1 00:00:02,799 --> 00:00:05,879 Speaker 1: Hey, Shirley fans. Last week I had the opportunity to 2 00:00:05,919 --> 00:00:09,000 get together with the guys behind a new movie called 3 00:00:09,160 --> 00:00:12,279 What Rhymes With Reason. It's a coming of age movie 4 00:00:12,759 --> 00:00:16,719 where a tragedy brings high school friends together again and 5 00:00:16,760 --> 00:00:20,079 they embark on a quest to find a hidden landmark. 6 00:00:20,359 --> 00:00:23,480 An exciting adventure movie, but one that also addresses the 7 00:00:23,480 --> 00:00:27,679 serious issue of mental health. Please join me in welcoming 8 00:00:27,679 --> 00:00:33,920 our guest today of the new movie What Rhymes would Reason. Hello, everybody, 9 00:00:33,920 --> 00:00:36,960 and welcome back to the Shirley You Can't Be Serious Podcast. 10 00:00:37,119 --> 00:00:40,600 We are here today on a very special episode. Guys. 11 00:00:40,600 --> 00:00:43,399 We normally bring you movies of our past that I 12 00:00:43,399 --> 00:00:45,439 am about to bring you a movie of the future. 13 00:00:46,159 --> 00:00:48,920 We are here today. I am here today. Jason couldn't 14 00:00:49,000 --> 00:00:52,079 join us. He's having a fun time with his wife 15 00:00:52,159 --> 00:00:55,759 over the weekend, which he readily deserves for his birthday month, 16 00:00:55,960 --> 00:00:59,439 and so it is just me for the Shirley guys. 17 00:00:59,479 --> 00:01:03,920 But I am joined today by Kyle Roberts, Adam Chamberlain, 18 00:01:04,480 --> 00:01:09,359 and Gatlin Griffith, all of the new movie What Rhymes 19 00:01:09,359 --> 00:01:12,120 With Reason. We're going to be talking about that movie today. 20 00:01:12,879 --> 00:01:15,840 The day this episode drops will be the world premiere 21 00:01:15,879 --> 00:01:19,239 of the movie. So guys go to IMDb right now, 22 00:01:19,680 --> 00:01:23,439 look up the movie push ten stars on IMDb, so 23 00:01:23,519 --> 00:01:26,400 that it jumps up in the rankings and everybody is 24 00:01:26,560 --> 00:01:29,640 aware of this movie. And then once it comes out, 25 00:01:29,680 --> 00:01:31,519 it's probably going to be like September, Is that right 26 00:01:31,560 --> 00:01:32,280 that we're looking at. 27 00:01:32,200 --> 00:01:34,439 Speaker 2: Looking yes, just it will depend on the distributor. 28 00:01:34,519 --> 00:01:38,159 Speaker 1: But yeah, okay, so we're looking at full national distribution 29 00:01:38,680 --> 00:01:43,359 on sometime in September October. Yes, fantastic, love it. Okay. 30 00:01:43,519 --> 00:01:46,640 So we typically start with a history. I'm going to 31 00:01:46,680 --> 00:01:50,760 start with our actor. This time, we've got Gatlin Griffith. 32 00:01:51,120 --> 00:01:53,560 Who I mean, You've been acting since you were a kid, 33 00:01:53,599 --> 00:01:56,079 is that right? Yeah? 34 00:01:56,200 --> 00:01:59,359 Speaker 3: Yeah, I started acting probably around six or seven. I 35 00:01:59,480 --> 00:02:03,000 started as a stunt kid. My dad has a stunt coordinator, 36 00:02:03,480 --> 00:02:06,239 and so the stunt community is super tight knit, and 37 00:02:06,280 --> 00:02:08,439 it's the type of thing where if one coordinator knows 38 00:02:08,479 --> 00:02:11,000 another coordinator has a kid, he'll just reach out and 39 00:02:11,000 --> 00:02:12,879 me like, hey, can your kid get hit in the 40 00:02:12,919 --> 00:02:17,680 head with football and fall into a Those were some 41 00:02:17,719 --> 00:02:18,759 of my first introductions. 42 00:02:18,759 --> 00:02:23,240 Speaker 1: As said, that's fantastic. So Gallon's dad was a big 43 00:02:23,280 --> 00:02:27,360 stunt coordinator in Hollywood worked on the mask of Zoro. 44 00:02:27,759 --> 00:02:31,919 Was Antonio Benderis's stunt double on that. Tell me what 45 00:02:31,960 --> 00:02:34,080 that was like as a kid, Gallen. 46 00:02:35,400 --> 00:02:37,120 Speaker 3: It's it was kind of normal for me. It's my 47 00:02:37,680 --> 00:02:40,280 dad has a background and our family has a background 48 00:02:40,400 --> 00:02:43,360 in horses. I'm me and my brothers are fourth generation 49 00:02:43,439 --> 00:02:47,639 trick riders, which is like gymnastics on horses. So he 50 00:02:47,800 --> 00:02:49,680 used that to get in the business, and then we've 51 00:02:49,759 --> 00:02:53,080 kind of kept that up, that legacy, and it was 52 00:02:53,439 --> 00:02:55,159 it was kind of normal. You know, actors were always 53 00:02:55,159 --> 00:02:57,199 coming out to train or my dad was always in 54 00:02:57,919 --> 00:03:00,680 Morocco for months on end working, so it was kind 55 00:03:00,680 --> 00:03:02,960 of he was here and then he was gone into 56 00:03:02,960 --> 00:03:05,520 the film business. It's like you go on location for 57 00:03:05,680 --> 00:03:07,439 and then we get to visit him, like we got 58 00:03:07,439 --> 00:03:09,759 me and my family got to go up to Montreal 59 00:03:09,960 --> 00:03:11,599 or other parts of Canon when he was filming. So 60 00:03:11,639 --> 00:03:14,360 it was a really interesting child to getting to travel 61 00:03:14,400 --> 00:03:14,840 in that way. 62 00:03:15,159 --> 00:03:18,000 Speaker 1: That's fantastic. Now you you've been in movies that you 63 00:03:18,039 --> 00:03:20,319 didn't get hit in the head end, Is that right? 64 00:03:21,479 --> 00:03:21,680 Speaker 3: Yeah? 65 00:03:21,719 --> 00:03:24,719 Speaker 2: I always joke that Gatlin is like the male version 66 00:03:24,759 --> 00:03:27,560 of Dakota Fanning or something. But doing all these really 67 00:03:27,639 --> 00:03:30,080 dramatic roles and doing very good at them at a 68 00:03:30,439 --> 00:03:32,800 young age, I liked Labor Day and Changeling. 69 00:03:33,960 --> 00:03:37,479 Speaker 1: Yeah, so you were in Labor Day Kate Winslet, Right, 70 00:03:37,680 --> 00:03:40,439 is then that with you? Jay Playson will be super 71 00:03:40,439 --> 00:03:43,680 disappointed because Titanic is like his favorite movie of all time. 72 00:03:43,800 --> 00:03:46,439 So will he will be banging his head that he 73 00:03:46,479 --> 00:03:49,360 missed out on asking you all kinds of Kate Winslet stories. 74 00:03:49,719 --> 00:03:52,520 But so, how did you transition from being the stunt 75 00:03:52,599 --> 00:03:55,039 kid to being the dramatic kid actor. 76 00:03:56,439 --> 00:04:00,680 Speaker 3: Well, I went in for a stunt audition and they 77 00:04:00,680 --> 00:04:02,879 were like, you're too small. I was a very small child. 78 00:04:03,319 --> 00:04:05,560 I was like in the ninety percentile for a head 79 00:04:06,080 --> 00:04:10,599 size and percentile for a height, so I just had 80 00:04:10,639 --> 00:04:13,560 a massive head. But they were like, you know, head three, 81 00:04:13,719 --> 00:04:16,000 good on screens and near acute, little kid, So here's 82 00:04:16,040 --> 00:04:19,639 a an agent's number. And so I was probably six 83 00:04:19,720 --> 00:04:21,680 or seven when that happened. So I just started going 84 00:04:21,680 --> 00:04:24,199 on on auditions. And when I say I started going 85 00:04:24,199 --> 00:04:26,079 on auditions, my mom started driving me the two and 86 00:04:26,120 --> 00:04:28,000 a half hours it takes to get to auditions in 87 00:04:28,079 --> 00:04:31,360 la and I did that for a while before I 88 00:04:31,360 --> 00:04:34,079 booked anything. And then once it kind of took off, 89 00:04:34,600 --> 00:04:36,720 it just kind of kept rolling and I got super 90 00:04:36,759 --> 00:04:38,839 fortunate to get to work a lot as a kid 91 00:04:38,839 --> 00:04:39,439 and travel. 92 00:04:40,439 --> 00:04:44,759 Speaker 1: That's fantastic. So obviously we've mentioned Kate Winslett. I saw 93 00:04:44,839 --> 00:04:47,079 that you've been in the movie with in a movie 94 00:04:47,079 --> 00:04:50,120 in the last couple of years with I'm Scarret of 95 00:04:50,240 --> 00:04:54,600 Top Gun Fame and Steel Magnolias, who were Who's your 96 00:04:54,680 --> 00:04:57,439 one of your actors that you've worked with that has 97 00:04:57,439 --> 00:04:59,920 been an big influence on you. 98 00:05:00,639 --> 00:05:02,480 Speaker 3: I'll probably bring it back to Labor Day because I 99 00:05:02,920 --> 00:05:05,639 got to spend that was like two months in Massachusetts 100 00:05:05,720 --> 00:05:08,319 in the summer, so my whole family got to come 101 00:05:08,319 --> 00:05:11,560 out with me, and it was a really intimate setting 102 00:05:11,600 --> 00:05:16,439 with Kate Winslet and Josh Brolin, and that was That's 103 00:05:16,199 --> 00:05:19,720 just the film that really was. They were teaching me 104 00:05:19,800 --> 00:05:22,399 stuff all online and they kind of were my pseudo 105 00:05:22,439 --> 00:05:24,959 mom and dad on that set, and I think I 106 00:05:25,000 --> 00:05:27,560 grew the most in that and that's that set has 107 00:05:27,639 --> 00:05:29,319 some of my best memories of the childhood. 108 00:05:30,240 --> 00:05:35,199 Speaker 1: Fantastic, fantastic. So you have continued to act in movies. 109 00:05:35,439 --> 00:05:39,319 How old are you now twenty four twenty four? Have 110 00:05:39,439 --> 00:05:42,240 you did you go to school in la as well? 111 00:05:43,079 --> 00:05:45,959 Speaker 3: I did. Yeah. My parents were super adamant about me 112 00:05:46,079 --> 00:05:49,319 finishing out college. My dad dropped out when he was 113 00:05:49,759 --> 00:05:51,759 just after eighth grade because he had to start working, 114 00:05:52,360 --> 00:05:54,680 and then my mom moved out when she was eighteen 115 00:05:54,720 --> 00:05:57,680 and had three jobs and tried some college but just 116 00:05:57,759 --> 00:05:59,439 couldn't make it work with all the stuff she had 117 00:05:59,519 --> 00:06:02,720 going on. So I went to UCLA and I just 118 00:06:02,759 --> 00:06:04,560 wrapped that up about a year ago. 119 00:06:05,160 --> 00:06:07,199 Speaker 1: Okay, fantastic. What's your What was your major? 120 00:06:08,120 --> 00:06:10,319 Speaker 3: I majored in English and minored in film. 121 00:06:10,879 --> 00:06:13,560 Speaker 1: Awesome. Are you doing any writing right now? 122 00:06:14,639 --> 00:06:17,879 Speaker 3: I am. Yeah, I've been working on my own stuff here. 123 00:06:18,600 --> 00:06:21,399 I really like writing, and I really got to see 124 00:06:21,519 --> 00:06:25,319 up close what rhymes of reason. The script developments I 125 00:06:25,360 --> 00:06:27,319 met up with Sean. Sean was I think I met 126 00:06:27,319 --> 00:06:30,240 Sean in person before I met Kyle in person, and 127 00:06:30,959 --> 00:06:35,399 really just loved their process of having an idea and persevering. 128 00:06:35,560 --> 00:06:38,439 And the script came through so many different changes, like 129 00:06:38,519 --> 00:06:42,920 it really had a full lifespan of different lifetimes until 130 00:06:42,920 --> 00:06:44,920 it became what we actually shot. So I just love 131 00:06:44,959 --> 00:06:45,839 that process a lot. 132 00:06:46,399 --> 00:06:52,000 Speaker 1: Fantastic. Well that introduces Kyle here, Kyle you. You're an 133 00:06:52,000 --> 00:06:53,040 Oklahoma guy like me. 134 00:06:53,279 --> 00:06:54,519 Speaker 3: Yep, you. 135 00:06:56,839 --> 00:07:00,759 Speaker 1: Went to school out here. You got into thejournalism side 136 00:07:00,800 --> 00:07:05,600 of things, and have managed to spin that into not 137 00:07:05,639 --> 00:07:09,079 only stop animation, which kind of made famous, if you will, 138 00:07:09,560 --> 00:07:13,000 but you have this is your second full length motion picture, 139 00:07:13,040 --> 00:07:13,480 is that right? 140 00:07:13,680 --> 00:07:13,959 Speaker 2: Yeah? 141 00:07:13,959 --> 00:07:16,319 Speaker 1: So tell tell me about that process, tell me where 142 00:07:16,360 --> 00:07:19,399 you went to school, how it developed into those stages. 143 00:07:19,519 --> 00:07:21,800 Speaker 2: Yeah. So I'll try to keep this as stories I can. 144 00:07:22,160 --> 00:07:24,879 I was born on a cold night in. 145 00:07:24,920 --> 00:07:29,360 Speaker 3: March, settle In. Yeah. 146 00:07:29,399 --> 00:07:32,319 Speaker 2: I went to Oklahoma Christian I loved it. I loved 147 00:07:32,360 --> 00:07:34,720 my time there and all the friends I you know, 148 00:07:34,800 --> 00:07:38,160 created during that time and fellowship through all that. And 149 00:07:38,199 --> 00:07:41,759 then right out of that, I was a videographer editor 150 00:07:41,839 --> 00:07:44,120 for the Oklahoma which is our states you know, newspaper 151 00:07:44,560 --> 00:07:47,920 at Newsokay dot com for several years. Just during that time, 152 00:07:48,000 --> 00:07:50,600 I started playing with stop most animation in an inta 153 00:07:50,639 --> 00:07:54,319 turtle stop motion, actually recreating the nineteen eighties cartoon Intro 154 00:07:54,560 --> 00:07:58,000 Brain by frame with action figures, Okay, because we wanted 155 00:07:58,000 --> 00:08:00,000 to and kind of learning a new craft, new art 156 00:08:00,160 --> 00:08:02,079 as a creative. I mean, we're just going to create, 157 00:08:02,319 --> 00:08:05,160 you know. So that's just kind of what we did, 158 00:08:05,240 --> 00:08:07,199 and they got millions of views and featured by La 159 00:08:07,279 --> 00:08:09,040 Times and U had SA Today and Wired magazine and 160 00:08:09,040 --> 00:08:10,639 all this stuff. And then we did that for a 161 00:08:10,639 --> 00:08:14,480 while doing kind of our own stop motion fan made. 162 00:08:14,600 --> 00:08:16,639 You know, which all of your fans I think are 163 00:08:16,639 --> 00:08:18,160 going to love if they go back and watch some 164 00:08:18,160 --> 00:08:19,720 of the stop motion we did X Men one and 165 00:08:19,720 --> 00:08:22,959 Ina Turtles and several They all kind of took off 166 00:08:22,959 --> 00:08:24,800 and blew up. And the number one question I get 167 00:08:24,800 --> 00:08:27,199 asked from press is when is when you're gonna do 168 00:08:27,199 --> 00:08:29,680 a feature? So I was like, well, I guess we've 169 00:08:29,680 --> 00:08:32,120 got to figure that out. So we made Post Human project. 170 00:08:32,200 --> 00:08:34,559 It took four years, but Matt Price wrote it. He 171 00:08:34,679 --> 00:08:37,559 was the editor at the Oklahoma at the time, the 172 00:08:37,559 --> 00:08:42,399 features editor, and so we Yeah, a lot of blood, 173 00:08:42,399 --> 00:08:44,919 sweat and tears put into making a team superhero film 174 00:08:44,960 --> 00:08:45,679 on the budget. 175 00:08:46,360 --> 00:08:49,519 Speaker 1: Yeah. So the I got to watch at least the 176 00:08:49,519 --> 00:08:51,759 first half of that today, since we kind of put 177 00:08:51,759 --> 00:08:56,440 this together short notice. Yeah, And immediately I see the 178 00:08:56,639 --> 00:09:00,840 teacher talking to her students mutually what. 179 00:09:00,759 --> 00:09:02,000 Speaker 2: Would shared destruction? 180 00:09:02,080 --> 00:09:05,879 Speaker 1: Thank you? Talking about mutually assured destruction, And we just 181 00:09:05,919 --> 00:09:08,240 got finished doing our war Games episode, So I was like, 182 00:09:08,279 --> 00:09:10,919 I know where he's going with. So, yes, it's a 183 00:09:11,679 --> 00:09:16,240 it is a coming of age style movie where your 184 00:09:16,639 --> 00:09:20,440 high school kids acquire superpowers at some point in the movie. Yeah, 185 00:09:20,919 --> 00:09:23,600 so what a great I mean, what a great concept. 186 00:09:24,200 --> 00:09:27,759 I think that's fantastic. And then so after that movie 187 00:09:28,000 --> 00:09:29,919 you start working on this project. 188 00:09:30,200 --> 00:09:33,360 Speaker 2: Well yeah, right after that film. Honestly, I was not 189 00:09:33,440 --> 00:09:35,519 ready to do another film. We released that about ten 190 00:09:35,600 --> 00:09:38,480 years ago at this point, and it was just so hard, 191 00:09:39,240 --> 00:09:42,519 completely in a feature on a tiny budget. I was like, 192 00:09:42,559 --> 00:09:45,399 I'm never doing another feature again. So we started doing 193 00:09:45,399 --> 00:09:48,600 commercial work for Disney and Hasbro and Mattel and Lego. 194 00:09:49,200 --> 00:09:51,679 Two summers ago, we produced this reality show for NERF 195 00:09:52,039 --> 00:09:54,120 called NERF House Showdown, which we filmed in Grand Lake 196 00:09:54,360 --> 00:09:55,120 near Tulsa. 197 00:09:55,240 --> 00:09:57,279 Speaker 1: Is that the one that you had the Jimmy Fallon. 198 00:09:57,120 --> 00:09:59,720 Speaker 2: Yeah, okay, yeah, yep, you know in the middle of 199 00:09:59,840 --> 00:10:01,879 us Oh and Jimmy Fallon talked about on the Sight 200 00:10:01,960 --> 00:10:03,879 Show and everyone was freaking out and texted me it 201 00:10:03,919 --> 00:10:07,440 was like, whoa, okay cool? That pastime so super fun. 202 00:10:07,519 --> 00:10:09,840 I mean that show is kind of like a big brother, 203 00:10:10,600 --> 00:10:14,039 like dude perfect or something right, and just it's just 204 00:10:14,080 --> 00:10:15,919 so fun. But we just kind of doing all this 205 00:10:15,960 --> 00:10:18,720 commercial work for all these brands, and then we're kind 206 00:10:18,720 --> 00:10:21,240 of taking what we've learned from all that how to 207 00:10:21,279 --> 00:10:24,879 speak to how to speak to families, but then poured 208 00:10:24,879 --> 00:10:26,960 it into what Rhymes of Reason. And it's kind of 209 00:10:26,960 --> 00:10:28,879 been on my heart for several years, about eight years 210 00:10:28,919 --> 00:10:30,840 when we started this script is gatlets that it's been 211 00:10:30,840 --> 00:10:33,440 in a long process because it's a fine line. You know, 212 00:10:33,519 --> 00:10:37,200 when you're talking, you're communicating with youth and families of 213 00:10:37,840 --> 00:10:39,320 you know, you're trying to earn the right to be 214 00:10:39,360 --> 00:10:43,120 heard from high school kids or even younger and it's 215 00:10:43,120 --> 00:10:45,759 a fine line of trying to make something one that 216 00:10:45,799 --> 00:10:49,759 they can connect with. But two is family friendly, which 217 00:10:49,799 --> 00:10:52,519 is really important to us and the day and age 218 00:10:52,559 --> 00:10:57,159 we live in today, suicide is the second leading cause 219 00:10:57,200 --> 00:11:01,360 of death from ten to sixteen year olds ten year olds, 220 00:11:01,399 --> 00:11:03,639 and that's that's new, I mean the last couple of years. 221 00:11:04,720 --> 00:11:07,039 And I have a ten year old daughter, and so 222 00:11:07,279 --> 00:11:10,080 it was so important for us, even the whole this 223 00:11:10,120 --> 00:11:11,759 whole process is she was two when we kind of 224 00:11:11,759 --> 00:11:14,440 started this. But knowing that this you know, this time 225 00:11:14,559 --> 00:11:17,159 is coming that we need this more than ever in 226 00:11:17,240 --> 00:11:18,320 our deciding. 227 00:11:19,200 --> 00:11:23,519 Speaker 1: So tell me about that that development phase of the script. 228 00:11:24,240 --> 00:11:26,639 You come up with this idea, where's the what's your 229 00:11:26,639 --> 00:11:27,960 inspiration for the idea? 230 00:11:28,080 --> 00:11:32,720 Speaker 2: The original inspiration actually was kind of loosely based on 231 00:11:32,799 --> 00:11:37,159 the Book of Job so as a godly sufferer, and 232 00:11:37,320 --> 00:11:39,200 you know, I think a lot it's this age old 233 00:11:39,240 --> 00:11:41,879 question of like why do bad things happen to good people? 234 00:11:42,679 --> 00:11:45,120 And I think a lot of people we'd like to 235 00:11:45,120 --> 00:11:47,600 put things in boxes and either compare ourselves to other 236 00:11:47,600 --> 00:11:49,639 people or judge other people or all these things, and 237 00:11:49,679 --> 00:11:53,080 it's like, no, that's not the way God works, you know. 238 00:11:53,200 --> 00:11:55,200 So anyway, that was just probably the at least the 239 00:11:55,240 --> 00:11:59,080 initial We've recklessly abandoned that to it. 240 00:12:00,080 --> 00:12:03,120 Speaker 1: Yeah, that his company is called Reckless the Band, and 241 00:12:03,279 --> 00:12:05,519 I just for the people to get that, by the way, 242 00:12:05,559 --> 00:12:07,559 go check out the website. Give me the website. 243 00:12:07,639 --> 00:12:09,720 Speaker 2: Yeah, r adask Pictures dot com. 244 00:12:09,799 --> 00:12:14,720 Speaker 1: Yeah, so that's Reckless Abandonment Pictures. So you are inspired 245 00:12:14,720 --> 00:12:17,960 by the suffering of Job but this is modern kids. 246 00:12:18,279 --> 00:12:18,759 Speaker 2: Yeah. 247 00:12:19,279 --> 00:12:23,000 Speaker 1: And so once that you have, once you have that 248 00:12:23,120 --> 00:12:27,039 story idea, who do you start talking to producer wise 249 00:12:27,200 --> 00:12:30,639 to say, hey, here's my here's my concept. Yeah, can 250 00:12:30,679 --> 00:12:31,320 you help me out. 251 00:12:31,559 --> 00:12:33,840 Speaker 2: So really for a long time and I really cherished 252 00:12:33,840 --> 00:12:38,000 this time too, gat listening really kind of crafting this story, 253 00:12:38,039 --> 00:12:41,519 crafting this outline, then crafting the script. We went through 254 00:12:41,600 --> 00:12:45,279 probably thirty different versions of the script and really, you know, 255 00:12:45,960 --> 00:12:49,279 again the whole the whole mission, and like from day one, 256 00:12:49,399 --> 00:12:51,000 it's how do we earn the right to be heard from? 257 00:12:51,679 --> 00:12:54,360 And so that's what that's you guys have probably heard 258 00:12:54,399 --> 00:12:57,279 me say that a lot, and it's like, if we're 259 00:12:57,320 --> 00:13:00,159 not doing that, then we're not doing it right. And 260 00:13:00,200 --> 00:13:02,879 so throughout everything, that's how I answered question one to 261 00:13:02,879 --> 00:13:06,320 five million to produce this film. And so Sean Theeson 262 00:13:06,360 --> 00:13:08,120 is our writer and he's actually my nephew and he 263 00:13:08,159 --> 00:13:10,799 lives in la and has written for a lot of 264 00:13:10,840 --> 00:13:14,600 our like Lego Vultron commercial spots and national spots we've done, 265 00:13:14,639 --> 00:13:17,080 but also a series a series we did for Trolls 266 00:13:17,320 --> 00:13:20,200 for dream Works, and then it kind of naturally, you know, 267 00:13:20,279 --> 00:13:22,480 lended itself to writing for this future. 268 00:13:23,039 --> 00:13:28,759 Speaker 1: It's great. And so you've once you have discussed this 269 00:13:28,879 --> 00:13:31,519 idea with producers, do you have like you have guys 270 00:13:31,559 --> 00:13:35,159 that were along the whole ride with you for this 271 00:13:35,200 --> 00:13:36,799 process that you shout out. 272 00:13:36,679 --> 00:13:39,039 Speaker 2: To really Yeah. Yeah, we definitely had four producers on 273 00:13:39,039 --> 00:13:42,360 the project and they're amazing, But for the biggest bulk 274 00:13:42,399 --> 00:13:43,960 of it, it was Shawn on me for a long time. 275 00:13:44,000 --> 00:13:46,759 And again I really like cherished that time because Nutell, 276 00:13:47,120 --> 00:13:49,279 a lot of other people have hands and everything else, 277 00:13:49,279 --> 00:13:51,519 it was us just making this and I think as 278 00:13:51,600 --> 00:13:55,360 creatives that's a really special time, even no Matt, no 279 00:13:55,399 --> 00:13:57,320 matter how big a project is, so hey say, even 280 00:13:57,360 --> 00:13:59,320 like James Gunn with Guardings of the Galaxy, I think 281 00:13:59,320 --> 00:14:02,080 he would say cherishing that time or just him or 282 00:14:02,120 --> 00:14:04,159 maybe a couple other people where he's working on the 283 00:14:04,200 --> 00:14:07,919 script is really precious. But yeah, Jacob's novel is one 284 00:14:07,919 --> 00:14:10,960 of our local producers and he's produced like eighty movies 285 00:14:11,080 --> 00:14:14,559 or something now at this point. Local Kim Dawson, who 286 00:14:14,639 --> 00:14:16,720 I'm a big Turtles fan as you know, I was 287 00:14:16,720 --> 00:14:19,039 the proucer of the original three Turtles films in the nineties. 288 00:14:19,320 --> 00:14:22,519 That's fantastic, all kinds of Disney stuff, MTV stuff. A 289 00:14:22,600 --> 00:14:26,639 lot of my childhood was produced by Kim Dawson and 290 00:14:26,679 --> 00:14:30,279 then Nathan Gardaki, who's kind of legendary in this area 291 00:14:30,559 --> 00:14:34,399 as a UPM uniproduction manager and producer fantastic. 292 00:14:34,960 --> 00:14:39,320 Speaker 1: So when did you When did you start filming? Like 293 00:14:39,440 --> 00:14:43,759 you've talked about the beautiful part, Yeah, when does the 294 00:14:43,799 --> 00:14:44,679 crazy part start? 295 00:14:44,919 --> 00:14:45,279 Speaker 3: Yeah? 296 00:14:45,559 --> 00:14:51,279 Speaker 2: So we started in film, especially feature film, like it's 297 00:14:51,320 --> 00:14:53,960 really all about the prep like getting everything prepped and 298 00:14:54,000 --> 00:14:58,919 ready to roll. We started that June really prepping for 299 00:14:58,960 --> 00:15:03,200 this movie. And when then we shot in September, September 300 00:15:03,200 --> 00:15:07,559 and October of last year and so and it was 301 00:15:07,600 --> 00:15:11,080 a pretty quick shoot as roughly a month of filming. 302 00:15:12,120 --> 00:15:13,759 But yeah, I mean, Gallan, do you want to talk 303 00:15:13,759 --> 00:15:15,919 a little bit about filming? What was it like day 304 00:15:15,960 --> 00:15:17,279 to day as our. 305 00:15:17,320 --> 00:15:22,799 Speaker 4: Leading doing an adventure travel movie on on you know, 306 00:15:23,200 --> 00:15:27,679 the scale that we were doing it on was was difficult, 307 00:15:27,919 --> 00:15:31,039 like really difficult, Like we were constantly traveling new spot 308 00:15:31,120 --> 00:15:33,240 and we had new locations and we had to get 309 00:15:33,279 --> 00:15:35,519 people from this part of the state. 310 00:15:35,320 --> 00:15:36,799 Speaker 3: To the next part of the state for just a 311 00:15:36,840 --> 00:15:40,480 couple of days. And you know, if we hadn't, if 312 00:15:40,519 --> 00:15:43,039 we if we all didn't have a belief that this 313 00:15:43,080 --> 00:15:44,600 thing was bigger than us, I think it would have 314 00:15:44,600 --> 00:15:48,240 been hard to continue on. But everybody was so committed 315 00:15:48,399 --> 00:15:51,039 and we had talked about this project. Like the anticipation 316 00:15:51,240 --> 00:15:53,919 behind getting to do it was so strong that I 317 00:15:53,919 --> 00:15:56,279 think that's what really was kind of the the wind 318 00:15:56,320 --> 00:15:58,799 underneath our wings to help us go through it. We 319 00:15:59,159 --> 00:16:00,799 did all of this and like, but was it like. 320 00:16:00,759 --> 00:16:04,080 Speaker 2: Three weeks something like that? It was just under a 321 00:16:04,120 --> 00:16:07,039 month because we only had some films do five day 322 00:16:07,360 --> 00:16:10,840 shooting schedules. Them do six and we did five just 323 00:16:10,879 --> 00:16:14,039 to try to save our crew the best we can 324 00:16:14,159 --> 00:16:16,240 is as a gat got and said, when we traveled 325 00:16:16,279 --> 00:16:19,000 all over Oklahoma to shoot this thing, so. 326 00:16:18,879 --> 00:16:22,279 Speaker 1: You got you've got a cast of characters. Let's talk 327 00:16:22,279 --> 00:16:25,399 about those real quick. Tell me about the casting process 328 00:16:25,440 --> 00:16:27,960 and how you got Gatlin. I mean we we talked 329 00:16:27,960 --> 00:16:29,480 a little bit about that, but tell me how you 330 00:16:29,519 --> 00:16:32,480 got to him? And then who follows along after that. 331 00:16:32,639 --> 00:16:35,519 Speaker 2: Yeah. Ricky Massler is our casting director and she's amazing, 332 00:16:35,600 --> 00:16:38,720 and she she basically recommended Gatlin. She's like as she 333 00:16:38,799 --> 00:16:42,399 read the script, she loved it. She's a Christian believer, 334 00:16:42,559 --> 00:16:44,559 and she was like, I know who you need to 335 00:16:44,600 --> 00:16:48,320 talk to. This kid is amazing, and you need to 336 00:16:48,320 --> 00:16:50,960 talk to Gallan Griffith. And so we're like, okay, let's 337 00:16:51,000 --> 00:16:52,639 have a I think I called to you that day 338 00:16:53,120 --> 00:16:55,360 of have like a phone call and we just started 339 00:16:55,360 --> 00:16:58,399 talking and we're like, okay, let me do a little 340 00:16:58,399 --> 00:17:00,320 bit of research. But I was like, this is it. 341 00:17:00,360 --> 00:17:02,840 I mean I saw even like in labor day and stuff, 342 00:17:02,919 --> 00:17:06,440 was like he could he gatland Canvey so conveys so 343 00:17:06,559 --> 00:17:10,240 much emotion just in his eyes, like it's incredible, And 344 00:17:10,319 --> 00:17:11,799 so I just knew he was He's gonna. 345 00:17:11,839 --> 00:17:16,240 Speaker 1: He was our Jess awesome. And so you've got Gallin, 346 00:17:16,319 --> 00:17:19,680 He's in. Yeah, he's he's even kind of reviewing scripts 347 00:17:19,680 --> 00:17:23,640 as you're going through that drafting process. Yea. Then you 348 00:17:23,720 --> 00:17:25,880 have what did you have? A cast of about six? 349 00:17:26,079 --> 00:17:29,480 Speaker 2: Yeah? Six ensemble. There's our teenagers in the film. Ricardo 350 00:17:29,680 --> 00:17:32,519 Hertato is the comedic relief in the film, and he's 351 00:17:32,559 --> 00:17:34,720 been a ton Nickelodeon stuff. He got a start of 352 00:17:34,720 --> 00:17:38,240 school rock. But then this Malibu Rescue hit show on 353 00:17:38,279 --> 00:17:41,839 Netflix is it's like a tween Baywatch kind of thing 354 00:17:42,839 --> 00:17:45,240 and glitch text and all kinds of all kinds of stuff. 355 00:17:45,799 --> 00:17:48,400 And then just sell Torres is in it and she's 356 00:17:48,480 --> 00:17:52,039 kind of singer songwriter love interest in the film, and 357 00:17:52,960 --> 00:17:54,920 she's she's a pretty big YouTube star and so it 358 00:17:54,960 --> 00:17:57,519 was a good gift for us. She auditioned for it. Gatlin, 359 00:17:57,640 --> 00:18:01,920 Ricardo and Moron did not uition. They got offers, but 360 00:18:02,079 --> 00:18:07,319 just Sell and Wan and Katie auditioned. Those are other three. 361 00:18:07,759 --> 00:18:08,599 Speaker 1: So this was the. 362 00:18:08,599 --> 00:18:11,640 Speaker 3: First offer and I thought it'd be fun because I was, Oh, 363 00:18:11,839 --> 00:18:13,960 I hate the audition process. But at the same time, 364 00:18:14,039 --> 00:18:17,079 you're like, oh my gosh, they're banking on me. 365 00:18:19,799 --> 00:18:20,680 Speaker 1: That's a lot of pressure. 366 00:18:21,599 --> 00:18:24,519 Speaker 3: Yeah, you're like, I hope I am what they are anticipating. 367 00:18:24,519 --> 00:18:29,440 But Kyle was like from the jump, supportive and collaborative 368 00:18:29,759 --> 00:18:32,039 and made it to where you felt like you're a 369 00:18:32,079 --> 00:18:33,640 part of the thing before you get there. 370 00:18:34,319 --> 00:18:38,960 Speaker 1: It's fantastic. So you mentioned traveling. Where did you guys go? 371 00:18:39,039 --> 00:18:40,640 Where are some of your location? Yeah? 372 00:18:40,759 --> 00:18:44,759 Speaker 2: Geez, we went to Turner Falls. What's the tall mountain 373 00:18:44,759 --> 00:18:49,359 mountain Scott area. It's Snake Junction or something. It's like 374 00:18:49,359 --> 00:18:50,240 in the middle of nowhere. 375 00:18:50,319 --> 00:18:51,960 Speaker 1: Okay, I'm gonna say I've been to those first two, 376 00:18:52,039 --> 00:18:53,359 but I don't know about Snake Junction. 377 00:18:53,559 --> 00:18:55,599 Speaker 2: It's a I mean see it in the film. It's 378 00:18:55,680 --> 00:18:58,640 this abandoned church building. It's amazing. We looked all over 379 00:18:58,680 --> 00:19:00,960 Oklahom for this abandoned church scene. It's a big part 380 00:19:01,000 --> 00:19:03,559 of the film. So this can we talk about the 381 00:19:03,559 --> 00:19:06,880 story real quick? I guess people, what the heck is 382 00:19:07,000 --> 00:19:10,480 this thing? It's called what Rhyme's the reason? It's a 383 00:19:10,519 --> 00:19:13,920 coming of age adventure adventure drama. If you can't have 384 00:19:13,960 --> 00:19:16,240 already kind of figured out the main kind of need 385 00:19:16,359 --> 00:19:19,319 for this film this mental health, you know, to to 386 00:19:19,400 --> 00:19:21,400 earn the right to be heard, to connect, encourage more 387 00:19:21,440 --> 00:19:24,559 conversations around mental health with high school kids and their families. 388 00:19:25,559 --> 00:19:28,759 The story is that there is a tragedy that happened 389 00:19:28,759 --> 00:19:31,480 at the beginning of this film, and then Jesse and 390 00:19:31,559 --> 00:19:33,759 his friends decide to go kind of have to make 391 00:19:33,799 --> 00:19:36,799 a decision and go on this trip into the wilderness 392 00:19:36,880 --> 00:19:40,440 to find this this like legendary landmark in the Oklahoma 393 00:19:40,519 --> 00:19:43,480 wilderness actually, and so they all they all do. It 394 00:19:43,599 --> 00:19:46,480 ends up being this crazy kind of adventure movie almost 395 00:19:46,559 --> 00:19:50,279 goodies standby me ish, you know, kind of vibes and 396 00:19:51,039 --> 00:19:54,960 really kind of discover more about themselves, about the darkness 397 00:19:55,119 --> 00:19:58,400 that's within them and how to be there for each other. 398 00:19:58,799 --> 00:20:03,519 Speaker 1: Fantastic? Is the the treasure a secret? Is that spoiler? 399 00:20:04,240 --> 00:20:04,440 Speaker 3: Yes? 400 00:20:04,640 --> 00:20:08,599 Speaker 1: Okay, I want to ask I want to ask. Okay, well, fantastic, 401 00:20:08,880 --> 00:20:14,079 fantastic storyline. So you've you're in the midst of production, 402 00:20:15,720 --> 00:20:18,240 any roadblocks along the way that are worth mentioning? 403 00:20:18,599 --> 00:20:22,079 Speaker 2: Nothing can't go wrong? Yeah, I mean it's all This 404 00:20:22,200 --> 00:20:25,720 whole thing is really hard. I mean I think every 405 00:20:25,839 --> 00:20:28,039 every crew member would probably say different things, like our 406 00:20:28,079 --> 00:20:31,279 unit production manager and our first ad would say the traveling, 407 00:20:31,359 --> 00:20:33,920 like a Gatlin said, a lot of productions, you try 408 00:20:33,960 --> 00:20:35,720 to camp somewhere, you know, for three or four days, 409 00:20:35,799 --> 00:20:38,920 or a whole week or or longer. This almost every 410 00:20:39,039 --> 00:20:41,720 day we were changing locations. Maybe we were somewhere a 411 00:20:41,759 --> 00:20:43,480 couple of days, you think, Gatlin, I mean that was 412 00:20:44,079 --> 00:20:46,720 maybe the most. If we were at like Spencer area 413 00:20:46,799 --> 00:20:48,359 for two or three days and then we were already 414 00:20:48,599 --> 00:20:49,359 going somewhere else. 415 00:20:50,279 --> 00:20:52,759 Speaker 3: Yeah, yeah, exactly, like we started at Spencer and then 416 00:20:52,960 --> 00:20:57,039 ended at Spencer. But all that the second act was chaotic. 417 00:20:57,920 --> 00:21:00,359 Speaker 2: Yeah, so so then that was that was the tricky 418 00:21:00,359 --> 00:21:02,559 part as an adventure film, just going all over the 419 00:21:02,640 --> 00:21:04,400 place and still trying to make our. 420 00:21:04,440 --> 00:21:08,200 Speaker 1: Days okay, And I mean again, how many days it was. 421 00:21:09,160 --> 00:21:11,559 Speaker 2: I think it was eighteen day shoot. Does that sound right? 422 00:21:12,200 --> 00:21:12,799 Speaker 3: That sounds right? 423 00:21:13,119 --> 00:21:14,680 Speaker 2: Eighteen physical shooting days. 424 00:21:15,000 --> 00:21:17,920 Speaker 1: Okay, so you've got your eighteen days in the bag, 425 00:21:18,440 --> 00:21:20,319 you're wrapping up. Let me ask this real quick, because 426 00:21:20,480 --> 00:21:22,079 I should have touched on it earlier. Who do you 427 00:21:22,119 --> 00:21:23,680 have doing cinematographery for you? 428 00:21:23,880 --> 00:21:24,079 Speaker 3: Yeah? 429 00:21:24,240 --> 00:21:27,880 Speaker 2: Yeah, Our cinematographer is Andrew Smith, and he's amazing. So 430 00:21:28,000 --> 00:21:32,839 he's been a cinematographer director of photography for eleven years. 431 00:21:33,279 --> 00:21:35,319 So all of these commercial projects we're talking about, all 432 00:21:35,359 --> 00:21:39,160 these series projects, he's our guy, and he's amazing. 433 00:21:39,319 --> 00:21:41,680 Speaker 1: From what I've seen of the movie, it's very beautiful. 434 00:21:41,839 --> 00:21:44,440 Like I can't I can't attest to what the story 435 00:21:44,680 --> 00:21:47,039 is any anymore, but I can tell you that what 436 00:21:47,160 --> 00:21:49,119 I saw very beautifully shot. 437 00:21:49,359 --> 00:21:51,799 Speaker 2: Yeah, he's really good and a lot of that together. 438 00:21:52,000 --> 00:21:54,359 People who don't know is, of course you're your cinematographer, 439 00:21:54,400 --> 00:21:57,400 your director photography, your gaffer, who's the main person in 440 00:21:57,519 --> 00:21:59,720 charge of lighting in the film. And then our color 441 00:21:59,759 --> 00:22:04,240 is so our colors is as Alex Smith, and he 442 00:22:05,160 --> 00:22:09,640 was the main colorists for oh my gosh, mister Explosions, 443 00:22:10,599 --> 00:22:15,559 Oh my gosh, Transformers, Michael Big Wow, some guy Yeah, 444 00:22:15,759 --> 00:22:18,359 for like for like ten years, oh wow. Okay, And 445 00:22:18,480 --> 00:22:20,759 so he was our colors for this film. Oh well 446 00:22:20,799 --> 00:22:23,799 that is a it's a big part too, right, that 447 00:22:24,000 --> 00:22:29,400 is fantastic. So set designer set designer is Becca Bell, 448 00:22:29,960 --> 00:22:33,920 and so she was actually our production designer, all charge 449 00:22:33,960 --> 00:22:37,720 of all set and our everything very good. 450 00:22:37,960 --> 00:22:39,720 Speaker 1: But a lot of it takes place outside. 451 00:22:40,119 --> 00:22:42,480 Speaker 2: Yes, I would say, what do you guys think eighty percent? 452 00:22:43,359 --> 00:22:43,559 Speaker 3: Yeah? 453 00:22:44,279 --> 00:22:46,200 Speaker 2: Sure maybe if maybe a fresh seventy five. 454 00:22:46,279 --> 00:22:48,440 Speaker 1: I was gonna say some Sometimes that makes it easier 455 00:22:48,440 --> 00:22:50,599 and sometimes it makes it harder because you've got random 456 00:22:50,640 --> 00:22:52,559 stuff outside that you've got to get rid of somehow. 457 00:22:52,640 --> 00:22:56,240 Speaker 2: Oh yeah you do in WE eighty six, these trees 458 00:22:57,119 --> 00:22:59,640 over here and it's like, what will Yeah. 459 00:23:00,000 --> 00:23:00,400 Speaker 1: It's funny. 460 00:23:02,440 --> 00:23:06,279 Speaker 3: Kyle obviously loves his colors so much, as you can 461 00:23:06,319 --> 00:23:07,839 tell based on his wardrobe today. 462 00:23:08,640 --> 00:23:12,880 Speaker 5: Doubt I was gonna say, it's funny how much nature 463 00:23:13,160 --> 00:23:17,119 you get in shots that you don't want in there 464 00:23:17,200 --> 00:23:20,079 to replace with other nature later on. I feel like, 465 00:23:20,359 --> 00:23:22,440 at least on like the audio side, because it can 466 00:23:22,519 --> 00:23:24,839 be so unpredictable, a little change, but you want it 467 00:23:24,880 --> 00:23:25,759 to feel consistent. 468 00:23:26,359 --> 00:23:26,960 Speaker 3: That kind of stuff. 469 00:23:27,000 --> 00:23:28,680 Speaker 2: So outdoor stuff is always tricky. 470 00:23:28,960 --> 00:23:33,480 Speaker 6: Yeah, is there somethings or oh you are I mean, 471 00:23:33,519 --> 00:23:36,880 it could be anything, could be an airplane, a train, 472 00:23:38,000 --> 00:23:42,799 you know, like wind, Yeah, all kinds of stuff, animals, 473 00:23:43,119 --> 00:23:44,519 you know, bugs, birds. 474 00:23:45,160 --> 00:23:49,160 Speaker 1: So Adam, you're talking now about the post sound design. Yeah, 475 00:23:49,160 --> 00:23:50,960 I took a bit of a left train there, right. No, 476 00:23:51,079 --> 00:23:52,920 that's okay, that's okay, because we were saying, it's a 477 00:23:53,079 --> 00:23:55,200 very good segue into it, and it's why you're here today. 478 00:23:55,279 --> 00:23:58,400 So we've we've got you know, all stages of the process. 479 00:23:58,519 --> 00:24:01,440 So Adam, real quick, tele about your history, how you 480 00:24:01,559 --> 00:24:04,680 got to meet Kyle and then how you got involved 481 00:24:04,680 --> 00:24:05,920 with the post toound on us. 482 00:24:06,559 --> 00:24:06,799 Speaker 3: Yeah. 483 00:24:08,200 --> 00:24:10,079 Speaker 1: Well, I got into audio through music. 484 00:24:10,240 --> 00:24:14,160 Speaker 5: I was first musician, came up as a drummer, got 485 00:24:14,200 --> 00:24:16,440 involved in the studio side of things, and that really 486 00:24:16,480 --> 00:24:20,480 piqued my interest a lot. So I realized after a 487 00:24:20,519 --> 00:24:22,559 while I had a lot more skill and ability and 488 00:24:22,640 --> 00:24:24,680 audio than I did as a drummer. 489 00:24:25,039 --> 00:24:28,799 Speaker 2: So your email was Adam plays drums or something? 490 00:24:28,880 --> 00:24:30,640 Speaker 3: No, it was is that? What it was? 491 00:24:31,039 --> 00:24:31,079 Speaker 4: No? 492 00:24:31,279 --> 00:24:32,559 Speaker 3: Even more ridiculous than that. 493 00:24:32,720 --> 00:24:36,799 Speaker 5: Adam really likes drums, not good at it, he likes that. 494 00:24:37,960 --> 00:24:40,599 And that's like hotmail from like two thousand and two. 495 00:24:41,559 --> 00:24:44,599 I still use that email, but I think it was 496 00:24:44,680 --> 00:24:50,160 my wife, because you knew my wife Brianna O days right, Christian, 497 00:24:50,480 --> 00:24:50,759 and so. 498 00:24:51,720 --> 00:24:53,680 Speaker 2: I guess it was probably just through her that you 499 00:24:53,759 --> 00:24:56,400 and I can so yeah, I mean I think you 500 00:24:56,440 --> 00:25:00,079 guys were maybe dating, and then she was like we 501 00:25:00,200 --> 00:25:02,319 were working on a short or something and needed to 502 00:25:02,319 --> 00:25:05,559 clean up some stuff. Yeah, well my boyfriend would be 503 00:25:05,599 --> 00:25:06,000 great at that. 504 00:25:06,279 --> 00:25:09,279 Speaker 5: Yeah, Okay, when I met her, she was working on 505 00:25:09,359 --> 00:25:12,400 a documentary for her albums and so and I did 506 00:25:12,480 --> 00:25:15,000 the audio on that, So maybe that was the connection. 507 00:25:15,279 --> 00:25:20,880 Speaker 1: Yeah. Yeah, So obviously this is shot outside. As you mentioned, 508 00:25:20,920 --> 00:25:22,920 there's all kinds of stuff that can be going outside, 509 00:25:23,119 --> 00:25:25,960 going on outside. But I think Gatlin said before we 510 00:25:26,000 --> 00:25:28,160 started rolling, there wasn't a whole lot of adr on this. 511 00:25:28,359 --> 00:25:31,599 It was that's right, that's impressive. How'd you do it? 512 00:25:31,720 --> 00:25:35,240 Speaker 5: The excellent source certainly goes an incredibly long way. 513 00:25:35,400 --> 00:25:39,000 Speaker 2: So yeah, so Jam it was our mixer on set, 514 00:25:39,079 --> 00:25:41,079 so we have would have a boom op. Griff typically 515 00:25:41,200 --> 00:25:43,680 was our boom op, and Jamm was mixing up to 516 00:25:43,839 --> 00:25:46,640 fix microphones at a time a live on set. 517 00:25:46,920 --> 00:25:50,440 Speaker 5: Yeah, it's nice to have something where the starting point 518 00:25:50,519 --> 00:25:52,920 is already fantastic, and that was the case. A lot 519 00:25:53,000 --> 00:25:54,880 of trial and error sometimes, but it's very much a 520 00:25:55,000 --> 00:25:59,039 hand you know, by hand process to yeah, kind of 521 00:25:59,119 --> 00:26:01,960 knock out that stuff and then bringing stuff to make 522 00:26:02,000 --> 00:26:04,720 it feel less clinical a little bit more natural and 523 00:26:04,799 --> 00:26:07,920 smooth and all that. But asotope rix is a huge, 524 00:26:08,200 --> 00:26:10,400 huge part of being able to get like really clean, 525 00:26:10,839 --> 00:26:11,440 great audio. 526 00:26:11,839 --> 00:26:16,039 Speaker 1: Oh very good. So once you when you started the project, 527 00:26:16,119 --> 00:26:18,599 did you already have a distributor set up? 528 00:26:18,960 --> 00:26:22,359 Speaker 2: We did not, so, yeah, Honestly there's a lot of 529 00:26:22,440 --> 00:26:26,920 this process and fundraising and financing the film because people 530 00:26:27,000 --> 00:26:29,240 didn't know what they like. They didn't know what it 531 00:26:29,440 --> 00:26:31,680 was like. Is this a faith based film, is this 532 00:26:31,759 --> 00:26:35,519 an adventure film? Is mental health films? Like too many 533 00:26:35,599 --> 00:26:38,839 things together? They didn't understand it, and so we we 534 00:26:39,200 --> 00:26:41,920 actually discuss said no from a past you know, from 535 00:26:41,920 --> 00:26:44,680 about every major studio and so we're like, we just 536 00:26:44,720 --> 00:26:45,000 seen to. 537 00:26:45,039 --> 00:26:50,200 Speaker 1: Make this thing, Okay, so we did so, looking at 538 00:26:50,279 --> 00:26:53,240 September or October, Yeah, what's the what's the release going 539 00:26:53,279 --> 00:26:53,640 to look like? 540 00:26:54,039 --> 00:26:57,240 Speaker 2: So right now at this moment, we're still talking to 541 00:26:57,319 --> 00:26:59,599 several different distributors. Even when you release this, I mean 542 00:26:59,759 --> 00:27:02,160 my might know at this moment, it's still it's not 543 00:27:02,319 --> 00:27:05,880 sold yet, but we're trying to discern through you guys 544 00:27:05,880 --> 00:27:08,480 don't even know about this, but we're trying to discern 545 00:27:08,640 --> 00:27:10,079 through several options. 546 00:27:11,000 --> 00:27:13,720 Speaker 1: Okay, Yeah, well that's exciting. Yeah, I'm excited to find 547 00:27:13,759 --> 00:27:16,759 out where it goes. Okay, So you've meant you've mentioned 548 00:27:16,960 --> 00:27:19,640 mental health a few times, and we talked before we 549 00:27:19,720 --> 00:27:23,240 started recording about this program called nine to eight eight. 550 00:27:23,640 --> 00:27:25,079 Can you talk about that a little bit. 551 00:27:25,359 --> 00:27:29,079 Speaker 2: Yeah, So nine eight eight started last sum nine is 552 00:27:29,119 --> 00:27:32,759 a big sponsor for this film, and they are America's 553 00:27:33,680 --> 00:27:36,960 mental health lifeline. So replace a one eight hundred number 554 00:27:37,039 --> 00:27:39,000 that no one's ever going to remember, you know, in 555 00:27:39,039 --> 00:27:41,960 an actual time of crisis, and it's so cool. You 556 00:27:42,000 --> 00:27:43,920 can pick it up from any phone. Just dial nine 557 00:27:43,960 --> 00:27:45,519 eight eight like you would dial nine to one one 558 00:27:46,400 --> 00:27:49,279 and if someone is on the other line, like ready 559 00:27:49,359 --> 00:27:52,319 to listen to you to what's going on and provide help, 560 00:27:52,880 --> 00:27:53,359 ride hope. 561 00:27:53,559 --> 00:27:56,119 Speaker 1: And so this is basically like the one eight hundred 562 00:27:56,240 --> 00:27:59,160 suicide prevention hotline, right, yeah, except it's nice and easy. 563 00:27:59,400 --> 00:28:03,440 Three numbers and you're there. Yep, beautiful Gallan, you had 564 00:28:03,480 --> 00:28:06,240 mentioned that you had some you had some connection to 565 00:28:06,319 --> 00:28:07,480 this cause. Tell us about that. 566 00:28:09,200 --> 00:28:12,519 Speaker 3: Yeah, I think, you know, one of the larger themes 567 00:28:12,559 --> 00:28:16,480 in this film is mental health awareness, and me and 568 00:28:16,559 --> 00:28:18,720 some of the other castmates, I'll speak on my behalf 569 00:28:18,759 --> 00:28:22,359 on this, but we're young people living in a really 570 00:28:22,400 --> 00:28:25,079 weird time right now, and I think we're all being 571 00:28:25,160 --> 00:28:29,720 affected and maybe acknowledging mental health in ways that haven't 572 00:28:29,759 --> 00:28:34,759 been in past generations. I've dealt with some pretty severe 573 00:28:34,839 --> 00:28:37,680 bouts of depression and anxiety myself in the past, and 574 00:28:38,039 --> 00:28:41,000 I still do today, and that's kind of one of 575 00:28:41,079 --> 00:28:44,680 the guiding lights. Was one of the guiding lights for 576 00:28:44,759 --> 00:28:49,319 me into this project was seeing people dealing with these 577 00:28:49,359 --> 00:28:52,599 issues in a new way and it being very upfront 578 00:28:52,759 --> 00:28:54,720 and one of the things that has talked about a 579 00:28:54,759 --> 00:28:57,920 lot in the film. I haven't seen it a whole 580 00:28:57,920 --> 00:29:02,400 lot or not an organic story wise way. So to 581 00:29:02,480 --> 00:29:05,000 get to be to get to bring my life experience 582 00:29:05,200 --> 00:29:07,240 into a project like this and share it in a 583 00:29:07,319 --> 00:29:13,119 way that's very vulnerable and is important to the story 584 00:29:13,119 --> 00:29:16,119 we're trying to tell was quite the gift. And I 585 00:29:16,799 --> 00:29:21,720 hope that what this project does is exposes some of 586 00:29:21,759 --> 00:29:25,599 the issues that we may be facing as a country, 587 00:29:25,680 --> 00:29:29,119 as a world, as a people that are young and 588 00:29:29,240 --> 00:29:32,400 I hope that it engages people in conversations about it, 589 00:29:32,519 --> 00:29:34,880 you know, stuff that wouldn't otherwise be at the dinner table. 590 00:29:35,200 --> 00:29:38,759 I hope that after seeing this, families might be able 591 00:29:38,799 --> 00:29:41,200 to say come to their kids, or the kids might 592 00:29:41,240 --> 00:29:42,960 be able to come to the parents and just be like, hey, 593 00:29:43,559 --> 00:29:45,920 that character or that movie that we watched. I have 594 00:29:46,039 --> 00:29:49,160 felt like that a lot, and I didn't know how 595 00:29:49,200 --> 00:29:52,759 to talk about it. But seeing it and us experiencing 596 00:29:52,839 --> 00:29:55,759 that together, I hope that it gives more people hope 597 00:29:55,799 --> 00:29:57,240 to have those conversations. 598 00:29:58,279 --> 00:30:01,640 Speaker 1: That's fantastic man, thank you, and to kind of piggyback 599 00:30:01,680 --> 00:30:01,880 on that. 600 00:30:02,039 --> 00:30:05,720 Speaker 2: I hope parents are watching and listening too. Right, So 601 00:30:06,440 --> 00:30:09,039 a lot of times, I think I think today, even 602 00:30:09,240 --> 00:30:12,440 even as much as much of these conversation we're trying 603 00:30:12,480 --> 00:30:16,559 to have, parents might say quickly, you know, yeah, I 604 00:30:16,640 --> 00:30:19,000 dealt with stuff in the past. It's way different today. 605 00:30:19,400 --> 00:30:23,559 You know, youth today have not known a world outside 606 00:30:23,599 --> 00:30:26,200 of social media. It's been their whole life, and so 607 00:30:26,319 --> 00:30:28,799 it's just every single thing this This is maybe a 608 00:30:28,839 --> 00:30:30,559 weird example, but if we didn't get invited to a 609 00:30:30,640 --> 00:30:32,960 party when we were in high school, it's like, oh, 610 00:30:33,000 --> 00:30:34,839 those jerks whatever you might find out the next day, 611 00:30:34,839 --> 00:30:38,319 you might find out later most likely the kid's going 612 00:30:38,400 --> 00:30:40,880 to be in their room alone seeing this picture perfect 613 00:30:40,920 --> 00:30:44,640 picture or a live feed of some of their best 614 00:30:44,680 --> 00:30:46,599 friends at you know, a party or at an event 615 00:30:46,720 --> 00:30:49,640 or whatever, and so just that one little note of 616 00:30:49,839 --> 00:30:54,640 rejection hits way differently today throughout their whole high school experience. 617 00:30:55,000 --> 00:30:58,519 Speaker 1: I think it's important to note for people that are 618 00:30:59,480 --> 00:31:04,119 my age who have kids, it's an entirely different perspective 619 00:31:04,200 --> 00:31:06,920 on mental health as well. Like I grew up and 620 00:31:07,599 --> 00:31:10,480 any kind of mental health problems was stigmatic. I mean, 621 00:31:10,519 --> 00:31:12,720 it was just like you just didn't want to admit 622 00:31:12,759 --> 00:31:16,680 to that kind of stuff. And so what I'm really 623 00:31:16,759 --> 00:31:19,599 glad that things like you were doing are opening those 624 00:31:19,680 --> 00:31:24,799 doors because my own kids feel much more free in saying, hey, 625 00:31:24,880 --> 00:31:27,400 I'm dealing these issues, can you help me out? And 626 00:31:27,480 --> 00:31:30,680 I think that's what you're saying. You're after to get 627 00:31:30,799 --> 00:31:33,200 parents talking with kids about absolutely. 628 00:31:32,880 --> 00:31:35,359 Speaker 2: And it's hard, right, So, like you break a bone 629 00:31:35,359 --> 00:31:37,599 in your knee and it's bone sticking out, like you're 630 00:31:37,599 --> 00:31:40,880 going to the er immediately, is you could all see that, 631 00:31:40,960 --> 00:31:43,720 you can experience it, but when it's internal, it's much 632 00:31:43,759 --> 00:31:49,279 more complicated to understand. So what Gatlan's saying too, like 633 00:31:49,319 --> 00:31:53,279 if it teenager is coming to their parents and saying 634 00:31:53,480 --> 00:31:57,440 I'm feeling these ways for parents out there, just listen, 635 00:31:57,799 --> 00:31:58,440 listen to them. 636 00:31:58,720 --> 00:32:03,519 Speaker 1: Okay. So there's always something unexpected or crazy that happens 637 00:32:03,759 --> 00:32:06,759 on a set that when you're with your friends later 638 00:32:06,839 --> 00:32:08,839 on talking about you're like, oh, let me tell you 639 00:32:08,880 --> 00:32:11,400 about this. You guys got one of those stories or what? 640 00:32:14,359 --> 00:32:17,279 Speaker 3: For me, it was all of the casts lived together, 641 00:32:18,079 --> 00:32:20,240 and I had never had that experience for the entirety 642 00:32:20,279 --> 00:32:24,319 of a production before, all six of you. So all 643 00:32:24,440 --> 00:32:28,200 all four boys and then the girls weren't far away. 644 00:32:28,400 --> 00:32:30,799 So at night we all hang out at the house 645 00:32:31,000 --> 00:32:34,680 and kind of decompressed together, and we grew so tight 646 00:32:35,039 --> 00:32:38,440 so quick because you're spending you know, fourteen hour days 647 00:32:38,480 --> 00:32:41,160 with these people and then you go back home and 648 00:32:41,759 --> 00:32:44,720 you spend the next what eight hours together. So I 649 00:32:45,119 --> 00:32:47,960 had never had a production before where I was so 650 00:32:48,160 --> 00:32:51,279 close with the cast, like it was we were brothers 651 00:32:51,960 --> 00:32:54,759 by the like we had a telepathy of sorts. I 652 00:32:54,839 --> 00:32:56,599 think by the end of the shoot that we just 653 00:32:57,119 --> 00:33:00,720 I had never been that well connected with my fellow before. 654 00:33:01,119 --> 00:33:03,559 Speaker 2: I'm sure That's so cool for me to hear, because 655 00:33:04,039 --> 00:33:06,640 so we had done this the summer before on Nerve 656 00:33:07,079 --> 00:33:08,799 because that was literally the show as they lived in 657 00:33:08,799 --> 00:33:11,079 the house together and Laurent was on that, and so 658 00:33:11,720 --> 00:33:13,799 really honestly, we were looking at budget and looking at 659 00:33:13,839 --> 00:33:15,799 some other things. So we got them like almost a 660 00:33:15,839 --> 00:33:19,759 mansion in Oklahoma practically, which was really fun, but it 661 00:33:19,839 --> 00:33:22,279 was just one place, right, So we're like, either this 662 00:33:22,440 --> 00:33:26,279 is gonna work or we're must all these personalities together 663 00:33:26,400 --> 00:33:28,680 and it's going to be crazy. But I'm so glad 664 00:33:28,759 --> 00:33:30,799 because I could tell when they were on set they 665 00:33:30,880 --> 00:33:34,920 all genuinely loved one another. And so that was really 666 00:33:35,000 --> 00:33:36,480 cool for me to hear you say that, because I 667 00:33:36,960 --> 00:33:39,319 didn't know, you know, all the inside of that. 668 00:33:39,519 --> 00:33:42,319 Speaker 3: But yeah, especially a project where you have to be 669 00:33:42,519 --> 00:33:44,799 so intimate and vulnerable and you have no time. You 670 00:33:44,880 --> 00:33:47,240 have eighteen days, like I remember, some of the most 671 00:33:47,680 --> 00:33:50,920 dramatic scenes are were up at the beginning. And to 672 00:33:51,039 --> 00:33:53,039 be able to connect with people in that way so 673 00:33:53,240 --> 00:33:57,440 quickly and that strongly, I think just gave us an 674 00:33:57,440 --> 00:34:00,160 advantage of being able to hit the ground rolling far 675 00:34:00,240 --> 00:34:01,599 as you know, this is a very this is a 676 00:34:01,720 --> 00:34:04,880 very deep dramatic movie, and I think being able to 677 00:34:04,960 --> 00:34:07,599 be with those people in that way that early really 678 00:34:07,680 --> 00:34:10,039 helped us get what we needed to get quick. 679 00:34:11,199 --> 00:34:11,960 Speaker 1: It's fantastic. 680 00:34:13,239 --> 00:34:17,079 Speaker 2: Any other stories, I can't think of any at the moment. 681 00:34:17,119 --> 00:34:19,320 Speaker 1: I mean there is nobody. Nobody fell down. 682 00:34:21,039 --> 00:34:23,320 Speaker 2: Yeah, I mean we have. I have a couple of stories, 683 00:34:23,360 --> 00:34:24,920 but legally I can't share them. 684 00:34:25,039 --> 00:34:33,840 Speaker 1: Oh yeah, okay, well that that is my key to 685 00:34:34,159 --> 00:34:35,880 end the show, turn off the mics and find out 686 00:34:35,880 --> 00:34:38,360 what these stories are. So, guys, thank you so much 687 00:34:38,480 --> 00:34:41,000 for joining us for this special episode of the Sure 688 00:34:41,039 --> 00:34:43,360 that you Can't Be Serious Pod. Be sure and hit 689 00:34:43,400 --> 00:34:46,039 the follow button, hit the subscribe button on your podcast 690 00:34:46,199 --> 00:34:48,000 app so that you can check out all of our 691 00:34:48,079 --> 00:34:51,039 future episodes as well. It's so great to get together 692 00:34:51,079 --> 00:34:53,119 with you guys. Thank you guys so much for coming 693 00:34:53,199 --> 00:34:56,480 and joining me today. I really appreciate it absolutely. Thank 694 00:34:56,519 --> 00:35:00,840 you guys. Go check out on IMDb what i'ms with Reason. 695 00:35:01,159 --> 00:35:04,840 Go over to the Reckless Abandonment website and check out 696 00:35:04,920 --> 00:35:08,079 the other cool stuff that Kyle has done. You can 697 00:35:08,480 --> 00:35:10,960 Gatlin you told me you've got a project coming up 698 00:35:11,000 --> 00:35:12,880 with Zack Snyder that's going to be on Netflix. 699 00:35:13,000 --> 00:35:13,400 Speaker 6: Is that right. 700 00:35:14,519 --> 00:35:17,039 Speaker 3: I just I just helped supply the horses. But you 701 00:35:17,079 --> 00:35:18,159 can go check out a little bit. 702 00:35:19,000 --> 00:35:21,440 Speaker 2: Can you talk about the j movie you just did. 703 00:35:22,280 --> 00:35:24,440 Speaker 3: I will just say that I'm in the new Joker movie. 704 00:35:24,719 --> 00:35:28,480 I'm not I think after me if I said anything more. 705 00:35:28,519 --> 00:35:31,320 But I got to do like an acting hybrid role. 706 00:35:31,960 --> 00:35:33,480 If you blink, you'll miss it. But it was a 707 00:35:33,519 --> 00:35:33,960 lot of fun. 708 00:35:34,199 --> 00:35:39,119 Speaker 1: Yeah, this is the this is the do the part 709 00:35:39,159 --> 00:35:41,199 two the Lady Gaga? Is that right? 710 00:35:41,760 --> 00:35:44,559 Speaker 3: Yeah? Yeah, that's correct, the one they filmed in LA 711 00:35:44,679 --> 00:35:45,159 and the New York. 712 00:35:45,679 --> 00:35:49,239 Speaker 1: Oh fantastic. Love it all right, guys, thanks so much. 713 00:35:49,599 --> 00:35:51,800 We will see you guys next week.