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<v Speaker 1>Oh he is, folks, It's show die.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 3>When they go out to a theater, they want clod sodas, hop, popcorn,

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<v Speaker 3>and no monsters. In the Projection Booth, everyone pretend podcasting

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<v Speaker 3>isn't boring.

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<v Speaker 4>Got it off?

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<v Speaker 2>Hey, folks, Welcome to a special episode of The Projection Booth.

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<v Speaker 2>I'm your host Mike White. On this episode, I'm talking

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<v Speaker 2>with Chris Levetus and Zane Rubin all about their twenty

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<v Speaker 2>twenty six documentary, doc Meets World. It is a documentary

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<v Speaker 2>about Boy meets World, or more precisely, what the three

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<v Speaker 2>leads of Boy Meets World are up to these days,

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<v Speaker 2>and kind of looking back at what it was like

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<v Speaker 2>being on a hit TV show. I definitely did not

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<v Speaker 2>watch Boy Meets World other than a offhand reference in Hackers.

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<v Speaker 2>I kind of don't even know the show that much,

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<v Speaker 2>but it's perfect. This documentary actually takes me in and

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<v Speaker 2>shows me around and lets me know why people still

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<v Speaker 2>talk about Boy Meets World. So I hope you enjoy this,

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<v Speaker 2>and I hope you enjoy the film. Track it down.

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<v Speaker 2>It just played at Tribeca. Thanks so much, and enjoy

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<v Speaker 2>this interview. Zane and Chris, thank you so much for

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<v Speaker 2>your time today. I'm so curious. How do you guys

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<v Speaker 2>know each other?

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<v Speaker 4>We met ten years ago. Chris had seen some of

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<v Speaker 4>the films that I had directed and he liked them

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<v Speaker 4>and he wanted to collaborate together. And then he's produced

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<v Speaker 4>a lot of things that I've directed, and edited a

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<v Speaker 4>lot of things that I've directed, and we've also written

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<v Speaker 4>a few scripts together. And then with this project, we

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<v Speaker 4>directed one little short together. This kind of just very

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<v Speaker 4>happened naturally in terms of something that we did together.

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<v Speaker 4>It was just basically we went out and we started

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<v Speaker 4>shooting stuff and we both had ideas and then yeah,

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<v Speaker 4>we were in it together.

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<v Speaker 2>How did Doc Mets World come together?

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<v Speaker 3>I've known writer for about twenty years. We've collaborated on

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<v Speaker 3>short films and scripts, music videos, and we always knew

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<v Speaker 3>at some point we wanted to work on a feature together.

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<v Speaker 3>And over that twenty year period, the one thing we

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<v Speaker 3>really didn't talk about much was Boy Meets World were

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<v Speaker 3>at all. It's not something that he seemed super excited

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<v Speaker 3>to engage with. Enough for me, I didn't watch the

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<v Speaker 3>show growing up. So when he decided to start a

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<v Speaker 3>podcast about Boy meets World. It was obviously a dramatic term,

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<v Speaker 3>and when it went on the road with it, it

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<v Speaker 3>was just everything was happening very quickly, and writer Will

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<v Speaker 3>and Danielle were like, we're having all these incredible interactions fans.

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<v Speaker 3>We're not going to remember any of it because it's

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<v Speaker 3>just so much of it happening. It really deserves to

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<v Speaker 3>be documented. So writer asked Zaane and I if we'd

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<v Speaker 3>be willing to go to New York and shoot some

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<v Speaker 3>footage scene.

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<v Speaker 2>Were you a fan of the show growing up?

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<v Speaker 4>I was, Yeah. I when there was one year when

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<v Speaker 4>I refused to go to seventh grade, which wasn't completely

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<v Speaker 4>uncommon for me not going to school, and I think

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<v Speaker 4>I spent that entire year watching all of The Boymi's

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<v Speaker 4>World on TVO and just really plowed my way through.

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<v Speaker 4>I did not think it was a productive time in

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<v Speaker 4>my life, but it turned out to potentially be the

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<v Speaker 4>most productive, So you never know, I was a fan.

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<v Speaker 4>I didn't watch it probably again really after that, after

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<v Speaker 4>like seventh grade, but I definitely seen all of it,

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<v Speaker 4>like probably a couple times. And I think when you're

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<v Speaker 4>really young, stuff like that, when the TV I watched

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<v Speaker 4>when I was young. I really remember. I remember it

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<v Speaker 4>far more deeply than I remember something than I probably

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<v Speaker 4>watched a couple of weeks ago, to be quite frank.

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<v Speaker 4>So it was still all there, all the information. I

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<v Speaker 4>just wasn't actively accessing it. And then when we started

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<v Speaker 4>doing this, we went to their live shows and stuff,

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<v Speaker 4>which is filled with all these sketches and references. I'd

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<v Speaker 4>be like, oh, I know that reference, Like I know

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<v Speaker 4>what they're talking about. I get all this stuff, And

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<v Speaker 4>so it was very easy for me to sink into

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<v Speaker 4>the fandom and kind of catch up really quick because

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<v Speaker 4>I actually already knew all the reference points.

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<v Speaker 2>So maybe it's a good thing. Tell kids to skip

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<v Speaker 2>school and binge watch, binge watch, never know what it'll

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<v Speaker 2>come in Handy. Did you go to many of the

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<v Speaker 2>shows before you guys decided to start shooting or was

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<v Speaker 2>it pretty much first show we've got the cameras.

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<v Speaker 4>We hadn't been to any shows when we started shooting,

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<v Speaker 4>and it was sold to us as we just hang

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<v Speaker 4>out and we were like okay, But we actually showed

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<v Speaker 4>up in New York with our cameras planning to shoot

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<v Speaker 4>the SHO show, and then when we got there we

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<v Speaker 4>found out. In order to shoot the stage, you had

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<v Speaker 4>to pay like twenty thousand dollars to the unions, So

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<v Speaker 4>we were like, oh, okay, I guess we're not going

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<v Speaker 4>to be doing that. And then we had to have

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<v Speaker 4>Chris and I a little pow wow and be like, okay,

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<v Speaker 4>what are we actually doing? But we're like, okay, well,

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<v Speaker 4>we already have all these cameras, so let's just shoot

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<v Speaker 4>everything we could possibly shoot, except for the stage, which

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<v Speaker 4>was meet and greats several lunches to the point that

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<v Speaker 4>they were like, please stop filming a seating and we

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<v Speaker 4>were like, no, we're gonna do it, and we're going

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<v Speaker 4>to dinner. Also behind the scenes in the green room

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<v Speaker 4>walk and talks. At one point I was like, I'm

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<v Speaker 4>gonna just run ount and talk to some fans if

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<v Speaker 4>they're willing to talk to me. And now, honestly, that

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<v Speaker 4>stuff all ended up being extremely interesting. And then by

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<v Speaker 4>the time we got to the point where we were

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<v Speaker 4>allowed to shoot the shows, which was like probably like

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<v Speaker 4>a year later, and the show had actually gotten better

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<v Speaker 4>and evolved born, so it ended up working out for

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<v Speaker 4>the best.

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<v Speaker 2>Yeah, that whole idea of hanging out that kind of

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<v Speaker 2>sounded like what they were told that the pre show

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<v Speaker 2>should be, but just that level of no, no, we

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<v Speaker 2>have to write this, we have to rehearse this. I

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<v Speaker 2>really appreciated that adherence to the craft.

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<v Speaker 4>Yeah, it was super surprising to us, and it was

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<v Speaker 4>awesome to see them put together this whole show and

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<v Speaker 4>see how much attention went into it because we didn't

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<v Speaker 4>expect that. We were like, we're like, wait, what are

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<v Speaker 4>you guys talking about. You're doing a sketch, Like, yeah, yeah,

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<v Speaker 4>we do some sketches. I was like, there's multiple sketches. Yeah,

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<v Speaker 4>we do a few sketches, and there's like a dance.

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<v Speaker 4>It's fine. I was like, Okay, that's a lot more

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<v Speaker 4>involved than what I thought it was. I thought you

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<v Speaker 4>guys were literally just gonna talk. Yeah, like we were

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<v Speaker 4>sending a guy out to go get a wig. I

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<v Speaker 4>was like, there's wigs involved. This is very exciting, like

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<v Speaker 4>very fun like kid theater, but adults doing it. There's

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<v Speaker 4>a very playfulness in the way that they put things together.

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<v Speaker 4>And because they are talented people who grew up on

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<v Speaker 4>screen and that muscles, they're very sharp in that way,

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<v Speaker 4>and the must has been very worked. They are able

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<v Speaker 4>to kind of just do things very quickly like that,

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<v Speaker 4>and it's good. Whereas I'm sure if it was certain

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<v Speaker 4>other people putting together what you're going to do that

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<v Speaker 4>night two and a half hours beforehand, maybe wouldn't have

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<v Speaker 4>gone so well. But I think because of their background

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<v Speaker 4>and their training and how well they know each other,

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<v Speaker 4>they're able to adapt really quickly.

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<v Speaker 3>They really presented the whole live show as something they

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<v Speaker 3>just made up on the fly and they just improvised

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<v Speaker 3>on stage. But we discovered they're really into creating something.

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<v Speaker 3>But for them, they never think of it as work.

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<v Speaker 3>That's why they're like, oh no, we don't prepare it all,

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<v Speaker 3>even though all day long they're preparing in a way

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<v Speaker 3>that just amuses themselves. They just they're just like they're

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<v Speaker 3>they're just like, oh, they're just they're just having fun.

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<v Speaker 2>How many people are on your crew when you're doing this.

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<v Speaker 4>Most of the two of us. A couple times, if

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<v Speaker 4>it was if we were shooting a show or something,

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<v Speaker 4>we had a sound person and a PA. It weren't

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<v Speaker 4>shooting a show, it was just the two of us.

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<v Speaker 2>And how is this working logistically? Because you guys are

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<v Speaker 2>going all of these different places. How many shows did

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<v Speaker 2>you actually attend.

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<v Speaker 3>We actually only attended five shows and we were only

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<v Speaker 3>allowed to shoot the last show in Salt Lake City,

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<v Speaker 3>But that ended up being the blessing in some ways

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<v Speaker 3>because Writer was saying, Oh, we did this show at

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<v Speaker 3>iHeart that you guys can use, which was it was

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<v Speaker 3>a proof of concept show, which we eventually at a

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<v Speaker 3>certain point we looked at that and it was interesting

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<v Speaker 3>and as far as it was the show that we

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<v Speaker 3>were actually documenting, it had evolved so far. Their timing

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<v Speaker 3>was so much better, they were so much more relaxed,

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<v Speaker 3>and they had figured out just so many little bits

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<v Speaker 3>that were that they had come back, and it called back.

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<v Speaker 2>To how do you help engender that feeling of safety

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<v Speaker 2>for them so that they're able to open up so

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<v Speaker 2>much in front of these cameras.

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<v Speaker 4>Chris is known Writer for like twenty years. I've known

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<v Speaker 4>Writer for about ten. Obviously that builds a certain amount

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<v Speaker 4>of trust. And then honestly he told the other two

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<v Speaker 4>was like, they're cool, it's fine.

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<v Speaker 3>And that's how Writer spoke with a really good friend

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<v Speaker 3>of his, Todd Goldberg, who's an author and actually Writer

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<v Speaker 3>met when he was a teacher. It was Writer's teacher

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<v Speaker 3>and he and writer, they go deep immediately, So it

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<v Speaker 3>was a real privilege to just be present for their

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<v Speaker 3>conversation because Todd really gets in there and he gave

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<v Speaker 3>us some just material that I think that even if

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<v Speaker 3>Sane and I were talking with writer, that writer may

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<v Speaker 3>not have necessarily gone that deep. But Todd was he

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<v Speaker 3>really excavated a writer's soul.

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<v Speaker 2>Thanks Todd, But yeah, I felt like a therapy session.

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<v Speaker 4>It pretty much was. Afterwards, I was like, do you

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<v Speaker 4>think I could get an hour with Todd?

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<v Speaker 1>Would do I have to pay?

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<v Speaker 4>Or I'm most like, honestly, it was like, I'd love

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<v Speaker 4>to get ninety minutes with Todd. It seems pretty life changing.

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<v Speaker 2>Has Ainy said, you watched the show? Christy said he

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<v Speaker 2>didn't watch the show. I also didn't watch the show.

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<v Speaker 2>So how much of a concern was that for you

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<v Speaker 2>guys when you're putting this together, as far as making

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<v Speaker 2>it something that an outsider like me can actually get

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<v Speaker 2>in here and not have to know the inside baseball,

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<v Speaker 2>not get the references that you're getting.

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<v Speaker 4>Zane, Honestly, the combination of him never having seen it

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<v Speaker 4>and me having seen all of it was probably a

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<v Speaker 4>perfect combination. Now Furthermore, I think the whole time, we

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<v Speaker 4>were trying to make it as accessible to people who

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<v Speaker 4>really didn't know the show that well, because we knew

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<v Speaker 4>fans are gonna like it, They're gonna watch it just

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<v Speaker 4>because if you're a fan of something, you want more

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<v Speaker 4>of that thing, and we knew we probably had those people,

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<v Speaker 4>So trying to expand it to people who had mainly

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<v Speaker 4>only heard of the show was something we were trying

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<v Speaker 4>really hard to do. And if you knew how long

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<v Speaker 4>that first seven minutes of the movie had been worked

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<v Speaker 4>on to set things up more than any other part of.

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<v Speaker 3>The movie, Contextualizing this so that people who aren't familiar

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<v Speaker 3>with them or the show was probably the hardest thing.

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<v Speaker 2>Who is doing the editing with you guys? Or is

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<v Speaker 2>it just you two?

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<v Speaker 4>It was mostly just Chris Alex. Obviously, our producer helped

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<v Speaker 4>out a lot, but Chris edited the whole thing. We

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<v Speaker 4>had an assistant editor who helped us technically, but yeah,

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<v Speaker 4>it's mostly just Chris and I. He was in charge

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<v Speaker 4>of the actual editing and I was in charge of

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<v Speaker 4>basically all of the finding, all the archival stuff.

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<v Speaker 3>Yeah, whenever we would get to a certain point where

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<v Speaker 3>I was like, oh, I really need a shot of

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<v Speaker 3>hopefully like writer opening or Sean opening a door, or

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<v Speaker 3>will As with squirrels or some reference or was Danielle

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<v Speaker 3>the inception of the dance where she's putting I would

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<v Speaker 3>just ask zaying, what can we use here that's going

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<v Speaker 3>to reflect what's actually happening in their life? Now that'll

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<v Speaker 3>create we'll have a nice juxtaposition with something that happened

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<v Speaker 3>on the show, and hopefully there's some interesting connective tissue there.

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<v Speaker 4>It was really satisfying when you got one that matched up.

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<v Speaker 4>Oh my god, But there was so much of I'd

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<v Speaker 4>be like, I'd show Chris five clips and he'd be like,

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<v Speaker 4>none of them are right, and I'd be like, damn it.

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<v Speaker 3>There is something so magical about cutting to someone in

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<v Speaker 3>their forties to them as a teenager. Every time you

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<v Speaker 3>can have that sort of that that edit, there's just

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<v Speaker 3>something really compelling about it.

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<v Speaker 2>And how long did this project take overall? Once you

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<v Speaker 2>got that phone call of hey, we're doing this thing

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<v Speaker 2>to obviously you've got your premiere? Is it your premiere

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<v Speaker 2>coming up at Tribeca?

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<v Speaker 4>Yeah, it was about three years.

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<v Speaker 2>That's pretty intense to be able to craft this in

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<v Speaker 2>three years.

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<v Speaker 4>Do you think it should have taken longer?

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<v Speaker 2>It feels like it took longer just with all of

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<v Speaker 2>the information they have backed in here like.

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<v Speaker 3>You, we'll click that.

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<v Speaker 2>Have you had a chance to see this with smaller

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<v Speaker 2>audiences yet? Did you test it out with people or

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<v Speaker 2>fans or anything.

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<v Speaker 4>We test it with friends for notes.

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<v Speaker 3>That's it though, Yeah, very informative. I want to say

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<v Speaker 3>our producer Alex hosted probably five screenings or so, and

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<v Speaker 3>just being in the room and feeling the wall speak

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<v Speaker 3>to you, you really get a much, very very helpful

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<v Speaker 3>to figure out pacing issues and also of course just

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<v Speaker 3>to make sure we're being clear in terms of our intent.

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<v Speaker 3>So yeah, we did screen it a number of times,

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<v Speaker 3>and after every one of those there would be fifty

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<v Speaker 3>or sixty little notes that we would then go back

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<v Speaker 3>in and reweave some things together and make some adjustment

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<v Speaker 3>structurally or just basically. But again, it really came down

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<v Speaker 3>to those first ten minutes, really trying to create a

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<v Speaker 3>context so that everyone understands who these people are and

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<v Speaker 3>why it's worth going on a journey with them.

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<v Speaker 4>Every time it was like, wow, if these first ten

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<v Speaker 4>minutes aren't perfect, it doesn't even matter if the rest

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<v Speaker 4>of the movie's perfect, because it the way it sets

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<v Speaker 4>the tone is it completely changes the person's viewing experience.

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<v Speaker 4>So it was like the more we worked on those

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<v Speaker 4>first ten minutes, the better those screenings got where things

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<v Speaker 4>were set up properly and they went in with the

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<v Speaker 4>proper mind, and then the screenings would go better as

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<v Speaker 4>a whole.

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<v Speaker 2>And I need touch about how you divied up the

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<v Speaker 2>editing process. But when you guys are actually shooting, is

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<v Speaker 2>there like I'm going to be always doing this and

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<v Speaker 2>the other person's always going to be doing that or

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<v Speaker 2>did you just jump in whenever you need it to.

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<v Speaker 4>Chris is much better at on the fly camera operating,

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<v Speaker 4>which is something we learned. It was more complicated if

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<v Speaker 4>both of us were shooting at the same time for

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<v Speaker 4>like walking talks, because then we would just be in

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<v Speaker 4>each other's shot. So then at a certain point I

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<v Speaker 4>was just like, you do that. And then for stuff

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<v Speaker 4>like if we were at lunch or something, I would

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<v Speaker 4>always be like I was just in charge of getting

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<v Speaker 4>Danielle and Chris was usually going between the two guys.

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<v Speaker 4>So those were like two things we knew innately.

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<v Speaker 2>And then with the kind of personal interviews like Danielle

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<v Speaker 2>with her Is that her mother that she's talking with?

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<v Speaker 1>Right?

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<v Speaker 2>Who's shooting those or is it just a combination.

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<v Speaker 4>I was shooting Danielle and he was shooting her mom,

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<v Speaker 4>and then we had a camera rolling that was unmanned.

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<v Speaker 3>Anytime we were with writer Will and Danielle, they just

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<v Speaker 3>talk and they just don't feel the camera at all.

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<v Speaker 3>They're exactly how they are off camera as they are on.

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<v Speaker 3>I don't I really don't think honestly, they don't even

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<v Speaker 3>really take into account that the camera's rolling. But with

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<v Speaker 3>people like Danielle's mom, who did not grow up on camera,

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<v Speaker 3>it's a little different. So we probably have a solid

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<v Speaker 3>forty five minutes of them playing Maltese gin before they

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<v Speaker 3>actually get into the conversation, because we just needed Daniel's

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<v Speaker 3>mom to acclimate and to forget that the camera was there,

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<v Speaker 3>so that would take a bit more time.

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<v Speaker 4>The three people that we used, Todd, Jen, Daniel's mom,

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<v Speaker 4>and Andrea, none of them are actors. They were all great.

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<v Speaker 4>We took it slow with them and we let them

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<v Speaker 4>ease their way in. But honestly, they left all those

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<v Speaker 4>and being like, oh my god, that went so well

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<v Speaker 4>they're not actors, but they did very very well on camera.

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<v Speaker 4>Because we've all had experience with people being on camera

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<v Speaker 4>who were like that person's not comfortable being on camera,

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<v Speaker 4>we were very lucky we did not have that at all.

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<v Speaker 4>They were all awesome.

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<v Speaker 2>I never would have guessed that, And yeah, everybody seems

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<v Speaker 2>very very at ease, So bravo to you for especially

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<v Speaker 2>putting Danielle's mom at ease.

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<v Speaker 4>Yeah, she was great. She was so that we loved her,

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<v Speaker 4>and she let us come to her house. She had

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<v Speaker 4>a very beautiful home, very clean.

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<v Speaker 2>Congratulations on doc Meets World. I'm super excited for you

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<v Speaker 2>guys to be able to have your premiere and hopefully

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<v Speaker 2>be able to take this around and show it to

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<v Speaker 2>so many people because it is such a wonderful documentary.

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<v Speaker 4>That's really also nice to hear from someone who's not

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<v Speaker 4>even a fan of the show.

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<v Speaker 3>That means a lot.

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<v Speaker 2>Thank you so much, y'all. I really appreciate your time today.

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<v Speaker 1>Thank you.

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<v Speaker 4>S