Speaker 1: Oh he is both its show die.
Speaker 2: People say good money to see this movie.
Speaker 3: When they go out to a theater, they want cold sodas,
Speaker 3: hot popcorn, and no monsters.
Speaker 2: In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 4: Got it off?
Speaker 2: Ur hey hoax. Welcome to a special episode of The
Speaker 2: Projection Booth. I'm your host, Mike White. On this episode,
Speaker 2: I'm talking with writers directors Harpo Goot and Lenny Good,
Speaker 2: as well as their composer, Simon Haynes. We are talking
Speaker 2: about the film Heads or Fails. It is a Belgian movie,
Speaker 2: which is strange since we just were talking about Belgian
Speaker 2: films on the melbur tweet episode. This is a Belgian
Speaker 2: film that is not a horror movie about a crazy house.
Speaker 2: This is about an unemployed woman our Monday. She is
Speaker 2: struggling in Brussels as we all struggle. It's a great
Speaker 2: character study, really good acting. Looks fantastic. It's playing at
Speaker 2: festivals right now. Definitely checking out and I hope you
Speaker 2: enjoyed this interview. How did you guys get into filmmaking
Speaker 2: in the first place.
Speaker 3: Our father did film and since the beginning, since we
Speaker 3: were charged. We grew up we were watching a lot
Speaker 3: of films and when we were little we wanted to
Speaker 3: do the same. We started with little little camera and
Speaker 3: we did our film in the living room and then
Speaker 3: with friends and it grew up from there and then
Speaker 3: one day we had the money to do a film,
Speaker 3: so we were lucky. And then the second one with Fix.
Speaker 2: What's that that mother smucker?
Speaker 3: Yeah, and it was also in the Fantastic Festival in
Speaker 3: twenty twenty one.
Speaker 2: How was that going from shorts to your first feature film.
Speaker 3: We love to do films with that money. Just do
Speaker 3: try a lot of stuff with friends and people we
Speaker 3: met at the school Film school of theater school, and
Speaker 3: then we try to do like in Belgium, there's like
Speaker 3: a found little found to do the first new movie
Speaker 3: and retuire our chance and by lucky we succeed. So yeah,
Speaker 3: that's why we do our first feature.
Speaker 2: So where did the idea for Headzer Fails come from?
Speaker 1: The idea came from like we want after a mode
Speaker 1: of focus. We wanted to explore new stuffs and we
Speaker 1: had this idea of telling the story of a gambler
Speaker 1: and like a group, and so we started to write
Speaker 1: some ideas around this character. We wrote a lot of
Speaker 1: them and at the end we like choose the best
Speaker 1: ideas from that and put them all together to make
Speaker 1: the movie.
Speaker 3: And that's how Armond got created.
Speaker 2: And tell me about your thead actress, because she's fantastic.
Speaker 1: Her name is Maria Valveson and she's from France, but
Speaker 1: also she's alf French, alf Peruvian and she did school
Speaker 1: in Belgium. And as soon as we met her, we
Speaker 1: knew that it was and we made her read the
Speaker 1: scripts and started working with her, and she told us
Speaker 1: some ideas and so we changed some stuff.
Speaker 2: What were some of the biggest challenges of making this movie.
Speaker 1: Trying to be real with the emotion because Macas was
Speaker 1: more of a comedy and absurd comedy, and this one
Speaker 1: we wanted to tell a story a bit more emotional
Speaker 1: and to really experience the moments of Almond's life. And
Speaker 1: so this was the challenge to put this all together
Speaker 1: and to go full into emotion moments and also filming
Speaker 1: some stuff.
Speaker 2: How did you get involved with these crazy Belgians.
Speaker 5: This crazy Belgians and me were part of a music
Speaker 5: making color in France called Fortune Collective, and we were
Speaker 5: both doing a this is correct, right, every month we
Speaker 5: would have to write a song based on everybody in
Speaker 5: the collector would write a song based on a photo.
Speaker 5: And so we became friends on SoundCloud. And then it
Speaker 5: just so happens that these two crazy Belgians who are
Speaker 5: technically Parisians but don't tell anyone, we're looking for music
Speaker 5: to put in their first film, Mother Smuckers, that they
Speaker 5: didn't have to pay for. And so they contacted me
Speaker 5: very kind with a very nice passion, sank, can we
Speaker 5: use a couple of her songs? We don't have any money,
Speaker 5: And naturally I said no, but they did it anyways,
Speaker 5: now just kidding, of course, it was an honor. I
Speaker 5: actually don't remember what exactly happened, but.
Speaker 1: You said, of course, you can use what it wants,
Speaker 1: and he sent us like all of these music as well,
Speaker 1: even he's hemming when he was a child.
Speaker 5: Even like songs of me in the bathtub as lit
Speaker 5: look kid. And then I watched Mother Schmuckers, but they
Speaker 5: didn't tell me that the music of mine they used
Speaker 5: in a sequence that takes place after the credits of
Speaker 5: the film, like a skit. So so I watched the
Speaker 5: whole movie waiting for the music and then it turned
Speaker 5: it out anyways, and then we met in person for
Speaker 5: the first time and it turns out that we have
Speaker 5: a lot of similar interests. So I asked, So then
Speaker 5: when they started working on heads or Fails and they
Speaker 5: wanted to do an original score, it seems a totally
Speaker 5: understandable next step.
Speaker 2: That's what I mean. Had you done a score for
Speaker 2: a film before.
Speaker 5: Yeah, I've been studying or like working on film music
Speaker 5: for and trying to make that part of a big
Speaker 5: part of my life for many years. And the thing
Speaker 5: that's really I couldn't pass it up about this experience
Speaker 5: is that they wanted to really do the whole process
Speaker 5: in a way that's totally not Hollywood and not even
Speaker 5: New York. And I really involved, which I got very emotionally,
Speaker 5: became emotionally part of the process of making the film,
Speaker 5: and you can't pass that up.
Speaker 2: You know, it's same.
Speaker 1: But you were talking about the music even before the
Speaker 1: movie was shot. Yeah, but he doesn't treat French, so
Speaker 1: we send him the scripts.
Speaker 5: That didn't mean anything to me.
Speaker 2: Yeah, so like that, I'm curious, when did you actually
Speaker 2: shoot this film?
Speaker 3: So we shot it last year on April, so we
Speaker 3: had nine months of editing and post production stuff.
Speaker 2: That was a lot.
Speaker 3: So it's like the second time at Fantastic Fest we
Speaker 3: showed the film to real purple, not our friends and mama.
Speaker 2: How did it go over?
Speaker 3: It was? It went really well. I think it was
Speaker 3: for us Belgian people. It's crazy. The scanning room is
Speaker 3: we can't get in a long position and eat a
Speaker 3: lot of stuff during the film.
Speaker 5: So some context for that. You know that the Alamo
Speaker 5: draft House GOP reclined so far back that it's like
Speaker 5: lying down.
Speaker 2: Did you know about that?
Speaker 6: No?
Speaker 2: I did not know that. And there are waiters that
Speaker 2: it will serve you food during that bad I knew
Speaker 2: it's fairly decadent.
Speaker 1: But you were at the screening at the Phantasy Fast
Speaker 1: I was not.
Speaker 2: No, I'm up here in Detroit. Was that your premiere?
Speaker 3: Second premiere? We had one in France also, but we
Speaker 3: were concerned that American people will understand the jokes and
Speaker 3: the story, and it went well. I think we try
Speaker 3: to work on It's that we love cinema and the feeling,
Speaker 3: the special feeling we get when we get stuck in
Speaker 3: the film, like in Little mis Sunshine or we Blash,
Speaker 3: and so that's why we wanted to try to redo
Speaker 3: this feeling again, like when the I can't no, I
Speaker 3: wouldn't say the stuff of the Thinglets we try to
Speaker 3: do this little moment where we like.
Speaker 2: How do you guys, as brothers and co creators, how
Speaker 2: do you dev up the work?
Speaker 1: I work the day, work the nights. That's why I'm
Speaker 1: a little tired. Now that's a my hours.
Speaker 2: Do you already know what you're working on next?
Speaker 1: We do have still searching for ideas if you have one.
Speaker 1: Don't hesitate to textas with ideas.
Speaker 2: You've done so many different things over the years, especially
Speaker 2: with the shorts. What inspires you for actually creating a film?
Speaker 1: We have lots of We have friends and grady stories
Speaker 1: around us, and so we try to get those stuffs
Speaker 1: and put them in movies. And so we watch a
Speaker 1: lot of movies, so we are inspired by other movies
Speaker 1: and we try to put all of these with our
Speaker 1: z poetry and do our own movies. That we try
Speaker 1: to do stuff that doesn't look like ostus and creates
Speaker 1: out on.
Speaker 5: Something I think that's interesting about Like when I first
Speaker 5: met them too, I went to their house where they
Speaker 5: grew up and they have like where they grew up
Speaker 5: as the entire walls are all covered with DVDs and
Speaker 5: CDs of mixing film and music from lots of different cultures.
Speaker 5: And you can tell by their family and the way
Speaker 5: that they live that they've spent years and years taking
Speaker 5: in information about film and music and it's and particularly
Speaker 5: American film music, and it's really soaking it in. But
Speaker 5: because they're so out of their minds, it all comes
Speaker 5: out in a totally different way. And I think that
Speaker 5: the two of them have enough inspiration between them for
Speaker 5: maybe two more movies.
Speaker 2: I need to the two and then you're done. Yeah,
Speaker 2: I've done. As we say, the film looks fantastic. Can
Speaker 2: you tell me about your cinematographer.
Speaker 3: We met this guy, Kinan Massarani, and the same way
Speaker 3: with Simon. We had a lot of time together to imagine,
Speaker 3: to figure it out and try to find some stuff
Speaker 3: we love in the form to accompany the story. We
Speaker 3: wanted to be like the it that nothing is free,
Speaker 3: just in the way we wanted the film to look.
Speaker 1: So he had many ideas. We met him and we
Speaker 1: had some ideas and we wanted to try to put
Speaker 1: them in the movies, and he had many other ideas.
Speaker 1: So we tried to organize all of these ideas and
Speaker 1: put them all together.
Speaker 3: It was like a pink pink pung of idea and
Speaker 3: we wanted to be the thing, to be dirty and
Speaker 3: to feel like a row and he was all in
Speaker 3: for that. And we had the luck to meet Quinan.
Speaker 1: Massa Ranich and it was a big sceney five, so
Speaker 1: he had many movies to show us and he was like,
Speaker 1: we could do something like this, and that's great working
Speaker 1: with him.
Speaker 2: Like I said, it looks wonderful. And then it's so
Speaker 2: very tightly edited as well.
Speaker 1: We are working for many ye with a guy named
Speaker 1: Gil Mule and the other guy named to let A Shook,
Speaker 1: and they are great editors, and so we like to
Speaker 1: spend really long time in the editing room and do
Speaker 1: some pose and then going back to have a new vision.
Speaker 1: And so that's what we did because we had many
Speaker 1: rushes and that's how we say rushes, and so we
Speaker 1: had to took the time to know the stuff we
Speaker 1: were working with and to try many different editing and
Speaker 1: and we came up with this.
Speaker 3: We could love for a moments the producer said we
Speaker 3: have to finish it.
Speaker 2: Bellis, thank you so much for your time today. This
Speaker 2: is great talking.
Speaker 3: With you, and thank you so much.
Speaker 2: Thank you, Bye bye.
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