WEBVTT 1 00:00:00.160 --> 00:00:03.879 The Projection Booth podcast is sponsored by Scarecrow Video. Try 2 00:00:03.879 --> 00:00:07.360 out scarecrows rent by mail service. Choose from over one 3 00:00:07.440 --> 00:00:10.560 hundred and fifty thousand films and get blu rays, four 4 00:00:10.640 --> 00:00:14.759 ks and DVD's delivered directly to your door. Visit scarecrow 5 00:00:14.880 --> 00:00:16.000 dot com today. 6 00:00:21.320 --> 00:00:24.160 Oh gez, folks, it's showtime. 7 00:00:24.879 --> 00:00:27.519 People say good mighty to see this movie. When they 8 00:00:27.519 --> 00:00:30.960 go out to a theater, they want clod sodas, hot popcorn, 9 00:00:31.199 --> 00:00:33.399 and no monsters in the Projection Booth. 10 00:00:33.560 --> 00:00:36.920 Everyone pretend podcasting isn't boring, cut. 11 00:00:36.759 --> 00:03:24.560 It off us anything anything. 12 00:03:25.080 --> 00:04:13.159 Say Hey, folks, welcome to a special episode of The 13 00:04:13.199 --> 00:04:13.840 Projection Booth. 14 00:04:13.879 --> 00:04:16.759 I'm your host, Mike White. On this episode, I am 15 00:04:16.800 --> 00:04:20.360 talking with Crispin Heley and Glover all about his new 16 00:04:20.480 --> 00:04:22.959 film and I better make sure that I get this 17 00:04:23.040 --> 00:04:29.040 title right No You're wrong or Spooky Action at a Distance. 18 00:04:29.839 --> 00:04:33.639 It is his latest directorial effort which stars him as 19 00:04:33.680 --> 00:04:36.959 well as his late father, Bruce Glover, and it is 20 00:04:37.000 --> 00:04:40.079 going to be touring around the country starting October two 21 00:04:40.279 --> 00:04:44.079 at the Museum of Modern Art in New York. Be 22 00:04:44.160 --> 00:04:47.600 sure to check out his website Crispinheleyanglover dot com for 23 00:04:47.720 --> 00:04:51.000 more details and where you can see the film. Hopefully 24 00:04:51.079 --> 00:04:54.839 it will play around you, as he does not release 25 00:04:54.920 --> 00:04:59.319 his movies on DVD, Blu ray vhs, So if you're 26 00:04:59.360 --> 00:05:03.240 still waiting for what is it? And everything is fine, 27 00:05:04.040 --> 00:05:09.800 keep waiting. It's not coming out anytime soon. So maybe 28 00:05:09.800 --> 00:05:12.000 one of these days for a Moodie May we'll talk 29 00:05:12.040 --> 00:05:16.079 about one of his two other directorial films. But in 30 00:05:16.120 --> 00:05:19.720 the meantime, hopefully you'll be able to catch no, You're 31 00:05:19.839 --> 00:05:23.600 wrong or spooky action from a distance. Thank you so 32 00:05:23.680 --> 00:05:25.600 much for listening, and I hope you enjoyed the interview. 33 00:05:26.120 --> 00:05:27.959 Mister Glovery. Thank you so much for your time today. 34 00:05:27.959 --> 00:05:28.959 I really appreciate this. 35 00:05:29.639 --> 00:05:31.680 Yes, well, thank you for having me. I appreciate it 36 00:05:31.720 --> 00:05:35.759 as well. Yeah, we did an email interview, gosh, probably 37 00:05:35.800 --> 00:05:40.199 back in twenty eleven, so oh good, Okay, nice to 38 00:05:40.680 --> 00:05:44.600 actually be able to speak with you and via this medium. Yeah, well, 39 00:05:44.680 --> 00:05:48.000 zoom has really become a fascinating thing. What was the 40 00:05:48.040 --> 00:05:50.600 interview for, obviously I assumed for one of my films 41 00:05:50.600 --> 00:05:51.839 when I was touring by email. 42 00:05:52.680 --> 00:05:55.920 Well, it was for a magazine that I used to 43 00:05:56.000 --> 00:05:59.360 do called Cashrew's Decinemark had about ten questions for you, 44 00:05:59.439 --> 00:06:02.199 and yeah, you zipped those answers off over to me 45 00:06:02.279 --> 00:06:04.639 via email, So I really appreciated that. 46 00:06:05.360 --> 00:06:08.639 I remember, Yeah, it was for my film for both 47 00:06:08.680 --> 00:06:11.160 of what Is It? And Everything? That's Fine. In twenty eleven, 48 00:06:11.240 --> 00:06:14.160 you say, yeah, some both films. Yeah, oh great? Were 49 00:06:14.199 --> 00:06:16.079 you Did you get to see the films? Did you 50 00:06:16.079 --> 00:06:16.920 get to see the show? 51 00:06:17.800 --> 00:06:20.600 No, I still haven't. I don't know if you've done Detroit. 52 00:06:21.240 --> 00:06:24.759 Yeah. I did Detroit. But it was an interesting thing. 53 00:06:25.839 --> 00:06:29.639 It was a group that were real cinephile types and 54 00:06:29.680 --> 00:06:34.360 they had set up projectors in is I believe it 55 00:06:34.399 --> 00:06:38.800 was an old high school auditorium that somehow had been 56 00:06:38.839 --> 00:06:42.519 repurposed and they had their projector. It was really interesting 57 00:06:42.720 --> 00:06:46.160 and there was an interesting art scene, you know, because Detroit, 58 00:06:46.199 --> 00:06:51.519 of course had great structures and then had an economic collapse. 59 00:06:51.879 --> 00:06:54.839 But I could see that there are artistic types that 60 00:06:54.879 --> 00:06:58.279 were coming in and doing things. And it was actually 61 00:06:58.319 --> 00:07:02.000 a very interesting screening. Was in high tech, but I 62 00:07:02.199 --> 00:07:06.600 liked that it was passionate about film. I think that 63 00:07:06.680 --> 00:07:08.600 was the only time I showed in Detroit, and it 64 00:07:08.639 --> 00:07:10.720 was a good show. I liked it. 65 00:07:11.279 --> 00:07:13.480 I know we used to have screenings in an old 66 00:07:13.519 --> 00:07:16.240 high school auditorium, and it was through a group called that. 67 00:07:16.720 --> 00:07:19.319 Eventually they were called Cinema Detroit, but it might have 68 00:07:19.360 --> 00:07:20.279 been something else. 69 00:07:20.040 --> 00:07:20.639 At the time. 70 00:07:21.160 --> 00:07:23.319 Well, I'm excited that you have a new film coming out. 71 00:07:23.480 --> 00:07:24.959 Can you tell me a little bit more about the 72 00:07:25.000 --> 00:07:27.560 making of that and how that came to be. Well, 73 00:07:27.600 --> 00:07:29.680 I've been making it. I've been working on it for 74 00:07:29.800 --> 00:07:34.600 many years, a long time. I bought my property in 75 00:07:34.639 --> 00:07:38.079 the Czech Republic in two thousand and three. My first 76 00:07:38.160 --> 00:07:42.560 two films were shot on well, particularly the second one 77 00:07:42.639 --> 00:07:44.000 was entirely. 78 00:07:43.639 --> 00:07:47.000 Shot on sets. But I shot my first film one 79 00:07:47.120 --> 00:07:50.959 is that on both locations and sets that were built, 80 00:07:51.000 --> 00:07:54.120 and the second film was entirely shot on sets, and 81 00:07:54.160 --> 00:07:58.519 I prefer I like working on sets for a lot 82 00:07:58.519 --> 00:08:03.120 of different reasons post a location work. The sets that 83 00:08:03.199 --> 00:08:09.319 we had built for the second film unfortunately had to 84 00:08:09.360 --> 00:08:13.759 be destroyed fairly shortly after we shot. I was hoping 85 00:08:13.800 --> 00:08:17.399 that they could be re utilized for something. But I 86 00:08:17.480 --> 00:08:21.160 realized if I planned to continue shooting on sets because 87 00:08:21.160 --> 00:08:24.879 I paid for the sets, that really I needed to 88 00:08:24.920 --> 00:08:29.360 own the property where the sets would be built. And 89 00:08:29.560 --> 00:08:33.600 so I started looking for something and sort of an 90 00:08:33.600 --> 00:08:36.799 involved story but it ended up being that the Czech 91 00:08:36.799 --> 00:08:42.320 Republic was good place to buy a large property that 92 00:08:42.480 --> 00:08:47.039 had structures that I actually bought it in a couple 93 00:08:47.039 --> 00:08:50.799 of different stages, but I knew that the structures could 94 00:08:50.840 --> 00:08:56.919 be attained, which were former corner stables slash farm buildings 95 00:08:56.960 --> 00:09:01.799 for a chateau that had built it's been reconstructed in 96 00:09:01.919 --> 00:09:06.159 the sixteen hundreds, and so when we shot it, we 97 00:09:06.200 --> 00:09:09.840 shot the calfs and crew stayed in the chateau, which 98 00:09:09.879 --> 00:09:15.600 has multiple many bedrooms and bathrooms, and then we would 99 00:09:15.639 --> 00:09:19.440 walk next door and shoot in the sets that I 100 00:09:19.480 --> 00:09:23.759 had built in. It's about eighteen thousand square feet of 101 00:09:23.799 --> 00:09:29.039 what were these buildings not made for that purpose recently 102 00:09:29.200 --> 00:09:33.840 and now they are still filled with these various sets 103 00:09:33.879 --> 00:09:39.399 which I always knew I could reutilize later for subsequent productions, 104 00:09:39.440 --> 00:09:42.000 which is what I'm planning to do. So there's been 105 00:09:42.080 --> 00:09:46.039 multiple stages as to what how things are constructed and 106 00:09:46.159 --> 00:09:48.840 for what purposes, and even while I was structuring the 107 00:09:48.879 --> 00:09:55.440 script as to what kind of sets or scenes would 108 00:09:55.480 --> 00:09:58.279 be set in what kind of sets. So it was 109 00:09:59.320 --> 00:10:03.440 mult construc diructed at the same time, and it was 110 00:10:03.480 --> 00:10:09.480 developed for myself for my father to act in together. 111 00:10:09.519 --> 00:10:11.600 He and I had never acted in the film together. 112 00:10:11.960 --> 00:10:16.200 My father, Bruce Clover, who died earlier this year, was 113 00:10:16.240 --> 00:10:20.519 in films like China Town and Diamonds Are Forever and 114 00:10:22.159 --> 00:10:27.679 worked a lot, but we'd never acted together ever. So 115 00:10:27.720 --> 00:10:32.600 it was structured that way, or it was constructed that way, 116 00:10:33.440 --> 00:10:35.600 but then a lot of other things came into being. 117 00:10:35.919 --> 00:10:40.679 I changed things around this screenplay. The initial screenplay was 118 00:10:40.759 --> 00:10:47.039 shot over a period of three years. I believe in 119 00:10:47.279 --> 00:10:50.720 different production segments. There's different time periods in the film 120 00:10:50.799 --> 00:10:54.879 eighteen sixty eight, eighteen eighty eight, nineteen eighteen, nineteen forty 121 00:10:54.919 --> 00:10:59.360 eight in contemporary, which also ended up being a very 122 00:10:59.440 --> 00:11:04.679 large post production element in terms of color correction, I 123 00:11:04.720 --> 00:11:07.919 spent two years on color correction. I don't know if 124 00:11:07.919 --> 00:11:12.200 you're able to see the trailer that was said, yeah, 125 00:11:12.240 --> 00:11:15.399 you might be able to detect that there's certain scenes 126 00:11:15.480 --> 00:11:19.559 that have certain kinds of looks to it which are 127 00:11:19.600 --> 00:11:24.360 different from others. We spent literally two years or even 128 00:11:24.440 --> 00:11:28.600 more dealing with the film was shot on thirty five 129 00:11:28.639 --> 00:11:32.799 millimeter negatives, and then we did certain things with certain 130 00:11:32.879 --> 00:11:39.320 scenes with reshooting with a different film camera the original footage, 131 00:11:39.639 --> 00:11:44.240 but it was. There's a thirty five millimeter camera that 132 00:11:44.320 --> 00:11:47.919 was owned by one of the great Czech filmmakers named 133 00:11:48.000 --> 00:11:51.600 Carl Zemmon. Came from animation. If you've seen some of 134 00:11:51.639 --> 00:11:55.320 his films, you know how amazing he is. There's a 135 00:11:55.360 --> 00:11:59.639 not for profit organization that I began with a number 136 00:11:59.639 --> 00:12:02.039 of check fellows that has to do with the thirty 137 00:12:02.080 --> 00:12:07.279 five millimeter film processing laboratory that we have the equipment 138 00:12:07.279 --> 00:12:10.279 at my property. Most of the equipment is just there, 139 00:12:11.000 --> 00:12:15.919 it hasn't actually become working, but the I had a 140 00:12:15.919 --> 00:12:22.600 thirty five millimeter four K digital scanner that I shipped 141 00:12:22.600 --> 00:12:25.440 over from my body in Los Angeles and had it 142 00:12:25.480 --> 00:12:28.960 shipped over to check where that was reconstructed and function. 143 00:12:29.039 --> 00:12:33.240 We used that for scanning the film, but then we had. 144 00:12:33.000 --> 00:12:37.879 To shoot certain scenes. So the eighteen sixty eight and 145 00:12:37.960 --> 00:12:42.720 eighteen eighty eight stuff we shot with Carl Zemmon's hand 146 00:12:42.759 --> 00:12:47.000 crank camera that he had, which hand crank has a 147 00:12:47.039 --> 00:12:48.759 different quality. 148 00:12:48.759 --> 00:12:53.840 It's the older cameras that they used for silent filmmaking, 149 00:12:53.879 --> 00:12:57.000 and we wanted to get some of that quality. It 150 00:12:57.039 --> 00:12:59.519 wasn't what I initially had planned to do. Everything was 151 00:12:59.559 --> 00:13:03.840 shot thirty five millimeter color. Most of it was FUJIFILM. 152 00:13:04.000 --> 00:13:07.159 This will be the last film ever released that a 153 00:13:07.240 --> 00:13:09.440 majority of it was shot with Fuji. Some of it 154 00:13:09.519 --> 00:13:12.559 later on was shot with a Kodak, but that was 155 00:13:12.600 --> 00:13:16.600 more in the contemporary scenes that I added later, which 156 00:13:16.639 --> 00:13:19.279 I call the spooky action at a distance part of 157 00:13:19.320 --> 00:13:22.200 the film. The film became a film within a film. 158 00:13:22.600 --> 00:13:25.519 I don't want to stay too much. I'm very curious 159 00:13:25.600 --> 00:13:30.639 to see how people interpret things. The way the film 160 00:13:30.720 --> 00:13:37.000 is constructed will ideally, I believe, let people have interpretations 161 00:13:37.039 --> 00:13:40.720 about things. It's very specific to me, but I don't 162 00:13:40.919 --> 00:13:42.960 I don't want to dictate too much as to what 163 00:13:43.080 --> 00:13:47.600 people may may hopefully be able to interpret on their own. 164 00:13:47.639 --> 00:13:51.840 I'll be very interested to hear because October second, just 165 00:13:51.879 --> 00:13:54.320 a few days from now, when you assume of modern art, 166 00:13:54.840 --> 00:13:57.399 that's where the genuine premiere will be. This is the 167 00:13:57.399 --> 00:13:59.840 first time I'm sharing it to an audience. I've shown the 168 00:14:00.320 --> 00:14:05.879 to not too many people, some filmmaker types, and it 169 00:14:06.000 --> 00:14:07.960 is different when you show it to an audience than 170 00:14:08.000 --> 00:14:12.240 when you show it to individuals. So I've had positive 171 00:14:12.279 --> 00:14:15.559 reaction from filmmakers, but it's you know, filmmakers are looking 172 00:14:15.600 --> 00:14:20.039 at films differently than a general audience as well, So 173 00:14:20.120 --> 00:14:23.159 it will be a real premiere for me. I'm very 174 00:14:23.200 --> 00:14:24.720 interested to see what will happen. 175 00:14:25.720 --> 00:14:28.559 You always have such interesting casts in your films, and 176 00:14:28.600 --> 00:14:29.960 I was curious if you could tell me how the 177 00:14:30.000 --> 00:14:30.799 casts come about. 178 00:14:31.600 --> 00:14:34.799 It's such a long and involved story, even the way 179 00:14:35.120 --> 00:14:40.639 the film came about in conception. But the initial concept 180 00:14:40.720 --> 00:14:45.720 I had was that it was I had started doing 181 00:14:45.799 --> 00:14:49.879 a different screenplay that it was for an actress that 182 00:14:50.159 --> 00:14:55.279 I had dated, and she and I she was very 183 00:14:55.320 --> 00:15:00.559 good at playing characters. And I didn't up making that 184 00:15:00.919 --> 00:15:03.080 film a lot of for a lot of different reasons, 185 00:15:03.120 --> 00:15:06.120 but I still would have liked to make the film. 186 00:15:06.200 --> 00:15:08.759 It's it was actually an interesting concept. That concept, but 187 00:15:09.080 --> 00:15:12.200 I realized I wanted to I wanted to make a 188 00:15:12.240 --> 00:15:16.000 two person film that just because it would be a 189 00:15:16.200 --> 00:15:19.799 simpler production wise. So I started thinking, well, I can 190 00:15:19.879 --> 00:15:21.960 make I'll make a two person film with myself and 191 00:15:21.960 --> 00:15:27.480 my father. So the I had in the initial outline 192 00:15:27.559 --> 00:15:31.200 for the film, there were other characters that were written 193 00:15:31.240 --> 00:15:35.559 as shadow characters that that you would just see somebody 194 00:15:35.639 --> 00:15:39.039 in sililuette or on the telephone, and that would mainly 195 00:15:39.080 --> 00:15:41.960 be myself. But then I started writing. I was interested 196 00:15:42.000 --> 00:15:45.519 in a certain kind of classical heroes journey story structure 197 00:15:45.559 --> 00:15:50.480 that had romantic interest characters. And as soon as I 198 00:15:50.519 --> 00:15:55.240 started writing the female romantic interest characters, I realized, these 199 00:15:55.279 --> 00:15:58.879 can't be shadow characters. Those have to be fleshed and 200 00:15:58.960 --> 00:16:05.799 blood cast fleshill with people. So that took some doing it. 201 00:16:05.799 --> 00:16:10.200 It basically was with people that I knew in one 202 00:16:10.200 --> 00:16:13.320 way or another, or people that I knew that knew 203 00:16:13.639 --> 00:16:17.720 people that I knew. There's things on the IMDb right 204 00:16:17.759 --> 00:16:21.519 now that are incorrect. I hope you've got the because 205 00:16:21.519 --> 00:16:24.120 they even have incorrect casts. There's people that are listed 206 00:16:24.159 --> 00:16:28.120 on IMDb that aren't in the movie, and there's character 207 00:16:28.200 --> 00:16:31.399 names that are even the title they don't have correct 208 00:16:31.399 --> 00:16:34.279 on the IMDb. I didn't put input any of what's 209 00:16:34.320 --> 00:16:37.399 on the IMDb and the and there's other people that 210 00:16:37.799 --> 00:16:40.279 maybe worked on the crew cast that got bits and 211 00:16:40.320 --> 00:16:43.799 pieces of information and they type stuff in, but IMDb 212 00:16:43.879 --> 00:16:46.840 will not let me fix it. It's really and and 213 00:16:46.879 --> 00:16:49.879 the part of the clues of what the film is 214 00:16:49.919 --> 00:16:53.600 about have to do with the titles which are in 215 00:16:53.639 --> 00:16:56.879 the film. It was very carefully structured and the IMDb 216 00:16:56.919 --> 00:17:01.440 will not let me. I don't understand why it's like that, 217 00:17:01.639 --> 00:17:04.759 but I hope. I'm trying to get a resolved, but 218 00:17:04.839 --> 00:17:06.960 there's no way to even contact the IMDb. 219 00:17:08.000 --> 00:17:10.240 It's very very strange. 220 00:17:10.400 --> 00:17:12.720 But so that's why I hope you have it. There's 221 00:17:12.799 --> 00:17:18.759 a credit the end credit role should be forwarded, so 222 00:17:18.839 --> 00:17:21.599 if you list anything about who's in it or what 223 00:17:21.640 --> 00:17:24.119 the titles are, take it from that and not not 224 00:17:24.279 --> 00:17:27.400 from the IMDb, because that's hopefully it will be fixed. 225 00:17:27.440 --> 00:17:30.359 But I don't know. I've tried to fix certain things 226 00:17:30.359 --> 00:17:33.799 on my IMDb before, and it's it's it's not very forgiven. 227 00:17:34.640 --> 00:17:36.599 After all these years. How was it working with your 228 00:17:36.599 --> 00:17:38.039 father and acting against him? 229 00:17:38.680 --> 00:17:42.920 It was very interesting because when you act with somebody, 230 00:17:43.559 --> 00:17:45.599 When I act with somebody, I think this is true 231 00:17:45.599 --> 00:17:48.359 of most of the time when people are acting with 232 00:17:48.400 --> 00:17:53.279 each other, it's sort of well, you look into people's 233 00:17:53.319 --> 00:17:58.039 eyes more probably than you do in real life. I 234 00:17:58.079 --> 00:18:01.519 think we were very used to averting. I am looking 235 00:18:01.559 --> 00:18:05.839 away as we as we talk, but on camera, if 236 00:18:05.880 --> 00:18:09.359 you do that too much, you'll be fairly quickly cold 237 00:18:10.160 --> 00:18:14.960 by the DP that that's distracting. And I can understand 238 00:18:15.000 --> 00:18:18.640 it doesn't come off the same way as it comes 239 00:18:18.680 --> 00:18:23.440 off in reality on camera, and of course in a 240 00:18:23.480 --> 00:18:26.279 certain way. We're taught to function in the way we 241 00:18:26.319 --> 00:18:30.720 do in acting class on some level, but there really 242 00:18:30.759 --> 00:18:35.039 is something about looking in the person's eyes that is 243 00:18:36.119 --> 00:18:39.759 that you do that more or I do that more 244 00:18:39.799 --> 00:18:43.119 than I do in real life when I'm I'm working 245 00:18:43.160 --> 00:18:49.720 on camera, and so there's an energeetic element that transfers 246 00:18:49.759 --> 00:18:52.880 when you're acting with somebody, and you can feel certain 247 00:18:53.680 --> 00:19:00.000 energetic qualities. So I probably did have more a certain 248 00:19:00.079 --> 00:19:02.720 kind of energetic connection with my father than I would 249 00:19:02.799 --> 00:19:06.599 have by not having acted with him, which was interesting 250 00:19:07.039 --> 00:19:11.160 because my father was an actor, you know, my whole 251 00:19:11.160 --> 00:19:15.200 life I grew up around, so I had certain thoughts 252 00:19:15.279 --> 00:19:17.480 or critiques that I wouldn't say out loud just to 253 00:19:17.519 --> 00:19:22.319 myself about my father, how his acting start, or what 254 00:19:22.400 --> 00:19:25.599 have you. My father also taught acting, but I never 255 00:19:26.559 --> 00:19:29.920 formally studied with my father. I studied at other places. 256 00:19:29.920 --> 00:19:33.400 For me that would have been too much, but I'm 257 00:19:33.440 --> 00:19:38.839 sure I picked things up along the way. But it 258 00:19:39.960 --> 00:19:44.799 definitely made me appreciate qualities he has or had as 259 00:19:44.839 --> 00:19:47.519 an actor. And of course I had to direct him. 260 00:19:47.559 --> 00:19:52.960 I directed him in my second film, so I directed 261 00:19:53.039 --> 00:19:56.119 him before, which was very easy to do. He was 262 00:19:56.720 --> 00:19:58.759 easy for me to direct. I mean, in certain days 263 00:19:58.799 --> 00:20:02.960 I was able to have more positive facts some things 264 00:20:02.960 --> 00:20:05.240 which I ended up cutting out of the film. I 265 00:20:05.279 --> 00:20:08.759 didn't feel like I affected as positively, but I understood 266 00:20:09.319 --> 00:20:13.000 how to work and direct him, and he did respond 267 00:20:13.519 --> 00:20:17.839 to direction well. But he also was involved in the writing, 268 00:20:18.079 --> 00:20:22.279 which again IMDb doesn't have the correct writing credits on 269 00:20:22.359 --> 00:20:28.359 it either. But that was difficult. That was very very 270 00:20:28.519 --> 00:20:32.440 very very difficult. Had I had started working with a 271 00:20:32.480 --> 00:20:35.160 friend of mine who also has a writing credit on it, 272 00:20:35.240 --> 00:20:38.200 in Mike Cologi, and I want. I knew my father 273 00:20:38.359 --> 00:20:40.279 was going to want to get involved in the writing, 274 00:20:40.720 --> 00:20:44.200 and I wanted somebody that I liked, that I could 275 00:20:44.279 --> 00:20:48.920 work with, that was a good writer, and because I 276 00:20:49.000 --> 00:20:51.599 knew my father would get involved, and I would want 277 00:20:51.680 --> 00:20:55.200 to have somebody that I could talk to and not 278 00:20:55.480 --> 00:20:59.559 have a kind of issues with or about about the writing. 279 00:20:59.599 --> 00:21:02.559 And what I predicted was true that my father did 280 00:21:02.640 --> 00:21:05.720 yet envolved in the writing, and it was very very difficult, 281 00:21:05.759 --> 00:21:08.799 but he also did come up with things that are 282 00:21:08.839 --> 00:21:11.880 in the film that were different from what I initially had, 283 00:21:11.920 --> 00:21:15.400 that were good. So there was a and it affected 284 00:21:16.119 --> 00:21:19.519 the film changed in many different ways. There's two titles 285 00:21:19.599 --> 00:21:22.920 in the film. I don't want to say too much, 286 00:21:22.960 --> 00:21:27.559 but the second title came in later. The first title 287 00:21:27.880 --> 00:21:31.519 was there from early on and it's referenced within the film. 288 00:21:31.599 --> 00:21:34.000 Both of the titles are referenced within the film. But 289 00:21:34.079 --> 00:21:38.119 at the same time, I don't like things to become 290 00:21:38.240 --> 00:21:42.200 dictatorial as to how an audience should feel about things, 291 00:21:42.240 --> 00:21:47.640 so hopefully there's enough room that people can interpret things 292 00:21:48.160 --> 00:21:49.720 on their own. Now. 293 00:21:49.759 --> 00:21:51.519 It is the best place for people to keep up 294 00:21:51.559 --> 00:21:54.759 with where these screens are happening. Is that through your website. 295 00:21:55.279 --> 00:21:58.119 Yeah, and I've had that website for years. And there's 296 00:21:58.200 --> 00:22:01.519 a thing where you can sign up for a newsletter, 297 00:22:01.640 --> 00:22:05.519 which is actually the best thing. Because I toured straight 298 00:22:05.559 --> 00:22:08.920 from the year two thousand and five through twenty twenty, 299 00:22:09.039 --> 00:22:11.799 at least once a year, all over the world. I 300 00:22:11.839 --> 00:22:19.759 traveled all over the United States, Canada, Japan, Europe, New Zealand, Australia, 301 00:22:20.119 --> 00:22:23.200 and not all over the world, but those places, and 302 00:22:24.160 --> 00:22:29.440 for fifteen years straight until twenty twenty when the pandemic 303 00:22:29.519 --> 00:22:32.799 happened and then I couldn't tour, and I decided all right, 304 00:22:32.839 --> 00:22:37.039 well this natural pause. I was already in post production 305 00:22:37.279 --> 00:22:39.839 at that point. Little did I know the post production 306 00:22:40.000 --> 00:22:45.119 was going to take five years. More than five years. 307 00:22:45.440 --> 00:22:49.160 I'm still dealing with post production things right now, just 308 00:22:49.400 --> 00:22:55.680 days before of the actual premiere. So people when they 309 00:22:55.759 --> 00:22:59.240 sign up, I just sent out a big email of 310 00:22:59.720 --> 00:23:01.720 all the people that have signed up over the years, 311 00:23:01.960 --> 00:23:04.599 and it had a huge amount of engagement, which I'm 312 00:23:04.720 --> 00:23:09.759 happy of and happy for, and sold a huge amount 313 00:23:09.799 --> 00:23:12.400 of tickets for the premiere. And there are the other 314 00:23:12.440 --> 00:23:16.000 shows are listed at the the i f C. There's 315 00:23:16.039 --> 00:23:19.119 also a movie that I acted in that's playing. I'm 316 00:23:19.119 --> 00:23:21.599 doing a Q and a I think on the eighth 317 00:23:21.680 --> 00:23:23.240 and the ninth of the i f C and n 318 00:23:23.319 --> 00:23:26.640 i C. The premiere is at the Museum of Modern Art, 319 00:23:26.799 --> 00:23:29.640 which I'm very happy to be premiering the film. That's 320 00:23:29.640 --> 00:23:34.400 such a great that's my favorite place to those they're programming. 321 00:23:34.440 --> 00:23:37.200 Their film programming is my favorite programming in the world. 322 00:23:37.279 --> 00:23:40.559 I regularly go to see their program film programming. But 323 00:23:40.599 --> 00:23:46.480 that's where the location of the world premiere October second 324 00:23:46.759 --> 00:23:50.079 is than the i f C. There's a I think 325 00:23:50.160 --> 00:23:53.480 two as I think it's two nights eighth and ninth. 326 00:23:54.119 --> 00:23:56.839 There's where I'm doing a Q and A after the 327 00:23:56.839 --> 00:24:00.119 film i acted in called Mister K, which is in 328 00:24:00.119 --> 00:24:05.839 interesting movie that can have people could have multiple interpretations, 329 00:24:06.759 --> 00:24:10.680 and then my film. I'll be performing all of my shows, 330 00:24:10.680 --> 00:24:15.240 I perform what I call a slot. It's called Chrispin 331 00:24:15.279 --> 00:24:19.400 Hilling Clover's Big Slide Show. But there's different variations of 332 00:24:19.400 --> 00:24:22.720 it for the different films. This one, this variation have 333 00:24:22.759 --> 00:24:24.720 to make a bit shorter because the new film is 334 00:24:24.720 --> 00:24:27.839 a bit longer than my other films. I just and 335 00:24:27.880 --> 00:24:30.400 I just cut it. It was ninety minutes and then 336 00:24:30.440 --> 00:24:34.960 I cut it about three months ago to eighty five minutes, 337 00:24:35.000 --> 00:24:37.200 which doesn't sound like a lot, but five minutes is 338 00:24:37.200 --> 00:24:40.599 a lot. And I changed things around and I'm happy 339 00:24:40.960 --> 00:24:45.440 with the the edit and the and I physically edited 340 00:24:45.720 --> 00:24:49.640 the film. I edit my own films for the most 341 00:24:49.640 --> 00:24:52.039 but I've had people work on the second film, I 342 00:24:52.039 --> 00:24:55.920 had somebody that did a fair amount of the editing, 343 00:24:56.720 --> 00:24:59.240 but I was involved in the editing on that one. 344 00:24:59.240 --> 00:25:02.119 But this one, my first film, I physically added the 345 00:25:02.880 --> 00:25:04.880 whole film. There were little things here, and there were 346 00:25:05.000 --> 00:25:10.480 people did some assistant editing work, but in a certain way, 347 00:25:10.519 --> 00:25:14.440 it's my favorite part of the filmmaking process, and so anyhow, 348 00:25:14.480 --> 00:25:18.240 so I'm at the IFC for week with my live 349 00:25:19.160 --> 00:25:21.119 slide show, which is from books that I made a 350 00:25:21.160 --> 00:25:23.759 long time ago. We took old books from the eighteen hundreds, 351 00:25:23.839 --> 00:25:26.920 reworked them, turned them into different books from what they 352 00:25:26.920 --> 00:25:33.440 originally were. They're profusely illustrated, and the images are projected 353 00:25:34.039 --> 00:25:37.720 as I dramatically narrate these different books. Then I introduced 354 00:25:37.799 --> 00:25:40.880 the film, then the film plays. I come out as 355 00:25:40.960 --> 00:25:44.279 the credits are ending. I asked if anybody has any questions, 356 00:25:44.480 --> 00:25:47.400 conduct the Q and A. And then at the different 357 00:25:47.519 --> 00:25:51.240 different venues I have books signings. Sometimes I have to 358 00:25:51.279 --> 00:25:53.960 have the books signing at a different venue, but IFC 359 00:25:55.039 --> 00:25:59.640 the that's what will happen for a solid week. Then 360 00:25:59.720 --> 00:26:04.559 I'll be in La I think it's the eighteenth and 361 00:26:04.759 --> 00:26:09.079 nineteenth at the Aero Theater in Santa Monica, and then 362 00:26:09.200 --> 00:26:11.160 I can't remember the exact date, but a few days 363 00:26:11.200 --> 00:26:13.880 after that I'm they're also mister k is going to 364 00:26:14.759 --> 00:26:19.279 be at the Los Feelies three. Both of these theaters 365 00:26:19.279 --> 00:26:22.240 are programmed by the American Cinematech and that's who I've 366 00:26:22.279 --> 00:26:25.759 been with in Los Angeles since two thousand and five. 367 00:26:26.359 --> 00:26:28.359 I usually I had played at the Egyptian, but the 368 00:26:28.359 --> 00:26:33.160 Egyptian was recently purchased by Netflix. Well, I may still 369 00:26:33.160 --> 00:26:36.279 have to show at the Egyptian later, but first my 370 00:26:36.480 --> 00:26:38.440 shows are at the Era, which is in Santa Monica. 371 00:26:38.519 --> 00:26:42.799 Also very an excellent screen and you're in a nice 372 00:26:43.039 --> 00:26:46.839 older I believe it was built in the forties and 373 00:26:46.880 --> 00:26:50.039 then the lows feelies three. It was also a nice 374 00:26:50.079 --> 00:26:53.519 deco theater. That's where there'll be a Mister K screening. 375 00:26:53.599 --> 00:26:56.119 I'm forgetting the exact date, but a few day days 376 00:26:56.160 --> 00:26:59.720 after the Aero shows, and then I'll be in Chicago, 377 00:27:00.599 --> 00:27:03.279 and I'm forgetting the exact dates to that. But one night, 378 00:27:03.720 --> 00:27:06.640 the first night, I'm doing Q and A after Mister K. 379 00:27:07.359 --> 00:27:10.680 And then the next night I'm performing my show and 380 00:27:10.960 --> 00:27:14.960 showing no You're wrong or spooky action of distance, and 381 00:27:15.000 --> 00:27:18.240 then the Q and A and book signing and that 382 00:27:19.039 --> 00:27:21.880 The music boxes are great. That's a huge vent hered 383 00:27:21.960 --> 00:27:24.680 seven hundred seats. And I've been playing the Bear as 384 00:27:24.680 --> 00:27:27.200 well since two thousand and five, and the music box 385 00:27:27.279 --> 00:27:30.440 is great. Bright andre Atti, who runs it, It's always 386 00:27:30.480 --> 00:27:33.920 been very helpful and I appreciate it, and yeah, so 387 00:27:33.920 --> 00:27:35.079 I'm looking forward to all of this. 388 00:27:36.559 --> 00:27:38.519 Mister lover. Thank you so much for your time. This 389 00:27:38.640 --> 00:27:39.920 is such a pleasure talking with you. 390 00:27:40.640 --> 00:27:43.039 Well you too, I appreciate it. Thank you for getting 391 00:27:43.039 --> 00:27:52.480 to interview again. And I appreciate the help. 392 00:27:57.359 --> 00:27:58.759 I was walking on the ground. 393 00:27:58.920 --> 00:28:01.920 I didn't make a s and then I turned around 394 00:28:02.000 --> 00:28:04.680 and I saw a clown had. 395 00:28:04.519 --> 00:28:07.160 A brown and stood on a mound. 396 00:28:07.279 --> 00:28:16.559 And started barking like a hound. When I came to it, 397 00:28:16.599 --> 00:28:19.279 I found he showed me something that was brown. 398 00:28:19.960 --> 00:28:22.400 So he became great friends. 399 00:28:22.640 --> 00:28:34.200 And late in life got sick. I gave him some soup, 400 00:28:34.319 --> 00:28:34.559 but he. 401 00:28:34.640 --> 00:28:38.119