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<v Speaker 1>Oh gee is boot.

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<v Speaker 2>It's showtime. People say good money to see this movie.

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<v Speaker 2>When they go out to a theater, they want cold sodas,

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<v Speaker 2>hot popcorn, and no monsters.

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<v Speaker 1>In the Protection Booth, everyone pretend podcasting isn't boring.

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<v Speaker 3>Don it off.

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<v Speaker 4>You bought your sister hooker. I love you.

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<v Speaker 1>You're not full of shit.

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<v Speaker 3>And when you're out there, remember you are a goddamn

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<v Speaker 3>fucking machine.

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<v Speaker 1>I got the milk of.

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<v Speaker 2>First.

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<v Speaker 1>I thought it was a shotgun or exploding round.

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<v Speaker 4>But this is handmade, like someone carved into the back

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<v Speaker 4>of his head.

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<v Speaker 2>Our job is to intervene before such things happen. Let's

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<v Speaker 2>just go find Liam.

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<v Speaker 1>What about my bike?

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<v Speaker 2>I think you did.

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<v Speaker 1>There's a dead guy. That guy we fuck, he's dead.

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<v Speaker 1>Sleep with me?

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<v Speaker 2>The signature about homo?

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<v Speaker 4>Did you do it?

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<v Speaker 3>Man?

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<v Speaker 2>You're fun dude.

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<v Speaker 4>Hey, folks, welcome to a special episode of The Projection Booth.

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<v Speaker 4>I'm your host Mike White. On this episode, I'm talking

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<v Speaker 4>with writer director Alex Phillips. He is the force behind

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<v Speaker 4>the new film Anything That Moves, which is currently playing

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<v Speaker 4>at film festivals around the world. I don't really want

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<v Speaker 4>to talk about what this movie is about, because it

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<v Speaker 4>is very interesting and something that really should be seen

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<v Speaker 4>to be experienced. So if you have a chance to

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<v Speaker 4>see anything that moves, definitely do so. Thank you so

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<v Speaker 4>much for listening, and I hope you enjoyed this interview. Alex,

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<v Speaker 4>tell me a little bit about how you got interested

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<v Speaker 4>in filmmaking.

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<v Speaker 1>I was really obsessed with watching movies at a very

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<v Speaker 1>young age. I remember seeing going in Cleveland, Ohio. I

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<v Speaker 1>remember going and seeing like at a giant movie palace,

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<v Speaker 1>this seventy millimeter series they did, The Bridge Over River,

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<v Speaker 1>Kwai and Lawrence of Arabia, and I remember obsessively watching

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<v Speaker 1>Lawrence of Arabia like over and over on VHS. And

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<v Speaker 1>then when I got a little older, I got a camera,

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<v Speaker 1>just like a little DV camera and made a lot

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<v Speaker 1>of trailers with my friends. We would make these trailers

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<v Speaker 1>for these movies that didn't exist and never have existed,

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<v Speaker 1>just coming soon, the Cretan or something. We'd make these

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<v Speaker 1>weird horror movies and action movies that never came to light,

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<v Speaker 1>but we'd make these little trailers for them. I was

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<v Speaker 1>always obsessed with that and just watching a lot of movies,

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<v Speaker 1>and then I got into playwriting. I did a lot

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<v Speaker 1>of theater as well. I did theater in college. I

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<v Speaker 1>did some like clown stuff, some fringe festival stuff, and

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<v Speaker 1>I staged my first play that I wrote, and no

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<v Speaker 1>I didn't direct it, I starred in it. It was

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<v Speaker 1>one of my few acting roles, is called gun Club.

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<v Speaker 1>And then that took me to Northwestern, where then I started.

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<v Speaker 1>I used their cage, their equipment cage, because my undergrad

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<v Speaker 1>didn't really have any equipment. And then I just ran

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<v Speaker 1>a luck with camera gear and started, yeah, directing my

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<v Speaker 1>own writing because a lot of people would read my

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<v Speaker 1>scripts and be like, what the hell are you? What

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<v Speaker 1>do you want from me? And then I was like,

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<v Speaker 1>I know exactly what I want. I don't know why

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<v Speaker 1>I need you. And then I just started making shorts

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<v Speaker 1>and ballooned from there.

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<v Speaker 4>This might be a little unfair because I probably should

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<v Speaker 4>be the one that explains what your esthetic is when

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<v Speaker 4>it comes to the intro for this particular episode. But

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<v Speaker 4>can you explain your aesthetic to the people listening at home?

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<v Speaker 1>Sure? Yeah, I love every and any opportunity to talk

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<v Speaker 1>about my work, So to be able to explain myself,

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<v Speaker 1>I would I relish at the opportunity the way that

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<v Speaker 1>I talk about myself on Vimeo is that I took

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<v Speaker 1>too much acid and now I have paranoid sexual nightmares.

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<v Speaker 1>I really like expressionistic filmmaking, like I believe in film

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<v Speaker 1>as a visual medium, but I'm also like passionate about

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<v Speaker 1>writing books and plays and all that stuff. So I

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<v Speaker 1>try to like marry those two forms of storytelling to

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<v Speaker 1>create a Dionesian effect with the budgets that I am

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<v Speaker 1>allowed to be playing around with, so creating access to

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<v Speaker 1>instill and evoke emotion in the viewer. And yeah, I

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<v Speaker 1>also creating like a sort of uncanny tone that's somewhere

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<v Speaker 1>between like funny and scary or at all at the

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<v Speaker 1>same time.

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<v Speaker 4>I am definitely familiar with your last film, All Jacked

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<v Speaker 4>Up and Full of Worms. Can you talk a little

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<v Speaker 4>bit about that? And was that your first feature?

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<v Speaker 1>Yeah, that was my first feature. That one was about

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<v Speaker 1>these two dudes. They have concurrence storylines, and then they

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<v Speaker 1>collide and they get addicted to these hollocinogenic worms. They

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<v Speaker 1>kind of take them on this horrific, kind of funny

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<v Speaker 1>but also totally fucked up journey of I guess a

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<v Speaker 1>little bit of self discovery and a little bit of

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<v Speaker 1>just worm discovery. It's like a love story about two

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<v Speaker 1>bros and also about worms and finding family in the

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<v Speaker 1>self destruction.

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<v Speaker 4>I hate this question, but I'm going to ask it anyway.

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<v Speaker 4>Where do your ideas come from?

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<v Speaker 1>Yeah, that's a terrible question. I like dealing with the personal,

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<v Speaker 1>like my own life experiences, but I don't really like

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<v Speaker 1>realism very much. I don't actually think that's the most

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<v Speaker 1>empathetic way to access or present your own life experiences

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<v Speaker 1>or what you go through. I think that by like

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<v Speaker 1>just depicting stuff in a dream or using genre in

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<v Speaker 1>different types, different modes to access the personal, I think

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<v Speaker 1>that's a better way to get deeper into stuff and

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<v Speaker 1>also make it more relatable to an audience.

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<v Speaker 4>What was your inspiration for anything that Moves?

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<v Speaker 1>Anything that Moves came from the root of the idea

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<v Speaker 1>came from when I was like twenty two twenty four.

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<v Speaker 1>I was a bike delivery guy, and I was going

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<v Speaker 1>through a little bit of a tough time personally, but

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<v Speaker 1>I and so I was feeling like really like weird

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<v Speaker 1>and outside of the world. But I also was delivering

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<v Speaker 1>these sandwiches to these shut in people all around the neighborhood,

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<v Speaker 1>and I was their only point of contact to the

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<v Speaker 1>outside world sometimes, and they were very excited to see

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<v Speaker 1>me in different capacities. Sometimes they would actually like proposition

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<v Speaker 1>me or hit on me and try to kiss me sometimes,

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<v Speaker 1>and all I'm doing is delivering them was sandwich. But

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<v Speaker 1>I don't know. It gave me a pretty strange outlook

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<v Speaker 1>on the world, and I wanted to capture the anxiety

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<v Speaker 1>of that, and then also the kind of I don't know,

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<v Speaker 1>there was something a little bit fantastical about being objectified

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<v Speaker 1>by these people too, where it's, oh, they loved me,

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<v Speaker 1>even for no reason. So I wanted to, yeah, to

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<v Speaker 1>capitalize on that life experience a little bit, and then

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<v Speaker 1>take it from there, pull in a lot of movie references,

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<v Speaker 1>pull in different ways of telling that story, and bring

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<v Speaker 1>in love, monogamy and just the tenderness of love and relationships.

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<v Speaker 1>And then also there's a little bit of a paranoia

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<v Speaker 1>and horror to it as well, And I wanted to

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<v Speaker 1>create a world that accommodated all of that.

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<v Speaker 4>How do you find your actors, because they're doing some

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<v Speaker 4>really outrageous things that I'm curious how you get people

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<v Speaker 4>to agree to go along with you.

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<v Speaker 1>I find people who are either my friends or friends

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<v Speaker 1>of friends, mostly people who either know my work or

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<v Speaker 1>come from like a trusted recommended person, so that it's

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<v Speaker 1>not that crazy of an ask by the time that

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<v Speaker 1>they're reading the script. I try to present what I'm

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<v Speaker 1>looking for upfront, also be like, there's going to be

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<v Speaker 1>sex and nudity and violence in this movie, and we're

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<v Speaker 1>at a low budget, and I think it's good to

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<v Speaker 1>have these personal relationships too, in this trust so that

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<v Speaker 1>there's better communication and better empathy on set because we're

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<v Speaker 1>working twelve sometimes more hours a day, and so if

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<v Speaker 1>there is already that pre established ease of communication, it

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<v Speaker 1>makes it a safer environment and that also makes people

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<v Speaker 1>more adventurous at the same time because there's that trust

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<v Speaker 1>there already. There were a couple of people that I

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<v Speaker 1>reached out to that I didn't have those relationships with,

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<v Speaker 1>like Gingerlin Allen or Nina Hartley. They're in anything that moves,

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<v Speaker 1>but they are extremely experienced, especially in sex scenes. And

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<v Speaker 1>then they also they've been on camp. I'm wrong so

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<v Speaker 1>much that they really do have this like star power ability.

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<v Speaker 1>They're like amazing actors, which I don't think people generally

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<v Speaker 1>would recognize from like adult film. The adult film world,

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<v Speaker 1>but they really do. There's a reason that they were

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<v Speaker 1>stars in the adult world because they really do have

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<v Speaker 1>that star quality.

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<v Speaker 4>I've talked a little bit about the expressionistic filmmaking. I

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<v Speaker 4>could definitely see it a lot in that scene with

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<v Speaker 4>those close ups, those really extreme close ups of their faces.

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<v Speaker 4>I can't imagine how this is going to hit an

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<v Speaker 4>audiencing that on the big screen.

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<v Speaker 1>Yeah, I'm really really excited. Obviously, it hasn't premiered a

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<v Speaker 1>Fantasia yet at the time of this recording, so I'm

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<v Speaker 1>really excited. But it hasn't really been presented for any

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<v Speaker 1>audience whatsoever. It's been in the editing cave for a

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<v Speaker 1>long time. So I'm really excited to see what audiences like,

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<v Speaker 1>what they react to I don't know, and just to

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<v Speaker 1>get it out in the world. I'm excited.

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<v Speaker 4>When did you actually shoot this and how long did

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<v Speaker 4>it take to shoot?

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<v Speaker 1>We shot it in the summer of twenty twenty three,

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<v Speaker 1>I think I think that's right. It took us like

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<v Speaker 1>twenty one days of principal photography and then a couple

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<v Speaker 1>days of pickups after a lot of editing. The pickups

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<v Speaker 1>were pretty minimal, so this one shot doesn't work, and

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<v Speaker 1>it's necessary to make this scene make sense. We got

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<v Speaker 1>to grab this insert type of thing.

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<v Speaker 4>And then each said it was a long post process.

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<v Speaker 1>Yeah, the post process was pretty long, just because I

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<v Speaker 1>ran out of editing money for the budget and had

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<v Speaker 1>to cut it myself and had to work along the

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<v Speaker 1>side of editing. And then also just I really wanted

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<v Speaker 1>to do production justice because we really nailed a lot

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<v Speaker 1>of cool moves. We were really shooting for blocking and

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<v Speaker 1>shooting to move the camera around, to move the actors around,

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<v Speaker 1>and not do traditional coverage necessarily, not like shot reverse,

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<v Speaker 1>not just like picking up all these little pieces to

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<v Speaker 1>put together and posts necessarily, so like getting the timing

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<v Speaker 1>with like a camera move to fit the pacing of

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<v Speaker 1>the film and really get the language down. Shaping stuff

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<v Speaker 1>in production takes a lot of trust with the post process,

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<v Speaker 1>if that makes any sense. The way that you pace

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<v Speaker 1>the scene out when you're shooting will dictate the pacing

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<v Speaker 1>of the entire movie if you're going to try to

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<v Speaker 1>do everything in one or two pieces.

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<v Speaker 4>Who is your cinematographer on list?

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<v Speaker 1>His name is Hunter Zimney. He's from New York and

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<v Speaker 1>did an amazing job. I loved working with him. One

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<v Speaker 1>of the coolest things that we were able to come

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<v Speaker 1>up with, and we did it on set basically are

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<v Speaker 1>one of our gaffers, this guy John jadeer Kowski. He

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<v Speaker 1>had this jim We were using a doorway dolly, which

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<v Speaker 1>is just like an old school dolly, and then he

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<v Speaker 1>had this like cheap jib arm and then we put

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<v Speaker 1>that on top of the dolly. Like on day one,

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<v Speaker 1>all of a sudden we had this sort of makeshift

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<v Speaker 1>crane chapman thing, like a much fancier device. Like the

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<v Speaker 1>way to get these moves would be really expensive if

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<v Speaker 1>we were getting the quote unquote proper equipment, but it

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<v Speaker 1>allowed us to get in really close and then sweep

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<v Speaker 1>move away from people, and get like a wide shot

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<v Speaker 1>all in the same move. And just like working with Hunter,

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<v Speaker 1>working with Connor and John and this amazing team with

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<v Speaker 1>people who just are down to experiment and roll with

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<v Speaker 1>stuff and commit fully, just totally commit to this visual language.

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<v Speaker 1>Just experiment, but do it with total authority. It's really fun.

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<v Speaker 4>It was great that move on camera really pays off.

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<v Speaker 4>I can really feel the dynamism of everything that's going

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<v Speaker 4>on on screen, and so many times with an independent

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<v Speaker 4>film you lock it down, maybe get a tilt, maybe

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<v Speaker 4>a pan, but that's about it. But here I just

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<v Speaker 4>was so immersed in this world with that moving camera.

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<v Speaker 1>We were really trying to be cowboys with it. Once

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<v Speaker 1>we figured out the visual language too, Like Hunter was

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<v Speaker 1>like really just living it. And there's a lot of

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<v Speaker 1>really cool stuff where the movie camera is moving really

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<v Speaker 1>subtly with an actor's performance, where you know, like it'll

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<v Speaker 1>be like pushing in a little bit or just pulling

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<v Speaker 1>out a little bit with their words, with what their

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<v Speaker 1>performance is doing. And that's just the kind of shit

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<v Speaker 1>that you can't micromanage. It's not something that you can

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<v Speaker 1>tell someone to do, and that's I'm really happy to

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<v Speaker 1>have worked with them to see that kind of before.

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<v Speaker 1>It's really cool.

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<v Speaker 4>I know, making an independent film is one of the

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<v Speaker 4>toughest things that there is to do. Spout some of

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<v Speaker 4>the challenges that faced you.

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<v Speaker 1>We did so much. There's so many locations, there's gore,

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<v Speaker 1>there's sex, there's like we said, these camera moves and

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<v Speaker 1>we shot on film. All these different things that we

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<v Speaker 1>managed to pull off with a pretty small budget. Was

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<v Speaker 1>really cool. Shooting this movie. We did so much, but

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<v Speaker 1>also so much easier than shooting my first all jacked

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<v Speaker 1>up in full of worms. Like having the support from

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<v Speaker 1>Missing Link which is Eddie Linker and Vinegar Syndrome just

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<v Speaker 1>made it a breeze. At least for me what I'm

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<v Speaker 1>used to Making a movie is absolutely not easy. I

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<v Speaker 1>think it probably is the hardest art form. I don't

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<v Speaker 1>know the other ones well enough, but just the man

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<v Speaker 1>hours that go into it, it's just a crazy art form.

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<v Speaker 1>I think we did the impossible that it felt great

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<v Speaker 1>doing it. When you shoot digitally, you're always thinking about

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<v Speaker 1>post production. You're thinking about like where are we going

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<v Speaker 1>to lift a shadow or what kind of colors are

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<v Speaker 1>we going to dial in? And when you shoot on film,

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<v Speaker 1>it's what with your eye is also what the camera

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<v Speaker 1>sees and what the actors see. The world building is

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<v Speaker 1>everyone kind of buys into it. The entire environment you're

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<v Speaker 1>shooting on looks like what the movie is going to

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<v Speaker 1>look like. It creates this effect on set that kind

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<v Speaker 1>of gets everyone, all the actors and producers and everyone

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<v Speaker 1>there like to buy in on the movie. And when

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<v Speaker 1>you hit record, you can hear the film moving and

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<v Speaker 1>it creates this yeah, like I said, the total commitment.

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<v Speaker 1>So it's pretty cool. Yeah, and then also you can

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<v Speaker 1>see what the negatives are with film or not negatives. Honestly,

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<v Speaker 1>I love this. Like we sent the film out and

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<v Speaker 1>when it got scanned, it got scratched. There's this sequence

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<v Speaker 1>of the beach where you see these crazy scratches. But

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<v Speaker 1>I love it. I honestly think, like you'll watch a

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<v Speaker 1>Tarantino movie like death Proof or something like that, where

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<v Speaker 1>he's messing with these film effects. We didn't have to

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<v Speaker 1>make it up. It's the grunge is there. The real

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<v Speaker 1>things are there. And then I think it really augments

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<v Speaker 1>the craziness of that scene and it makes it more fantastical.

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<v Speaker 4>What did you actually cut on?

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<v Speaker 1>I used Adobe Premiere. It's a program, it's a tool.

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<v Speaker 1>It works. I lived a lot in it for a

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<v Speaker 1>long time, and yeah, I don't know. I really like editing.

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<v Speaker 1>I grew to love it during this process.

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<v Speaker 4>What's your day job?

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<v Speaker 1>My day job right now. I have a million day jobs,

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<v Speaker 1>but my one right now is I've been working at

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<v Speaker 1>this post house doing assistant editing work for like commercials

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<v Speaker 1>and stuff. But I've also I've taught, I did a

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<v Speaker 1>little bit of sound recording, I did some grant writing,

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<v Speaker 1>I did a lot of I've done a lot of

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<v Speaker 1>different things. I worked as a projectionist for a while.

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<v Speaker 1>I pick up whatever I can to keep it going,

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<v Speaker 1>and then also what can give me enough time to

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<v Speaker 1>write and direct movies and get them out in the world.

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<v Speaker 4>When you're doing your editing, are you sending rough cuts

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<v Speaker 4>to friends to get feedback or is this all just you?

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<v Speaker 1>No aspect of filmmaking is just the director. I don't know.

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<v Speaker 1>Maybe Stanley Kubrick is primo a tour who is the

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<v Speaker 1>all seeing I I definitely spend a long ass time

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<v Speaker 1>in front of the computer talking to myself, for sure,

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<v Speaker 1>But I definitely but I needed someone else to look

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<v Speaker 1>at it and tell me I'm not crazy. I have

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<v Speaker 1>all my producers, Spencer, LeAnn Georgia. I would bounce stuff

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<v Speaker 1>off of them. I did a couple of feedback screenings.

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<v Speaker 1>I would send it off to other filmmaker friends or

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<v Speaker 1>other editors just to see what they say. At the

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<v Speaker 1>beginning of the edit of this, I worked with this guy,

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<v Speaker 1>Troy Lewis, who also cut all jacked up and full

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<v Speaker 1>of worms with me, and so he was a great

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<v Speaker 1>resource for a while. And so there was there were

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<v Speaker 1>like people that I leaned on to to be like,

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<v Speaker 1>Oh this is working. Are absolutely not working. This is terrible.

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<v Speaker 1>I really need that. I think everybody does.

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<v Speaker 4>Yeah, I know your premiere is a Fantasia. But have

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<v Speaker 4>you had a chance to watch this with like cast

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<v Speaker 4>and crew or anything yet?

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<v Speaker 1>No, I haven't. I've showed it to a couple people

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<v Speaker 1>more on the crew side, I haven't showed it to cast. No. Yeah,

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<v Speaker 1>this is gonna be a lot of people's first time

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<v Speaker 1>seeing it who worked on the film, and so I'm

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<v Speaker 1>really excited for them to check it out too, especially

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<v Speaker 1>with the big audience, especially on thirty five. We did

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<v Speaker 1>a thirty five millimeter print, so it's gonna be It's great,

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<v Speaker 1>really great. I'm excited to hear what they say.

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<v Speaker 4>Did you do a premiere of All Jacked Up at

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<v Speaker 4>Fantasia as well?

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<v Speaker 1>Yes? Okay, yeah nice. Yeah, it's a good home.

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<v Speaker 4>Yeah, I was gonna say it's like a homecoming for you.

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<v Speaker 4>Is there a good place for people to keep up

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<v Speaker 4>with you in the film? Online?

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<v Speaker 1>Vinegar Syndrome is doing a great job posting stuff. There's

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<v Speaker 1>also I just started Instagram. Paid for the movie which

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<v Speaker 1>is at ATM Underscore movie ATM meaning anything that moves,

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<v Speaker 1>and so you can follow the movie on there. I'll

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<v Speaker 1>keep posting stuff, and once we move into distribution and

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<v Speaker 1>like theatrical stuff and physical media and all that stuff,

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<v Speaker 1>there's gonna be more stuff growing. I know Gindre Lynn

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<v Speaker 1>will be at Fantasia, so I'll post some stuff and

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<v Speaker 1>she'll be like signing things, and there's gonna be a

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<v Speaker 1>bit interes syndrome booth. So we're gonna try to like

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<v Speaker 1>get people out to see the movie and keep the

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<v Speaker 1>announcements coming.

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<v Speaker 4>Alex, thank you so much for your time. This is great,

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<v Speaker 4>finally getting to meet you.

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<v Speaker 1>Yeah, thank you so much. Thanks for having me.

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<v Speaker 3>Don't want to happen. I suthing.

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<v Speaker 5>Let it all red w my something And if you

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<v Speaker 5>don't want to know nothing, I still know nothing.

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<v Speaker 3>It don't mean nothing. But if you wanna don't have

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00:21:17.039 --> 00:21:25.400
<v Speaker 3>a thing, let me tell you. I don't lie wout everything.

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<v Speaker 5>My father.

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<v Speaker 3>Oh no, when I do, let my.

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<v Speaker 5>Say six thousands remember FLA say then.

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<v Speaker 3>About I love a job?

359
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<v Speaker 2>What's our fall?

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<v Speaker 5>Let on your sister and it wi my man and

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<v Speaker 5>side with my little I d alive, look at I

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<v Speaker 5>want to side And that's loud it's.

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<v Speaker 3>Whip and alley.

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<v Speaker 5>It's not too.

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<v Speaker 2>Stop by a money, not even fuck you.

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<v Speaker 5>I'm un to go the cards and I'm wanting to

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<v Speaker 5>do the cart.

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<v Speaker 2>I go long a home, feeling short a part.

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<v Speaker 3>I got the guinea strain. What's looking.

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<v Speaker 2>Thin and.

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<v Speaker 3>In the twin.

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<v Speaker 5>IM fuck anything that news, not even fuck you, and

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<v Speaker 5>I fuck you too.

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<v Speaker 2>I'm fud anything to move said