WEBVTT

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<v Speaker 1>Oh it's show tied.

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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,

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<v Speaker 3>pop popcorn and no monsters in the protection booth.

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<v Speaker 1>Everyone pretend podcasting isn't boring.

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<v Speaker 4>As I'm actually I'm with with Alison Volton. My name

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<v Speaker 4>is Norman Forrester.

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<v Speaker 5>H you're not on the list?

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<v Speaker 4>Oh well it should be right there under.

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<v Speaker 2>F Oh, I don't suppose you'd be lying. Well, okay,

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<v Speaker 2>so you're not on the guests. Everybody's ignoring you are

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<v Speaker 2>You're a to her? Your girlfriend's father doesn't like you

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<v Speaker 2>at all?

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<v Speaker 4>What do you do? I work in a Patriots fantastic

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<v Speaker 4>Wait a second, what that wouldn't be the end of

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<v Speaker 4>the world.

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<v Speaker 2>As long as your girlfriend doesn't turn her back on you.

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<v Speaker 3>I can't be holding your hand all the time.

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<v Speaker 4>Hi, you seem like a nice guy. Why don't delight

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<v Speaker 4>all the kind of goddamn it?

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<v Speaker 1>It's my fault for making things.

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<v Speaker 4>Hard for you.

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<v Speaker 2>As a matter of fact, something's not quite right. The

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<v Speaker 2>royal folks feel the way from you. Allison and her

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<v Speaker 2>family aren't the worst of everybody working at this hotel.

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<v Speaker 2>The waiters, the.

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<v Speaker 4>Manager, everybody was acting a little weird.

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<v Speaker 2>Look in the hell is going on?

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<v Speaker 4>I'm sorry, kid, but you're gonna have to help me understand. Huh,

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<v Speaker 4>what are you looking at? You're not what?

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<v Speaker 2>We're all going to die hidden. I think.

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<v Speaker 1>You couldn't get any wish well, Norman, Definitely that's a problem.

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<v Speaker 4>Watch out you got? Is that good?

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<v Speaker 3>You like that?

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<v Speaker 4>Oh? My god, that's awful.

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<v Speaker 5>Hey, folks, welcome to a special episode of the Projection Booth.

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<v Speaker 5>I'm your host Mike White. On this episode, I am

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<v Speaker 5>talking with you Jenny Omeira. He is the director and

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<v Speaker 5>co writer of the film The Birthday from two thousand

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<v Speaker 5>and four. The film has recently been quote unquote rediscovered

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<v Speaker 5>and is currently playing at Alamo Draft Houses, and we'll

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<v Speaker 5>be having a brief theatrical run as well as having

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<v Speaker 5>a home video release. Thank you so much for listening,

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<v Speaker 5>and I hope you enjoyed this interview. Let's talk about you,

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<v Speaker 5>and let's talk about The Birthday for a little bit.

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<v Speaker 5>This is very unusual to talk about a film that's

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<v Speaker 5>twenty years old. Usually I talk about movies from the thirties, forties, fifties,

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<v Speaker 5>but yeah, one from two thousand and four that was

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<v Speaker 5>getting revitalized here. So tell me a little bit about

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<v Speaker 5>where you were at in your career at that time.

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<v Speaker 1>Yeah, I was actually I was joining six when I

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<v Speaker 1>made it, And I was a beneficiary of having this

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<v Speaker 1>kind of English speaking pop culture like the UK and

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<v Speaker 1>the US sin because I've been raised in an air

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<v Speaker 1>in Spain where all my friends we were combining Spanish

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<v Speaker 1>and English and even if we didn't what, I had

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<v Speaker 1>a band and it was but my reference was Faith

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<v Speaker 1>No More or mister Bungle all up. We didn't have

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<v Speaker 1>reference or inspirations directly from Spanish bands or Spanish film directors,

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<v Speaker 1>because there was like it felt like it was lacking

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<v Speaker 1>and the exploding of the late eighties early nineties, you

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<v Speaker 1>cannot combit with all of the sudden that was happening.

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<v Speaker 1>So being raised in the seventies, I think that the

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<v Speaker 1>fact that people like especially as a producer, Steven Spielberg,

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<v Speaker 1>was making these films that had and I say films

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<v Speaker 1>because I think that when you see a film, even

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<v Speaker 1>like The Goodies that is whimsical and apparently for kids,

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<v Speaker 1>the fact that's directed by an adult man, Richard Donner,

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<v Speaker 1>and then you see the film and sometimes it's like,

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<v Speaker 1>oh my god, the weight that it has, the gravitask

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<v Speaker 1>here in there is surprises, especially when you grow Well,

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<v Speaker 1>these films are better than what they needed to be.

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<v Speaker 1>And that's why I find out that era all these

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<v Speaker 1>guys could give the New Hollywood. They were so desperate

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<v Speaker 1>about using every single film as a vessel for their

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<v Speaker 1>ideas that they are like they have this metastasism of

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<v Speaker 1>ideas that are bigger than the films themselves. That's why

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<v Speaker 1>they pass teste of time. Well, we look back to

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<v Speaker 1>those movies. It's not just the stuff that we saw,

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<v Speaker 1>but we were kids and that we had film nostalgia

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<v Speaker 1>to it. There's so much to discover and unveil, especially

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<v Speaker 1>Zum becoming an adult. Then the fact that Lucas and

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<v Speaker 1>Spielberg were always very open about sharing the secrets of

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<v Speaker 1>how films were made. They were always trying to nurture

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<v Speaker 1>future filmmakers and craftsmen. And in Spain we had this

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<v Speaker 1>in the video store. You could read the making of

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<v Speaker 1>Star Wars and the special effects of bar Strikes Back.

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<v Speaker 1>And that's something that I saw when I was six

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<v Speaker 1>seven years old and I saw all these skinny guys

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<v Speaker 1>with beards when board band get like exploring little models

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<v Speaker 1>and stuff that blew my mind the fact that films

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<v Speaker 1>were made by people and you could make this for

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<v Speaker 1>a living.

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<v Speaker 2>So that's my origin story. Basically.

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<v Speaker 1>In ninety five, I went to Madrid to attend to

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<v Speaker 1>the film school that I could afford because I'm from

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<v Speaker 1>the south east of Spain, the Blanching community, and I

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<v Speaker 1>stopped across Mikkelbanni. Knew that my best friend, and we

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<v Speaker 1>started co writing and playing with ideas. Not unlike Ed

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<v Speaker 1>Solomon and Chris Mathison when they created a billion Tip, we.

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<v Speaker 2>Had plenty of characters. It wasn't scripts.

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<v Speaker 1>It was more kind of sketches and ideas and what

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<v Speaker 1>if it is like The Godfather with a but with

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<v Speaker 1>a time travel overhit blah blah blah. And when I

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<v Speaker 1>made my first short film, Fade, when I was straytune

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<v Speaker 1>the year two thousand, there's this product producer who saw

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<v Speaker 1>it and said, how do you do this? And shut

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<v Speaker 1>you got said it's an English to tell me about

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<v Speaker 1>you where you're coming from, And I said, explained what

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<v Speaker 1>I just told you, And he asked me, hey, do

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<v Speaker 1>you think that if you had six weeks and send

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<v Speaker 1>the amount of money, you could make a film that

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<v Speaker 1>is confined but with good cinematography and you can have

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<v Speaker 1>English speaking actors.

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<v Speaker 2>And I said, yeah, So Michael.

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<v Speaker 1>And I started writing the script that we had all

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<v Speaker 1>this restraints and really comes to the budget, but when

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<v Speaker 1>it comes to the ideas, we could go as crazy

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<v Speaker 1>and ambitious and insane as we went as you can

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<v Speaker 1>see it in the Birthday. So that's I think the

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<v Speaker 1>beautiful I always say that the big protina ist of

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<v Speaker 1>the of the film is not Corey film, and it's

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<v Speaker 1>not myself as a direct make it as a core writer.

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<v Speaker 1>This is the opportunity of a film happened to be

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<v Speaker 1>because it's very hard to make even a decent movie,

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<v Speaker 1>even mediocre movies are insanely difficult to put together. Imagine

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<v Speaker 1>something this insane. So I will always be grateful for

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<v Speaker 1>that opportunity. And I think it was a moment in

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<v Speaker 1>the industry in Spain that it was allowed to There

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<v Speaker 1>were subsidies the industry of culture and supporting new voice.

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<v Speaker 1>As that lasted like three four years. It was a

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<v Speaker 1>small window. And I'm twenty six years old. I was

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<v Speaker 1>a brat and my word is now.

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<v Speaker 2>Unfortunately, the reason why this movie.

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<v Speaker 1>The best thing that we can take, all the credit

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<v Speaker 1>that we can take is that we use that opportunity

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<v Speaker 1>to do something special. But that doesn't mean that it

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<v Speaker 1>was a good or bad movie. But at least we're

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<v Speaker 1>trying to do something that it felt like distinct and

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<v Speaker 1>that's what I'm most proud of.

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<v Speaker 5>You mentioned some of the American filmmakers that influenced you.

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<v Speaker 5>Were there Spanish filmmakers that influenced you as well.

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<v Speaker 1>The Spanish filmmakers start to influenced me when I was

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<v Speaker 1>fully formed by the great American craft. That's a little

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<v Speaker 1>sub despect. The first film that I remember seeing on

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<v Speaker 1>a silver screen Damn into Spanish in eighty two was

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<v Speaker 1>Annie John Houston's movie. And a lot of musicals that

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<v Speaker 1>come from about my family. My parents they met a

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<v Speaker 1>studying art. My sister and I went to study piano,

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<v Speaker 1>so music and the plastic art. It's always been part

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<v Speaker 1>of our kind of environment. So my mother's song and

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<v Speaker 1>played the guitar, so.

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<v Speaker 2>Anything the idea of Hollywood.

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<v Speaker 1>Like was singing in The Ring Problem is the film

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<v Speaker 1>that my sister and I saw on VHS more than

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<v Speaker 1>any other thing like insane, like reading, like the two

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<v Speaker 1>hundred times mark or something. So yeah, I think that

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<v Speaker 1>I started to preciate more Spase filmmakers, especially going to

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<v Speaker 1>the seventies and sixties when I was eighteen nineteen twenty

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<v Speaker 1>and I third Avalanchian filmmaker from my area I just

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<v Speaker 1>called Gaia Blanga who made all this incredible satirical kind

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<v Speaker 1>of black comedies in the fashion of what in the

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<v Speaker 1>US will be something like Being There or Network. Those

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<v Speaker 1>two films are some of my favorite. That combined with

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<v Speaker 1>the end of a Robert Allman approach to having I

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<v Speaker 1>don't know twelve actors on a white shot and interacting

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<v Speaker 1>to it, it has that from a very Spanish European

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<v Speaker 1>perspective in a way it felt very Italian's almost like Fellini,

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<v Speaker 1>and I remember appreciating that from a different perspective. And

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<v Speaker 1>Petro Amldover as well in nineteen eighty nine when he

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<v Speaker 1>made Women on the Verge of a Nervous Attack Sorry,

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<v Speaker 1>and it was omitted to the Oscars and all that

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<v Speaker 1>was the thing that meaning I was twelve, they do

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<v Speaker 1>you have a Spanish director who made our John Waters

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<v Speaker 1>make it his staining and mean nominated. I thought, how

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<v Speaker 1>John Waters is going to film saying that this Spaniard

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<v Speaker 1>making this thing, when Pedro always been very vocal how

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<v Speaker 1>much he admired Joe Waters and I know he's nominated

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<v Speaker 1>to an Oscar, all those things.

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<v Speaker 2>I always had these things.

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<v Speaker 1>In the back of my hand, always compensating with how

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<v Speaker 1>much I love American cinema and of course the great

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<v Speaker 1>classes like John us some stuff.

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<v Speaker 2>So yeah, that's it was.

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<v Speaker 1>I think that I was more impressive again in my toyes.

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<v Speaker 1>It is when I decided to say, oh my god,

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<v Speaker 1>I went for the best kind of Spanish, Italian and

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<v Speaker 1>French cinema. But because at the same time I've noticed

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<v Speaker 1>that spirit but William Fred Kay Norris or Sesse they

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<v Speaker 1>love European cinema.

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<v Speaker 2>So it was very.

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<v Speaker 1>Deffinent to fill the gamps and stuff that the people

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<v Speaker 1>who inspired.

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<v Speaker 5>Me tell me about the making of the Birthday? What

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<v Speaker 5>was that experience like for you?

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<v Speaker 1>Keep in mind that again, this is my story. I

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<v Speaker 1>cannot split for others my case. I considered myself first

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<v Speaker 1>of first and foremost. I don't think that I'm a

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<v Speaker 1>storyteller in the way that I come from a family

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<v Speaker 1>who storyteller's big bounce. Imagine that the Southeast of Spain

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<v Speaker 1>is very similar to what I would say that the

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<v Speaker 1>Avalanchian is opposed to an Italian American of the East

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<v Speaker 1>Coast than an Italian. That is insane.

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<v Speaker 2>But it's like a big dreams, big mouths, like a

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<v Speaker 2>lot of projection and charm.

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<v Speaker 1>And extroverted and always getting a little bit of even

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<v Speaker 1>aggressive with your path and the way you're this guy

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<v Speaker 1>is passionate or is just crazy. That has been like

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<v Speaker 1>how I've been raised Christmas time saying uncle Uncle Pempe

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<v Speaker 1>getting a little bit tipsy, that that kind of thing.

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<v Speaker 1>So I never the storytelling aspect has been always very

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<v Speaker 1>natural to this tent that that to me writing or

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<v Speaker 1>all that they feel very natural. That disconnected saw him

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<v Speaker 1>to what my biggest passion for cinema was that is

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<v Speaker 1>film directing, and by film directing, when the director is

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<v Speaker 1>the voice and everybody else, the heads of the departments

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<v Speaker 1>are supporting a vision and they collaborate in the execution

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<v Speaker 1>of a plan. But let's figure out what this film

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<v Speaker 1>is to get. In that regard, I was very impressed,

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<v Speaker 1>obviously as a kid seeing Danna Jones and understanding that

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<v Speaker 1>it airs the opening of Rangers of the Lost Art.

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<v Speaker 1>It was clearly storyboarded and conceived by a mind and

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<v Speaker 1>executed by incredible craftsmen I got. I was obsessed with ILM.

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<v Speaker 1>I was obsessed with John.

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<v Speaker 2>Williams, of course, and the editing, but I never see this.

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<v Speaker 1>To me, is Pielberg was that thing that made the difference.

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<v Speaker 2>The same with Jows.

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<v Speaker 1>I'm not the kid who was terified of shark in

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<v Speaker 1>the water. To me, it was like, how did he

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<v Speaker 1>do it? I was thinking about the illusionist kind of

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<v Speaker 1>traig that the adme region. I knew that it wasn't magic,

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<v Speaker 1>that it was a trick, but I said this with

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<v Speaker 1>the most pure sense of fascination. So my background. When

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<v Speaker 1>I was fifteen sixteen, I felt that I was getting

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<v Speaker 1>behind because I wanted to direct film so badly. I

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<v Speaker 1>wasn't saying and I'm so unrealistic.

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<v Speaker 2>So when I got to attend.

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<v Speaker 1>Film school in Matririd i was eighteen again I felt

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<v Speaker 1>I can I have to shoot something I wanted to direct.

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<v Speaker 1>And my problem was because in Europe it's more about filmmaking.

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<v Speaker 1>It's about we use film to tell a story and

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<v Speaker 1>talk about the topic or think. It doesn't matter if

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<v Speaker 1>you are a birdman or you're it all about the

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<v Speaker 1>approach and then maybe you're a great director or not.

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<v Speaker 1>But the credit for directing is more about telling the

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<v Speaker 1>story and then the secondary joy is the craft around it.

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<v Speaker 2>And to me it was more about the craft.

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<v Speaker 1>I need to choose a project that allows me to

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<v Speaker 1>explore the language of Sinum. That was my idea. So

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<v Speaker 1>I made a short film the year twenty when I

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<v Speaker 1>was twenty two, that was shot in English and it

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<v Speaker 1>was like a fantasy horror shot awed thirty five million

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<v Speaker 1>mirrors and with sets. We spent a week shooting it.

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<v Speaker 2>It looked really well.

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<v Speaker 1>The crafted in terms of a production value. And this

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<v Speaker 1>producer Ivon Cormanzana saw it and said, hey, how did

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<v Speaker 1>you do it? How long you took? And he said,

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<v Speaker 1>do you think that you could do something confined like

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<v Speaker 1>you did in the short? Room had a hole, wavy

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<v Speaker 1>doors like little rooms. It wasn't a hotel per se,

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<v Speaker 1>but it had a similar approach to it and a

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<v Speaker 1>failed to it. So I said, let me think about it.

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<v Speaker 1>And then when I collaborated with Mikael Albaninho, the co

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<v Speaker 1>writor of the film, who I met in film school,

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<v Speaker 1>and said, Miguel, we have this opportunity here too, give

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<v Speaker 1>everything we have as long as we keep it in

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<v Speaker 1>the boundaries of the budget this producer is offering to us.

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<v Speaker 2>And that's the thing.

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<v Speaker 1>The Birthday is as crazy, insane, ambitious, bold, insane or

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<v Speaker 1>even I can say it flauded if you want, as

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<v Speaker 1>we could afford it inscribed on those limitations. But it

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<v Speaker 1>was fantastic because it's a movie where I always say

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<v Speaker 1>to the biggest pertality is me as a director, of

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<v Speaker 1>the fact that we wrote the script, or the producer

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<v Speaker 1>or even Grey Filman's performance, that is amazing. I think

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<v Speaker 1>the biggest protagogies is the opportunity. Especially as you were

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<v Speaker 1>world you realized how close you were to saying, oh

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<v Speaker 1>my god, films are really hard to put together. And

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<v Speaker 1>suddenly these twenty six are all kids in Spain of

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<v Speaker 1>says with Americans am I with the choir brothers and

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<v Speaker 1>David Lee into and stuff, and Joel Land is suddenly

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<v Speaker 1>having the opportunity to make a thing. So the only

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<v Speaker 1>thing I can take credit for is that I put

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<v Speaker 1>it all the hubrews and all the energy of a

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<v Speaker 1>twenty year old guy into doing something that at least

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<v Speaker 1>it felt different and special.

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<v Speaker 5>We are twenty years later and talking about this movie.

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<v Speaker 5>Why now, why has this gotten quote unquote rediscovered.

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<v Speaker 2>Intercombination of things?

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<v Speaker 1>The problem is ten years ago, maybe twelve years ago,

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<v Speaker 1>I realized that one of the reasons why my producer,

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<v Speaker 1>who owned the film and that I'm the good terms with,

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<v Speaker 1>is just that we don't assemble across the We have

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<v Speaker 1>different lives and there's like this royality that you see

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<v Speaker 1>every two Christmas. I mean that we are in good terms,

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<v Speaker 1>but we're not com up reading together. I realized that

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<v Speaker 1>the problem is that we had other offers before to

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<v Speaker 1>disimbul the film, sometimes soon even theoratically or in blu

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<v Speaker 1>rays stuff in different countries, but the US and the UK,

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<v Speaker 1>and I realized that the reason why he said no

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<v Speaker 1>is because he never had the proper materials. He ran

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<v Speaker 1>out of the money basically to make a long story short.

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<v Speaker 1>There was no strategy for distribution, and that means like

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<v Speaker 1>the movie wasn't financed using pre sales. Nobody knew that

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<v Speaker 1>this movie existed until it was done and ready to serve.

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<v Speaker 1>We showed it for the first time mirror days after

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<v Speaker 1>the sound mix was finished a Just Film festival, and

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00:16:06.759 --> 00:16:09.360
<v Speaker 1>December two thousand and four that meant that people is

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<v Speaker 1>where's this movie coming from? That sounds amazing if it's

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<v Speaker 1>part of a strategy, but believe me, it's not where

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<v Speaker 1>you want to be if you're a producer, sir, have

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<v Speaker 1>no there's to be some plan at all.

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<v Speaker 2>So year after year.

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<v Speaker 1>The movie as an asset was evaluating and very rapidly

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<v Speaker 1>became liability for the producer. So when I understand this,

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<v Speaker 1>oh my god, even if he had stems on offer,

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<v Speaker 1>it's not only that he's not going to get the

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<v Speaker 1>money back, so that he doesn't have the materials and

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<v Speaker 1>he's not going to spend money to have the proper materials.

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<v Speaker 1>So three years ago I started to say, look, the

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<v Speaker 1>twentieth anniversary is coming. I came up with the say

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<v Speaker 1>that I'm in good charms with them. I'm going to

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<v Speaker 1>ask them where the materials are. They didn't know, And

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<v Speaker 1>I started this Indemna jones squest, trying to locate the

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<v Speaker 1>negative and the sound makes believe me. So maybe a

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<v Speaker 1>long story short, it has been a year that it sounds.

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<v Speaker 1>It's a great Arrtoris, it's a great story. I'm not

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<v Speaker 1>making this up. It's been very intense. But I was

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<v Speaker 1>putting the thing together, and thank got the production company.

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<v Speaker 1>Despite they didn't support me financially, they said they allowed

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<v Speaker 1>me to have access to the materials, so basically put

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<v Speaker 1>them together, saying, now, at least with this four K restoration,

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<v Speaker 1>if there's an interest, you're gonna say yes to it

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<v Speaker 1>and make.

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<v Speaker 2>Money out of it. And I'm not going to ask.

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<v Speaker 1>For the money back though I think it's a no brainer.

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<v Speaker 1>And that was my kind of approach to it. And concidentally,

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<v Speaker 1>or he called me at the two thousand and threeighty

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<v Speaker 1>thing No. Two thousand and two, he said that he

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<v Speaker 1>was invited by Jordan Peel's company for the premiere of

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<v Speaker 1>Milpe in La and he didn't know where that came from.

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<v Speaker 1>So since I was working on this restoration or starting

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<v Speaker 1>to locate the materials, we found out that Jordan is

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<v Speaker 1>a huge fan of Corey's career and maybe he's got

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<v Speaker 1>something in his mind for a future project.

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<v Speaker 2>Keeping the fact that.

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<v Speaker 1>They became friends and that the story says Corey said, Hey, Jordan,

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<v Speaker 1>I invited him home and I wanted to show him

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<v Speaker 1>the birthday because he got a DVD copy and I said, okay,

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<v Speaker 1>whatever that means. It was so surreal. Okay, Corey, it's

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<v Speaker 1>your your call, whatever it is. It took two weeks

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<v Speaker 1>for Corey two answer back to me and said what happened,

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<v Speaker 1>and the fingers that he loved them, loved the movie

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<v Speaker 1>and help us to give visibility to it. And from

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<v Speaker 1>the very beginning, I will always be be ungrateful because it,

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<v Speaker 1>excuse me, I got accidentally supporting the film and talking

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<v Speaker 1>about it and letting that shows in the US.

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<v Speaker 2>It's clean, sane.

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<v Speaker 1>Twenty years after having somebody that has become this statement,

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<v Speaker 1>Bubble comes to independent cinema doing things on his own terms,

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<v Speaker 1>that always shooting original material with big budgets because excuse,

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<v Speaker 1>films are getting better, bigger and more ambitious, and it's

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<v Speaker 1>mind blowing. I have to say that it's been a coincidence,

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<v Speaker 1>the fact that I was working on that and the

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<v Speaker 1>keep was supporting it, and here we are.

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<v Speaker 5>Mister Munro, Thank you so much for your time. This

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<v Speaker 5>is wonderful.

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<v Speaker 1>Sorry and my my apologists for jugging so enthusastically and

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<v Speaker 1>for so on, but it aid me twenty years to

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<v Speaker 1>summarize all that. It is not easy.

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<v Speaker 5>It's better than pulling teeth with you, So I appreciate

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<v Speaker 5>that thank you so much, thank your mind.

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<v Speaker 4>This house over.

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<v Speaker 1>A well sign it.

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<v Speaker 3>Scrap Selia swither fingers into bows.

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<v Speaker 2>She's fineless, so.

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<v Speaker 3>Strets waves on the street, Jeeves Fine listen, Bucket.

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<v Speaker 2>Connects Lives and jo.

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<v Speaker 3>Scrab host present.

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<v Speaker 1>It's just a.

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<v Speaker 4>She has one friend tups in school.

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<v Speaker 3>They listening to.

383
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<v Speaker 2>You.

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<v Speaker 3>So many friends.

385
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<v Speaker 2>She's got gee gratting.

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<v Speaker 4>She's.

387
00:20:49.680 --> 00:20:52.720
<v Speaker 3>She's fading, huge fools.

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<v Speaker 2>And lose them together.

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00:20:57.720 --> 00:21:10.079
<v Speaker 3>These big great it clans down the sky the down stands.

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00:21:42.039 --> 00:21:54.279
<v Speaker 3>Two days a Wesday. They're smoking siguy a sku, chain

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<v Speaker 3>of flowers and so that birds in a lad.

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<v Speaker 4>There's some single.

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<v Speaker 3>They line up the buster.

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<v Speaker 2>Stream flowers.

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<v Speaker 3>Dum dump un dump dun dump dum dum dup dundum.

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<v Speaker 1>Com down bum

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<v Speaker 2>Dum dum