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<v Speaker 1>This is Later with Lee Matthews the Lee Matthews Podcast.

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<v Speaker 1>More what You Hear Weekday Afternoon is on the Drive.

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<v Speaker 2>Her parents were Hollywood insiders, Peter Bogdanovich and Polly Platt.

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<v Speaker 2>She started out in journalism but soon could no longer

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<v Speaker 2>ignore the call of her genetic legacy and became a

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<v Speaker 2>director in her own right, and re released the director's

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<v Speaker 2>cut of Sleep No More, which is out now. Antonio Bogdanovic, Welcome.

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<v Speaker 2>The story of this film is an involved one, isn't

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<v Speaker 2>it Yes.

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<v Speaker 3>And it's definitely inspired from my own childhood. It's a

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<v Speaker 3>story about two brothers and their father is an expats

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<v Speaker 3>in the UK, and he was a great actor, a

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<v Speaker 3>great Shakespearean actor at some point in his life. Right

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<v Speaker 3>now he's a degenerate gambler, and he's put both his

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<v Speaker 3>kids in a very precarious position. They have to basically

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<v Speaker 3>pickpocket and steal so they could put food on the plate,

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<v Speaker 3>pay the rent once in a while, and feed their

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<v Speaker 3>fathers drinking and gambling addiction.

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<v Speaker 2>I keep reading comparisons to the Shakespearean tragedy about Sleep

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<v Speaker 2>No More, but it looks and sounds more to me

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<v Speaker 2>along the lines of Dickens something Dickensonian.

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<v Speaker 3>It definitely is. And I love Dickens and I related

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<v Speaker 3>to him. Look my friends in high school. I was

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<v Speaker 3>definitely a troubled kid. I didn't have an idyllic childhood

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<v Speaker 3>by any means. You can read a lot about that

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<v Speaker 3>on the internet. There was ups and downs, there was

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<v Speaker 3>divorce of murders. So I decided I liked the other

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<v Speaker 3>side of the tracks. I was like, I relate more

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<v Speaker 3>to these kids. So my kids were my friends were

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<v Speaker 3>surfers and skaters in Santa Monica. They were petty criminals

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<v Speaker 3>and burglars, and so I got a first time look

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<v Speaker 3>at that. My house was robbed. I had the nicest house,

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<v Speaker 3>you know, my mother had a great house in the

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<v Speaker 3>nice area of Santa Monica. And you know, my friends

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<v Speaker 3>decided to drop my house and I didn't find out

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<v Speaker 3>for a year. So it's about that lack of trust

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<v Speaker 3>with criminals. It's like, oh, well, wait a minute. I

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<v Speaker 3>thought it was cool when you were feeling other in

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<v Speaker 3>other people's homes. Not that I participated that. I did

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<v Speaker 3>not participate, but I thought it was cool and edgy

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<v Speaker 3>at the time. But when you are a victim of crime,

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<v Speaker 3>it's a really different It's like it was. It was

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<v Speaker 3>gut wrenching because these were my close friends. Two of them,

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<v Speaker 3>my boyfriend and his best friend who happened to be

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<v Speaker 3>a mutual friend. I knew my best friend long before

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<v Speaker 3>I had met the boyfriend.

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<v Speaker 2>Sleep No More is the film, and the director is

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<v Speaker 2>Peter Bogdanovitch's daughter and Polly Plant's daughter. Antonio Bogdanovitch is

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<v Speaker 2>with us, and so you can see that in that

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<v Speaker 2>these two brothers soon don't don't trust each other.

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<v Speaker 3>Exactly, and they're also parenting each other, this idea of

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<v Speaker 3>like there's no parent here. Sometimes you know, Becket's telling

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<v Speaker 3>him what to do and like you just got to

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<v Speaker 3>keep going and we get through this and we don't

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<v Speaker 3>need to go anywhere, and Samuel is like, we're stuck

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<v Speaker 3>in the MUDs. We got to get out of here.

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<v Speaker 3>And then at one point, you know, when Beckett becomes

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<v Speaker 3>trying to do some higher level criminality, you know, by

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<v Speaker 3>being a counterfeitter, he's like, he thought, of Bentley, we

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<v Speaker 3>need groceries. You know. So it's this idea of them

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<v Speaker 3>parent each other and also being on different sides, like

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<v Speaker 3>what are you doing, Like you're going to get us

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<v Speaker 3>in more trouble than we're already in, and you're.

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<v Speaker 2>Going to see some familiar faces. Rebecca Romjen is in it.

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<v Speaker 2>Also Thomas Brodie Sangster. He's all grown up since his

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<v Speaker 2>role in Love. Actually, Ashley Hamilton's son of George Hamilton,

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<v Speaker 2>is in at Sleep No More is the film and

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<v Speaker 2>Antonio Bogdanovic is is the director. It's the director's cut

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<v Speaker 2>that's in re release right now and out everywhere you

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<v Speaker 2>get your movies. What if there is a number one

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<v Speaker 2>thing that you learned about the film industry from your day?

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<v Speaker 3>Oh boss, never give up, Never give up, no matter

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<v Speaker 3>how many no's you get. Because that was my first film,

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<v Speaker 3>I have been working really hard on various projects and

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<v Speaker 3>various scripts son that I wrote, some that I didn't write,

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<v Speaker 3>to make my next film, and it's been hard. It's

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<v Speaker 3>been very difficult for various reasons. Timing. There's many times

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<v Speaker 3>that I wanted to quit and my father said, don't

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<v Speaker 3>give up, and really sticking with it. I have seen

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<v Speaker 3>progress as below as it.

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<v Speaker 2>I just wanted to say, Antonio bogdanovic Just the other

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<v Speaker 2>day they re ran Paper Moon on Turner Classic movies

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<v Speaker 2>It is one of my favorites of your father's, not

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<v Speaker 2>only because of the imagery, not only because of the

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<v Speaker 2>great acting and the great story. But he was very careful,

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<v Speaker 2>and I'm an old radio guy, he was very careful

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<v Speaker 2>to make sure to include the importance of radio in

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<v Speaker 2>that story. You always hear a radio on in the background.

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<v Speaker 2>They're always listening to the radio or arguing about something

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<v Speaker 2>that is going on in the radio.

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<v Speaker 3>Uh well, let me tell you something. I think the

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<v Speaker 3>radio is key in that movie. That's so interesting you

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<v Speaker 3>brought that up. And I love the radio. I listen

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<v Speaker 3>to the radio to this day, every day, every morning,

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<v Speaker 3>and I've done it since I was probably a teenager,

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<v Speaker 3>even in my own room. You know, we had those

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<v Speaker 3>you know, those high fives and you can into the radio.

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<v Speaker 3>My father listened to the radio growing up, and I

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<v Speaker 3>feel like, honestly, and he loved the radio. And so

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<v Speaker 3>it gives me a source of my imagination because if

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<v Speaker 3>I'm just listening to something, I have to imagine, you know,

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<v Speaker 3>what they're talking about, or them in the studio, like,

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<v Speaker 3>you know, I'm not in that world, so I kind of,

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<v Speaker 3>you know, I think it's so cool because I've never

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<v Speaker 3>even I think I've been to a few radio stations. Yeah,

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<v Speaker 3>I really appreciate that part of it. And you really

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<v Speaker 3>you have a window in stained character when she's sitting

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<v Speaker 3>there listening to radio and you know her wife Peter

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<v Speaker 3>looking a cigarette. It's I love that movie.

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<v Speaker 2>Well that's what he taught me.

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<v Speaker 3>He used that movie. He used that movie when when

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<v Speaker 3>before I directed my first short film, I said, Dad,

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<v Speaker 3>can you give me some pointer. It's not that he

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<v Speaker 3>had in my whole life, but I wanted some specificity.

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<v Speaker 3>And he went through every lens and every shot, and

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<v Speaker 3>I wrote it down. I still have those two pieces

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<v Speaker 3>of paper, and he used paper moons and the reasons

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<v Speaker 3>why he shot the framing and why he shot this

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<v Speaker 3>way and that way, in various things to teach me

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<v Speaker 3>the basics of filmmaking.

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<v Speaker 2>Well, it was all about the details. And whoever said

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<v Speaker 2>the devil is in the details is dead wrong. That's

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<v Speaker 2>where God is. God is in the details, as far

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<v Speaker 2>as I'm concerned. And I too, was attracted to radio

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<v Speaker 2>because of the storytelling aspect of it. I listened to

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<v Speaker 2>radio drama and there was an old one on CBS

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<v Speaker 2>back in the day. It was a mystery theater. They

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<v Speaker 2>ran late at night on the CBS radio network, and

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<v Speaker 2>I was about five listening to that, and my imagination

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<v Speaker 2>was inspired. Later when I started reading it started helping

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<v Speaker 2>me become a better reader, to try to picture it

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<v Speaker 2>like I was presenting a radio show. So again, I

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<v Speaker 2>think it all comes down to those details, and I

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<v Speaker 2>look forward to the details in Sleep No More Director's

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<v Speaker 2>cut out Now, I thank you for joining us, Antonio Bandanovich,

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<v Speaker 2>thank you so.

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<v Speaker 3>Much for having me. I really enjoyed speaking with you.

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<v Speaker 1>Thanks for listening to Later with Lee Matthews, the Lee

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<v Speaker 1>Matthews Podcast, and remember to listen to The Drive Live

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<v Speaker 1>weekday afternoons from five to seven. And iHeartMedia presentation.