Speaker 1: Oh gee is folks, it's showtime. People say good money
Speaker 1: to see this movie.
Speaker 2: When they go out to a theater, they are cold
Speaker 2: sodas popcorn in No monsters in the Projection.
Speaker 1: Booths, everyone pretend podcasting isn't boring.
Speaker 3: Got off?
Speaker 4: Hey, folks, Welcome to a special episode of The Projection Booth.
Speaker 4: I'm your host Mike White. On this episode, I'm talking
Speaker 4: with Ryan Kendrick. He is the editor of the new
Speaker 4: film from Rachel Lambert called Carousel. Now that has nothing
Speaker 4: to do with being sent to your death when you're
Speaker 4: thirty years old. It is a new film that stars
Speaker 4: Chris Pine, Katie Sigal, and Jenny Slat, recently premiere at
Speaker 4: Sundance and should hopefully be coming to a neighborhood near
Speaker 4: you pretty soon. Keep an eye out, and in the meantime,
Speaker 4: I hope you enjoyed this interview. Before I talk about Carousel,
Speaker 4: I'm curious how did you get your start in editing
Speaker 4: and filmmaking.
Speaker 5: I originally went to school to be an audio engineer,
Speaker 5: and in school for audio engineer class, we had a
Speaker 5: sound design class and we ripped all the sound out
Speaker 5: of a scene from the TV show Alias, and we
Speaker 5: built the sound from scratch. It for like five six
Speaker 5: minutes of this TV show, And when we were doing that,
Speaker 5: I was like, Oh, I want to do this. I
Speaker 5: don't want to record bands and stuff anymore.
Speaker 1: So then I looked at my school to see what
Speaker 1: the video department was, and it was.
Speaker 5: In the basement of the dorm and it had a
Speaker 5: VHS to VHS console. I had a Media one hundred
Speaker 5: computer and Final Cut Pro one on a Mac. So
Speaker 5: I got a key from my professor to the lead
Speaker 5: department and basically started teaching myself Final Cut on that
Speaker 5: computer that was in there. And then when I graduated,
Speaker 5: I went to the Edit Center in New York, which
Speaker 5: quite a few people have gone to, but it's like
Speaker 5: a six week film editing course because I didn't know
Speaker 5: how to edit at all, really, and then I've been
Speaker 5: doing it ever since, really with many other different things
Speaker 5: because I live in Nashville, so I didn't have a
Speaker 5: ton to edit, so a lot of stuff I had
Speaker 5: to shoot myself for a long time.
Speaker 3: But did you end up doing like a lot of
Speaker 3: music videos or shorts out there?
Speaker 1: Yes, a lot of music videos.
Speaker 5: I've done, probably close to one hundred of them, which
Speaker 5: is a lot. And then I also was a videographer
Speaker 5: for bands on tour and stuff, So some.
Speaker 1: Of that stuff I cut and some I didn't.
Speaker 5: When I started doing it, it was sort of when
Speaker 5: YouTube was just kind of starting, So I was cutting
Speaker 5: like little mini docks of like people in the studio
Speaker 5: or people on the road and stuff like that. But
Speaker 5: you know, the YouTube wasn't very big then, so it'd
Speaker 5: be like five hundred people would watch it if they
Speaker 5: even knew where to find it.
Speaker 3: Basically pretty much documentary work right there. But you know,
Speaker 3: the film we're talking about today is a narrative. How
Speaker 3: was that transition to go from dock to narrative?
Speaker 5: In my Edit Center class, half the course was narrative
Speaker 5: and half the course was documentary. I had been trained
Speaker 5: in both, but narrative was always hard to get my
Speaker 5: hands on. So we would make little short films and
Speaker 5: stuff that I would cut together, and we would do
Speaker 5: forty eight hour film festival and all those kinds of things.
Speaker 5: I really transitioned into doing narrative when we won a
Speaker 5: four to eight hour film festival and we turned that
Speaker 5: idea into a feature film. That was really the first
Speaker 5: time that I ever did anything that long or that extensive,
Speaker 5: which was basically shooting on the weekends, cutting the scenes
Speaker 5: we had during the week and it took us a
Speaker 5: year to make it because we had no money.
Speaker 1: I don't remember what the final budget was, but it
Speaker 1: was very small.
Speaker 3: With the gigs that you've had recently, are you just
Speaker 3: kind of now known in the industry and people say,
Speaker 3: I want Ryan Kendrick to do this, or do you
Speaker 3: still have to like hitch yourself, Like how does that
Speaker 3: go to get a gig?
Speaker 5: Well, for film stuff, you definitely still have to pitch
Speaker 5: yourself a lot and a lot.
Speaker 1: It's mostly connections.
Speaker 5: This film Carousel with Rachel is like, this is our
Speaker 5: fourth film we've done together, and I've done a couple
Speaker 5: other ones with people who I've just been like introduced,
Speaker 5: who are like through connections and stuff. But again it's
Speaker 5: like narrative isn't my main job either, Like I'm a
Speaker 5: partner at a post house and we do I mean,
Speaker 5: our main.
Speaker 1: Work is commercials.
Speaker 5: A lot of my connections and a lot of the
Speaker 5: stuff that I do has absolutely nothing to do with
Speaker 5: the film side of it. The film side of it
Speaker 5: is just like the flexing a different sort of muscle.
Speaker 5: That is basically it's basically impossible to get the same
Speaker 5: sort of like artistic fulfillment from anything else other than
Speaker 5: maybe if.
Speaker 1: It was like a feature documentary or something.
Speaker 5: It's just such a huge amount of work to juggle
Speaker 5: and keep in your mind and mold and shape.
Speaker 6: You know.
Speaker 5: It's just a very big thing. But to go back
Speaker 5: to the question you were just saying, or that you
Speaker 5: just asked me, a lot of directors have their editor
Speaker 5: that they like, or they've met or that has come
Speaker 5: up with them through the rank.
Speaker 6: So it.
Speaker 5: Does become quite hard to sort of find new people
Speaker 5: to work with unless you start with people who are
Speaker 5: just starting out.
Speaker 1: Because it's such a.
Speaker 5: Unique relationship and it's very I mean me and Rachel
Speaker 5: have been friends now.
Speaker 1: For like fourteen years or something.
Speaker 5: It's just a very close, close kinship that we share,
Speaker 5: and I mean it's hard for me to just come
Speaker 5: into with someone else and be like, hey, I can
Speaker 5: be this person for you.
Speaker 3: You know, So with knowing her for so long and
Speaker 3: having worked on these multiple projects together, what kind of
Speaker 3: prep do you do when she's like, Hey, I've got
Speaker 3: this new thing, harocel I want you to, you know,
Speaker 3: come on board of course, and edit this like, do
Speaker 3: you guys just speak in shorthand now? As far as
Speaker 3: what she needs or what her thoughts are.
Speaker 1: I don't know that I would ever use the term
Speaker 1: shorthand for Rachel.
Speaker 5: But yes, this Carousel came about because our last film
Speaker 5: sometimes I think about Dying was at Sundance, but it
Speaker 5: took a year after we wrapped it for it to premiere.
Speaker 5: So she wrote a whole script in that year, which
Speaker 5: was Carousel.
Speaker 1: So she gave us.
Speaker 5: That script basically when we went to Sundance for the
Speaker 5: other film. Generally, what happens is she just kind of
Speaker 5: gets our initial reactions and everything. Carousel in particular, since
Speaker 5: it was an earlier draft, she had to do revisions
Speaker 5: with producers and stuff. She would talk to me about
Speaker 5: the revisions that were getting made to the script to
Speaker 5: make sure that it would essentially tie in with the edit,
Speaker 5: or that we weren't stripping things away that would be
Speaker 5: problematic when we got there.
Speaker 1: All of that, you're just like, you do like that.
Speaker 5: A couple of conversations like that, and then a lot
Speaker 5: of it's like you gotta just hear about the production
Speaker 5: of all this stuff. But when it actually gets to
Speaker 5: like right now, actors are locked in location, everything's this.
Speaker 1: Her and the DP. Dustin will usually just will.
Speaker 5: Get like a three four hour phone call and I'll
Speaker 5: listen to them talk through the entire scripts, what they're thinking, what.
Speaker 1: They're doing, blah blah blah. And I'll have like some
Speaker 1: notes that I've pre.
Speaker 5: Written down, but usually I just sit back and draw
Speaker 5: and just listen to them talk to it and sort
Speaker 5: of like absorb all of that information, which was something
Speaker 5: that we had started doing dying. We did that where
Speaker 5: we just went through the whole script and it just
Speaker 5: put us all on the same page basically, where when
Speaker 5: stuff would come in, we didn't have to have lengthy
Speaker 5: conversations at the end of the night. Or because Rachel
Speaker 5: doesn't generally watch Daili's she sort of expects me to
Speaker 5: watch them and let her know if there's anything wrong
Speaker 5: or anything going on. But she's pretty well attuned into
Speaker 5: what she's seeing, so there's not a huge reason to
Speaker 5: be like, well, let's get on the phone for two
Speaker 5: hours and let me explain everything that's happening. We're already
Speaker 5: kind of going, so.
Speaker 3: You're there throughout this entire process. If not before, which
Speaker 3: is wild, and then being able to see those dailies.
Speaker 3: Are you already starting to put together scenes as things
Speaker 3: are starting to collesce?
Speaker 5: Yeah, I mean I had an assembly of the film
Speaker 5: done three days after they rapped, so I was cutting
Speaker 5: the film the entire time that they were shooting, which
Speaker 5: was a bit tricky because they shot on film, so
Speaker 5: I was three or four days behind them, which generally
Speaker 5: I'm not. Usually you're only like a day behind or
Speaker 5: something because they're like uploading proxies and stuff. Which was
Speaker 5: another thing that was like she had to kind of
Speaker 5: be relying on me because she's like, well, I mean
Speaker 5: we're like it's four days later, that location's gone, so
Speaker 5: we can't do anything about it really, you know.
Speaker 1: Wow.
Speaker 3: So by the time you're seeing stuff, if you're like, oh,
Speaker 3: you missed a shot or I would like a shot
Speaker 3: of this, like you're pretty much done.
Speaker 5: Interestingly, on this, we did have one thing that we
Speaker 5: went back and reshot because that house they had the
Speaker 5: whole shoot, and so when something came in and we
Speaker 5: had cut it together, we talked about it and we
Speaker 5: went through and then they went back and reshot. When
Speaker 5: they had Jenny again, like a week later, but for
Speaker 5: the most part that was like.
Speaker 1: It was pretty much not possible unless it was like
Speaker 1: that specific location.
Speaker 3: And how are you keeping crack of everything? Like, oh,
Speaker 3: I you know this scene is good or I'm missing
Speaker 3: a little slug here and I need to get back
Speaker 3: to this, Like how do you keep everything straight? You know,
Speaker 3: obviously you can't do it all in your head.
Speaker 5: No, I mean having a good assistant helps in terms
Speaker 5: of just like the technical tracking of it. I mean
Speaker 5: we had a very large spreadsheet that sort of tracked
Speaker 5: everything and where it was coming from, well out on
Speaker 5: one day, blah blah blah, all that other stuff. In
Speaker 5: terms of remembering where stuff is. I do kind of
Speaker 5: balance it a lot in my head, which I think
Speaker 5: is why I'm very drawn to this job and also
Speaker 5: very exhausted by the end of it, because you do
Speaker 5: sort of fill your ram with a lot of information constantly.
Speaker 5: A lot of it is just really good prep work,
Speaker 5: which we've sort of dialed in over the years from
Speaker 5: doing so many commercials and so many jobs and so
Speaker 5: much stuff coming in that we sort of just have
Speaker 5: this process for how we organize the footage and how
Speaker 5: we know where everything is and how we're able to communicate.
Speaker 1: It's not necessarily that complicated, but it is just a
Speaker 1: very good strong base to begin with.
Speaker 5: Some of it I cribbed because I did one season
Speaker 5: as as an assistant at SNL and the way that
Speaker 5: they prep all the shorts is really great because they
Speaker 5: just have to be very fast, and so some of
Speaker 5: their process I've sort of like interwoven into mind to
Speaker 5: be able to just sort of like know.
Speaker 1: Where all of this stuff is.
Speaker 6: Well.
Speaker 3: And obviously you're not still cutting on Final Cut brow
Speaker 3: number one.
Speaker 1: What have you.
Speaker 3: Graduated to these days? Where do you used to cut?
Speaker 1: Yeah?
Speaker 5: So I was in the Math Exodus from Final Cut
Speaker 5: and I went to Premiere and I've been on Premiere
Speaker 5: pretty much.
Speaker 1: Exclusively since then.
Speaker 5: I think I've used Avid maybe a couple of times,
Speaker 5: and we use Resolve like in some of our workflow stuff,
Speaker 5: but I've never like fully used it. It's been just
Speaker 5: Premiere like for years now. It seems like maybe a decade.
Speaker 5: I mean, I can't remember when the Mass Exodus was,
Speaker 5: but it was quite a while ago.
Speaker 3: Do you use that to help kind of figure out
Speaker 3: where things are as well? Like the don't they use
Speaker 3: like projects for that?
Speaker 5: So we use yeah, we use productions, and you know productions.
Speaker 5: It's a great organizational tool. I think the thing that
Speaker 5: makes it so useful as like collaboration really because of
Speaker 5: it's I hate saying this, but it just has a
Speaker 5: lot of these similarities to like how aviod is in
Speaker 5: terms of like bin usage, and these projects are now
Speaker 5: like these bins, and people are locking and unlocking them,
Speaker 5: and people you can.
Speaker 1: Go in and out of them, you know.
Speaker 5: My organizational method basically it went from everything is inside
Speaker 5: this one very large project to breaking all of my
Speaker 5: folders and substructures into individual projects now that are like inside.
Speaker 1: Of the production.
Speaker 3: They're out there shooting, You're getting the footage a few
Speaker 3: days later. You're always a few days late because of
Speaker 3: the transfer. How much after they wrap their filming are
Speaker 3: you looking at your first cut.
Speaker 7: Like the full film first cut, your first pretty major
Speaker 7: rough cut three days after I had an assembly that
Speaker 7: I had honed a lot of stuff, and then I
Speaker 7: think I was watching my first.
Speaker 1: Cut like a week after wrap.
Speaker 5: Basically, Yeah, which I honestly didn't have a choice on
Speaker 5: this one. It just sort of had to be that
Speaker 5: way because of the schedule. Yes, it is incredibly fast.
Speaker 5: I will say this. Rachel and Dustin do not shoot
Speaker 5: a lot of takes, so that is incredibly helpful. And
Speaker 5: it was show on film, so they couldn't just let
Speaker 5: the camera run, so that helped. And you know, this
Speaker 5: is the first film where I've had an actual assistant
Speaker 5: on it, so.
Speaker 1: I was afforded the.
Speaker 5: Time to essentially sit and watch Daily's like on my sofa,
Speaker 5: like on a screen while she was doing a lot
Speaker 5: of the prep work. And that did alleviate a lot
Speaker 5: of I don't know, I don't like to say why,
Speaker 5: Like prepping stuff is like useless time you find so
Speaker 5: many cool nuggets when you're like looking for stuff. But
Speaker 5: it did give you a good jump start to doing it.
Speaker 1: But I think, usually.
Speaker 5: What do they say, I probably I think an editor's
Speaker 5: cut you usually.
Speaker 1: Get eight weeks, maybe at least I think you get
Speaker 1: to do eight weeks.
Speaker 5: And I think on this, miner's cut was at five,
Speaker 5: so it was like three three weeks early. And then
Speaker 5: usually the director's cut is at like fourteen or something,
Speaker 5: and we were, you know, at god knows eleven or something.
Speaker 5: I don't know, it just it just moved at a
Speaker 5: rate net speed.
Speaker 3: Once you have your first cut. What happens then do
Speaker 3: you then show it to the filmmakers or how does
Speaker 3: that go?
Speaker 1: I have discovered that.
Speaker 5: The last two films I've done, they did not watch
Speaker 5: the first cut that I did.
Speaker 1: I'm trying to remember on this one.
Speaker 5: I think we watched about five minutes of it and
Speaker 5: then Rachel said stop, and then she just would watch
Speaker 5: them as we would go through working and working and
Speaker 5: working it, which is pretty similar to how the last
Speaker 5: one went to, which was just I find it kind
Speaker 5: of curious to not watch it because it sort of
Speaker 5: cuts you off at your knees a little bit in
Speaker 5: terms of conversation pertaining to things towards the end or
Speaker 5: the middle, or things cascading and the reason why decisions
Speaker 5: are made. You don't really see scope of it. But
Speaker 5: I do think that Rachel probably would have watched it
Speaker 5: if we weren't in such an enormous hurry. I mean,
Speaker 5: she was very anxious to start talking about stuff and
Speaker 5: start working through stuff.
Speaker 1: They did the last day of shoot in.
Speaker 5: Nashville, So she came in the next day and I
Speaker 5: actually told her to leave for a week and come
Speaker 5: back because she was saying stuff and asking me questions
Speaker 5: and I was like, I'm still like three or four
Speaker 5: days behind, and I even't seen everything, so I just
Speaker 5: don't have answers to some of your questions, which makes
Speaker 5: me useless to you because now you're just dictating stuff.
Speaker 5: And she doesn't really want me to just like dictate
Speaker 5: and be a button, but she wants me to have opinions.
Speaker 5: And I was like, I'm not gonna have opinions about
Speaker 5: this stuff, and I may not unless you leave for
Speaker 5: like four days and come back.
Speaker 1: And she did, and then she came back refreshed.
Speaker 3: Why the rush on this one? Did you guys have
Speaker 3: a release date in mind or the first we'll cut off?
Speaker 1: Yeah, just you know you have to hit it by
Speaker 1: a certain time. And then you start back.
Speaker 5: You basically just go, well, if we get in, here's
Speaker 5: what like, here's the day that you have to turn
Speaker 5: it in. Here's how long it takes to mix, here's
Speaker 5: how long it takes to color, here's how long it
Speaker 5: does this. And then you start looking at the counter,
Speaker 5: You're like, oh, well, I guess we just have to
Speaker 5: do it on this set.
Speaker 1: I guess it has to be done by this day.
Speaker 3: How close to what people saw at Sundance is what
Speaker 3: you came up with with that first cut.
Speaker 1: Oh, I mean, it's like an hour shorter than what. Yeah,
Speaker 1: the first cut that.
Speaker 5: We sent to producers was two hours long, right at
Speaker 5: two hours, and our final Sundance cut is like one
Speaker 5: thirty nine I think. So it's changed substantially, which is
Speaker 5: funny because the last film was not like that. Some
Speaker 5: of it was that the script was much shorter, and
Speaker 5: so we were very weary leaving stuff on the cutting
Speaker 5: room floor.
Speaker 1: But on this one we always knew it was long.
Speaker 5: The first trip that Rachel sent me was like one
Speaker 5: hundred and thirty five pages or something, and she had
Speaker 5: an e weebin page backstory history on all the characters
Speaker 5: in the town and everything. So there was a lot
Speaker 5: of material that we knew existence that we knew it
Speaker 5: was going to have to come down with. The first
Speaker 5: thing I did, the assembly I did, was basically.
Speaker 1: Like, here's everything, and here's.
Speaker 5: A bunch of ideas that may be good or bad,
Speaker 5: and you can reject them wholly if you want, or
Speaker 5: we can say this one's good. We could go down
Speaker 5: this path, but it had to have been two hours
Speaker 5: and twenty minutes span.
Speaker 1: It was definitely too long. There's no way anyone would
Speaker 1: to watch that.
Speaker 3: When you were editing, because I remember speaking with Moni Hellman,
Speaker 3: and he was an editor before he was a director,
Speaker 3: and he would always talk about maintaining the performances, and
Speaker 3: he cut around the performances rather than the action. So
Speaker 3: these films also had a little different rhythm. I'm curious
Speaker 3: as far as, like you know, you're saying, she doesn't
Speaker 3: shoot a lot of takes, how are you finding like
Speaker 3: this is the best performance, and how are you trying
Speaker 3: to maintain those really good performances as we go through this,
Speaker 3: because you've got some top match actors in this one.
Speaker 5: It's funny you say that because my mantra on this
Speaker 5: was like what would Thelma do? Because she just does
Speaker 5: not care about continuity at all. I did a lot
Speaker 5: of rereadings, like a lot of the older like merch
Speaker 5: books and stuff.
Speaker 1: I really did exist on the like.
Speaker 5: The most important thing is the emotional aspect of it,
Speaker 5: and a lot of times you can track back some
Speaker 5: of that, like physical space or continuity. If you really
Speaker 5: feel like it's taking you out, then it's something you
Speaker 5: have to work on. But I think, especially with this film,
Speaker 5: there's not a lot of cross shooting either with multiple
Speaker 5: people in it, so that helps a lot for you
Speaker 5: to be able to to sort of get that emotional type.
Speaker 5: The same is true for Daisy on the last film,
Speaker 5: as it is for Chris on this one.
Speaker 1: When you've done some of these huge tent pole films,
Speaker 1: a huge.
Speaker 5: Part of your skill in art is the control of
Speaker 5: your body and aware of pow. It's always moving in
Speaker 5: the repetition of those things. You're just not running into
Speaker 5: those problems as much, right, which is just giving you
Speaker 5: the opportunity to do whatever you want with the emotions
Speaker 5: of it. And I think some people like to dictate
Speaker 5: where they want these things to go.
Speaker 1: In this edit room of particular.
Speaker 5: We were very like, let the actors bring us to places,
Speaker 5: and let's follow them to where they're at, and let's
Speaker 5: see where they're going, because that's where we want to be.
Speaker 5: We don't want to push them into you know, And
Speaker 5: so I did. I honestly, I didn't run into a
Speaker 5: lot of dead ends sometimes in scenes where you're just like, oh, man,
Speaker 5: I cut myself right into it because I was following
Speaker 5: these hands. And you know, the last film I did,
Speaker 5: there is a food scene, man, and it's like food
Speaker 5: scenes are so hard because it's a very obvious fork
Speaker 5: up cut up.
Speaker 1: In hand, not in hand, you know.
Speaker 5: And there just wasn't a lot of this, And some
Speaker 5: of it is the way that Dustin shoots the film.
Speaker 5: He shoots singles a lot, so you know, you don't
Speaker 5: run into a lot of issues with it.
Speaker 3: With this accelerated timeline. Was there a chance to have
Speaker 3: an audience screening so you kind of see how things
Speaker 3: are playing.
Speaker 5: There was one that I wasn't at, and it was
Speaker 5: like two days before lock picture basically, so it wasn't
Speaker 5: entirely helpful. We actually have around ten people that me
Speaker 5: and Rachel send screeners to that we get notes up
Speaker 5: on everything we've done from basically the same ten people. Well,
Speaker 5: mostly because we know their proclivities towards certain things.
Speaker 1: We know that they have a broad sense of stuff
Speaker 1: that they like. It's not very niche.
Speaker 5: And some of them are people who just don't work
Speaker 5: in the business at all, which is always good because you.
Speaker 1: Just need brand. That's the thing with the screeners. It's
Speaker 1: so hard, man.
Speaker 5: It's like you just even if you do a screening room,
Speaker 5: it's like you get forty people and it's like twenty directors,
Speaker 5: ten editors, producer. It's like you're still getting you know,
Speaker 5: other people's art, wanting to be thrust upon it.
Speaker 1: And you really just want like my friends who watch it,
Speaker 1: who are just like we're friends because of our kids
Speaker 1: and stuff, you know, and it's like they don't care.
Speaker 1: They're like they just want a movie to be good
Speaker 1: or not.
Speaker 5: They don't really care about They don't have any idea
Speaker 5: how to tell me how to make anything better too,
Speaker 5: which is also nice.
Speaker 1: You just want to hear, oh, this is too Oh
Speaker 1: I got bored, or this was really.
Speaker 5: Cool or blah blah blah blah.
Speaker 1: You know, you don't really want to be told sort
Speaker 1: of what today.
Speaker 5: You just want to hear about what is wrong. And
Speaker 5: that's another big reason. The people that we.
Speaker 1: Have too, they're very good about just here's all the
Speaker 1: things that I saw.
Speaker 3: Do you like to watch in movies with an audience
Speaker 3: or are you just kind of done with it at
Speaker 3: that point?
Speaker 5: I would have loved to have watched this foreign out
Speaker 5: screening with a group of people in a movie theater.
Speaker 5: I do love that for some reason, it's much more
Speaker 5: nerve wracking when it's done and you can't change anything.
Speaker 5: And the breakneck pace of this one too, I think
Speaker 5: it is may really hard because I just I hadn't
Speaker 5: seen the DCP, I hadn't seen the printed I hadn't
Speaker 5: seen anything. So yes, I do like I love seeing like,
Speaker 5: you know, things that people laugh at that I didn't
Speaker 5: know that was funny or any sort of response that
Speaker 5: anyone has. I mean, I do, I do love it.
Speaker 5: Rachel does not watch it. She did not stood outside
Speaker 5: and I thought about doing it, but I faced the
Speaker 5: music and I said, like the entire time just hoping
Speaker 5: that there were no But the thing that's crazy is
Speaker 5: you're just watching it being like, god, I hope there's
Speaker 5: no mistakes in the thing. I hope that we didn't
Speaker 5: do this. You know, that's so much of it when
Speaker 5: you do it, like when you watch it basically with
Speaker 5: an audience immediately after you're done, but dying it was
Speaker 5: like it was done for like a year, so I
Speaker 5: was like, this is great.
Speaker 1: I just went in and we were like, just let
Speaker 1: it wash over me. It was wonderful.
Speaker 3: Did you have any mortifying moments when you finally did
Speaker 3: get to see it with an audience or were you
Speaker 3: like okay, if this played.
Speaker 5: No, I think it mostly played. I didn't have any
Speaker 5: mortifying moments. Now, I mean you shouldn't watch it. I
Speaker 5: mean we finished mix like I don't know, fifteen days
Speaker 5: before it screened. So it's really just too soon because
Speaker 5: you just still have notes, which I'm sure no one
Speaker 5: noticed them. That's the thing. No one cares. I care,
Speaker 5: but you're watching it. That I really just needed like
Speaker 5: two more and three more months separation than I would
Speaker 5: have just been like, oh yeah, great, Yeah.
Speaker 3: I was wondering if you ever get like I don't
Speaker 3: want to say sick of something, but just too close
Speaker 3: to something you need to like step away for a
Speaker 3: little bit, and that obviously you didn't have any time
Speaker 3: for something like that.
Speaker 5: Here, the way that I put it is, it's not
Speaker 5: so much like it's definitely not like getting sick of it.
Speaker 5: It's when you were on a film. Especially because the
Speaker 5: pre production of this lasted.
Speaker 1: For like, I don't know, two and a half three years.
Speaker 5: It really feels like the closing of a stage of
Speaker 5: your life kind of, and there is a bit of
Speaker 5: a mourning sense to it that makes it feel really
Speaker 5: hard to watch it because it is sort of like
Speaker 5: giving it up.
Speaker 1: I'm definitely not sick of it. I remember with Dying, we.
Speaker 5: Cut it during and so we were in quarantine and
Speaker 5: neither one of us could do other stuff outside of
Speaker 5: our houses. We were cutting in my living room and
Speaker 5: we were mailing off swabs to get tested and stuff.
Speaker 5: And so when it ended, it was like an end
Speaker 5: of a phase, right, just the end of this period
Speaker 5: of your life. And I'm still in the period of
Speaker 5: carousel kind of you know.
Speaker 3: Do you have something else that you're working on now,
Speaker 3: or do you have to take a break between projects.
Speaker 3: I mean, obviously you've got the post House, but I
Speaker 3: mean as far as like another big production.
Speaker 5: Like this, I have to take a break. I don't
Speaker 5: have anything particularly lined up. I've read like three or
Speaker 5: four scripts, but you know, who knows when those will
Speaker 5: fire up. The tricky thing is now I have to
Speaker 5: perk myself up and try to get another movie, which
Speaker 5: is a very hard thing to do when you've just
Speaker 5: gotten off of it, because you're just like so exhausted
Speaker 5: and you're just like, man, I'm just gonna put my
Speaker 5: head down and do my daily work and just do
Speaker 5: that work and read scripts and kind of chill.
Speaker 1: But I mean no, I don't have anything particularly.
Speaker 5: It's one of the things that sometimes a script could
Speaker 5: show up tomorrow and then I could be on it
Speaker 5: in like two months.
Speaker 1: You know, you just kind of never know. It's pretty wild.
Speaker 3: Well, mister Kendrick, thank you so much for your time.
Speaker 3: This is great talking with you.
Speaker 6: Thank you.
Speaker 2: You clamber and look because I know what will not
Speaker 2: helping hands for him.
Speaker 8: That's some painted glue.
Speaker 1: With red eyes.
Speaker 8: Most are swallowing.
Speaker 9: The dragon dies and sous on tracks.
Speaker 8: The hands that strap you to its back. You turn
Speaker 8: around and look behind. The smiling eyes won't help you down.
Speaker 2: The chiny hands, the chiny feet, such little hawks.
Speaker 8: To miss a be.
Speaker 9: Road chest talks and mirrored rooms don't took a thousand.
Speaker 8: Yes, staring back through.
Speaker 2: Stinging tunes, remembering loutspun house drill, the paint box tunes
Speaker 2: and wildlings.
Speaker 9: Then what schools you start to swoop? Oh, painted violent
Speaker 9: lyric the starling horse that waits for you, its modes
Speaker 9: and words said, colors car.
Speaker 8: In beside your head. That ons just work. It's moto
Speaker 8: where sun coming still inside your head. The moms stacks
Speaker 8: were inside chuck chumps to stick rounded about that? Yeah,
Speaker 8: a second chump stood stick and you.
Speaker 1: Put in a crown.
Speaker 8: Inside.
Speaker 2: Jack Chumps stood stick, rounded about by.
Speaker 10: Suda Hun stood stack and you was in love. Well,
Speaker 10: can't rust
Speaker 1: It, can't read it.