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

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<v Speaker 2>People pay good money to see this movie. When they

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<v Speaker 2>go out to a theater.

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<v Speaker 3>They want cold.

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<v Speaker 1>Sodas from a pop popcorn, and no monsters in the

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<v Speaker 1>Protection Booth. Everyone pretend podcasting isn't boring, got it off?

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<v Speaker 4>Mm hm, you're a man homed bias semens and you

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<v Speaker 4>need to understand. Hey, you will tell you're capable of

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<v Speaker 4>or you're gonna end up right back here or worse dead.

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<v Speaker 1>He's dead.

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<v Speaker 4>I'm scared.

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<v Speaker 1>I what is that I don't want?

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<v Speaker 3>Hey, folks, welcome to a special episode of The Projection Booth.

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

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<v Speaker 3>with Jeff Daniel Phillips. He is mostly known as being

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<v Speaker 3>an actor, but he's also a writer and director as well,

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<v Speaker 3>talking about his second feature film, Kursed and Baja, which

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<v Speaker 3>came out this year. It is currently touring around and

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<v Speaker 3>will be appearing on DVD and Blu Ray from Anchor

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<v Speaker 3>Bay later this month. Thank you so much for listening,

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<v Speaker 3>and I hope you enjoyed the interview. Thanks so much

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<v Speaker 3>for coming on to the show. I really appreciate it.

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<v Speaker 2>And yeah, I want to know a little bit more

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<v Speaker 2>about you. From what I understand, you grew up in Chicago.

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<v Speaker 2>Is that where you got your love up performing? It's

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<v Speaker 2>funny you say that. So I am in Chicago.

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<v Speaker 1>We're promoting this live screening we're doing tonight at the

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<v Speaker 1>Datas Theater. It's an old vaudeville theater. It's built in

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<v Speaker 1>nineteen eighteen. Anyway, we're here and I got to go

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<v Speaker 1>on WGN in Chicago in the studio for it was

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<v Speaker 1>a morning show. It was a place that Boso Circus

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<v Speaker 1>was done, and I win as a kid. So it

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<v Speaker 1>was such a surreal thing to be on the same

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<v Speaker 1>stage that they shot Boso. You could see the backgrounds

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<v Speaker 1>in some of the areas and here I am as

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<v Speaker 1>like a seven year old. That antidote where you show

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<v Speaker 1>me the kid at seven, and I'll show you the adult.

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<v Speaker 1>Here I am going to see a clown on camera,

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<v Speaker 1>and now I am the clown on camera. So there

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<v Speaker 1>you go.

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<v Speaker 2>It was fun.

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<v Speaker 1>So that was my first experience in being on a set,

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<v Speaker 1>my first experience in seeing cameras and how it worked,

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<v Speaker 1>and I know it planted a seed in my head.

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<v Speaker 1>As far as theater goes, I didn't do a lot.

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<v Speaker 1>I was more of an athlete. So I was a

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<v Speaker 1>goalie basketball player. So I guess that's where my stage

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<v Speaker 1>experience was in the beginning. It didn't start intill college.

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<v Speaker 2>Actually, did I read right that you studied an.

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<v Speaker 1>I did study in Italy. It was in an art

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<v Speaker 1>school for a year, and then I went back for

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<v Speaker 1>another half of the year.

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<v Speaker 2>Yeah.

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<v Speaker 1>And then actually I had a partial art scholarship at

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<v Speaker 1>USC which I went I finished to have an art

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<v Speaker 1>degree and a film degree.

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<v Speaker 2>There were you learning more behind the camera stuff rather

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<v Speaker 2>than in front of the camera stuff.

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<v Speaker 1>Yeah, so interesting enough. When you went to film school

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<v Speaker 1>back then, you didn't have to have acting experience and

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<v Speaker 1>you're trying to learn how to be a director, which

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<v Speaker 1>I thought was very strange, Like, how am I going

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<v Speaker 1>to direct an actor if I don't have any experience

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<v Speaker 1>or don't understand what they're going through. So I went

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<v Speaker 1>to Hollywood and there was a studio called the Loft Studio.

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<v Speaker 1>Peggy Fury and Bill Traylor and all these alumni came

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<v Speaker 1>out of there, and I studied there, and that's where

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<v Speaker 1>it started. I became part of the theater group and

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<v Speaker 1>I did that for the next decade. Then La Underground

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<v Speaker 1>Theater scenes.

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<v Speaker 2>So when did you move into like movies, TV commercials.

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<v Speaker 1>I woul audition while I was studying, and I guess

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<v Speaker 1>I got my sag card on a horror film. It

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<v Speaker 1>was called to Die for two, so they had one line.

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<v Speaker 1>But then immediately after I was up for this movie Sneakers,

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<v Speaker 1>and I had this small bit. But I went into

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<v Speaker 1>the audition and here I am in this audition room

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<v Speaker 1>and I look across from me, and here i am

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<v Speaker 1>a real film school mirror and I'm sitting across from

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<v Speaker 1>m m At Wallash and I'm like, oh my god.

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<v Speaker 1>It was just dumbfounded. And this guy's just trying to

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<v Speaker 1>look at his lines going in and he could care less.

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<v Speaker 1>And I just got to tell you, I'm a big

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<v Speaker 1>fan of you, mister Wallace. It so that's how it started.

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<v Speaker 1>And then when I got the gig, they brought me

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<v Speaker 1>to the makeup trailer and I'm sitting in the chair

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<v Speaker 1>and they go, we want to introduce you to one

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<v Speaker 1>of the other actors. I'm sitting next to Ben Kingsley.

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<v Speaker 1>They're putting on a ponytop. Then they brought me a

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<v Speaker 1>set and I got to see Robert Redford shooting in

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<v Speaker 1>one set. It brought me to mindset. I'm working with

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<v Speaker 1>Sydney pot, Dan Ackroyd, and David Stratzer. It just it

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<v Speaker 1>was mind blowing. This was one of my first gigs

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<v Speaker 1>and I spent three nights with these guys doing these

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<v Speaker 1>night shoots and they couldn't have been nicer. And yeah,

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<v Speaker 1>it was a great way to introduce me to the

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<v Speaker 1>whole scene. And yeah, of course I've never had that

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<v Speaker 1>big of a star line up since, but it was great.

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<v Speaker 2>They were very supportive. Was Convict? Was that your first

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<v Speaker 2>feature that you directed?

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<v Speaker 1>Yes, I did this movie Convict. It was called Odisse.

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<v Speaker 1>It was based on the Odyssey. But I didn't have

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<v Speaker 1>the most supportive producers in that situation. I had a

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<v Speaker 1>great cast, I pulled in a lot of favors, but

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<v Speaker 1>they didn't quite understand the film that they signed on too,

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<v Speaker 1>so it ended up not being a very great situation.

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<v Speaker 1>And so after that, I took a break for a while,

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<v Speaker 1>almost like a decade of doing anything like this again.

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<v Speaker 2>Now it's time. I just have to ask who's taller,

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<v Speaker 2>you or Kevin Durant.

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<v Speaker 1>I'd say Kevin Durant's about an inch taller, about thirty

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<v Speaker 1>pounds more muscle and better looking too, I'm sure, but

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<v Speaker 1>hopefully trying to bring me down in this interview.

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<v Speaker 2>Just I have to say, I am admiring your hat

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<v Speaker 2>so much. I love spend Gooli.

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<v Speaker 1>Yeah, so I grew up. Spent Gooli was my horror

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<v Speaker 1>show host and now I'm friends with him, and I

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<v Speaker 1>was just he just had an encore performance of him.

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<v Speaker 1>I was on the show driving a hearse with him

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<v Speaker 1>in it, and yeah, he's such a great guy and

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<v Speaker 1>he's a Chicago icon. And that's what I grew up

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<v Speaker 1>watching those spent Gooolie and creature features and that's where

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<v Speaker 1>my love for the B movie came from, watching those

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<v Speaker 1>as kids and the creatures and all that kind of

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<v Speaker 1>practical sex and whatnot. So yes, s BEng Gooli is

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<v Speaker 1>a big hero mine and a great.

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<v Speaker 2>Guying a practical effects. I'm so curious. How long does

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<v Speaker 2>it take you to get into the Herman Monster makeup

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<v Speaker 2>or the Goico Caveman makeup? Mostly I'm familiar with seeing

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<v Speaker 2>you behind a layers of other stuff.

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<v Speaker 1>Yeah, the Herman Monster, I think it was about three

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<v Speaker 1>hours they got it down to and then an hour

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<v Speaker 1>to get out, So that was four hours on a

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<v Speaker 1>makeup chair in and out, and then you'd have to

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<v Speaker 1>balance on the shoes and then you had this muscle

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<v Speaker 1>suit that was it was like wearing a wet suit.

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<v Speaker 1>We'd switch it out half the day because I was

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<v Speaker 1>just dripping. Why it was very hot. But yeah, so

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<v Speaker 1>I did that and then the Geico came in probably

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<v Speaker 1>about two and a half hours. But they've gotten that down.

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<v Speaker 1>It depends how much hair they have to be put

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<v Speaker 1>on my arms and legs or whatnot. But yeah, I

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<v Speaker 1>think I have a high talentance for being uncomfortable, I'm told.

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<v Speaker 2>So, yeah, how did Chris de Baja come about? It's interesting.

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<v Speaker 1>So I go to a lot of these horror cons

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<v Speaker 1>and I was promoting the Monsters. Rob Zombie's The Monsters,

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<v Speaker 1>and I was in Grand Rapids, Michigan, and they had

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<v Speaker 1>me talk to these young filmmakers. I came in there

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<v Speaker 1>and I was trying to help them, giving them advice

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<v Speaker 1>on how to make low budget fil homes, and in

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<v Speaker 1>doing so, I was just rattling off how you pull

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<v Speaker 1>it off, make your list of location then and things

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<v Speaker 1>you have access to, and talking about digital technology and

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<v Speaker 1>how it's affordable, and doing table reads for my theater

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<v Speaker 1>days and just giving them all this advice. Anyway, their

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<v Speaker 1>enthusiasm was great. It was just contagious. And so I

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<v Speaker 1>came back to Los Angeles and I spoke to my

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<v Speaker 1>friend Kent Isaacs, who's a producer, and as I was describing,

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<v Speaker 1>he goes, why don't we just do it ourselves? And

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<v Speaker 1>so the two of us sat down and we wrote

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<v Speaker 1>down a list of locations and things we could pull off.

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<v Speaker 1>I have a lot of actors from the theater days,

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<v Speaker 1>also just working for the last three decades, and so

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<v Speaker 1>we made a list and I crafted the piece or

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<v Speaker 1>the film around what we had. And the one place

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<v Speaker 1>we had was a farm in Mexico and Baja, and

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<v Speaker 1>I knew I could double that in Los Angeles where

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<v Speaker 1>I could use a lot of the La actors there

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<v Speaker 1>so I wouldn't have to travel them down to Mexico.

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<v Speaker 1>So we went down to Mexico a few of us,

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<v Speaker 1>and we shot a bunch of stuff exteriors, my character,

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<v Speaker 1>Kent's character, who was also acting in it, and also

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<v Speaker 1>doing this sound and doing everything else. So yeah, it

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<v Speaker 1>was great. It was a fast and furious thing. And

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<v Speaker 1>we also had the strike coming up at the end

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<v Speaker 1>of the summer that we're predicting, so we had five

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<v Speaker 1>months that we were going to try to make it happen.

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<v Speaker 2>How is it directing yourself.

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<v Speaker 1>I've been doing this for a while and I do shorts,

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<v Speaker 1>some music videos. In this situation, it's very doable because

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<v Speaker 1>our cinematographer, Keith Coleman, he's a busy guy, and in

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<v Speaker 1>doing so, he would say, hey, I have this weekend available.

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<v Speaker 1>All right, I have this time available. So we shot

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<v Speaker 1>at chunks, So we shot a day, we shot a

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<v Speaker 1>few days. This stamina to try to keep up to

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<v Speaker 1>do that for three weeks doing all those things, wearing

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<v Speaker 1>all those hats and acting is a little overwhelming. But

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<v Speaker 1>in this situation, as long as you're organized and you're efficient,

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<v Speaker 1>and you're respectable of people's availability, you could pull it up.

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<v Speaker 1>And again this comes from that La underground theater. We

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<v Speaker 1>would just make it work. We didn't worry about renting

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<v Speaker 1>theaters or filling the house or having the right pr

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<v Speaker 1>We would just do site specific pieces and this kind

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<v Speaker 1>of had that same feel, and that's one of the

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<v Speaker 1>reasons I brought a lot of the actors involved, like

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<v Speaker 1>this guy Mark Fight, who have done stuff with for

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<v Speaker 1>years and it was great. He's here in Chicago, he's

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<v Speaker 1>going to be speaking tonight, and those are people you want.

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<v Speaker 1>They're ready to throw down and they're part of your tribe.

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<v Speaker 2>How do you even keep track of everything that you've

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<v Speaker 2>shot and then what you need to shoot?

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<v Speaker 1>Still, I usually my head's Smoke's coming out of my

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<v Speaker 1>head by the end of the day. And you know,

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<v Speaker 1>there's a couple of situations like you could I shut

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<v Speaker 1>my lines underneath me as I'm talking, and then I'm

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<v Speaker 1>looking over here and it's crazy. Again, you just have

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<v Speaker 1>to do a lot of prep work and you could

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<v Speaker 1>pull it off.

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<v Speaker 2>It sounds like such a difficult situation. What was it

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<v Speaker 2>like actually making this for you?

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<v Speaker 1>It was great, And like I said, there's certain risks

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<v Speaker 1>you try to We were trying to create a world

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<v Speaker 1>that was a lot bigger than the budget we had

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<v Speaker 1>and make it believable. I dig nonlinear storytelling, and I

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<v Speaker 1>knew I had these film loops from past productions that

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<v Speaker 1>I knew I was going to use as the main characters,

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<v Speaker 1>thinking back and using things in his memory. And yet

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<v Speaker 1>the biggest test, or the biggest challenge, is just to

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<v Speaker 1>hold the audience's interest for hour and a half or

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<v Speaker 1>our twenty minutes, and I think we did.

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<v Speaker 2>Who did you work with as a sugarmatographer?

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<v Speaker 1>So this guy, Keith Coleman, is used to shooting a

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<v Speaker 1>lot of lives. He does off road things. He's a

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<v Speaker 1>very physical guy. And I knew him almost twenty years

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<v Speaker 1>ago and I would work on sets and behind the camera.

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<v Speaker 1>So I ran into him in Los Angeles and yeah,

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<v Speaker 1>I have all the equipment and it's gonna be a

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<v Speaker 1>rough and ready shoot.

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<v Speaker 2>And he was all gained for it.

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<v Speaker 1>He owns everything. He has drones, so we went for

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<v Speaker 1>that look and it's kind of looked that we can

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<v Speaker 1>only afford. It's one of those things you create something

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<v Speaker 1>that you're able to pull off. You have all these

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<v Speaker 1>things access to and in his situation, he had all

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<v Speaker 1>the cameras and the mounts for the cars and everything else.

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<v Speaker 1>So he was the perfect guy. And a funny story

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<v Speaker 1>with him when we were shooting in Mexico. We were

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<v Speaker 1>doing a drone and this is the kind of guy

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<v Speaker 1>is the GPS that it works so great. Down in Mexico,

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<v Speaker 1>we were in this canyon and his drone went down

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<v Speaker 1>on the side of the mountain. Keith just jumped out

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<v Speaker 1>and climbed the mountain to get his drone.

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<v Speaker 2>He could hear it beeping.

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<v Speaker 1>There gonna be rattlesnakes, whatever comes down. He ends up

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<v Speaker 1>falling on this barbed wire. We take the barbed wire

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<v Speaker 1>out of the back of his back and then he

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<v Speaker 1>keeps shooting the rest of the day and then we

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<v Speaker 1>sleep outside and some sleeping bags in thirty five degree.

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<v Speaker 1>Like he's just amazing. So when you get someone like that.

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<v Speaker 1>He took me out the death belly. He has a

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<v Speaker 1>four wheel drive, which he has motorcycles.

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<v Speaker 2>It was great. He's the perfect guy to have. That

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<v Speaker 2>sounds like you guys were like a little army going

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<v Speaker 2>out there.

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<v Speaker 1>Yeah yeah, but in already have three or four people,

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<v Speaker 1>so yes, yeah.

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<v Speaker 2>So you get it all done before the strike happens,

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<v Speaker 2>and then how does the post process go.

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<v Speaker 1>Mark Fowen is my editor and I've worked with him

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<v Speaker 1>now almost two decades and he's just a really creative guy,

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<v Speaker 1>Emmy Award winning editor. We're in the same wave. We

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<v Speaker 1>like the same type of movies. He knows the kind

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<v Speaker 1>of influences that we wanted to do. Nicholas Rogue was

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<v Speaker 1>a big one. I like how he has a nonlinear

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<v Speaker 1>feel and the way the bontage is visual landscape. The

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<v Speaker 1>two of us would work on it and rework it

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<v Speaker 1>and we were editing throughout to shoot, so I knew

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<v Speaker 1>what I needed to get, what was missing, and we

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<v Speaker 1>could sneak that shot in when we could when I

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<v Speaker 1>had Keith back. So yeah, Mark Cohen amazing asset between

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<v Speaker 1>Mark and Keith and Kent. And then my friend's like

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<v Speaker 1>Mark fight they could.

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<v Speaker 2>Call it on and tell me about the music for

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<v Speaker 2>the film. How did that come up with?

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<v Speaker 1>Yeah, this guy, so Kent knew this guy. His name

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<v Speaker 1>is David, but he goes by vow beat a l.

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<v Speaker 1>He's like a mad scientist with sound effects and sounds

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<v Speaker 1>and creating the score that's reflective of what's happen happening

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<v Speaker 1>out on screen and what's happening in the mind of

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<v Speaker 1>the main character. And if you go to his Instagram,

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<v Speaker 1>he's just so talented. And it looks like we're going

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<v Speaker 1>to have the soundtrack on a vinyl and through Anchor Bay,

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<v Speaker 1>they're the ones that are distributing this. They're going to

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<v Speaker 1>have a Blu ray and a DVD that comes out

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<v Speaker 1>twelve fifteen.

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<v Speaker 2>I believe the movie's gonna.

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<v Speaker 1>Stream ten twenty nine, but they're already thinking of physical

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<v Speaker 1>media because they know horror sciance like physical media. And

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<v Speaker 1>the vinyl I can't talk about who is just possibly

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<v Speaker 1>going to do it, but it'll be great to have something.

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<v Speaker 1>I go to enough of these conventions and I know

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<v Speaker 1>collectors like this stuff, and just in putting it together

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<v Speaker 1>for the vinyl release, it was so exciting because we

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<v Speaker 1>just were able to weave in all the dialogue in

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<v Speaker 1>between and throughout. And I'm really proud Holds.

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<v Speaker 2>And what date When was the first time you saw

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<v Speaker 2>this with an audience.

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<v Speaker 1>We saw it in London at fright Fest. We got

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<v Speaker 1>to go out there in August, and then in just

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<v Speaker 1>a few weeks ago we did that Los Angeles, and

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<v Speaker 1>then we're doing it in Chicago, my home child. So

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<v Speaker 1>we just hit those three places. Yeah, we just wanted

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<v Speaker 1>to get it out there where Again, like I said,

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<v Speaker 1>it's about doing it, making it and getting it seen

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<v Speaker 1>the accolades. That's great, but we just want the audience

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<v Speaker 1>that find in the middle of the night and wants

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<v Speaker 1>to go on some weird chippy ride.

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<v Speaker 2>I hope those kids from Grand Rapids come down and

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<v Speaker 2>check it out wait a little far.

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<v Speaker 1>But maybe we'll do Want to Detroit in the future,

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<v Speaker 1>but they'll probably already be streaming it. Yeah, I owe

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<v Speaker 1>those kids a lot. They really inspired me. So what's

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<v Speaker 1>next for you all? Can thays I worked on this

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<v Speaker 1>show and I'm still working at Dexter Original Sin it's

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<v Speaker 1>the new prequel of the Dexter series. And then we

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<v Speaker 1>had a couple of projects and Kent and I were

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<v Speaker 1>talking about some things in the future, but we'll see

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<v Speaker 1>what happens. Anchor Bay has been very supportive in the

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<v Speaker 1>Sole project, and yeah, I hope there's a future of

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<v Speaker 1>doing some more stuff with them too, maybe who knows.

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<v Speaker 2>Sounds like you've got a lot more support this time

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<v Speaker 2>than you did with your previous film.

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<v Speaker 1>Yeah, and that again because of the low budget. When

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<v Speaker 1>you're working on this level, you have to be more efficient,

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<v Speaker 1>but you have more control and that's definitely what I

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<v Speaker 1>was looking for this time out.

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<v Speaker 2>Jeff, thank you so much for your time. This is

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<v Speaker 2>so great talking with you.

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<v Speaker 1>Yeah, thank you, thanks a lot. This is fun and

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<v Speaker 1>hopefully the trade the hell is right next to the building.

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<v Speaker 2>It's like the Blues Brothers.

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<v Speaker 1>I hope Blade's during the interview.

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<v Speaker 2>I didn't hear it at all. So comes by so

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<v Speaker 2>often you don't even notice that.

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<v Speaker 1>M la h after

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<v Speaker 4>Utter ter