WEBVTT 1 00:00:03.919 --> 00:00:06.480 You are listening to the IFAH podcast Network. 2 00:00:06.639 --> 00:00:10.160 For more amazing filmmaking and screenwriting podcasts, just go to 3 00:00:10.359 --> 00:00:12.720 ifahpodcastnetwork dot com. 4 00:00:12.839 --> 00:00:16.559 Welcome to the Bulletproof Screenwriting Podcast, Episode number four nineteen. 5 00:00:16.679 --> 00:00:19.239 Do what you love, because when you're six feet under, 6 00:00:19.359 --> 00:00:21.879 you're going to realize the race that you were running 7 00:00:22.160 --> 00:00:28.000 was only against yourself. Mango Wilder broadcasting from a dark, windowless. 8 00:00:27.440 --> 00:00:29.879 Room in Hollywood when we really should be working on 9 00:00:29.920 --> 00:00:34.359 that next draft. It's the Bulletproof Screenwriting Podcast, showing you 10 00:00:34.399 --> 00:00:37.039 the craft and business of screenwriting while teaching you how 11 00:00:37.039 --> 00:00:41.479 to make your screenplay bulletproof. And here's your host, Alex Ferrari. 12 00:00:43.399 --> 00:00:46.320 Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast. 13 00:00:46.399 --> 00:00:49.719 I am your humble host, Alex Ferrari. Now, today's show 14 00:00:49.759 --> 00:00:54.799 is sponsored by Bulletproof Script Coverage. Now. Unlike other script 15 00:00:54.799 --> 00:00:59.600 coverage services, Bulletproof Script Coverage actually focuses on the kind 16 00:00:59.679 --> 00:01:02.640 of you are and the goals of the project you are, 17 00:01:03.000 --> 00:01:06.079 So we actually break it down by three categories micro budget, 18 00:01:06.359 --> 00:01:09.319 indie film, market and studio film. There's no reason to 19 00:01:09.359 --> 00:01:11.239 get coverage from a reader that you used to reading 20 00:01:11.280 --> 00:01:13.680 temp pole movies when your movie is gonna be done 21 00:01:13.959 --> 00:01:16.480 for one hundred thousand dollars, and we wanted to focus 22 00:01:16.480 --> 00:01:19.519 on that. At Bulletproof Script Coverage, our readers have worked 23 00:01:19.519 --> 00:01:25.439 with Marvel Studios, CIA, WME, NBC, HBO, Disney, Scott Free, 24 00:01:25.439 --> 00:01:28.319 Warner Brothers, The Blacklist, and many many more. So if 25 00:01:28.319 --> 00:01:33.280 you need your screenplay or TV script covered by professional readers, 26 00:01:33.760 --> 00:01:38.120 head on over to covermiscreenplay dot com. Now today on 27 00:01:38.200 --> 00:01:41.560 the show, we have writer director n Italia late It 28 00:01:41.959 --> 00:01:46.319 and she is easily one of the bravest filmmakers I've 29 00:01:46.359 --> 00:01:49.879 ever run into. She's a documentary filmmaker as well as 30 00:01:49.879 --> 00:01:54.400 a narrative filmmaker and has had films premiere at south 31 00:01:54.400 --> 00:01:58.159 By Southwest and Tribeca, and was even nominated for Best 32 00:01:58.200 --> 00:02:01.959 Picture at the south By Southwest Film Festival for her 33 00:02:02.079 --> 00:02:07.599 film MFA. She has worked with Vice on multiple projects, 34 00:02:07.680 --> 00:02:10.919 one being one of the most interesting things I've ever 35 00:02:10.919 --> 00:02:15.479 seen a filmmaker do. And this young filmmaker threw herself 36 00:02:15.879 --> 00:02:18.439 into this documentary in ways that I have not seen 37 00:02:18.520 --> 00:02:21.960 before that she actually became not only the writer and 38 00:02:22.039 --> 00:02:25.879 director of this but the subject of the piece. And 39 00:02:25.960 --> 00:02:28.960 the film is called Life as a Truck Stop Stripper 40 00:02:29.560 --> 00:02:32.919 and Natalia did this for Vice and it's been downloaded 41 00:02:32.919 --> 00:02:37.840 and watched over eleven million times on YouTube. It is 42 00:02:38.000 --> 00:02:43.479 a heart wrenching documentary, wonderfully done, and I advise everyone 43 00:02:43.560 --> 00:02:47.560 listening to definitely check that piece out among all the 44 00:02:47.560 --> 00:02:50.159 things that she's done. But I will put links to 45 00:02:50.199 --> 00:02:51.680 all of that in the show notes at the end 46 00:02:51.759 --> 00:02:55.879 of the episode. So without any further ado, please enjoy 47 00:02:55.960 --> 00:03:00.439 my conversation with Natalia late It. I like, welcome to 48 00:03:00.520 --> 00:03:03.479 the show, Natalia late It. Thank you so so much 49 00:03:03.479 --> 00:03:07.479 for being on the show. Thank you, alex I, thank 50 00:03:07.520 --> 00:03:10.680 you so much. No, it's it's I was. I was 51 00:03:11.680 --> 00:03:14.439 showing your work and introduced to your work recently, and 52 00:03:14.639 --> 00:03:16.240 I have to say I'm fairly impressed. 53 00:03:17.120 --> 00:03:17.479 Thank you. 54 00:03:17.840 --> 00:03:19.960 Yeah, there's a wide range of things that I've been 55 00:03:20.000 --> 00:03:20.520 doing here. 56 00:03:21.039 --> 00:03:22.919 So before we get into it, how did you actually 57 00:03:22.919 --> 00:03:24.159 get started in the business. 58 00:03:25.319 --> 00:03:29.280 So I actually came from a visual arts background. I 59 00:03:29.280 --> 00:03:32.800 went to art school. I didn't have a proper film education. 60 00:03:33.840 --> 00:03:37.439 I thought I wanted to be making visual art and 61 00:03:37.479 --> 00:03:41.639 then quickly realized that that maybe wasn't the medium for me, 62 00:03:42.039 --> 00:03:45.879 and I started getting into film just just out of 63 00:03:45.919 --> 00:03:50.759 my own curiosity, and you know, eventually assisting other directors, 64 00:03:51.280 --> 00:03:53.080 one thing led to the next, started writing my own 65 00:03:53.120 --> 00:03:57.439 scripts and just kind of like DIY being scrappy doing 66 00:03:57.439 --> 00:04:01.199 it myself and realized that I to telling stories in 67 00:04:01.199 --> 00:04:03.120 this medium and. 68 00:04:03.240 --> 00:04:07.280 What was what? So you basically that was the genesis 69 00:04:07.319 --> 00:04:09.439 of you wanted to be a directors. You've just kind 70 00:04:09.439 --> 00:04:11.360 of fell into it and like I really. 71 00:04:11.120 --> 00:04:15.319 Like this, right, yeah, I fell into it and discovered 72 00:04:15.319 --> 00:04:16.160 that I really liked it. 73 00:04:16.240 --> 00:04:17.759 Honestly, it wasn't really in my radar. 74 00:04:17.800 --> 00:04:20.519 I grew up in Brazil and I just I don't know, 75 00:04:20.560 --> 00:04:24.439 it just wasn't like presentable a career path that was 76 00:04:24.480 --> 00:04:26.680 like presented to me ever that I really thought this 77 00:04:26.720 --> 00:04:29.279 could be an option, you know, but I knew I 78 00:04:29.319 --> 00:04:31.519 wanted to do something creative, and I knew I wanted 79 00:04:31.519 --> 00:04:35.560 to tell stories. It was just like taking another form 80 00:04:35.800 --> 00:04:40.920 back then. And it all like one thing led to 81 00:04:40.920 --> 00:04:43.279 the next. Like I was assisting a lot of other 82 00:04:43.560 --> 00:04:47.040 directors and producers for a while, and I started writing 83 00:04:47.079 --> 00:04:51.319 my own work and the first thing that sort of 84 00:04:51.360 --> 00:04:55.360 started to put my work out there was be Here Now, 85 00:04:55.399 --> 00:04:57.879 which was Wish be Here Now Wish, which was a 86 00:04:57.879 --> 00:05:03.920 web show that I you know, started, directed, wrote, produced, 87 00:05:04.160 --> 00:05:05.920 did the sound sometimes like just. 88 00:05:05.879 --> 00:05:07.480 Like Craft Services got it. 89 00:05:07.600 --> 00:05:11.439 Yeah, Aircraft Services did everything with a handful of friends, 90 00:05:12.480 --> 00:05:16.160 and that you know started kind of putting the wheels 91 00:05:16.160 --> 00:05:18.680 in motion in terms of me doing this as a career. 92 00:05:19.199 --> 00:05:21.439 Which is fun because I actually saw a little bit 93 00:05:21.480 --> 00:05:24.480 of that show and it actually looks really good, like 94 00:05:24.560 --> 00:05:28.279 it actually has great production value for being such a 95 00:05:28.279 --> 00:05:30.639 scrappy little show. So congratulations on that. 96 00:05:31.120 --> 00:05:34.319 I'll credit that to Dalmar who was our DP. Dalma, 97 00:05:34.399 --> 00:05:38.040 we've were mad since she's shooting High Maintenance now on 98 00:05:38.240 --> 00:05:41.639 HBO and she is just the queen of just like 99 00:05:41.759 --> 00:05:44.000 let's figure it out and still make it look gorgeous. 100 00:05:45.160 --> 00:05:47.360 So yeah, she's really lucky to have her as a 101 00:05:47.360 --> 00:05:48.639 friend and DP on that. 102 00:05:48.920 --> 00:05:51.360 You definitely need people like that on your crew as 103 00:05:51.360 --> 00:05:55.920 a director. Yes, let's figure it out and like let's 104 00:05:55.959 --> 00:05:58.319 still make it look gorgeous. That's always a yeah. 105 00:05:58.319 --> 00:06:01.040 It's like we're like pulling in, you know, like whatever 106 00:06:01.079 --> 00:06:03.319 we could find, just like bringing in lamps and just 107 00:06:03.600 --> 00:06:06.279 you know, attaching things like just trying to be creative 108 00:06:06.319 --> 00:06:08.000 of how we're going to get a good image and 109 00:06:08.040 --> 00:06:12.360 not make it look super low quality. So she's she's 110 00:06:12.399 --> 00:06:13.319 really creative in that way. 111 00:06:13.480 --> 00:06:16.160 So let me ask you, how did you get that 112 00:06:16.319 --> 00:06:18.959 first project, that series up off the ground. I mean, 113 00:06:19.079 --> 00:06:21.439 obviously you need some money. Where did you find money? 114 00:06:21.720 --> 00:06:23.680 How did you put this whole thing together? How did 115 00:06:23.680 --> 00:06:24.519 you put that show together? 116 00:06:25.720 --> 00:06:26.160 Yeah? 117 00:06:26.199 --> 00:06:28.800 So the show we you know, it really started off 118 00:06:28.839 --> 00:06:31.279 as Okay, let's do this on weekends with friends, like 119 00:06:31.319 --> 00:06:32.920 I just want to get I just want to get 120 00:06:32.959 --> 00:06:35.800 work out there in the world, right, And then so 121 00:06:35.839 --> 00:06:38.120 everyone was working for free. But then obviously, like there 122 00:06:38.600 --> 00:06:41.560 came points when okay, we really do need money. We 123 00:06:41.600 --> 00:06:46.040 can't just like keep this going for nothing. And we 124 00:06:46.160 --> 00:06:50.480 ended up doing a Kickstarter. We raised twenty thousand on 125 00:06:50.560 --> 00:06:51.759 that Kickstarter. 126 00:06:51.519 --> 00:06:54.199 Nice, which was like a lot of work. 127 00:06:55.360 --> 00:06:56.959 It's like, not a lot of money at all for 128 00:06:57.519 --> 00:07:00.160 making a series. You know that ended up being like 129 00:07:00.160 --> 00:07:04.079 an hour and a bit long. But we really stretched 130 00:07:04.079 --> 00:07:08.600 it out and made those twenty k on Kickstarter and 131 00:07:08.600 --> 00:07:11.680 and through that met like other investors. It was actually 132 00:07:11.720 --> 00:07:16.199 a pretty successful campaign for us because we just met 133 00:07:16.240 --> 00:07:19.439 a lot of people that then ended up financing other projects. 134 00:07:19.720 --> 00:07:22.480 And where and where is it being shown now? 135 00:07:23.439 --> 00:07:24.160 So be here now? 136 00:07:24.240 --> 00:07:28.319 Is is still on We ended up selling the first 137 00:07:28.360 --> 00:07:31.079 season to a company called Aura, so they have it 138 00:07:31.120 --> 00:07:34.079 on their site. And then the second season we had 139 00:07:34.079 --> 00:07:37.920 it with full screen, which full screen no longer exists. 140 00:07:38.959 --> 00:07:41.439 So now it's just up on our Vimeo, and we're 141 00:07:41.439 --> 00:07:43.560 trying to figure out if we can just like throw 142 00:07:43.560 --> 00:07:47.079 it up on YouTube because for us at this point, 143 00:07:47.079 --> 00:07:49.120 it's just about, you know, letting people watch it. I mean, 144 00:07:49.160 --> 00:07:51.399 it's it's you know, it's older. It's old now I 145 00:07:51.480 --> 00:07:52.319 consider it for. 146 00:07:52.519 --> 00:07:56.079 Yes ancients, like three years old. It's like three years old. 147 00:07:56.199 --> 00:07:59.240 My god, then it's like the eighties. 148 00:08:00.319 --> 00:08:02.639 But I want people to still watch it. You know, 149 00:08:03.360 --> 00:08:05.279 I've aged a bit since I was doing that. 150 00:08:05.680 --> 00:08:09.560 Yes, yes, oh yes, yes, you look aggared lately. I'm sorry. 151 00:08:09.600 --> 00:08:13.600 Yes, it's my youth, so you can go back to 152 00:08:13.680 --> 00:08:14.120 your youth. 153 00:08:14.199 --> 00:08:16.600 Is my youth is fading away in front of you? Yes, 154 00:08:16.639 --> 00:08:21.759 those three years really killed it. Now what is it 155 00:08:22.079 --> 00:08:24.720 for you? It's ferally ask you, So what is your 156 00:08:24.800 --> 00:08:27.759 process when you're creating or selecting a project? 157 00:08:30.120 --> 00:08:30.800 My process? 158 00:08:31.040 --> 00:08:34.320 So I need to gravitate towards things that I feel 159 00:08:34.360 --> 00:08:37.799 a personal connection to, that I feel really passionate about, because, 160 00:08:38.159 --> 00:08:41.039 as you know, it's just You're going to work on 161 00:08:41.120 --> 00:08:43.559 this thing for so long sometimes you don't even know 162 00:08:43.600 --> 00:08:46.759 how long, and you got to just like love it. 163 00:08:46.799 --> 00:08:48.639 And I feel like, for me, I need to feel 164 00:08:48.759 --> 00:08:50.639 it's an instinctual thing, Like I need to feel like 165 00:08:50.679 --> 00:08:54.559 there's like a chord from my heart to whatever the 166 00:08:54.639 --> 00:08:57.919 script or concept is. That's like pulling me towards it. 167 00:08:59.039 --> 00:09:02.200 And there's been a lot, you know. Now I'm reading 168 00:09:02.240 --> 00:09:06.159 other people's scripts, deciding like what to do next, writing 169 00:09:06.159 --> 00:09:09.039 my own stuff as well, But for me, it's always 170 00:09:09.120 --> 00:09:11.879 just like I have to just check in intuitively too. 171 00:09:12.240 --> 00:09:15.360 Is there a really strong pool, like do I feel 172 00:09:15.360 --> 00:09:17.159 called to absolutely have to do this? 173 00:09:17.320 --> 00:09:17.480 You know? 174 00:09:17.559 --> 00:09:20.080 Otherwise I might love a story and be like, oh 175 00:09:20.159 --> 00:09:22.960 this is great, but I'm not feeling so passionate about 176 00:09:22.960 --> 00:09:24.639 It's probably not for me, like I shouldn't be the 177 00:09:24.679 --> 00:09:25.519 one to do it, you know. 178 00:09:25.559 --> 00:09:27.679 And I think it's really good to discern that. 179 00:09:28.399 --> 00:09:30.120 Well, tell me a little bit about your work with 180 00:09:30.279 --> 00:09:34.320 Vice and how that came about, especially that amazing documentary 181 00:09:34.399 --> 00:09:38.399 every Woman Life as a Truck Stop Stripper, which is 182 00:09:38.639 --> 00:09:40.320 when I saw that, I was like, I have to 183 00:09:40.360 --> 00:09:44.200 have her on the show. I need to hear all 184 00:09:44.279 --> 00:09:46.320 about this Yeah. 185 00:09:46.679 --> 00:09:49.639 So I had been writing on my own a script 186 00:09:49.639 --> 00:09:53.159 for my first features called Bert and a big part 187 00:09:53.200 --> 00:09:55.440 of the script took place in a strip club. 188 00:09:55.879 --> 00:09:56.919 But I didn't want. 189 00:09:58.440 --> 00:10:00.919 We'll be right back after a wh from our sponsor 190 00:10:04.559 --> 00:10:05.840 and now back to the show. 191 00:10:07.720 --> 00:10:09.120 But it's sort of like a strip club in a 192 00:10:09.120 --> 00:10:11.879 small town, and I was looking for something that was like, 193 00:10:12.440 --> 00:10:16.039 you know, just off off the highway ideally, right, Like 194 00:10:16.120 --> 00:10:18.720 I didn't want like a big nightcluby. 195 00:10:18.279 --> 00:10:20.440 Strip club in the city, in the city, right right. 196 00:10:20.480 --> 00:10:22.320 And I had friends at the time. I didn't know 197 00:10:22.320 --> 00:10:23.879 where I was going to shoot, but I had friends 198 00:10:23.879 --> 00:10:27.279 who were living in Albuquerque, and I went there on 199 00:10:27.399 --> 00:10:30.000 like a month you know, hiatus while I was writing 200 00:10:30.039 --> 00:10:33.000 the script to go live in Albuquerque and ended up 201 00:10:33.080 --> 00:10:37.240 like touring all the strip clubs in the area as 202 00:10:37.279 --> 00:10:40.639 I was like doing research and ended up finding out 203 00:10:40.639 --> 00:10:44.360 about this club that is about forty five minutes away 204 00:10:44.360 --> 00:10:46.759 from Albuquerque in the middle of nowhere. 205 00:10:46.840 --> 00:10:47.600 Like you're driving on. 206 00:10:47.600 --> 00:10:51.480 Highway forty nothing, nothing, nothing, you pass the Walmart, then 207 00:10:51.480 --> 00:10:54.320 there's nothing, nothing, nothing, and then and then there's like 208 00:10:54.360 --> 00:10:56.679 the signs that are just like tapless and then there 209 00:10:56.799 --> 00:11:00.440 is like Club two, O three and it just catered 210 00:11:00.440 --> 00:11:01.120 to truckers. 211 00:11:01.360 --> 00:11:03.679 So the truckers passing by. 212 00:11:03.879 --> 00:11:06.639 They can tune into a CB radio and they'll pick 213 00:11:06.679 --> 00:11:09.080 up the signal and it'll be someone at the club 214 00:11:09.120 --> 00:11:12.240 being like tonight on stage is candy and you know 215 00:11:12.559 --> 00:11:15.559 whatever they say, and they'll like turn off into the 216 00:11:15.600 --> 00:11:18.360 side of the road. And I found out about this place. 217 00:11:18.440 --> 00:11:20.039 I went there alone for the first time and I 218 00:11:20.080 --> 00:11:21.639 was just like, what what is this? 219 00:11:21.879 --> 00:11:24.679 It sounds it sounds like it sounds insane. 220 00:11:25.200 --> 00:11:26.919 Yeah, it was just like it was like straight out 221 00:11:26.919 --> 00:11:28.000 of a David Lynch movie. 222 00:11:29.279 --> 00:11:31.919 I was expecting people to start talking backwards and there'll 223 00:11:31.960 --> 00:11:33.840 be a little person just walking by from no. 224 00:11:35.559 --> 00:11:36.039 Exactly. 225 00:11:36.159 --> 00:11:38.120 I was like, wow, this is really fascinating. And it 226 00:11:38.240 --> 00:11:40.679 was just you know the Ryan who's the guy who 227 00:11:40.759 --> 00:11:44.360 owns it. It was like very much no rules type 228 00:11:44.399 --> 00:11:46.799 of place, and that there was like in terms of 229 00:11:46.799 --> 00:11:48.679 the dancing, like you could do whatever you want. They 230 00:11:48.720 --> 00:11:50.799 had this rocking horse that they would pull on stage 231 00:11:50.840 --> 00:11:55.480 sometimes and there was like, uh, you know, just like 232 00:11:55.519 --> 00:11:59.600 a mom and dad daughter dance Like it was like yeah, 233 00:11:59.600 --> 00:12:01.399 there was like serving stuff going on too, And I 234 00:12:01.440 --> 00:12:05.759 was like, I don't know about this. That's just Okay, 235 00:12:07.120 --> 00:12:08.559 a lot of stuff that didn't end up in the piece. 236 00:12:08.639 --> 00:12:11.799 But anyway, so I was like, wow, this place, aside 237 00:12:11.799 --> 00:12:14.440 from I wanted to put it in my feature film 238 00:12:14.480 --> 00:12:17.600 as a location, it deserves a piece on its own, right, 239 00:12:17.679 --> 00:12:20.960 So I put I pitched Avice. Well, I went there, 240 00:12:21.080 --> 00:12:22.960 you know, I had gone there alone, filmed a little 241 00:12:23.000 --> 00:12:25.360 bit of just films on my own, a little bit 242 00:12:25.399 --> 00:12:27.759 to show a sample of like what this really is, 243 00:12:28.960 --> 00:12:32.039 and then went back and then went to Vice with 244 00:12:32.080 --> 00:12:34.440 my friend Alexandra who was working with at the time, 245 00:12:36.120 --> 00:12:40.559 to pitch as like a standalone piece and Vice. This 246 00:12:40.639 --> 00:12:43.279 was like Eddie Moretti, who was the the you know, 247 00:12:43.360 --> 00:12:46.840 creative there. He was like, ah, you know, we get 248 00:12:46.879 --> 00:12:50.480 pitched like stripper concepts all the time, like we're not interested. 249 00:12:50.480 --> 00:12:52.120 And I was like, no, no, no, you don't understand, Like 250 00:12:52.200 --> 00:12:55.440 I want to go and work there. And he's like, oh, okay, 251 00:12:55.559 --> 00:12:58.840 like you're that's that sounds crazy. So it sounds gave 252 00:12:58.919 --> 00:13:02.799 us so luny right, yeah, And we went and worked 253 00:13:02.799 --> 00:13:04.440 and lived there for about ten days. 254 00:13:04.639 --> 00:13:06.720 All right, So before we continue that story, how did 255 00:13:06.759 --> 00:13:08.279 you get to Vice? Because I know a lot of 256 00:13:08.279 --> 00:13:11.360 filmmakers would love to have that conversation with somebody advice, 257 00:13:11.679 --> 00:13:13.759 How do you how do you approach a company like that? 258 00:13:14.840 --> 00:13:15.919 Yeah? So okay. 259 00:13:16.919 --> 00:13:19.960 I went to a panel where Eddie Muretti was speaking. 260 00:13:20.080 --> 00:13:23.759 It was a Tribeca Film Festival organized panel, and at 261 00:13:23.799 --> 00:13:26.240 the end of the panel, I cornered him. 262 00:13:26.960 --> 00:13:28.519 To say, you accosted him, got it? 263 00:13:28.600 --> 00:13:31.440 I did, so did like thirty other people right. 264 00:13:31.639 --> 00:13:35.360 Right, as you do at panels. 265 00:13:34.000 --> 00:13:35.519 As you do it panels. 266 00:13:35.879 --> 00:13:37.919 And I was like, I have something that you're going 267 00:13:38.000 --> 00:13:42.159 to be really interested in seeing. And he's like, yeah, okay, great, 268 00:13:42.240 --> 00:13:45.159 reach out and just gave me his assistants email, you know. 269 00:13:46.200 --> 00:13:48.840 And I reached out and I sent him a link 270 00:13:48.919 --> 00:13:52.519 to a piece that I had shot in Cuba. This 271 00:13:52.679 --> 00:13:56.480 was like before every Woman that was very like I had, 272 00:13:56.759 --> 00:13:59.519 you know, edited it like really fast, very like vice style, 273 00:13:59.559 --> 00:14:01.200 and I just tend the link and I didn't say 274 00:14:01.240 --> 00:14:03.960 much else and he called me like right away. 275 00:14:04.320 --> 00:14:06.679 It was like, get come in, come in tomorrow. You know. 276 00:14:06.840 --> 00:14:07.919 It's like that's awesome. 277 00:14:08.399 --> 00:14:11.480 Yeah, And it's just sometimes that stuff works, you know, 278 00:14:11.639 --> 00:14:14.519 but you got to be like smart about how you're 279 00:14:14.559 --> 00:14:17.960 approaching it, Like you people, these people don't have time, right, 280 00:14:18.080 --> 00:14:21.120 so it's like hey, like what's going to grab their attention? 281 00:14:21.360 --> 00:14:23.679 And what what do I have that they want? 282 00:14:23.960 --> 00:14:24.159 Right? 283 00:14:24.399 --> 00:14:26.600 And that was it, like I just met him in 284 00:14:26.679 --> 00:14:29.759 a panel. There was no you know from there like 285 00:14:30.360 --> 00:14:32.279 it opened up the scope and then we did every 286 00:14:32.279 --> 00:14:34.879 Woman and then he called me back to do you know, 287 00:14:35.279 --> 00:14:39.559 direct other things, and but that stuff is possible, like 288 00:14:39.600 --> 00:14:44.200 the just cold calling sometimes were it does. 289 00:14:44.279 --> 00:14:46.480 And I'm actually I'm quite jealous because I am actually 290 00:14:46.480 --> 00:14:49.200 Cuban and I've never been to Cuba yet. So when 291 00:14:49.240 --> 00:14:50.960 I saw that piece that you did, I was like, oh, 292 00:14:51.120 --> 00:14:52.080 that would have been amazing. 293 00:14:52.759 --> 00:14:54.519 Yeah, he has really special place. 294 00:14:54.559 --> 00:14:56.720 I felt really lucky to be there and at that 295 00:14:56.799 --> 00:14:58.600 time especially and film it. 296 00:14:59.120 --> 00:15:01.720 So all right, So so now you're back at the club. 297 00:15:02.000 --> 00:15:03.000 Was it club too two. 298 00:15:03.919 --> 00:15:06.519 Two o three because that's just the highway exit, right. 299 00:15:06.360 --> 00:15:09.240 So you're a club two o three and you're there 300 00:15:09.279 --> 00:15:10.039 for ten days. 301 00:15:10.399 --> 00:15:14.039 I'm there for ten days and that was me Alexandra 302 00:15:14.879 --> 00:15:17.159 who came and was working with me at the time 303 00:15:18.000 --> 00:15:20.879 and vice sent us with one producer. This was prior 304 00:15:20.960 --> 00:15:24.159 to Viceland, so it was a little bit like still 305 00:15:24.879 --> 00:15:27.440 you know, no rules, like I mean, we were putting 306 00:15:27.440 --> 00:15:29.919 ourselves in dangerous situations like I think that that would 307 00:15:29.960 --> 00:15:30.919 fly today. 308 00:15:31.360 --> 00:15:33.840 Yeah you think I saw it? I saw it? Are 309 00:15:33.919 --> 00:15:34.840 you are you kidding me? 310 00:15:35.360 --> 00:15:36.679 Yeah? Really dangerous. 311 00:15:36.679 --> 00:15:38.159 And I don't know that I would do it today 312 00:15:38.159 --> 00:15:40.240 because now I know a little more. 313 00:15:40.360 --> 00:15:43.480 Well, obviously you're much older. Obviously I'm so much older. 314 00:15:43.759 --> 00:15:45.919 I have a lot of gray hair. A good thing 315 00:15:45.960 --> 00:15:47.879 to interview, isn't a video? 316 00:15:49.279 --> 00:15:50.120 Not want to see what I. 317 00:15:50.080 --> 00:15:53.639 Look like exactly exactly? No, I mean, I mean when 318 00:15:53.679 --> 00:15:55.399 I saw it, I was like, this can't be. I 319 00:15:55.440 --> 00:15:58.360 can't believe that these girls did this, Like this is 320 00:15:58.440 --> 00:16:02.600 so and the guys you met work, I know, I mean. 321 00:16:03.200 --> 00:16:06.159 It was intense. Yeah, I think what I realized too. 322 00:16:06.159 --> 00:16:08.279 But you know, the whole idea about it was I 323 00:16:08.320 --> 00:16:12.919 wanted to go in there to try to debunk what 324 00:16:12.960 --> 00:16:15.559 are the stereotypes of a stripper and like why women 325 00:16:15.600 --> 00:16:17.799 decide to do this and the stereotypes of a truckers 326 00:16:17.840 --> 00:16:20.759 that go into these clubs, right, And I really feel 327 00:16:20.759 --> 00:16:24.360 like it sort of opened my mind to what's possible 328 00:16:24.679 --> 00:16:27.519 or what kind of you know, what what the our 329 00:16:27.600 --> 00:16:29.879 like own limitations are of who those people are. And 330 00:16:30.240 --> 00:16:32.960 you know, there's like one woman who we interviewed Daisy 331 00:16:33.039 --> 00:16:37.200 who was talking about how she feels like it's for calling, 332 00:16:37.600 --> 00:16:40.840 it's she loves doing the work because she feels like 333 00:16:40.879 --> 00:16:44.360 she's a therapist to these men, and that's sort of like, oh, 334 00:16:44.440 --> 00:16:46.480 we we never stopped to think about that, you know, 335 00:16:46.600 --> 00:16:51.120 maybe yeah, like that, that's a version of it. And 336 00:16:51.240 --> 00:16:54.279 also some of the guys all across the board, but 337 00:16:55.000 --> 00:16:58.080 people just wanted someone to talk to in a connection, 338 00:16:58.120 --> 00:17:00.600 and I think it was like a less about being 339 00:17:00.679 --> 00:17:05.519 naked and more about them feeling like someone was caring 340 00:17:05.599 --> 00:17:07.839 for them and wanting. 341 00:17:07.599 --> 00:17:09.200 To listen to their stories. You know. 342 00:17:10.000 --> 00:17:12.279 Of course that's just there's also then like this the 343 00:17:12.359 --> 00:17:15.359 creepy guy who tries to like grab you, and there's extremes. 344 00:17:15.400 --> 00:17:17.160 There's the extremes of both ends. 345 00:17:17.079 --> 00:17:17.839 Right exactly. 346 00:17:17.920 --> 00:17:21.559 But it's not all bad, you know, And we definitely 347 00:17:21.599 --> 00:17:23.359 saw that. And some of the stories from the men 348 00:17:23.400 --> 00:17:26.480 were really intense and it was hard to listen to it. 349 00:17:26.519 --> 00:17:28.079 Well, let me ask you a question when you were 350 00:17:28.079 --> 00:17:31.160 in that when you were in that moment, how, i 351 00:17:31.200 --> 00:17:35.680 mean psychologically, how was it for you, Because I mean, 352 00:17:35.680 --> 00:17:38.440 I'm watching this and I'm going I'm just thinking to myself, 353 00:17:38.839 --> 00:17:41.240 this is your young lady who's put herself in this 354 00:17:41.319 --> 00:17:45.279 situation with her friend for god knows what reason. And 355 00:17:45.880 --> 00:17:49.880 I'm thinking, how, what's the psychology, What's going on? Because 356 00:17:49.920 --> 00:17:52.160 this is not one one night thing. You were there 357 00:17:52.200 --> 00:17:56.200 for ten days, so this was a day in, day out. 358 00:17:56.200 --> 00:17:57.599 It's not like I'm going to try this for one 359 00:17:57.640 --> 00:17:59.960 night and I can go back home. You came back 360 00:18:00.440 --> 00:18:03.039 and again and again, and like, how did that wear 361 00:18:03.119 --> 00:18:06.559 on you? Not only as the subject of it, but 362 00:18:06.680 --> 00:18:10.200 also as I mean, you were directing that as well. Correct, Yeah, 363 00:18:10.400 --> 00:18:11.799 so how did you do that? 364 00:18:13.799 --> 00:18:14.279 I don't know. 365 00:18:14.400 --> 00:18:17.400 I think a lot of sometimes I look back and 366 00:18:17.440 --> 00:18:20.000 I think about my best work is stuff that I'm 367 00:18:20.079 --> 00:18:25.000 terrified to do or terrified to talk about, and it's almost. 368 00:18:24.640 --> 00:18:28.000 Like I just keep but I just keep the ball rolling. 369 00:18:28.000 --> 00:18:30.640 And then you know, and then eventually it hits a 370 00:18:30.680 --> 00:18:34.839 moment when there's no turning back right and you're like, ah, 371 00:18:34.960 --> 00:18:37.079 this is happening, Like this is now out in the world. 372 00:18:37.720 --> 00:18:39.799 And I feel like this project was exactly that. Like 373 00:18:39.839 --> 00:18:43.200 I was terrified to be there. I mean, I was 374 00:18:43.240 --> 00:18:45.000 also having fun with it, but it was just like 375 00:18:45.480 --> 00:18:50.279 really intense, emotionally draining and physically draining, and I was 376 00:18:50.359 --> 00:18:53.000 terrified of like putting this out in the world, you know. 377 00:18:53.799 --> 00:18:56.720 Because you're exposing yourself and not not in that way, 378 00:18:56.759 --> 00:19:00.119 but you're exposing your you're basically your soft thunderbelly to 379 00:19:00.160 --> 00:19:00.960 the entire world. 380 00:19:01.359 --> 00:19:04.640 Yeah, exactly. So it was just a lot of exposure. 381 00:19:04.640 --> 00:19:06.079 But you know, eventually you just hit a deadline and 382 00:19:06.119 --> 00:19:08.119 you're like you're just pressed send and that's it and 383 00:19:08.119 --> 00:19:09.880 then it's out. It's like has a mind of its 384 00:19:09.920 --> 00:19:11.880 own and it's going to be whatever it needs to be. 385 00:19:12.960 --> 00:19:15.279 But I think it was just, yeah, like every day 386 00:19:16.880 --> 00:19:18.359 it was a bit of a challenge, but you just 387 00:19:18.440 --> 00:19:21.440 kind of keep going because that's there's no way, there's 388 00:19:21.440 --> 00:19:23.440 no other way around it, you know, just put yourself 389 00:19:23.440 --> 00:19:24.000 to keep going. 390 00:19:24.400 --> 00:19:27.119 Now, you are, from what I see in your work, 391 00:19:27.240 --> 00:19:31.240 you are extremely raw and vulnerable. Is that something that 392 00:19:31.240 --> 00:19:33.240 comes naturally to you or do you have to work 393 00:19:33.279 --> 00:19:36.119 at it to be able to kind of expose yourself 394 00:19:36.160 --> 00:19:36.839 as an artist? 395 00:19:37.759 --> 00:19:39.519 Yeah? No, I think it comes naturally to me. I 396 00:19:39.559 --> 00:19:41.039 think I'm just naturally. 397 00:19:42.599 --> 00:19:46.599 Have a can tap into that sensitivity and being very empathetic, 398 00:19:46.839 --> 00:19:51.000 and you know, I do end up just feeling things intensely, 399 00:19:51.079 --> 00:19:54.960 and then sometimes I wonder if that's a hindrance, but 400 00:19:55.480 --> 00:19:57.880 more so now I feel like that's an advantage. 401 00:19:59.359 --> 00:20:05.599