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<v Speaker 1>Oh he is, folks, it's showtime.

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

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<v Speaker 1>When they go out to a theater, they want cold sodas,

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<v Speaker 1>pop popcorn, and no monsters.

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

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<v Speaker 2>it off.

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<v Speaker 3>Like Hey, folks, welcome to a special episode of The

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<v Speaker 3>Projection Booth. I'm your host Mike White. On this episode,

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<v Speaker 3>I'm talking with Jeffrey Saint Jules all about his new film,

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<v Speaker 3>The Silent Planet. It is a sci fi film that

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<v Speaker 3>is filmed up in Canada. Amazing landscapes and a really

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<v Speaker 3>compelling story. Thank you so much for listening and I

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<v Speaker 3>help you enjoy this interview. How did you even decide

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<v Speaker 3>to become a filmmaker?

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<v Speaker 2>Oh gosh, I guess it's what I wanted to do

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<v Speaker 2>since I left high school, and I think it just

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<v Speaker 2>had to a great way to build worlds and grew

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<v Speaker 2>up making Like I grew up in roll Nova, Scotia,

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<v Speaker 2>and I didn't have a video camera anything, so I

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<v Speaker 2>didn't grow up making films. But I would always talk

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<v Speaker 2>about ideas and things I would want to make with

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<v Speaker 2>my friends, and it just seemed like, why do people

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<v Speaker 2>just do this? Why don't they do this? And then

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<v Speaker 2>once I started making it, I was like, Oh, that's

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<v Speaker 2>why people don't do that.

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<v Speaker 3>But I like that spirit of.

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<v Speaker 2>Always asking yourself, why can't I just do this and

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<v Speaker 2>then try so. I guess it goes back to that,

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<v Speaker 2>and I just love being able to create a world.

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<v Speaker 2>That's what really excites me about making a film is

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<v Speaker 2>you get to live in this other world for a

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<v Speaker 2>little while.

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<v Speaker 3>So tell me a little bit about the Silent Planet

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<v Speaker 3>and how this project came to you.

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<v Speaker 2>It goes back to childhood as well. I used to

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<v Speaker 2>fantasize about living in outer space. I used to pretend

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<v Speaker 2>I was from outer space and that I was going

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<v Speaker 2>to one day go back to my home planet. But

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<v Speaker 2>I used to have kind of a hermit fantasy, which

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<v Speaker 2>I think some people have, where I just want to

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<v Speaker 2>leave everything behind and go live by myself in the

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<v Speaker 2>woods or if possible, like on a distant planet. I

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<v Speaker 2>don't believe I could have ever done it, but the

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<v Speaker 2>sort of idea came from that impulse and that question

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<v Speaker 2>really of can we really leave everything behind? But if

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<v Speaker 2>you were to go by yourself to another planet, knowing

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<v Speaker 2>you had never returned to Earth, does anything that happened

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<v Speaker 2>on Earth matter anymore? Does who you were matter anymore?

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<v Speaker 2>Are you still who you were? Can you move beyond

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<v Speaker 2>who you were? Like? Those kind of questions were interesting

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<v Speaker 2>me in the film.

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<v Speaker 3>Do you always write what you direct? Yeah? I have

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<v Speaker 3>so far.

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<v Speaker 2>People don't send the scripture out there.

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<v Speaker 3>You talked about the hermit fantasy and living on your

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<v Speaker 3>own and everything. That definitely informs this. But where did

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<v Speaker 3>you come up with these characters?

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<v Speaker 2>I just had a very simple image of this guy

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<v Speaker 2>on a distant planet daily doing this task he didn't

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<v Speaker 2>know what was for. And I just wrote that little

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<v Speaker 2>image down I don't know when, many years ago in

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<v Speaker 2>my document of little images. That sparked something, and then

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<v Speaker 2>I just came back to it, and then I started

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<v Speaker 2>building a story around it.

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<v Speaker 3>Where did you actually shoot this one?

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<v Speaker 2>We shot in Newfoundlands? Are you? Where are you based?

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<v Speaker 2>Are you?

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<v Speaker 3>I'm just outside of Detroit, Okay, so you're You're not

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<v Speaker 3>in Canada, but I'm almost in Canada.

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<v Speaker 2>I'm almost You're pretty much a wind bowler. Yeah, yeah,

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<v Speaker 2>So shot in Newfoundland, which is kind of northeast Canadas.

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<v Speaker 2>It's an island, and they just had some really great

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<v Speaker 2>scenery that the place we shot, like the land where

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<v Speaker 2>it's all orange, is this place called the table Lands

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<v Speaker 2>in Grossmorn National Park and it's actually one of only

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<v Speaker 2>two places in the world where the Earth's mantle is

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<v Speaker 2>exposed deep in the air. Somehow, a long time ago

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<v Speaker 2>this got opened up and exposed and created this really

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<v Speaker 2>interesting orange rock and it looks like a desert, but

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<v Speaker 2>it's not like a dry desert. It's that way because

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<v Speaker 2>that it's toxic. The same things can't really grow there.

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<v Speaker 2>So yeah, just a really unique landscape. So that's that,

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<v Speaker 2>and then other places around Newfoundland which just has tons

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<v Speaker 2>of interesting unique scenery.

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<v Speaker 3>I was surprised to see some of the special effects

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<v Speaker 3>that are in the film. How is that getting those together?

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<v Speaker 2>Our special effects people are Mars, a company called Mars.

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<v Speaker 2>Then we had a couple independent guys as well who

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<v Speaker 2>are just at a school, Francisco and Enjoy, who helped

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<v Speaker 2>us out with some of the stuff as well. Because

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<v Speaker 2>we're shooting in a national park, we couldn't bring our

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<v Speaker 2>whole spaceship there. They wouldn't let us. We had to

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<v Speaker 2>protect the land. Of course, we built the sort of

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<v Speaker 2>spaceship in the studio for some of the exterior stuff.

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<v Speaker 2>But then we made it. A production designer and our

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<v Speaker 2>team made it so the door was portable so we

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<v Speaker 2>could just bring the door to the location so that

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<v Speaker 2>I was coming out. It's just a door, and then

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<v Speaker 2>the special effects team built the whole spaceship around it.

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<v Speaker 2>Weird inspired by old We want to just have a

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<v Speaker 2>flying saucer look old retro feel to it. But CGI

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<v Speaker 2>and everything.

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<v Speaker 3>They talk about how movies are made what three times,

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<v Speaker 3>the writing, the directing, and the editing. So what were

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<v Speaker 3>those different phases like for you?

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<v Speaker 2>Once your actors come in and start inhabiting these characters,

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<v Speaker 2>they transform. Actually, the opening of the film initially had

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<v Speaker 2>in the script a lot of voiceover, unreliable narrator type

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<v Speaker 2>voiceover with the O, But as we got into it

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<v Speaker 2>and Elliot sat a certain tone with the he played

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<v Speaker 2>the character, it just didn't feel necessary. Again in the edit,

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<v Speaker 2>it just felt nicer to just watch this guy. He

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<v Speaker 2>was just fascinating to watch. So that was one way

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<v Speaker 2>I'd like to be a little bit ruthless in the

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<v Speaker 2>editing room and not be afraid to cut things. The

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<v Speaker 2>general's structure of it stayed intact. There was we moved

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<v Speaker 2>stuff around mea chop stuff Like it starts and ends

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<v Speaker 2>pretty much how we had it, but there's some stuff

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<v Speaker 2>that had to be adjusted or taken out or along

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<v Speaker 2>the way, as I think there always is usually.

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<v Speaker 3>Yeah, so much of this movie relies on your two

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<v Speaker 3>main characters. Can you tell me about the casting process

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<v Speaker 3>and how you got these two?

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<v Speaker 2>We made an offer Tellius, and luckily for us, he

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<v Speaker 2>connected with it. It's just got so much pathos to

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<v Speaker 2>him so much. You just really feel for this guy

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<v Speaker 2>and you feel like he's lived a life. He's one

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<v Speaker 2>of our great Canadian actors. So I was just really

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<v Speaker 2>lucky that he and it meant a lot to him,

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<v Speaker 2>like he really I like, he took it very seriously.

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<v Speaker 2>It wasn't wasn't just a job for him. So I

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<v Speaker 2>was very felt very thankful for that. And Branda I

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<v Speaker 2>wasn't familiar with before, but her name came up and

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<v Speaker 2>then I like watched she's only had done two movies,

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<v Speaker 2>but and like not the main characters, what sort of

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<v Speaker 2>main character in Sharper. She's got this very nuanced way

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<v Speaker 2>of acting that is very compelling, and she on set

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<v Speaker 2>she was like for some of you who I had

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<v Speaker 2>only done to films. She was so confident and so

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<v Speaker 2>just would nail nail it the first time, take a

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<v Speaker 2>little direction, nail that, and just so easy. Sometimes I

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<v Speaker 2>would just I would just think about what I wanted

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<v Speaker 2>to change, and it seemed like she would do it.

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<v Speaker 2>So I was like, yeah, very like very lucky to

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<v Speaker 2>have her on I think, but no for her for

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<v Speaker 2>the casting, we just but we didn't do an audition.

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<v Speaker 2>I just watched her stuff and we met over zoom

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<v Speaker 2>and talked and she seemed to really get the character.

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<v Speaker 2>Luckily she agreed to do it as well.

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<v Speaker 3>Yeah, the performances are top notch, just and it's great

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<v Speaker 3>to hear that she was almost psychic when it came

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<v Speaker 3>to your direction.

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<v Speaker 2>Yeah, there were times when I like, we're maybe thinking

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<v Speaker 2>all on the same where rave length and what to

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<v Speaker 2>twitch out?

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<v Speaker 3>But yeah, with something like this too, the sound design

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<v Speaker 3>is so important because you have some swats where there's

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<v Speaker 3>nobody speaking. Can you talk about your mix and your

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<v Speaker 3>sound designer?

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<v Speaker 2>Yeah, Bryson, I would have loved to have a lot

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<v Speaker 2>more time with sound, but the short time we had

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<v Speaker 2>he did a great job just capturing We really wanted

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<v Speaker 2>to feel the planet. There's like thirty minutes of music,

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<v Speaker 2>so it's not tons of music that a lot of

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<v Speaker 2>times when you're just like with the two of them

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<v Speaker 2>and it's quiet, and I really wanted to feel the

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<v Speaker 2>creaking and groaning of it, and also that feeling of

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<v Speaker 2>like when he's just by himself in his cozy little place,

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<v Speaker 2>you want to feel there's a planet out there. So

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<v Speaker 2>there's a lot of talk about what the planet would

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<v Speaker 2>sound like, a lot of tweaking and playing around with

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<v Speaker 2>what the aliens would sound like. That was a big thing.

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<v Speaker 2>But yeah, this sound was a lot of fun in

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<v Speaker 2>this film.

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<v Speaker 3>Is Fantasia your World premiere?

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<v Speaker 2>Yeah? Yeah, it'd be really exciting to play it in

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<v Speaker 2>front of an audience. My last film was the festival

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<v Speaker 2>circuit during COVID, so I didn't get to go experience

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<v Speaker 2>my film with a live audience, and the only time

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<v Speaker 2>I did it was like nobody was coming out to

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<v Speaker 2>films anymore. So I'm really excited to actually have an audience.

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<v Speaker 2>I'm going to see some films here so far and

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<v Speaker 2>their audiences seemed great, So I'm excited to.

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<v Speaker 3>As you're putting together the film, as you're doing your editing,

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<v Speaker 3>are you showing up to other people and giving their

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<v Speaker 3>opinion to making adjustments based on that.

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<v Speaker 2>Yeah, we did a few screenings for people we know

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<v Speaker 2>and trust, and I wanted to only give enough information

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<v Speaker 2>so that people could get who these characters are and

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<v Speaker 2>where they're coming from. I didn't want to go beyond

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<v Speaker 2>that and get muddled down and bogged down in all that.

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<v Speaker 2>So a lot of it was like, do you understand

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<v Speaker 2>that her mother was an alien? Do you understand that?

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<v Speaker 2>Just making sure that people got it in that way.

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<v Speaker 2>But no, I feel like that's an important part of

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<v Speaker 2>the process, not to go get a market and score

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<v Speaker 2>market wise, but to just make sure that what your

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<v Speaker 2>intention is coming across to an audience, because you can

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<v Speaker 2>get you can easily lose track of that. It's like,

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<v Speaker 2>by there's so much world building, so you want people

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<v Speaker 2>to grasp the world without being inundated with too much

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<v Speaker 2>information about the world.

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<v Speaker 3>As I was watching the film, and you've got the

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<v Speaker 3>aliens and you've got their language and everything, did you

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<v Speaker 3>see him sort of parallel between the aliens and some

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<v Speaker 3>of the actual like Inuit or natives of Canada.

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<v Speaker 2>I wasn't thinking too much in terms of indigenous people,

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<v Speaker 2>any group who's marginalized, and it's a little more immigration themed,

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<v Speaker 2>so I correlated a little more to the way people

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<v Speaker 2>are often treated when they're immigrating, just looking to have

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<v Speaker 2>a better life somewhere. So yeah, it's definitely thinking about that.

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<v Speaker 2>In earlier versions of the script was a little more realistic,

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<v Speaker 2>but I was thinking a lot about immigration and refugees

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<v Speaker 2>and that kind of thing, which is essentially what the

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<v Speaker 2>Oeans are, although I don't get it go into too

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<v Speaker 2>much detail, but their refugees from their planet which was destroyed,

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<v Speaker 2>who are misunderstood and feared.

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<v Speaker 3>Yeah, that's the thing I appreciate about sci fi so

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<v Speaker 3>much is that you can have these metaphors for other stories.

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<v Speaker 3>You can with so many genres. But that's what I

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<v Speaker 3>like about sci fi specifically.

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<v Speaker 2>It's a great and kind of being at a bit

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<v Speaker 2>of a distance from it gives you some a different

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<v Speaker 2>perspective buy it. I think that's interesting. I agree that's

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<v Speaker 2>what's great about good sci fi is when there's correlations

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<v Speaker 2>to our world.

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<v Speaker 3>I know you haven't even had your premiere, but do

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<v Speaker 3>you have an idea for your next one in mind already?

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<v Speaker 2>Yeah, I'm pushing on a few scripts now. I got

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<v Speaker 2>a Focorps set in like nineteen oh seven, and Prince

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<v Speaker 2>Dred Island, which is where my family is from, where

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<v Speaker 2>I'm from, about this guy who's trying to start a

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<v Speaker 2>fox farm. And I have two more kind of sci

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<v Speaker 2>fi related ideas, romance sci fi. So yeah, I've got

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<v Speaker 2>I've got a couple of things brewing. Hopefully they'll pull

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<v Speaker 2>together some money and make them.

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<v Speaker 3>Is there a good place for people to keep up

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<v Speaker 3>with you and your work online?

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<v Speaker 2>I have people ask me that and I don't have

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<v Speaker 2>a good answer because I'm not great with my online presence.

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<v Speaker 2>So I really got a I really got to create

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<v Speaker 2>something for Pole look at. But no, I don't have

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<v Speaker 2>Google my name.

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<v Speaker 3>I guess that's fair, that's fairy. I just hope more

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<v Speaker 3>people will be able to see this once that comes out,

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<v Speaker 3>because I had a really good time with that.

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<v Speaker 2>We're just premier and now we don't we have our distributors.

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<v Speaker 2>We have distributors quick there. I will be getting it

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<v Speaker 2>out there. We don't have release dat as of yet,

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<v Speaker 2>but yeah, we'll get all that stuff up online.

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<v Speaker 3>Mister Saint Jules, thank you so much for your time.

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<v Speaker 3>This is wonderful.

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<v Speaker 2>Yeah, thanks so much for having.

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<v Speaker 1>Me taking not an an