WEBVTT 1 00:00:03.919 --> 00:00:06.480 You are listening to the IFAH podcast Network. 2 00:00:06.639 --> 00:00:10.160 For more amazing filmmaking and screenwriting podcasts, just go to 3 00:00:10.359 --> 00:00:12.720 ifahpodcastnetwork dot com. 4 00:00:12.839 --> 00:00:16.480 Welcome to the Bulletproof Screenwriting Podcast, Episode number four thirty three. 5 00:00:16.640 --> 00:00:19.559 Your dream doesn't have an expiration date, Take a deep 6 00:00:19.600 --> 00:00:24.399 breath and try again. KT Whitten broadcasting from a dark, 7 00:00:24.480 --> 00:00:26.679 windowless room in Hollywood. 8 00:00:26.199 --> 00:00:28.359 When we really should be working on that next draft. 9 00:00:28.640 --> 00:00:32.679 It's the Bulletproof Screenwriting Podcast, showing you the craft and 10 00:00:32.759 --> 00:00:35.159 business of screenwriting while teaching you how to make your 11 00:00:35.159 --> 00:00:36.640 screenplay bulletproof. 12 00:00:36.960 --> 00:00:42.119 And here's your host, Alex Ferrari. Welcome, Welcome to another 13 00:00:42.159 --> 00:00:44.039 episode of the Bulletproof Screenwriting Podcast. 14 00:00:44.079 --> 00:00:46.000 I am your humble host Alex Ferrari. 15 00:00:46.520 --> 00:00:51.159 Now, today's show is sponsored by Bulletproof Script Coverage. Now. 16 00:00:51.240 --> 00:00:56.159 Unlike other script coverage services, Bulletproof Script Coverage actually focuses 17 00:00:56.200 --> 00:00:59.159 on the kind of project you are in the goals 18 00:00:59.240 --> 00:01:01.600 of the project you are, so we actually break it 19 00:01:01.640 --> 00:01:05.159 down by three categories micro budget, indie film, market, and 20 00:01:05.239 --> 00:01:07.920 studio film. There's no reason to get coverage from a 21 00:01:07.959 --> 00:01:10.400 reader that's used to reading temp pole movies when your 22 00:01:10.439 --> 00:01:13.079 movie is going to be done for one hundred thousand dollars, 23 00:01:13.159 --> 00:01:14.480 and we wanted to focus on that. 24 00:01:14.640 --> 00:01:17.000 At Bulletproof script coverage, our readers have. 25 00:01:16.959 --> 00:01:21.799 Worked with Marvel Studios, CIA, WM E, NBC, HBO, Disney, 26 00:01:22.239 --> 00:01:25.599 Scott Free, Warner Brothers, The Blacklist, and many many more. 27 00:01:25.719 --> 00:01:29.120 So if you need your screenplay or TV script covered 28 00:01:29.359 --> 00:01:34.599 by professional readers, head on over to covermiscreenplay dot Com. 29 00:01:34.719 --> 00:01:38.280 Enjoy today's episode with guest host Dave Bullis. 30 00:01:39.599 --> 00:01:42.120 No, it's my pleasure, Gary, because you are a person 31 00:01:42.359 --> 00:01:45.000 who I've had, who I've had, who I've wanted to 32 00:01:45.040 --> 00:01:47.000 have on here for a while. You see, I'm already 33 00:01:47.000 --> 00:01:50.480 messing up Grey. You see that I've had to I 34 00:01:50.480 --> 00:01:52.519 wanted to have you on here for a while. And 35 00:01:52.560 --> 00:01:55.560 I know I say that a lot, but honestly, you 36 00:01:55.640 --> 00:01:59.920 and I have you know, talked briefly before via face 37 00:02:00.079 --> 00:02:02.280 Book and Twitter, and then there was like a gap 38 00:02:02.319 --> 00:02:05.239 and then we were talking briefly again. So you know, 39 00:02:05.400 --> 00:02:07.680 you're just a person who I met years ago, who 40 00:02:07.719 --> 00:02:09.840 I now get to have in this medium, and it's 41 00:02:09.840 --> 00:02:12.240 so good to actually reconnect and and you know, do 42 00:02:12.319 --> 00:02:12.840 something like this. 43 00:02:12.960 --> 00:02:14.400 I think it's just so cool, you know what I mean. 44 00:02:15.280 --> 00:02:20.439 Yeah, man, I appreciate again you inviting me, because Twitter, 45 00:02:20.719 --> 00:02:22.840 you know, years ago, was actually a great place to 46 00:02:22.919 --> 00:02:25.879 network and meet people, actually physically meet people after you 47 00:02:26.039 --> 00:02:29.439 connect online, and it's changed a little bit into more 48 00:02:29.439 --> 00:02:32.240 of like a news feed. So I appreciate the fact 49 00:02:32.240 --> 00:02:34.000 that you would follow up or you did keep in touch, 50 00:02:34.039 --> 00:02:36.080 because I think we did meet years ago when it 51 00:02:36.159 --> 00:02:38.520 kind of first started. And I've just seen you blow 52 00:02:38.599 --> 00:02:41.000 up and I have to kind of do a little 53 00:02:41.039 --> 00:02:44.639 side note here and say, your voice and your style 54 00:02:44.719 --> 00:02:48.039 reminds me of like an eighties DJ, back when I 55 00:02:48.080 --> 00:02:50.319 was like commuting to school. I'm kind of old, you know, 56 00:02:50.800 --> 00:02:53.479 so you know there was these like shock jock DJs, 57 00:02:53.680 --> 00:02:56.199 not that you do a lot of cussing and you know, 58 00:02:56.240 --> 00:02:58.199 all these weird kind of antics and stuff, but you 59 00:02:58.240 --> 00:03:00.800 have that voice that really draws you in and stuff, 60 00:03:00.800 --> 00:03:02.599 and so you know, I think this is a really 61 00:03:02.639 --> 00:03:03.560 cool thing that you're doing. 62 00:03:04.000 --> 00:03:06.599 Gary. That is a huge compliment because I love the eighties. 63 00:03:06.759 --> 00:03:09.560 It was the best era of all time and in 64 00:03:09.639 --> 00:03:11.639 the in the course of all human history, the eighties 65 00:03:12.000 --> 00:03:14.719 is still the best time to ever be alive, and 66 00:03:15.360 --> 00:03:16.919 I appreciate that so much. 67 00:03:17.479 --> 00:03:20.039 Now my ego is going to be out of control now, Gary. 68 00:03:20.879 --> 00:03:21.759 It is. It is. 69 00:03:21.800 --> 00:03:24.319 It'd be like just to feed you get one more time, 70 00:03:24.360 --> 00:03:25.840 Like you would be like one of the guys in 71 00:03:25.919 --> 00:03:27.159 rotation at WKRP. 72 00:03:28.400 --> 00:03:32.199 I'm like, hey, this is David Gay RP. And I'd 73 00:03:32.199 --> 00:03:35.000 have like a horn or something like, you know, like exactly, 74 00:03:35.360 --> 00:03:38.039 and you're like, man, this guy's either you think he's 75 00:03:38.080 --> 00:03:40.520 brilliant or or your dad would be driving and be like, 76 00:03:40.639 --> 00:03:42.639 what the hell is this clown doing on the radio? 77 00:03:43.280 --> 00:03:44.560 Exactly, Man, exactly. 78 00:03:44.759 --> 00:03:46.759 So Gary, you and I again because we met a 79 00:03:46.800 --> 00:03:49.319 few years ago, but you and I actually have a 80 00:03:49.479 --> 00:03:53.719 same sorry, a similar trajectory, a similar a similar career 81 00:03:53.759 --> 00:03:57.680 path because you actually started out in IT and and 82 00:03:57.719 --> 00:03:59.560 development and stuff like that, and then you moved to 83 00:03:59.599 --> 00:04:01.800 New York to become a filmmaker. And I want to 84 00:04:01.840 --> 00:04:04.120 ask about that, just the sort of stories at the beginning. 85 00:04:04.680 --> 00:04:08.639 So I assume went to college for maybe computer science 86 00:04:08.960 --> 00:04:12.759 or something similar. So at what point did were you 87 00:04:12.879 --> 00:04:14.879 draw into like the IT work? I mean, were you 88 00:04:14.879 --> 00:04:16.439 always a big IT guy growing up? 89 00:04:17.759 --> 00:04:21.319 Actually it was HR and not IT because I'm not 90 00:04:21.399 --> 00:04:22.120 really technical. 91 00:04:22.160 --> 00:04:23.480 I actually suck at that kind of stuff. 92 00:04:23.519 --> 00:04:27.360 My brother was the engineer of the family, and I 93 00:04:27.399 --> 00:04:30.399 went and fell into psychology for a while and got 94 00:04:30.439 --> 00:04:35.000 a degree in psychology and did human resources for five years, 95 00:04:35.040 --> 00:04:37.839 and it just wasn't a creative world, you know, like 96 00:04:38.120 --> 00:04:41.040 HR is all about rules and regulations, hiring and firing, 97 00:04:41.079 --> 00:04:43.720 and it's just kind of a very depressing realm that 98 00:04:43.800 --> 00:04:47.600 you live in. And after five years, there was kind 99 00:04:47.639 --> 00:04:50.079 of some way offs going around where it made me 100 00:04:50.240 --> 00:04:52.480 kind of wake up from what I was doing what 101 00:04:52.600 --> 00:04:54.600 I really wanted to do. And I was very lucky 102 00:04:54.680 --> 00:04:57.680 having my wife answered me when I told her I 103 00:04:57.720 --> 00:05:00.240 wanted to make films for a living instead of what 104 00:05:00.279 --> 00:05:02.920 the hell are you talking about? Her? You know, there 105 00:05:02.959 --> 00:05:05.240 was nothing like that. She just said to me, Okay, 106 00:05:05.240 --> 00:05:06.879 so let's figure out how we're going to get you there. 107 00:05:06.920 --> 00:05:09.040 I mean, it was like the perfect response. And this 108 00:05:09.279 --> 00:05:12.639 was like mid two thousands and yeah. So we've been 109 00:05:12.639 --> 00:05:14.680 going at it for a long time and every film 110 00:05:14.680 --> 00:05:16.439 that I do just gets me closer to the goal. 111 00:05:16.519 --> 00:05:18.639 But I'm definitely not even close to where I want 112 00:05:18.680 --> 00:05:18.839 to be. 113 00:05:19.639 --> 00:05:22.720 But it was definitely something where I had a love 114 00:05:22.759 --> 00:05:25.720 for it growing up because my parents showed me all 115 00:05:25.800 --> 00:05:28.079 these types of movies from different genres into fin errors 116 00:05:28.319 --> 00:05:30.759 when I was a kid, and that stuck with me 117 00:05:30.920 --> 00:05:31.519 the whole time. 118 00:05:31.560 --> 00:05:32.319 Even when I went and. 119 00:05:32.279 --> 00:05:35.439 Studied psychology, I didn't realize there was film school. I 120 00:05:35.439 --> 00:05:37.319 didn't realize people made films for a living, and that 121 00:05:37.399 --> 00:05:38.800 was part of the issue. That's why I didn't go 122 00:05:38.800 --> 00:05:42.120 to film school. I studied something else. But thankfully, as 123 00:05:42.120 --> 00:05:44.040 you know, nowadays, you don't actually have to go to 124 00:05:44.040 --> 00:05:46.000 film school. You actually have to just go make films. 125 00:05:46.000 --> 00:05:48.000 And that's part of the process of learning. 126 00:05:48.959 --> 00:05:51.560 Yeah, because you know, everyone has a camera nowadays and 127 00:05:51.720 --> 00:05:54.319 even making practice films. And you know that's something that 128 00:05:54.360 --> 00:05:56.800 has been talked about in this podcast through a myriad 129 00:05:56.839 --> 00:05:59.240 of guests, is just that if even if you don't 130 00:05:59.279 --> 00:06:01.600 have access to me maybe like a red package or 131 00:06:01.839 --> 00:06:05.720 or like an a Sony was the Airflex package, you 132 00:06:05.720 --> 00:06:08.240 know you have even if you take your phone and 133 00:06:08.279 --> 00:06:10.519 do it like Mark Duplas says, and just make a 134 00:06:10.519 --> 00:06:12.800 movie in your backyard for a hundred bucks or whatever. 135 00:06:13.120 --> 00:06:15.360 It's all training to build you, to make you get 136 00:06:15.360 --> 00:06:17.560 better so you can do other things, to do more 137 00:06:17.600 --> 00:06:19.959 things to do. Incident, now instead of one hundred dollar budget, 138 00:06:19.959 --> 00:06:21.399 you got a two undred dollars budget, and then you 139 00:06:21.439 --> 00:06:22.439 just keep moving forward. 140 00:06:23.439 --> 00:06:24.519 Exactly, man, exactly. 141 00:06:24.600 --> 00:06:29.040 There's nothing more educational than going and like writing something, 142 00:06:29.480 --> 00:06:31.839 trying to translate it from the page to the screen 143 00:06:31.839 --> 00:06:34.639 by working with your crew, working with actors, trying to 144 00:06:34.639 --> 00:06:36.639 produce the damn thing, you know, and then you're trying 145 00:06:36.639 --> 00:06:38.959 to edit the footage to make it seem like you know, 146 00:06:39.439 --> 00:06:42.120 you had some type of you know, idea that was 147 00:06:42.240 --> 00:06:44.560 that made sense at the time. There's like I'm paraphrasing 148 00:06:44.560 --> 00:06:47.279 Woody Yellen when he says something like I have this 149 00:06:47.399 --> 00:06:50.120 perfect film idea in my head and then I slowly 150 00:06:50.120 --> 00:06:52.079 mess it up as I write it and direct it, 151 00:06:52.120 --> 00:06:53.800 and you know, all that defini when it comes out. 152 00:06:53.879 --> 00:06:56.120 So it's such a learning lesson to do every film. 153 00:06:56.279 --> 00:06:58.120 I'm still learning. And the funny thing is, you know, 154 00:06:58.560 --> 00:07:01.839 all my films, the feature films that've done, are out 155 00:07:01.920 --> 00:07:03.839 there and it's basically my film school. 156 00:07:03.879 --> 00:07:06.199 They're almost like student films if you think about it. 157 00:07:07.560 --> 00:07:10.120 You know, So you were talking about Woody Allen and 158 00:07:10.120 --> 00:07:12.439 that that's also a guy who you know, some of 159 00:07:12.480 --> 00:07:14.360 the things that he talks about and some of the 160 00:07:14.399 --> 00:07:16.879 pointed things that he says are just like you're like, oh, 161 00:07:16.920 --> 00:07:18.639 that's exactly what my problem is. 162 00:07:18.639 --> 00:07:20.560 You know, yeah, that's what I was doing. 163 00:07:20.639 --> 00:07:23.839 Yeah, I mean, so, I mean, just to take a 164 00:07:23.839 --> 00:07:25.759 step back, you know, I want to talk about just 165 00:07:26.639 --> 00:07:29.199 in your background you mentioned HR and see this is 166 00:07:29.240 --> 00:07:31.720 me Gary. When I see Silicon Valley, I'm immediately like, 167 00:07:31.800 --> 00:07:34.639 okay it guy coding, you. 168 00:07:34.600 --> 00:07:36.160 Know, something with computer science. 169 00:07:36.839 --> 00:07:39.040 But so you worked in the corporate world, and that 170 00:07:39.040 --> 00:07:42.959 that's where I was, you know, about what a year 171 00:07:42.959 --> 00:07:45.360 ago or so, I worked at a college and it 172 00:07:45.439 --> 00:07:47.240 was just like, you realize, you don't. 173 00:07:47.120 --> 00:07:47.920 Want to do it anymore. 174 00:07:48.040 --> 00:07:51.759 It's such a grind. So you moved down to New 175 00:07:51.839 --> 00:07:54.240 York to become a filmmaker. I mean, did you, I 176 00:07:54.279 --> 00:07:57.240 mean just to sort of to dig a little deeper 177 00:07:57.240 --> 00:07:59.680 into that. Did you have a plan that this was 178 00:07:59.680 --> 00:08:01.639 going to be it drive like a day that you 179 00:08:01.680 --> 00:08:03.439 sat and said, listen, I'm not going to work this 180 00:08:03.519 --> 00:08:05.680 job anymore beyond this day and I'm just going to 181 00:08:05.720 --> 00:08:07.160 go to New York and become a filmmaker. 182 00:08:07.639 --> 00:08:09.279 Or did you sort of just do it on a whim? 183 00:08:10.720 --> 00:08:12.360 It was kind of it was a loose plan. 184 00:08:12.759 --> 00:08:16.879 It was definitely My wife had friends and family out 185 00:08:16.879 --> 00:08:19.199 in New York, so we we were living in the 186 00:08:19.199 --> 00:08:21.839 BA area Silicon Valley, and we said, okay, New York 187 00:08:21.920 --> 00:08:25.199 or LA are probably the two most prominent places where 188 00:08:25.199 --> 00:08:27.439 we can get stuff down done in network and all 189 00:08:27.480 --> 00:08:30.439 that stuff. And she's from upstate New York, so a 190 00:08:30.480 --> 00:08:32.440 lot of her friends actually moved down into the city 191 00:08:32.519 --> 00:08:36.399 and had she worked for the hospitality industry, so she 192 00:08:36.480 --> 00:08:39.279 put out feelers to both New York and LA and 193 00:08:39.519 --> 00:08:42.279 I just said, okay, so wherever you land your job, 194 00:08:42.399 --> 00:08:44.320 that's Fate telling us that's where we need to go. 195 00:08:44.480 --> 00:08:46.360 And those are the people I'm supposed to meet because 196 00:08:46.399 --> 00:08:48.679 I had no connections, and it just figured, you know, 197 00:08:48.759 --> 00:08:51.679 I was just going to let you know, Fate play 198 00:08:51.720 --> 00:08:53.399 a hand and who I'm going to work with, and 199 00:08:53.440 --> 00:08:54.879 what kind of stories I'm going to tell, what kind 200 00:08:54.879 --> 00:08:56.440 of locations we're going to use, And it ended up 201 00:08:56.480 --> 00:09:00.399 being New York and it was an amazing experience. Again, 202 00:09:00.519 --> 00:09:04.120 the part of the plan was my wife was going 203 00:09:04.159 --> 00:09:06.960 to have the stable job while I was just starting fresh. 204 00:09:07.360 --> 00:09:09.200 We did cash out my four and one K, which 205 00:09:09.240 --> 00:09:12.240 wasn't much after go to Uncle Sam took taxes away, 206 00:09:12.519 --> 00:09:14.559 but we used that to make my first feature film. 207 00:09:14.720 --> 00:09:17.200 I saved up a little bit more and when we 208 00:09:17.240 --> 00:09:19.840 moved out there, I made contexts by doing some web 209 00:09:19.879 --> 00:09:23.000 commercials and doing some other smaller projects first to build 210 00:09:23.039 --> 00:09:26.360 up a network of people that saw my passion, saw 211 00:09:26.440 --> 00:09:28.360 what I was trying to do, knew there wasn't much 212 00:09:28.360 --> 00:09:30.679 money in it, but because of the story I written 213 00:09:30.960 --> 00:09:32.559 and the things that I wanted to do, they were 214 00:09:32.600 --> 00:09:35.120 in it for a little pay, knowing that we were 215 00:09:35.120 --> 00:09:37.080 going to try to make something that was going to 216 00:09:37.080 --> 00:09:38.279 get a lot of exposure for them. 217 00:09:38.799 --> 00:09:41.639 So when you made that first film, Gary, did you 218 00:09:41.679 --> 00:09:44.080 write for the budget? And no, Hey, listen, I can't 219 00:09:44.120 --> 00:09:45.799 make a huge action film. 220 00:09:46.320 --> 00:09:46.799 You know what I mean. 221 00:09:46.840 --> 00:09:49.399 I can't make a four million dollar action film or 222 00:09:49.440 --> 00:09:52.360 something like that. So did you write knowing this has 223 00:09:52.440 --> 00:09:56.679 to be a small, compacted film? Small not obviously, you know, 224 00:09:56.679 --> 00:09:59.200 it's professional and everything. I just met like small as 225 00:09:59.240 --> 00:10:01.240 in scope again because we're not right, We're not trying 226 00:10:01.240 --> 00:10:02.759 to make a four million dollar action film. 227 00:10:04.080 --> 00:10:06.600 We'll be right back after a word from our sponsor 228 00:10:10.240 --> 00:10:12.240 and now back to the show. 229 00:10:14.519 --> 00:10:14.879 Yeah. 230 00:10:14.919 --> 00:10:16.080 So yes and no. 231 00:10:16.200 --> 00:10:18.960 Because my first feature film was called New York Lately, 232 00:10:19.399 --> 00:10:22.320 and at the time I was really inspired by Robert 233 00:10:22.320 --> 00:10:26.120 Altman and Pete t. Anderson and very a kaleidoscope of characters, 234 00:10:26.200 --> 00:10:29.480 you know, following multiple storylines like shortcuts and boogie nights. 235 00:10:29.960 --> 00:10:32.360 The thing was, I also picked. 236 00:10:32.200 --> 00:10:35.600 That type of project because I was asking at the 237 00:10:35.600 --> 00:10:37.720 time actors to work for no money. It would just 238 00:10:37.759 --> 00:10:41.240 be the wonderful meals, copy and credit. So what I 239 00:10:41.279 --> 00:10:43.720 wanted to do was have a lot of characters so 240 00:10:43.799 --> 00:10:46.679 that each actor was only committing three to four days 241 00:10:46.679 --> 00:10:48.879 of filming. It would still be a feature film, but 242 00:10:49.399 --> 00:10:51.919 you know, the majority of actors were only committing three 243 00:10:51.960 --> 00:10:54.679 to five days of their time and not like sixteen 244 00:10:55.279 --> 00:10:57.279 twenty twenty five days of no pay, because I really 245 00:10:57.320 --> 00:10:59.440 feel like shit if I was doing that. But this 246 00:10:59.600 --> 00:11:03.120 was something we were casting a lot of newcomers, a 247 00:11:03.159 --> 00:11:05.440 lot of people that hadn't had a lot of experience 248 00:11:06.200 --> 00:11:06.759 at the time. 249 00:11:07.120 --> 00:11:08.360 One of them actually is blown up. 250 00:11:08.399 --> 00:11:11.080 She's on You're the Worst is Kelvin donnaghue, and she 251 00:11:11.240 --> 00:11:13.360 was in a small role in my film at the time. 252 00:11:13.519 --> 00:11:16.639 She had some credits and she filmed for one day, 253 00:11:17.000 --> 00:11:17.240 you know. 254 00:11:17.320 --> 00:11:19.559 So it was kind of just trying to be practical 255 00:11:19.559 --> 00:11:22.480 about asking for people's time and commitment, knowing you weren't 256 00:11:22.480 --> 00:11:25.200 paying to make a multiple storyline, a lot of actors 257 00:11:25.240 --> 00:11:28.639 and characters, and then just being inspired by the type 258 00:11:28.679 --> 00:11:31.159 of films at that time that I was digging. So 259 00:11:31.200 --> 00:11:32.960 I just wanted to kind of combine those two. 260 00:11:34.039 --> 00:11:36.919 So let me ask you this, Gary, did you ever 261 00:11:37.000 --> 00:11:41.840 when Heather got you know, was just got that a level, 262 00:11:42.279 --> 00:11:44.320 elite level, did you try to reach out to her 263 00:11:44.360 --> 00:11:47.679 and she say, who are you or something like that. 264 00:11:48.240 --> 00:11:51.559 Actually, no, you know, the funny thing was I moved 265 00:11:51.559 --> 00:11:54.639 to LA right, I think as she booked it, or 266 00:11:54.799 --> 00:11:57.440 was a little bit before she booked it. So she 267 00:11:57.600 --> 00:12:00.679 moved to LA before I did, about four years ago 268 00:12:00.759 --> 00:12:03.759 or something like that, and we connected for dinner and uh, 269 00:12:04.120 --> 00:12:06.919 you know, just cut up and then she booked it. 270 00:12:07.159 --> 00:12:08.480 And so you know, she. 271 00:12:08.559 --> 00:12:11.360 Definitely thanked me when I text her, like holy shit, 272 00:12:11.480 --> 00:12:14.440 congrats and stuff. And I mean, obviously he's busy now, 273 00:12:14.519 --> 00:12:17.840 so she won't write me back is often, but she 274 00:12:17.960 --> 00:12:18.960 definitely does respond. 275 00:12:19.000 --> 00:12:20.039 She's a very sweet girl. 276 00:12:20.679 --> 00:12:23.799 Yeah, and you know that's awesome. And uh, you know, 277 00:12:23.879 --> 00:12:26.679 I always make that joke with friends of mine if 278 00:12:26.720 --> 00:12:28.960 any of us ever, you know, won a contest or 279 00:12:29.000 --> 00:12:32.519 got distribution, it'd be like, immediately it all goes to 280 00:12:32.519 --> 00:12:32.919 your head. 281 00:12:33.000 --> 00:12:35.320 And become you know, like your ego just gets that 282 00:12:35.480 --> 00:12:36.120 so out of whack. 283 00:12:36.360 --> 00:12:38.080 And we all make that joke with each other that 284 00:12:38.240 --> 00:12:39.919 like as soon as one of us hits like, we're 285 00:12:39.919 --> 00:12:43.159 not going to know anybody anymore, You're just gonna be 286 00:12:43.200 --> 00:12:44.320 a big time with everybody. 287 00:12:44.720 --> 00:12:44.919 Right. 288 00:12:45.000 --> 00:12:47.159 It's almost like you make it and you like buy 289 00:12:47.159 --> 00:12:49.639 a new phone and don't import your contact so you're like, 290 00:12:49.679 --> 00:12:51.720 you're like, who the hell is this now? Like you're 291 00:12:51.720 --> 00:12:53.799 not gonna you know, told you're gonna change your whole 292 00:12:53.919 --> 00:12:56.960 like click of people or something that'd be that would 293 00:12:56.960 --> 00:12:57.799 be actually pretty. 294 00:12:57.639 --> 00:13:01.960 Terrible, And you know that that's the dream, Gary, that's 295 00:13:01.960 --> 00:13:05.519 the dream. No, I'm just kidding. If everyone listening, I'm 296 00:13:05.519 --> 00:13:07.240 just making a joke. I don't want people writing me 297 00:13:07.279 --> 00:13:10.720 more hate mail. But but but walking aside, Gary, just 298 00:13:10.759 --> 00:13:11.320 to get back. 299 00:13:11.159 --> 00:13:12.639 To, you know, to your career. 300 00:13:13.080 --> 00:13:14.960 One thing that you taught me, and this was what 301 00:13:15.000 --> 00:13:17.159 you taught me a few years ago, which I've always 302 00:13:17.200 --> 00:13:21.320 kept with me, was when you're filming a movie and 303 00:13:21.320 --> 00:13:23.360 and you're the director and you're directing these actors and 304 00:13:23.399 --> 00:13:25.720 you're going through take and take and take. One thing 305 00:13:25.720 --> 00:13:27.360 you taught me that I always keep with me is 306 00:13:27.440 --> 00:13:29.879 each take you need to have a variation of something 307 00:13:30.200 --> 00:13:33.120 so that way, when you're editing, you have choices to 308 00:13:33.200 --> 00:13:37.440 go through. And as as you know pointed as that is. 309 00:13:37.840 --> 00:13:40.279 For some reason, when I was making my first films, 310 00:13:40.320 --> 00:13:42.600 I don't know why, I'd never thought of just even 311 00:13:42.600 --> 00:13:45.200 trying to do anything different, because like my early films, 312 00:13:45.240 --> 00:13:47.440 everything was like every everything was the same, Like every 313 00:13:47.480 --> 00:13:50.240 take was literally like exactly the same. And when you 314 00:13:50.320 --> 00:13:51.799 told me that, I was like, oh, yeah, that actually 315 00:13:51.840 --> 00:13:53.240 makes a lot of sense, you know what I mean, 316 00:13:53.279 --> 00:13:56.200 And you make those adjustments. So so that's something Gary 317 00:13:56.240 --> 00:13:58.000 that you've taught me that I've kept with me is 318 00:13:58.080 --> 00:14:00.960 just you gotta you gotta have those choices when you're 319 00:14:01.000 --> 00:14:01.799 in the editing room. 320 00:14:02.799 --> 00:14:06.519 Yeah. Man, that's funny because that basically happened on my 321 00:14:06.559 --> 00:14:08.879 first short film. When I was sitting there reviewing the 322 00:14:08.879 --> 00:14:12.600 footage with my brother. He was like, dude, like every take, 323 00:14:12.679 --> 00:14:14.600 like all these takes are the same thing. You didn't 324 00:14:14.639 --> 00:14:16.919 deal with do anything else, So am I what are 325 00:14:16.919 --> 00:14:19.519 you trying to even choose? Except like if his hand, 326 00:14:19.600 --> 00:14:22.759 you know, happens to like randomly lift up at this 327 00:14:22.879 --> 00:14:25.399 line versus this other line, or whatever you know, but 328 00:14:25.960 --> 00:14:28.320 basically I hadn't on that first film, didn't tell me 329 00:14:28.440 --> 00:14:30.120 to do anything different because I was just looking for 330 00:14:30.200 --> 00:14:32.440 this single thing. I was so focused. I'm trying to 331 00:14:32.440 --> 00:14:34.919 get this one thing that you know, I didn't really 332 00:14:34.960 --> 00:14:37.200 ask them to play around. But I mean directors have 333 00:14:37.279 --> 00:14:41.679 different techniques. Some people like definitely have one single thing 334 00:14:41.679 --> 00:14:43.360 in mind and they're just trying to nail that one thing. 335 00:14:43.399 --> 00:14:45.639 And that's what it is. And I've heard other actors 336 00:14:45.679 --> 00:14:47.240 say that, you know, why do I want to play 337 00:14:47.240 --> 00:14:48.879 around with stuff? Like, just tell me what you want, 338 00:14:49.000 --> 00:14:49.759 I'm gonna nail it. 339 00:14:49.759 --> 00:14:50.279 So it's funny. 340 00:14:50.320 --> 00:14:53.120 It's like it's it's this kind of organic thing that 341 00:14:53.159 --> 00:14:56.000 you feel on set. You know what you want and 342 00:14:56.039 --> 00:14:57.879 you have to feel out how the actor and how 343 00:14:57.919 --> 00:15:01.039 the actor works and stuff. So it's it's it's really 344 00:15:01.080 --> 00:15:04.559 really a weird thing to work as a director because 345 00:15:04.600 --> 00:15:05.879 you actually don't get to do it a lot. 346 00:15:06.000 --> 00:15:07.559 Or not me, I don't get to do it a lot. 347 00:15:07.600 --> 00:15:07.799 You know. 348 00:15:07.879 --> 00:15:10.759 You there's like years in between times when you're on set. 349 00:15:10.960 --> 00:15:13.960 You can do some smaller short projects or things like that. 350 00:15:14.039 --> 00:15:17.200 But when you think about it, the director, if you're fortunate, 351 00:15:17.440 --> 00:15:19.600 maybe you get to do two or three projects a year. 352 00:15:20.120 --> 00:15:22.120 If you're you know, if you're playing around a lot more, 353 00:15:22.159 --> 00:15:24.919 that's great. But if you're doing like really big projects 354 00:15:24.960 --> 00:15:27.759 with a lot of money, the opportunity to work with 355 00:15:27.799 --> 00:15:30.600 actors is not as much. When the you know, when 356 00:15:30.600 --> 00:15:33.399 the money's going, when the crew is there and everything's 357 00:15:33.440 --> 00:15:35.120 on the line, like there's not you don't get to 358 00:15:35.159 --> 00:15:36.840 do that very often. So it's not like you get 359 00:15:36.840 --> 00:15:37.879 a lot of practice. 360 00:15:38.559 --> 00:15:39.759 Yeah, and very true. 361 00:15:39.799 --> 00:15:42.960 And you know that's why again we're talking about making 362 00:15:43.000 --> 00:15:45.399 movies yourself with you know, even just for practice, so 363 00:15:45.440 --> 00:15:47.639 that way when you do actually get up to the plate, 364 00:15:47.919 --> 00:15:50.279 you know, you're actually able to sort of make the most. 365 00:15:50.080 --> 00:15:52.279 Of every every single take and everything. 366 00:15:52.679 --> 00:15:54.240 And you know, as we sort of you know, talk 367 00:15:54.279 --> 00:15:58.840 about that, you know, these directing styles. One thing too, 368 00:15:58.840 --> 00:16:01.279 I forget who taught me this, but basically I think 369 00:16:01.480 --> 00:16:03.279 I think I maybe heard it from somebody. But he 370 00:16:03.320 --> 00:16:05.399 said what he would do is he would just let 371 00:16:05.919 --> 00:16:08.240 he would let the actors go the first take was 372 00:16:08.279 --> 00:16:10.559 with no direction. They would just go through the script 373 00:16:10.919 --> 00:16:12.919 and then he then he would slowly come back in 374 00:16:13.000 --> 00:16:15.519 and start making adjustments here or there. And you know, 375 00:16:15.600 --> 00:16:18.600 some people are you know maybe their their third take 376 00:16:18.960 --> 00:16:21.159 is always going to be their best for some weird reason, 377 00:16:21.159 --> 00:16:23.720 and then the other actor always has their best take 378 00:16:23.799 --> 00:16:26.279 is like the first take, you know, and just sort 379 00:16:26.320 --> 00:16:29.120 of working and knowing everybody sort of ticks like that 380 00:16:29.639 --> 00:16:31.679 or knowing that sort of thing. You know, that also 381 00:16:31.759 --> 00:16:34.799 helps repair, which is also why Gary, I've noticed a 382 00:16:34.799 --> 00:16:37.200 lot of directors always work with the same actors over 383 00:16:37.240 --> 00:16:37.919 and over again. 384 00:16:39.519 --> 00:16:43.360 Right, very true, very true. A part of the rehearsal process, 385 00:16:43.360 --> 00:16:45.440 if I'm lucky to get it, is finding out actors 386 00:16:45.480 --> 00:16:46.120 working style. 387 00:16:46.720 --> 00:16:46.960 You know. 388 00:16:47.039 --> 00:16:49.759 Some people love to be told exactly what to do, 389 00:16:49.799 --> 00:16:51.559 like look here at this line and look there, and 390 00:16:51.600 --> 00:16:54.440 others want to be told what's my motivation? Like why 391 00:16:54.440 --> 00:16:56.679 am I doing this? I need to know and feel 392 00:16:56.799 --> 00:16:59.240 organically if you need me to go over here or 393 00:16:59.279 --> 00:17:04.400 do this, like tell me like my internal characters motivation 394 00:17:04.799 --> 00:17:06.400 or behaviors or thoughts to be. 395 00:17:06.319 --> 00:17:07.599 Able to do that. 396 00:17:08.119 --> 00:17:11.599 So you can always explore that working relationship in rehearsals 397 00:17:11.640 --> 00:17:13.240 if you have a luxury. But you're right, it is 398 00:17:13.240 --> 00:17:16.559 funny because as you start filming, you realize, damn this 399 00:17:16.559 --> 00:17:19.599 this one actress, Okay, her best takes or take one 400 00:17:19.599 --> 00:17:21.599 and two, and then it just starts to you know, 401 00:17:21.640 --> 00:17:23.839