Speaker 1: Hey, Shirley fans. Last week I had the opportunity to
get together with the guys behind a new movie called
What Rhymes With Reason. It's a coming of age movie
where a tragedy brings high school friends together again and
they embark on a quest to find a hidden landmark.
An exciting adventure movie, but one that also addresses the
serious issue of mental health. Please join me in welcoming
our guest today of the new movie What Rhymes would Reason. Hello, everybody,
and welcome back to the Shirley You Can't Be Serious Podcast.
We are here today on a very special episode. Guys.
We normally bring you movies of our past that I
am about to bring you a movie of the future.
We are here today. I am here today. Jason couldn't
join us. He's having a fun time with his wife
over the weekend, which he readily deserves for his birthday month,
and so it is just me for the Shirley guys.
But I am joined today by Kyle Roberts, Adam Chamberlain,
and Gatlin Griffith, all of the new movie What Rhymes
With Reason. We're going to be talking about that movie today.
The day this episode drops will be the world premiere
of the movie. So guys go to IMDb right now,
look up the movie push ten stars on IMDb, so
that it jumps up in the rankings and everybody is
aware of this movie. And then once it comes out,
it's probably going to be like September, Is that right
that we're looking at.
Speaker 2: Looking yes, just it will depend on the distributor.
Speaker 1: But yeah, okay, so we're looking at full national distribution
on sometime in September October. Yes, fantastic, love it. Okay.
So we typically start with a history. I'm going to
start with our actor. This time, we've got Gatlin Griffith.
Who I mean, You've been acting since you were a kid,
is that right? Yeah?
Speaker 3: Yeah, I started acting probably around six or seven. I
started as a stunt kid. My dad has a stunt coordinator,
and so the stunt community is super tight knit, and
it's the type of thing where if one coordinator knows
another coordinator has a kid, he'll just reach out and
me like, hey, can your kid get hit in the
head with football and fall into a Those were some
of my first introductions.
Speaker 1: As said, that's fantastic. So Gallon's dad was a big
stunt coordinator in Hollywood worked on the mask of Zoro.
Was Antonio Benderis's stunt double on that. Tell me what
that was like as a kid, Gallen.
Speaker 3: It's it was kind of normal for me. It's my
dad has a background and our family has a background
in horses. I'm me and my brothers are fourth generation
trick riders, which is like gymnastics on horses. So he
used that to get in the business, and then we've
kind of kept that up, that legacy, and it was
it was kind of normal. You know, actors were always
coming out to train or my dad was always in
Morocco for months on end working, so it was kind
of he was here and then he was gone into
the film business. It's like you go on location for
and then we get to visit him, like we got
me and my family got to go up to Montreal
or other parts of Canon when he was filming. So
it was a really interesting child to getting to travel
in that way.
Speaker 1: That's fantastic. Now you you've been in movies that you
didn't get hit in the head end, Is that right?
Speaker 3: Yeah?
Speaker 2: I always joke that Gatlin is like the male version
of Dakota Fanning or something. But doing all these really
dramatic roles and doing very good at them at a
young age, I liked Labor Day and Changeling.
Speaker 1: Yeah, so you were in Labor Day Kate Winslet, Right,
is then that with you? Jay Playson will be super
disappointed because Titanic is like his favorite movie of all time.
So will he will be banging his head that he
missed out on asking you all kinds of Kate Winslet stories.
But so, how did you transition from being the stunt
kid to being the dramatic kid actor.
Speaker 3: Well, I went in for a stunt audition and they
were like, you're too small. I was a very small child.
I was like in the ninety percentile for a head
size and percentile for a height, so I just had
a massive head. But they were like, you know, head three,
good on screens and near acute, little kid, So here's
a an agent's number. And so I was probably six
or seven when that happened. So I just started going
on on auditions. And when I say I started going
on auditions, my mom started driving me the two and
a half hours it takes to get to auditions in
la and I did that for a while before I
booked anything. And then once it kind of took off,
it just kind of kept rolling and I got super
fortunate to get to work a lot as a kid
and travel.
Speaker 1: That's fantastic. So obviously we've mentioned Kate Winslett. I saw
that you've been in the movie with in a movie
in the last couple of years with I'm Scarret of
Top Gun Fame and Steel Magnolias, who were Who's your
one of your actors that you've worked with that has
been an big influence on you.
Speaker 3: I'll probably bring it back to Labor Day because I
got to spend that was like two months in Massachusetts
in the summer, so my whole family got to come
out with me, and it was a really intimate setting
with Kate Winslet and Josh Brolin, and that was That's
just the film that really was. They were teaching me
stuff all online and they kind of were my pseudo
mom and dad on that set, and I think I
grew the most in that and that's that set has
some of my best memories of the childhood.
Speaker 1: Fantastic, fantastic. So you have continued to act in movies.
How old are you now twenty four twenty four? Have
you did you go to school in la as well?
Speaker 3: I did. Yeah. My parents were super adamant about me
finishing out college. My dad dropped out when he was
just after eighth grade because he had to start working,
and then my mom moved out when she was eighteen
and had three jobs and tried some college but just
couldn't make it work with all the stuff she had
going on. So I went to UCLA and I just
wrapped that up about a year ago.
Speaker 1: Okay, fantastic. What's your What was your major?
Speaker 3: I majored in English and minored in film.
Speaker 1: Awesome. Are you doing any writing right now?
Speaker 3: I am. Yeah, I've been working on my own stuff here.
I really like writing, and I really got to see
up close what rhymes of reason. The script developments I
met up with Sean. Sean was I think I met
Sean in person before I met Kyle in person, and
really just loved their process of having an idea and persevering.
And the script came through so many different changes, like
it really had a full lifespan of different lifetimes until
it became what we actually shot. So I just love
that process a lot.
Speaker 1: Fantastic. Well that introduces Kyle here, Kyle you. You're an
Oklahoma guy like me.
Speaker 3: Yep, you.
Speaker 1: Went to school out here. You got into thejournalism side
of things, and have managed to spin that into not
only stop animation, which kind of made famous, if you will,
but you have this is your second full length motion picture,
is that right?
Speaker 2: Yeah?
Speaker 1: So tell tell me about that process, tell me where
you went to school, how it developed into those stages.
Speaker 2: Yeah. So I'll try to keep this as stories I can.
I was born on a cold night in.
Speaker 3: March, settle In. Yeah.
Speaker 2: I went to Oklahoma Christian I loved it. I loved
my time there and all the friends I you know,
created during that time and fellowship through all that. And
then right out of that, I was a videographer editor
for the Oklahoma which is our states you know, newspaper
at Newsokay dot com for several years. Just during that time,
I started playing with stop most animation in an inta
turtle stop motion, actually recreating the nineteen eighties cartoon Intro
Brain by frame with action figures, Okay, because we wanted
to and kind of learning a new craft, new art
as a creative. I mean, we're just going to create,
you know. So that's just kind of what we did,
and they got millions of views and featured by La
Times and U had SA Today and Wired magazine and
all this stuff. And then we did that for a
while doing kind of our own stop motion fan made.
You know, which all of your fans I think are
going to love if they go back and watch some
of the stop motion we did X Men one and
Ina Turtles and several They all kind of took off
and blew up. And the number one question I get
asked from press is when is when you're gonna do
a feature? So I was like, well, I guess we've
got to figure that out. So we made Post Human project.
It took four years, but Matt Price wrote it. He
was the editor at the Oklahoma at the time, the
features editor, and so we Yeah, a lot of blood,
sweat and tears put into making a team superhero film
on the budget.
Speaker 1: Yeah. So the I got to watch at least the
first half of that today, since we kind of put
this together short notice. Yeah, And immediately I see the
teacher talking to her students mutually what.
Speaker 2: Would shared destruction?
Speaker 1: Thank you? Talking about mutually assured destruction, And we just
got finished doing our war Games episode, So I was like,
I know where he's going with. So, yes, it's a
it is a coming of age style movie where your
high school kids acquire superpowers at some point in the movie. Yeah,
so what a great I mean, what a great concept.
I think that's fantastic. And then so after that movie
you start working on this project.
Speaker 2: Well yeah, right after that film. Honestly, I was not
ready to do another film. We released that about ten
years ago at this point, and it was just so hard,
completely in a feature on a tiny budget. I was like,
I'm never doing another feature again. So we started doing
commercial work for Disney and Hasbro and Mattel and Lego.
Two summers ago, we produced this reality show for NERF
called NERF House Showdown, which we filmed in Grand Lake
near Tulsa.
Speaker 1: Is that the one that you had the Jimmy Fallon.
Speaker 2: Yeah, okay, yeah, yep, you know in the middle of
us Oh and Jimmy Fallon talked about on the Sight
Show and everyone was freaking out and texted me it
was like, whoa, okay cool? That pastime so super fun.
I mean that show is kind of like a big brother,
like dude perfect or something right, and just it's just
so fun. But we just kind of doing all this
commercial work for all these brands, and then we're kind
of taking what we've learned from all that how to
speak to how to speak to families, but then poured
it into what Rhymes of Reason. And it's kind of
been on my heart for several years, about eight years
when we started this script is gatlets that it's been
in a long process because it's a fine line. You know,
when you're talking, you're communicating with youth and families of
you know, you're trying to earn the right to be
heard from high school kids or even younger and it's
a fine line of trying to make something one that
they can connect with. But two is family friendly, which
is really important to us and the day and age
we live in today, suicide is the second leading cause
of death from ten to sixteen year olds ten year olds,
and that's that's new, I mean the last couple of years.
And I have a ten year old daughter, and so
it was so important for us, even the whole this
whole process is she was two when we kind of
started this. But knowing that this you know, this time
is coming that we need this more than ever in
our deciding.
Speaker 1: So tell me about that that development phase of the script.
You come up with this idea, where's the what's your
inspiration for the idea?
Speaker 2: The original inspiration actually was kind of loosely based on
the Book of Job so as a godly sufferer, and
you know, I think a lot it's this age old
question of like why do bad things happen to good people?
And I think a lot of people we'd like to
put things in boxes and either compare ourselves to other
people or judge other people or all these things, and
it's like, no, that's not the way God works, you know.
So anyway, that was just probably the at least the
initial We've recklessly abandoned that to it.
Speaker 1: Yeah, that his company is called Reckless the Band, and
I just for the people to get that, by the way,
go check out the website. Give me the website.
Speaker 2: Yeah, r adask Pictures dot com.
Speaker 1: Yeah, so that's Reckless Abandonment Pictures. So you are inspired
by the suffering of Job but this is modern kids.
Speaker 2: Yeah.
Speaker 1: And so once that you have, once you have that
story idea, who do you start talking to producer wise
to say, hey, here's my here's my concept. Yeah, can
you help me out.
Speaker 2: So really for a long time and I really cherished
this time too, gat listening really kind of crafting this story,
crafting this outline, then crafting the script. We went through
probably thirty different versions of the script and really, you know,
again the whole the whole mission, and like from day one,
it's how do we earn the right to be heard from?
And so that's what that's you guys have probably heard
me say that a lot, and it's like, if we're
not doing that, then we're not doing it right. And
so throughout everything, that's how I answered question one to
five million to produce this film. And so Sean Theeson
is our writer and he's actually my nephew and he
lives in la and has written for a lot of
our like Lego Vultron commercial spots and national spots we've done,
but also a series a series we did for Trolls
for dream Works, and then it kind of naturally, you know,
lended itself to writing for this future.
Speaker 1: It's great. And so you've once you have discussed this
idea with producers, do you have like you have guys
that were along the whole ride with you for this
process that you shout out.
Speaker 2: To really Yeah. Yeah, we definitely had four producers on
the project and they're amazing, But for the biggest bulk
of it, it was Shawn on me for a long time.
And again I really like cherished that time because Nutell,
a lot of other people have hands and everything else,
it was us just making this and I think as
creatives that's a really special time, even no Matt, no
matter how big a project is, so hey say, even
like James Gunn with Guardings of the Galaxy, I think
he would say cherishing that time or just him or
maybe a couple other people where he's working on the
script is really precious. But yeah, Jacob's novel is one
of our local producers and he's produced like eighty movies
or something now at this point. Local Kim Dawson, who
I'm a big Turtles fan as you know, I was
the proucer of the original three Turtles films in the nineties.
That's fantastic, all kinds of Disney stuff, MTV stuff. A
lot of my childhood was produced by Kim Dawson and
then Nathan Gardaki, who's kind of legendary in this area
as a UPM uniproduction manager and producer fantastic.
Speaker 1: So when did you When did you start filming? Like
you've talked about the beautiful part, Yeah, when does the
crazy part start?
Speaker 3: Yeah?
Speaker 2: So we started in film, especially feature film, like it's
really all about the prep like getting everything prepped and
ready to roll. We started that June really prepping for
this movie. And when then we shot in September, September
and October of last year and so and it was
a pretty quick shoot as roughly a month of filming.
But yeah, I mean, Gallan, do you want to talk
a little bit about filming? What was it like day
to day as our.
Speaker 4: Leading doing an adventure travel movie on on you know,
the scale that we were doing it on was was difficult,
like really difficult, Like we were constantly traveling new spot
and we had new locations and we had to get
people from this part of the state.
Speaker 3: To the next part of the state for just a
couple of days. And you know, if we hadn't, if
we if we all didn't have a belief that this
thing was bigger than us, I think it would have
been hard to continue on. But everybody was so committed
and we had talked about this project. Like the anticipation
behind getting to do it was so strong that I
think that's what really was kind of the the wind
underneath our wings to help us go through it. We
did all of this and like, but was it like.
Speaker 2: Three weeks something like that? It was just under a
month because we only had some films do five day
shooting schedules. Them do six and we did five just
to try to save our crew the best we can
is as a gat got and said, when we traveled
all over Oklahoma to shoot this thing, so.
Speaker 1: You got you've got a cast of characters. Let's talk
about those real quick. Tell me about the casting process
and how you got Gatlin. I mean we we talked
a little bit about that, but tell me how you
got to him? And then who follows along after that.
Speaker 2: Yeah. Ricky Massler is our casting director and she's amazing,
and she she basically recommended Gatlin. She's like as she
read the script, she loved it. She's a Christian believer,
and she was like, I know who you need to
talk to. This kid is amazing, and you need to
talk to Gallan Griffith. And so we're like, okay, let's
have a I think I called to you that day
of have like a phone call and we just started
talking and we're like, okay, let me do a little
bit of research. But I was like, this is it.
I mean I saw even like in labor day and stuff,
was like he could he gatland Canvey so conveys so
much emotion just in his eyes, like it's incredible, And
so I just knew he was He's gonna.
Speaker 1: He was our Jess awesome. And so you've got Gallin,
He's in. Yeah, he's he's even kind of reviewing scripts
as you're going through that drafting process. Yea. Then you
have what did you have? A cast of about six?
Speaker 2: Yeah? Six ensemble. There's our teenagers in the film. Ricardo
Hertato is the comedic relief in the film, and he's
been a ton Nickelodeon stuff. He got a start of
school rock. But then this Malibu Rescue hit show on
Netflix is it's like a tween Baywatch kind of thing
and glitch text and all kinds of all kinds of stuff.
And then just sell Torres is in it and she's
kind of singer songwriter love interest in the film, and
she's she's a pretty big YouTube star and so it
was a good gift for us. She auditioned for it. Gatlin,
Ricardo and Moron did not uition. They got offers, but
just Sell and Wan and Katie auditioned. Those are other three.
Speaker 1: So this was the.
Speaker 3: First offer and I thought it'd be fun because I was, Oh,
I hate the audition process. But at the same time,
you're like, oh my gosh, they're banking on me.
Speaker 1: That's a lot of pressure.
Speaker 3: Yeah, you're like, I hope I am what they are anticipating.
But Kyle was like from the jump, supportive and collaborative
and made it to where you felt like you're a
part of the thing before you get there.
Speaker 1: It's fantastic. So you mentioned traveling. Where did you guys go?
Where are some of your location? Yeah?
Speaker 2: Geez, we went to Turner Falls. What's the tall mountain
mountain Scott area. It's Snake Junction or something. It's like
in the middle of nowhere.
Speaker 1: Okay, I'm gonna say I've been to those first two,
but I don't know about Snake Junction.
Speaker 2: It's a I mean see it in the film. It's
this abandoned church building. It's amazing. We looked all over
Oklahom for this abandoned church scene. It's a big part
of the film. So this can we talk about the
story real quick? I guess people, what the heck is
this thing? It's called what Rhyme's the reason? It's a
coming of age adventure adventure drama. If you can't have
already kind of figured out the main kind of need
for this film this mental health, you know, to to
earn the right to be heard, to connect, encourage more
conversations around mental health with high school kids and their families.
The story is that there is a tragedy that happened
at the beginning of this film, and then Jesse and
his friends decide to go kind of have to make
a decision and go on this trip into the wilderness
to find this this like legendary landmark in the Oklahoma
wilderness actually, and so they all they all do. It
ends up being this crazy kind of adventure movie almost
goodies standby me ish, you know, kind of vibes and
really kind of discover more about themselves, about the darkness
that's within them and how to be there for each other.
Speaker 1: Fantastic? Is the the treasure a secret? Is that spoiler?
Speaker 3: Yes?
Speaker 1: Okay, I want to ask I want to ask. Okay, well, fantastic,
fantastic storyline. So you've you're in the midst of production,
any roadblocks along the way that are worth mentioning?
Speaker 2: Nothing can't go wrong? Yeah, I mean it's all This
whole thing is really hard. I mean I think every
every crew member would probably say different things, like our
unit production manager and our first ad would say the traveling,
like a Gatlin said, a lot of productions, you try
to camp somewhere, you know, for three or four days,
or a whole week or or longer. This almost every
day we were changing locations. Maybe we were somewhere a
couple of days, you think, Gatlin, I mean that was
maybe the most. If we were at like Spencer area
for two or three days and then we were already
going somewhere else.
Speaker 3: Yeah, yeah, exactly, like we started at Spencer and then
ended at Spencer. But all that the second act was chaotic.
Speaker 2: Yeah, so so then that was that was the tricky
part as an adventure film, just going all over the
place and still trying to make our.
Speaker 1: Days okay, And I mean again, how many days it was.
Speaker 2: I think it was eighteen day shoot. Does that sound right?
Speaker 3: That sounds right?
Speaker 2: Eighteen physical shooting days.
Speaker 1: Okay, so you've got your eighteen days in the bag,
you're wrapping up. Let me ask this real quick, because
I should have touched on it earlier. Who do you
have doing cinematographery for you?
Speaker 3: Yeah?
Speaker 2: Yeah, Our cinematographer is Andrew Smith, and he's amazing. So
he's been a cinematographer director of photography for eleven years.
So all of these commercial projects we're talking about, all
these series projects, he's our guy, and he's amazing.
Speaker 1: From what I've seen of the movie, it's very beautiful.
Like I can't I can't attest to what the story
is any anymore, but I can tell you that what
I saw very beautifully shot.
Speaker 2: Yeah, he's really good and a lot of that together.
People who don't know is, of course you're your cinematographer,
your director photography, your gaffer, who's the main person in
charge of lighting in the film. And then our color
is so our colors is as Alex Smith, and he
was the main colorists for oh my gosh, mister Explosions,
Oh my gosh, Transformers, Michael Big Wow, some guy Yeah,
for like for like ten years, oh wow. Okay, And
so he was our colors for this film. Oh well
that is a it's a big part too, right, that
is fantastic. So set designer set designer is Becca Bell,
and so she was actually our production designer, all charge
of all set and our everything very good.
Speaker 1: But a lot of it takes place outside.
Speaker 2: Yes, I would say, what do you guys think eighty percent?
Speaker 3: Yeah?
Speaker 2: Sure maybe if maybe a fresh seventy five.
Speaker 1: I was gonna say some Sometimes that makes it easier
and sometimes it makes it harder because you've got random
stuff outside that you've got to get rid of somehow.
Speaker 2: Oh yeah you do in WE eighty six, these trees
over here and it's like, what will Yeah.
Speaker 1: It's funny.
Speaker 3: Kyle obviously loves his colors so much, as you can
tell based on his wardrobe today.
Speaker 5: Doubt I was gonna say, it's funny how much nature
you get in shots that you don't want in there
to replace with other nature later on. I feel like,
at least on like the audio side, because it can
be so unpredictable, a little change, but you want it
to feel consistent.
Speaker 3: That kind of stuff.
Speaker 2: So outdoor stuff is always tricky.
Speaker 6: Yeah, is there somethings or oh you are I mean,
it could be anything, could be an airplane, a train,
you know, like wind, Yeah, all kinds of stuff, animals,
you know, bugs, birds.
Speaker 1: So Adam, you're talking now about the post sound design. Yeah,
I took a bit of a left train there, right. No,
that's okay, that's okay, because we were saying, it's a
very good segue into it, and it's why you're here today.
So we've we've got you know, all stages of the process.
So Adam, real quick, tele about your history, how you
got to meet Kyle and then how you got involved
with the post toound on us.
Speaker 3: Yeah.
Speaker 1: Well, I got into audio through music.
Speaker 5: I was first musician, came up as a drummer, got
involved in the studio side of things, and that really
piqued my interest a lot. So I realized after a
while I had a lot more skill and ability and
audio than I did as a drummer.
Speaker 2: So your email was Adam plays drums or something?
Speaker 3: No, it was is that? What it was?
Speaker 4: No?
Speaker 3: Even more ridiculous than that.
Speaker 5: Adam really likes drums, not good at it, he likes that.
And that's like hotmail from like two thousand and two.
I still use that email, but I think it was
my wife, because you knew my wife Brianna O days right, Christian,
and so.
Speaker 2: I guess it was probably just through her that you
and I can so yeah, I mean I think you
guys were maybe dating, and then she was like we
were working on a short or something and needed to
clean up some stuff. Yeah, well my boyfriend would be
great at that.
Speaker 5: Yeah, Okay, when I met her, she was working on
a documentary for her albums and so and I did
the audio on that, So maybe that was the connection.
Speaker 1: Yeah. Yeah, So obviously this is shot outside. As you mentioned,
there's all kinds of stuff that can be going outside,
going on outside. But I think Gatlin said before we
started rolling, there wasn't a whole lot of adr on this.
It was that's right, that's impressive. How'd you do it?
Speaker 5: The excellent source certainly goes an incredibly long way.
Speaker 2: So yeah, so Jam it was our mixer on set,
so we have would have a boom op. Griff typically
was our boom op, and Jamm was mixing up to
fix microphones at a time a live on set.
Speaker 5: Yeah, it's nice to have something where the starting point
is already fantastic, and that was the case. A lot
of trial and error sometimes, but it's very much a
hand you know, by hand process to yeah, kind of
knock out that stuff and then bringing stuff to make
it feel less clinical a little bit more natural and
smooth and all that. But asotope rix is a huge,
huge part of being able to get like really clean,
great audio.
Speaker 1: Oh very good. So once you when you started the project,
did you already have a distributor set up?
Speaker 2: We did not, so, yeah, Honestly there's a lot of
this process and fundraising and financing the film because people
didn't know what they like. They didn't know what it
was like. Is this a faith based film, is this
an adventure film? Is mental health films? Like too many
things together? They didn't understand it, and so we we
actually discuss said no from a past you know, from
about every major studio and so we're like, we just
seen to.
Speaker 1: Make this thing, Okay, so we did so, looking at
September or October, Yeah, what's the what's the release going
to look like?
Speaker 2: So right now at this moment, we're still talking to
several different distributors. Even when you release this, I mean
my might know at this moment, it's still it's not
sold yet, but we're trying to discern through you guys
don't even know about this, but we're trying to discern
through several options.
Speaker 1: Okay, Yeah, well that's exciting. Yeah, I'm excited to find
out where it goes. Okay, So you've meant you've mentioned
mental health a few times, and we talked before we
started recording about this program called nine to eight eight.
Can you talk about that a little bit.
Speaker 2: Yeah, So nine eight eight started last sum nine is
a big sponsor for this film, and they are America's
mental health lifeline. So replace a one eight hundred number
that no one's ever going to remember, you know, in
an actual time of crisis, and it's so cool. You
can pick it up from any phone. Just dial nine
eight eight like you would dial nine to one one
and if someone is on the other line, like ready
to listen to you to what's going on and provide help,
ride hope.
Speaker 1: And so this is basically like the one eight hundred
suicide prevention hotline, right, yeah, except it's nice and easy.
Three numbers and you're there. Yep, beautiful Gallan, you had
mentioned that you had some you had some connection to
this cause. Tell us about that.
Speaker 3: Yeah, I think, you know, one of the larger themes
in this film is mental health awareness, and me and
some of the other castmates, I'll speak on my behalf
on this, but we're young people living in a really
weird time right now, and I think we're all being
affected and maybe acknowledging mental health in ways that haven't
been in past generations. I've dealt with some pretty severe
bouts of depression and anxiety myself in the past, and
I still do today, and that's kind of one of
the guiding lights. Was one of the guiding lights for
me into this project was seeing people dealing with these
issues in a new way and it being very upfront
and one of the things that has talked about a
lot in the film. I haven't seen it a whole
lot or not an organic story wise way. So to
get to be to get to bring my life experience
into a project like this and share it in a
way that's very vulnerable and is important to the story
we're trying to tell was quite the gift. And I
hope that what this project does is exposes some of
the issues that we may be facing as a country,
as a world, as a people that are young and
I hope that it engages people in conversations about it,
you know, stuff that wouldn't otherwise be at the dinner table.
I hope that after seeing this, families might be able
to say come to their kids, or the kids might
be able to come to the parents and just be like, hey,
that character or that movie that we watched. I have
felt like that a lot, and I didn't know how
to talk about it. But seeing it and us experiencing
that together, I hope that it gives more people hope
to have those conversations.
Speaker 1: That's fantastic man, thank you, and to kind of piggyback
on that.
Speaker 2: I hope parents are watching and listening too. Right, So
a lot of times, I think I think today, even
even as much as much of these conversation we're trying
to have, parents might say quickly, you know, yeah, I
dealt with stuff in the past. It's way different today.
You know, youth today have not known a world outside
of social media. It's been their whole life, and so
it's just every single thing this This is maybe a
weird example, but if we didn't get invited to a
party when we were in high school, it's like, oh,
those jerks whatever you might find out the next day,
you might find out later most likely the kid's going
to be in their room alone seeing this picture perfect
picture or a live feed of some of their best
friends at you know, a party or at an event
or whatever, and so just that one little note of
rejection hits way differently today throughout their whole high school experience.
Speaker 1: I think it's important to note for people that are
my age who have kids, it's an entirely different perspective
on mental health as well. Like I grew up and
any kind of mental health problems was stigmatic. I mean,
it was just like you just didn't want to admit
to that kind of stuff. And so what I'm really
glad that things like you were doing are opening those
doors because my own kids feel much more free in saying, hey,
I'm dealing these issues, can you help me out? And
I think that's what you're saying. You're after to get
parents talking with kids about absolutely.
Speaker 2: And it's hard, right, So, like you break a bone
in your knee and it's bone sticking out, like you're
going to the er immediately, is you could all see that,
you can experience it, but when it's internal, it's much
more complicated to understand. So what Gatlan's saying too, like
if it teenager is coming to their parents and saying
I'm feeling these ways for parents out there, just listen,
listen to them.
Speaker 1: Okay. So there's always something unexpected or crazy that happens
on a set that when you're with your friends later
on talking about you're like, oh, let me tell you
about this. You guys got one of those stories or what?
Speaker 3: For me, it was all of the casts lived together,
and I had never had that experience for the entirety
of a production before, all six of you. So all
all four boys and then the girls weren't far away.
So at night we all hang out at the house
and kind of decompressed together, and we grew so tight
so quick because you're spending you know, fourteen hour days
with these people and then you go back home and
you spend the next what eight hours together. So I
had never had a production before where I was so
close with the cast, like it was we were brothers
by the like we had a telepathy of sorts. I
think by the end of the shoot that we just
I had never been that well connected with my fellow before.
Speaker 2: I'm sure That's so cool for me to hear, because
so we had done this the summer before on Nerve
because that was literally the show as they lived in
the house together and Laurent was on that, and so
really honestly, we were looking at budget and looking at
some other things. So we got them like almost a
mansion in Oklahoma practically, which was really fun, but it
was just one place, right, So we're like, either this
is gonna work or we're must all these personalities together
and it's going to be crazy. But I'm so glad
because I could tell when they were on set they
all genuinely loved one another. And so that was really
cool for me to hear you say that, because I
didn't know, you know, all the inside of that.
Speaker 3: But yeah, especially a project where you have to be
so intimate and vulnerable and you have no time. You
have eighteen days, like I remember, some of the most
dramatic scenes are were up at the beginning. And to
be able to connect with people in that way so
quickly and that strongly, I think just gave us an
advantage of being able to hit the ground rolling far
as you know, this is a very this is a
very deep dramatic movie, and I think being able to
be with those people in that way that early really
helped us get what we needed to get quick.
Speaker 1: It's fantastic.
Speaker 2: Any other stories, I can't think of any at the moment.
Speaker 1: I mean there is nobody. Nobody fell down.
Speaker 2: Yeah, I mean we have. I have a couple of stories,
but legally I can't share them.
Speaker 1: Oh yeah, okay, well that that is my key to
end the show, turn off the mics and find out
what these stories are. So, guys, thank you so much
for joining us for this special episode of the Sure
that you Can't Be Serious Pod. Be sure and hit
the follow button, hit the subscribe button on your podcast
app so that you can check out all of our
future episodes as well. It's so great to get together
with you guys. Thank you guys so much for coming
and joining me today. I really appreciate it absolutely. Thank
you guys. Go check out on IMDb what i'ms with Reason.
Go over to the Reckless Abandonment website and check out
the other cool stuff that Kyle has done. You can
Gatlin you told me you've got a project coming up
with Zack Snyder that's going to be on Netflix.
Speaker 6: Is that right.
Speaker 3: I just I just helped supply the horses. But you
can go check out a little bit.
Speaker 2: Can you talk about the j movie you just did.
Speaker 3: I will just say that I'm in the new Joker movie.
I'm not I think after me if I said anything more.
But I got to do like an acting hybrid role.
If you blink, you'll miss it. But it was a
lot of fun.
Speaker 1: Yeah, this is the this is the do the part
two the Lady Gaga? Is that right?
Speaker 3: Yeah? Yeah, that's correct, the one they filmed in LA
and the New York.
Speaker 1: Oh fantastic. Love it all right, guys, thanks so much.
We will see you guys next week.