WEBVTT

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<v Speaker 1>Oh he is both its show die.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 3>When they go out to a theater, they want cold sodas,

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<v Speaker 3>hot popcorn, and no monsters.

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<v Speaker 2>In the Protection Booth, everyone pretend podcasting isn't boring.

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<v Speaker 4>Got it off?

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<v Speaker 2>Ur hey hoax. Welcome to a special episode of The

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<v Speaker 2>Projection Booth. I'm your host, Mike White. On this episode,

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<v Speaker 2>I'm talking with writers directors Harpo Goot and Lenny Good,

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<v Speaker 2>as well as their composer, Simon Haynes. We are talking

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<v Speaker 2>about the film Heads or Fails. It is a Belgian movie,

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<v Speaker 2>which is strange since we just were talking about Belgian

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<v Speaker 2>films on the melbur tweet episode. This is a Belgian

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<v Speaker 2>film that is not a horror movie about a crazy house.

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<v Speaker 2>This is about an unemployed woman our Monday. She is

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<v Speaker 2>struggling in Brussels as we all struggle. It's a great

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<v Speaker 2>character study, really good acting. Looks fantastic. It's playing at

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<v Speaker 2>festivals right now. Definitely checking out and I hope you

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<v Speaker 2>enjoyed this interview. How did you guys get into filmmaking

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<v Speaker 2>in the first place.

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<v Speaker 3>Our father did film and since the beginning, since we

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<v Speaker 3>were charged. We grew up we were watching a lot

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<v Speaker 3>of films and when we were little we wanted to

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<v Speaker 3>do the same. We started with little little camera and

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<v Speaker 3>we did our film in the living room and then

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<v Speaker 3>with friends and it grew up from there and then

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<v Speaker 3>one day we had the money to do a film,

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<v Speaker 3>so we were lucky. And then the second one with Fix.

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<v Speaker 2>What's that that mother smucker?

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<v Speaker 3>Yeah, and it was also in the Fantastic Festival in

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<v Speaker 3>twenty twenty one.

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<v Speaker 2>How was that going from shorts to your first feature film.

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<v Speaker 3>We love to do films with that money. Just do

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<v Speaker 3>try a lot of stuff with friends and people we

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<v Speaker 3>met at the school Film school of theater school, and

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<v Speaker 3>then we try to do like in Belgium, there's like

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<v Speaker 3>a found little found to do the first new movie

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<v Speaker 3>and retuire our chance and by lucky we succeed. So yeah,

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<v Speaker 3>that's why we do our first feature.

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<v Speaker 2>So where did the idea for Headzer Fails come from?

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<v Speaker 1>The idea came from like we want after a mode

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<v Speaker 1>of focus. We wanted to explore new stuffs and we

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<v Speaker 1>had this idea of telling the story of a gambler

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<v Speaker 1>and like a group, and so we started to write

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<v Speaker 1>some ideas around this character. We wrote a lot of

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<v Speaker 1>them and at the end we like choose the best

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<v Speaker 1>ideas from that and put them all together to make

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<v Speaker 1>the movie.

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<v Speaker 3>And that's how Armond got created.

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<v Speaker 2>And tell me about your thead actress, because she's fantastic.

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<v Speaker 1>Her name is Maria Valveson and she's from France, but

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<v Speaker 1>also she's alf French, alf Peruvian and she did school

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<v Speaker 1>in Belgium. And as soon as we met her, we

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<v Speaker 1>knew that it was and we made her read the

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<v Speaker 1>scripts and started working with her, and she told us

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<v Speaker 1>some ideas and so we changed some stuff.

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<v Speaker 2>What were some of the biggest challenges of making this movie.

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<v Speaker 1>Trying to be real with the emotion because Macas was

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<v Speaker 1>more of a comedy and absurd comedy, and this one

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<v Speaker 1>we wanted to tell a story a bit more emotional

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<v Speaker 1>and to really experience the moments of Almond's life. And

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<v Speaker 1>so this was the challenge to put this all together

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<v Speaker 1>and to go full into emotion moments and also filming

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<v Speaker 1>some stuff.

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<v Speaker 2>How did you get involved with these crazy Belgians.

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<v Speaker 5>This crazy Belgians and me were part of a music

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<v Speaker 5>making color in France called Fortune Collective, and we were

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<v Speaker 5>both doing a this is correct, right, every month we

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<v Speaker 5>would have to write a song based on everybody in

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<v Speaker 5>the collector would write a song based on a photo.

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<v Speaker 5>And so we became friends on SoundCloud. And then it

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<v Speaker 5>just so happens that these two crazy Belgians who are

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<v Speaker 5>technically Parisians but don't tell anyone, we're looking for music

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<v Speaker 5>to put in their first film, Mother Smuckers, that they

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<v Speaker 5>didn't have to pay for. And so they contacted me

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<v Speaker 5>very kind with a very nice passion, sank, can we

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<v Speaker 5>use a couple of her songs? We don't have any money,

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<v Speaker 5>And naturally I said no, but they did it anyways,

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<v Speaker 5>now just kidding, of course, it was an honor. I

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<v Speaker 5>actually don't remember what exactly happened, but.

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<v Speaker 1>You said, of course, you can use what it wants,

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<v Speaker 1>and he sent us like all of these music as well,

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<v Speaker 1>even he's hemming when he was a child.

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<v Speaker 5>Even like songs of me in the bathtub as lit

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<v Speaker 5>look kid. And then I watched Mother Schmuckers, but they

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<v Speaker 5>didn't tell me that the music of mine they used

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<v Speaker 5>in a sequence that takes place after the credits of

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<v Speaker 5>the film, like a skit. So so I watched the

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<v Speaker 5>whole movie waiting for the music and then it turned

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<v Speaker 5>it out anyways, and then we met in person for

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<v Speaker 5>the first time and it turns out that we have

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<v Speaker 5>a lot of similar interests. So I asked, So then

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<v Speaker 5>when they started working on heads or Fails and they

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<v Speaker 5>wanted to do an original score, it seems a totally

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<v Speaker 5>understandable next step.

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<v Speaker 2>That's what I mean. Had you done a score for

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<v Speaker 2>a film before.

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<v Speaker 5>Yeah, I've been studying or like working on film music

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<v Speaker 5>for and trying to make that part of a big

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<v Speaker 5>part of my life for many years. And the thing

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<v Speaker 5>that's really I couldn't pass it up about this experience

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<v Speaker 5>is that they wanted to really do the whole process

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<v Speaker 5>in a way that's totally not Hollywood and not even

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<v Speaker 5>New York. And I really involved, which I got very emotionally,

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<v Speaker 5>became emotionally part of the process of making the film,

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<v Speaker 5>and you can't pass that up.

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<v Speaker 2>You know, it's same.

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<v Speaker 1>But you were talking about the music even before the

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<v Speaker 1>movie was shot. Yeah, but he doesn't treat French, so

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<v Speaker 1>we send him the scripts.

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<v Speaker 5>That didn't mean anything to me.

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<v Speaker 2>Yeah, so like that, I'm curious, when did you actually

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<v Speaker 2>shoot this film?

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<v Speaker 3>So we shot it last year on April, so we

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<v Speaker 3>had nine months of editing and post production stuff.

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<v Speaker 2>That was a lot.

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<v Speaker 3>So it's like the second time at Fantastic Fest we

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<v Speaker 3>showed the film to real purple, not our friends and mama.

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<v Speaker 2>How did it go over?

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<v Speaker 3>It was? It went really well. I think it was

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<v Speaker 3>for us Belgian people. It's crazy. The scanning room is

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<v Speaker 3>we can't get in a long position and eat a

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<v Speaker 3>lot of stuff during the film.

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<v Speaker 5>So some context for that. You know that the Alamo

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<v Speaker 5>draft House GOP reclined so far back that it's like

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<v Speaker 5>lying down.

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<v Speaker 2>Did you know about that?

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<v Speaker 6>No?

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<v Speaker 2>I did not know that. And there are waiters that

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<v Speaker 2>it will serve you food during that bad I knew

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<v Speaker 2>it's fairly decadent.

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<v Speaker 1>But you were at the screening at the Phantasy Fast

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<v Speaker 1>I was not.

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<v Speaker 2>No, I'm up here in Detroit. Was that your premiere?

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<v Speaker 3>Second premiere? We had one in France also, but we

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<v Speaker 3>were concerned that American people will understand the jokes and

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<v Speaker 3>the story, and it went well. I think we try

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<v Speaker 3>to work on It's that we love cinema and the feeling,

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<v Speaker 3>the special feeling we get when we get stuck in

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<v Speaker 3>the film, like in Little mis Sunshine or we Blash,

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<v Speaker 3>and so that's why we wanted to try to redo

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<v Speaker 3>this feeling again, like when the I can't no, I

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<v Speaker 3>wouldn't say the stuff of the Thinglets we try to

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<v Speaker 3>do this little moment where we like.

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<v Speaker 2>How do you guys, as brothers and co creators, how

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<v Speaker 2>do you dev up the work?

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<v Speaker 1>I work the day, work the nights. That's why I'm

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<v Speaker 1>a little tired. Now that's a my hours.

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<v Speaker 2>Do you already know what you're working on next?

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<v Speaker 1>We do have still searching for ideas if you have one.

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<v Speaker 1>Don't hesitate to textas with ideas.

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<v Speaker 2>You've done so many different things over the years, especially

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<v Speaker 2>with the shorts. What inspires you for actually creating a film?

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<v Speaker 1>We have lots of We have friends and grady stories

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<v Speaker 1>around us, and so we try to get those stuffs

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<v Speaker 1>and put them in movies. And so we watch a

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<v Speaker 1>lot of movies, so we are inspired by other movies

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<v Speaker 1>and we try to put all of these with our

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<v Speaker 1>z poetry and do our own movies. That we try

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<v Speaker 1>to do stuff that doesn't look like ostus and creates

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<v Speaker 1>out on.

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<v Speaker 5>Something I think that's interesting about Like when I first

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<v Speaker 5>met them too, I went to their house where they

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<v Speaker 5>grew up and they have like where they grew up

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<v Speaker 5>as the entire walls are all covered with DVDs and

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<v Speaker 5>CDs of mixing film and music from lots of different cultures.

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<v Speaker 5>And you can tell by their family and the way

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<v Speaker 5>that they live that they've spent years and years taking

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<v Speaker 5>in information about film and music and it's and particularly

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<v Speaker 5>American film music, and it's really soaking it in. But

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<v Speaker 5>because they're so out of their minds, it all comes

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<v Speaker 5>out in a totally different way. And I think that

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<v Speaker 5>the two of them have enough inspiration between them for

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<v Speaker 5>maybe two more movies.

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<v Speaker 2>I need to the two and then you're done. Yeah,

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<v Speaker 2>I've done. As we say, the film looks fantastic. Can

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<v Speaker 2>you tell me about your cinematographer.

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<v Speaker 3>We met this guy, Kinan Massarani, and the same way

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<v Speaker 3>with Simon. We had a lot of time together to imagine,

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<v Speaker 3>to figure it out and try to find some stuff

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<v Speaker 3>we love in the form to accompany the story. We

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<v Speaker 3>wanted to be like the it that nothing is free,

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<v Speaker 3>just in the way we wanted the film to look.

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<v Speaker 1>So he had many ideas. We met him and we

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<v Speaker 1>had some ideas and we wanted to try to put

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<v Speaker 1>them in the movies, and he had many other ideas.

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<v Speaker 1>So we tried to organize all of these ideas and

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<v Speaker 1>put them all together.

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<v Speaker 3>It was like a pink pink pung of idea and

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<v Speaker 3>we wanted to be the thing, to be dirty and

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<v Speaker 3>to feel like a row and he was all in

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<v Speaker 3>for that. And we had the luck to meet Quinan.

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<v Speaker 1>Massa Ranich and it was a big sceney five, so

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<v Speaker 1>he had many movies to show us and he was like,

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<v Speaker 1>we could do something like this, and that's great working

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<v Speaker 1>with him.

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<v Speaker 2>Like I said, it looks wonderful. And then it's so

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<v Speaker 2>very tightly edited as well.

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<v Speaker 1>We are working for many ye with a guy named

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<v Speaker 1>Gil Mule and the other guy named to let A Shook,

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<v Speaker 1>and they are great editors, and so we like to

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<v Speaker 1>spend really long time in the editing room and do

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<v Speaker 1>some pose and then going back to have a new vision.

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<v Speaker 1>And so that's what we did because we had many

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<v Speaker 1>rushes and that's how we say rushes, and so we

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<v Speaker 1>had to took the time to know the stuff we

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<v Speaker 1>were working with and to try many different editing and

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<v Speaker 1>and we came up with this.

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<v Speaker 3>We could love for a moments the producer said we

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<v Speaker 3>have to finish it.

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<v Speaker 2>Bellis, thank you so much for your time today. This

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<v Speaker 2>is great talking.

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<v Speaker 3>With you, and thank you so much.

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<v Speaker 2>Thank you, Bye bye.

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<v Speaker 6>Ne archives go through the kids and scene space, break

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<v Speaker 6>down fields, explore Our drinkings.

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