obviously and I've I've and I've I've read the interviews. You
know, I've heard why she did it because like her her parents, you
know, and like and grief and all that, and like I get it,
but like maybe it shouldn't have done it. I mean, look,
I was so so hyped up on it because I watched the anticipation. I
went to the website with the little pills, remember the website, and then
like the different trailers, like you get like a different trailer every time you
went there. Yeah, like again like great marketing. But then yeah,
it's like it was like after you built me up and you told me you
were going to deliver a baby, you dropped the turd. Is what happened?
Pretty much. I'm sorry to bring it down to that level. But
perfect. It sounds like you don't disagree with me. No, not at
all. So if I come back, we can talk about matrix resurrections another
horribly depressing sequels. Ah, it's so bad. I mean, and and
I just I had so much hope port and I'm thinking to myself, maybe
it's better there's only one match Howski involved, but no apparently not. Um
Oh anyway, well, this has been a nice breath of fresh air.
Thank you. This is this is not like any other interview I've done it.
I again, I do mean that. That's it's nice. Nice,
just talk shit. Excellent and I and it looks so you can talk shit
with me anytime. We can do this whenever you want. Again, I
am dealing Aby, I am dealing Aby. I am dealing Avery on lin
Tree and also on Twitter. Yeah that should work. But I'm just saying
in case you want to answer something. But but I hate also best if
people use Google, but then again, it's infiltrated everything. Who knows to
talk about that along with the matrix redirections next time we talk. How's that
perfect? All right? Did you expressed like color schools or anyone else who
happens to get on the air. It wos only dot com do not necessarily
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