WEBVTT 1 00:00:05.120 --> 00:00:07.919 Oh g is, folks, it's showtime. 2 00:00:08.640 --> 00:00:10.599 People say good money to see this movie. 3 00:00:10.919 --> 00:00:12.160 When they go out to a theater. 4 00:00:12.439 --> 00:00:15.960 They want clothed soda, pop popcorn in no monsters. 5 00:00:16.120 --> 00:00:19.519 In the Projection Booth, everyone for tend podcasting isn't boring. 6 00:00:20.239 --> 00:00:41.320 Got it off? Hey, folks, welcome to a special episode 7 00:00:41.359 --> 00:00:43.880 of the Projection Booth. I'm your host Mike White. On 8 00:00:44.000 --> 00:00:47.359 this episode, I'm talking about the movie for Lock. That's 9 00:00:47.560 --> 00:00:50.479 f O R E l O c K. It's not 10 00:00:50.640 --> 00:00:53.920 the fourth in a film series about locks. It is 11 00:00:53.960 --> 00:00:57.880 a brand new movie directed and written by Caleb Alexander Smith, 12 00:00:58.359 --> 00:01:01.439 and it stars David Crumhol as well as mister Smith. 13 00:01:01.960 --> 00:01:06.400 It is all about a naive fitness enthusiast who looks 14 00:01:06.439 --> 00:01:10.280 a lot like a particular superhero who ends up getting 15 00:01:10.319 --> 00:01:13.799 a job over on Hollywood Boulevard and all kinds of 16 00:01:13.840 --> 00:01:18.400 wackiness follows. It is making the rounds at festivals. There 17 00:01:18.480 --> 00:01:22.799 is not really a poster or even a trailer for 18 00:01:22.840 --> 00:01:25.840 this one, and as those rolled out, I will definitely 19 00:01:25.840 --> 00:01:29.680 be updating folks on where they can see Forlock. I 20 00:01:29.719 --> 00:01:31.200 had a lot of fun with this and I was 21 00:01:31.280 --> 00:01:35.200 super happy to talk with mister Smith. And especially mister Crumholtz, 22 00:01:35.760 --> 00:01:40.000 because I've been watching him since he was in Adam's 23 00:01:40.000 --> 00:01:43.959 Family Values, so kind of watched him grow up through 24 00:01:44.079 --> 00:01:47.000 the magic of the movies. Thank you so much for listening, 25 00:01:47.000 --> 00:01:49.959 and I hope you enjoy this interview. Mister Smith, I'm 26 00:01:50.000 --> 00:01:51.840 not that familiar with your work. Can you tell me 27 00:01:51.840 --> 00:01:53.879 a little bit more about how you got involved in 28 00:01:53.920 --> 00:01:57.120 filmmaking and especially how you came to be a writer director. 29 00:01:57.640 --> 00:02:01.680 I moved to Los Angeles after college, where I studied film, 30 00:02:01.920 --> 00:02:03.879 and I was very much my intention to be a 31 00:02:03.920 --> 00:02:08.199 writer and director, and when I landed in LA what 32 00:02:08.319 --> 00:02:11.039 actually got going a little bit more was acting. So 33 00:02:11.759 --> 00:02:15.080 I've acted on a lot of TV stuff, Network TV stuff, 34 00:02:15.520 --> 00:02:17.479 but all the while I was pursuing writing and directing. 35 00:02:18.000 --> 00:02:21.319 I co wrote and directed the micro budget film here 36 00:02:21.479 --> 00:02:24.280 nine years ago that made a little micro splash, but 37 00:02:24.319 --> 00:02:28.400 that did get me representation, and I optioned some scripts, 38 00:02:28.400 --> 00:02:32.960 sold some things, got very close to a few projects 39 00:02:33.360 --> 00:02:36.439 before Forelock. Actually, it does seem like I'm new to 40 00:02:36.479 --> 00:02:38.000 the scene, and I am in a way as a 41 00:02:38.000 --> 00:02:40.360 writer director, but also I've been pursuing it for a 42 00:02:40.520 --> 00:02:41.199 very long time. 43 00:02:41.680 --> 00:02:43.560 And how did you mister Crumholtz meet. 44 00:02:44.120 --> 00:02:46.759 He was the right person for the role of Randy. 45 00:02:46.919 --> 00:02:50.039 And when the first time we met was over Zoom 46 00:02:50.080 --> 00:02:52.759 after we sent him the script and within the first 47 00:02:52.759 --> 00:02:54.599 five minutes of talking to him about the story in 48 00:02:54.639 --> 00:02:55.360 the project, it. 49 00:02:55.319 --> 00:02:57.080 Was obvious that this is the guy. 50 00:02:57.520 --> 00:02:59.439 But despite the fact that he lives in New Jersey 51 00:02:59.439 --> 00:03:02.520 now and I'm from New Jersey, we hadn't actually met 52 00:03:02.800 --> 00:03:03.919 before this project. 53 00:03:04.199 --> 00:03:06.759 How did Black get going, where did the idea come from, 54 00:03:06.759 --> 00:03:08.199 and how did it actually get made. 55 00:03:08.599 --> 00:03:12.039 I was in La New to La. Like many people, 56 00:03:12.080 --> 00:03:14.199 I needed a side hustle and a side gig. And 57 00:03:14.319 --> 00:03:18.240 what people kept saying to me, mostly ironic, although some not, 58 00:03:18.520 --> 00:03:20.960 was well, you look just like Superman. You should put 59 00:03:20.960 --> 00:03:24.199 on spandex, go to Hollywood Boulevard and take pictures of 60 00:03:24.240 --> 00:03:28.159 the Taurus and get tips. And that idea stuck in 61 00:03:28.159 --> 00:03:30.879 my crawl for a very long time, and I was 62 00:03:31.080 --> 00:03:34.680 as I was writing other projects and things were some 63 00:03:34.719 --> 00:03:37.439 things were selling, some things weren't. I had this idea 64 00:03:37.520 --> 00:03:39.639 over time that I was holding back a little bit 65 00:03:39.680 --> 00:03:42.960 and I wasn't writing something personal, and I wanted to 66 00:03:43.000 --> 00:03:45.080 do something that was based off of my own experiences. 67 00:03:45.439 --> 00:03:47.759 So that's when I wrote Forelock about this guy who 68 00:03:48.360 --> 00:03:50.919 it's a flip of me where he doesn't want anything 69 00:03:50.919 --> 00:03:52.319 to do with movies. He moves out to be a 70 00:03:52.360 --> 00:03:55.520 personal trainer and he falls into this kind of bizarro 71 00:03:55.800 --> 00:03:56.719 entertainment world. 72 00:03:57.159 --> 00:03:57.800 But yeah, I. 73 00:03:58.159 --> 00:04:01.759 Started the production company with my wife and we got 74 00:04:02.319 --> 00:04:05.400 very lucky, frankly to have the steam going and the 75 00:04:05.439 --> 00:04:10.280 financing and everything. Fortunately, everyone really connected with the script 76 00:04:10.280 --> 00:04:10.840 and the story. 77 00:04:11.240 --> 00:04:12.759 Yeah, but what did you think of the script the 78 00:04:12.800 --> 00:04:13.599 first time we saw it. 79 00:04:14.039 --> 00:04:17.000 I never read anything like it, and right away I thought, 80 00:04:17.439 --> 00:04:21.480 this is wildly unpredictable. Didn't really know where it was heading, 81 00:04:22.000 --> 00:04:26.079 and that's always a relief. There were no he didn't 82 00:04:26.120 --> 00:04:29.439 tip the nose or tip the hat or any kind 83 00:04:29.439 --> 00:04:32.439 of clue as to where this was heading. And then 84 00:04:32.839 --> 00:04:35.040 all the way till the very very end of the film, 85 00:04:35.079 --> 00:04:40.560 it's oh okay. And I love that the film didn't 86 00:04:40.600 --> 00:04:45.839 satisfy any trope that has been long established with films 87 00:04:45.879 --> 00:04:49.399 like these. Does the mystery get solved or does it deepen? 88 00:04:49.600 --> 00:04:54.000 Or it didn't matter there is this is a comedy, mystery, 89 00:04:55.040 --> 00:04:59.920 romp adventure action thing, and I and it's a high 90 00:05:00.040 --> 00:05:03.800 ybrid thing and it's beautiful. I also just felt the 91 00:05:03.839 --> 00:05:09.399 writing was just super honest and also very informed from 92 00:05:09.480 --> 00:05:16.319 a very relatable place of resent towards Hollywood, towards Los Angeles, 93 00:05:16.319 --> 00:05:21.439 towards big business corporations. I felt it was just very 94 00:05:21.480 --> 00:05:24.279 honest and brutally honest about all that, and so it 95 00:05:24.319 --> 00:05:26.680 was a breath of fresh air. I was charmed by it. 96 00:05:26.680 --> 00:05:30.000 It was quirky and weird and out there, and I 97 00:05:30.079 --> 00:05:33.759 was also I don't get opportunities to play roles like 98 00:05:34.240 --> 00:05:41.879 this very often bold scheming, lying, cheating guys who are 99 00:05:42.279 --> 00:05:48.279 fun to watch because they're headed for the inevitable crash. 100 00:05:48.360 --> 00:05:51.600 And I really jumped up the chance to play a 101 00:05:51.680 --> 00:05:54.920 role like this, and his voice was so succinct in 102 00:05:54.959 --> 00:05:57.600 what Caleb broke, it was a no brainer. 103 00:05:58.040 --> 00:06:00.639 Yeah, how was that kind of finding your inner ratz 104 00:06:00.680 --> 00:06:02.839 ol Rizzo to play next to Joe buck here. 105 00:06:02.959 --> 00:06:06.319 He's always been there. It's been in my grab bag 106 00:06:06.480 --> 00:06:11.680 for a while, and I've brought versions of that out 107 00:06:11.839 --> 00:06:17.040 into other characters where I felt it wasn't egregious to do, 108 00:06:17.399 --> 00:06:21.800 but this one was just like the full on there's nothing. 109 00:06:22.560 --> 00:06:25.720 There was no rules, There are no rules, and that 110 00:06:25.839 --> 00:06:28.959 was the other thing was Caleb as a director was 111 00:06:29.079 --> 00:06:31.839 kind enough to give me a lot of rope to 112 00:06:32.040 --> 00:06:37.279 just play with just how deviant and dvs Randy was. 113 00:06:37.600 --> 00:06:41.639 And it wasn't something that I had to invent, but 114 00:06:41.720 --> 00:06:44.680 it was something I got the chance to really expand 115 00:06:44.759 --> 00:06:47.480 on and it was a lot of fun, A lot 116 00:06:47.480 --> 00:06:47.839 of fun. 117 00:06:48.399 --> 00:06:49.519 I was going to ask, was there a lot of 118 00:06:49.560 --> 00:06:51.920 room for play as far as the characters that you 119 00:06:51.959 --> 00:06:54.519 guys are playing or were you pretty strict to the script? 120 00:06:54.720 --> 00:06:58.079 I think both, wouldn't you say? The movie doesn't have 121 00:06:58.160 --> 00:07:00.600 to be two and a half hours long, though, and 122 00:07:01.759 --> 00:07:05.879 there is a longer edit of this film that has 123 00:07:06.000 --> 00:07:09.199 all those playful things. But ultimately, what you're seeing is 124 00:07:09.319 --> 00:07:13.000 mostly what was written, with the exception of a couple moments. 125 00:07:13.519 --> 00:07:16.439 And obviously you've written, you've produced, You've done a lot 126 00:07:16.439 --> 00:07:18.920 of things. You know, I can't tell you just acting 127 00:07:18.959 --> 00:07:22.560 because again, your career spans decades now, which is wonderful. 128 00:07:23.000 --> 00:07:25.279 But how is that for you playing the role of 129 00:07:25.319 --> 00:07:28.800 both executive producer and one of the stars of the felt. 130 00:07:29.040 --> 00:07:33.199 I'm so grateful that they said yes when I said, Hey, 131 00:07:33.360 --> 00:07:35.199 I want to produce this thing too. I want to 132 00:07:35.240 --> 00:07:38.759 be hands on, had a sense it might be needed. 133 00:07:39.439 --> 00:07:41.759 I'm at a point. It's the strangest thing. Man, I'm 134 00:07:41.800 --> 00:07:45.920 at a point where I do find myself sometimes being 135 00:07:46.079 --> 00:07:50.360 the most experienced person on a set in terms of filmmaking, 136 00:07:50.959 --> 00:07:56.800 and sometimes by far. I knew this was Caleb's first film. 137 00:07:57.040 --> 00:08:01.959 I knew or first film as a solo director. I 138 00:08:02.079 --> 00:08:06.720 knew that there were a lot of people experiencing their 139 00:08:06.759 --> 00:08:13.040 first go at indie filmmaking, gorilla filmmaking, if you will. 140 00:08:13.079 --> 00:08:17.079 And so I've had experience doing all those things, and 141 00:08:17.160 --> 00:08:20.680 I've seen things go wrong, and I've seen miracles happen, 142 00:08:20.759 --> 00:08:25.120 and I would have been frustrated to not be able 143 00:08:25.120 --> 00:08:29.600 to share that those experiences, share the knowledge that I've 144 00:08:30.040 --> 00:08:33.240 gained from those experiences of the stuff, what to do, 145 00:08:33.360 --> 00:08:36.240 what not to do, And they were kind enough to listen, 146 00:08:36.360 --> 00:08:40.320 and I loved I love producing. Producing is like party planning. 147 00:08:40.360 --> 00:08:43.279 It's like putting together a wedding where you're very concerned 148 00:08:43.320 --> 00:08:46.720 about what your guests are going to think. It's not 149 00:08:46.759 --> 00:08:49.720 so much about what the host wants, it's what ultimately, 150 00:08:49.759 --> 00:08:51.759 it's what the guests are going to walk away with. 151 00:08:51.840 --> 00:08:54.720 And I love that attack. It's a lot of fun 152 00:08:54.799 --> 00:08:58.360 and a natural fit for me, so just grateful to 153 00:08:58.399 --> 00:08:59.399 have had the opportunity. 154 00:09:00.039 --> 00:09:02.919 How was it for you? Being the writer, the director 155 00:09:03.000 --> 00:09:06.240 and in front of the camera for what fifty sixty 156 00:09:06.320 --> 00:09:08.000 eighty percent of the time, that must have been a 157 00:09:08.039 --> 00:09:09.159 little difficult. 158 00:09:09.360 --> 00:09:12.279 It was made more difficult by the spandex. Part of 159 00:09:12.279 --> 00:09:15.480 the joke of the script is keeping this poor guy 160 00:09:15.600 --> 00:09:19.279 in that suit as long as possible. And I was 161 00:09:19.559 --> 00:09:22.120 obviously talking a lot on set. I was losing my 162 00:09:22.240 --> 00:09:25.360 voice sometimes overhydrating, had to go to the bathroom. It 163 00:09:25.480 --> 00:09:28.480 was a whole thing of undoing the zipper, redoing the 164 00:09:28.519 --> 00:09:32.919 mic every single time. So it had its practical difficulties, 165 00:09:32.919 --> 00:09:36.279 but ultimately, anyone who gets the opportunity I did is 166 00:09:36.399 --> 00:09:41.559 extremely fortunate to tell a story that is very personal. 167 00:09:41.600 --> 00:09:43.639 It's not based on me, really, The character is quite 168 00:09:43.639 --> 00:09:46.080 different from me, but it's still it's a very personal 169 00:09:46.120 --> 00:09:47.559 story that no one else was going to make. No 170 00:09:47.559 --> 00:09:49.200 one else was going to write it or direct it. 171 00:09:49.679 --> 00:09:51.639 So I tried to have fun with it. It's not 172 00:09:51.679 --> 00:09:55.639 always fun sometimes, like David said, it's filmmaking, and indie 173 00:09:55.639 --> 00:09:59.320 filmmaking particularly is difficult because of the time constraints. And 174 00:09:59.360 --> 00:10:03.720 we did have a pretty healthy budget actually by indie standards, 175 00:10:03.919 --> 00:10:06.799 but it's still difficult and shooting in LA can be 176 00:10:06.840 --> 00:10:09.879 a little bit of a nightmare, which is extremely sad, 177 00:10:10.159 --> 00:10:12.399 but that is the truth of the matter. Besides for 178 00:10:12.440 --> 00:10:14.720 the tax incentive and all that kind of stuff, there's 179 00:10:14.759 --> 00:10:18.200 a whole other smorty sportive issues around that. We dealt 180 00:10:18.240 --> 00:10:20.960 with some of those and we got through it. David's 181 00:10:21.039 --> 00:10:24.320 leadership was key. We had people like ROBERTA. Schaeffer, who 182 00:10:24.360 --> 00:10:28.120 is our director of photography, who's done everything from all 183 00:10:28.159 --> 00:10:31.159 the Mark Forster movies like Monstrous Ball and Stranger in Fiction. 184 00:10:31.279 --> 00:10:34.080 He's done a James Bond movie, all the Christopher Guest 185 00:10:34.159 --> 00:10:37.120 movies that we love, like Best in Show. He was 186 00:10:37.159 --> 00:10:39.320 also great to have to be able to lean on 187 00:10:39.399 --> 00:10:42.279 him and for him to be able to say, oh, Caleb, 188 00:10:42.320 --> 00:10:45.080 this is a great idea, or Caleb, we can't actually 189 00:10:45.159 --> 00:10:49.159 do this one. It's teamwork. Filmmaking is very collaborative. It 190 00:10:49.200 --> 00:10:52.600 has to be that way, and fortunately I had people 191 00:10:52.679 --> 00:10:55.960 who believed in the vision but were also able to 192 00:10:56.279 --> 00:10:59.200 disagree when the time came, because those times do come. 193 00:11:00.120 --> 00:11:03.120 One pitched in and I'm really pleased with the result. 194 00:11:03.440 --> 00:11:04.919 Tell me a little bit more about your crew. You 195 00:11:05.000 --> 00:11:07.360 mentioned your DP, and I'm curious how the rest of 196 00:11:07.399 --> 00:11:08.679 your folks came together. 197 00:11:09.039 --> 00:11:11.159 It's kind of like you hired the department heads and 198 00:11:11.200 --> 00:11:15.120 then let them do their thing. Roberto hired Jim Planette, 199 00:11:15.240 --> 00:11:18.919 who is a very famous scaffer, one of the few 200 00:11:18.960 --> 00:11:20.720 famous scaffers probably gentlemen. 201 00:11:20.799 --> 00:11:21.480 Jim Planett. 202 00:11:21.919 --> 00:11:27.639 He's done everything from et to Braveheart to Ocean's eleven. 203 00:11:28.200 --> 00:11:30.559 He's in his mid eighties, his energy level is off 204 00:11:30.600 --> 00:11:34.720 the charts. He's an incredible resource. And not kidding. 205 00:11:34.399 --> 00:11:36.080 When I say he had more energy than I did 206 00:11:36.159 --> 00:11:37.200 on our overnight shoots. 207 00:11:37.240 --> 00:11:40.759 He truly did. So we were really spoiled with an 208 00:11:40.799 --> 00:11:44.480 incredible crew. For me, it was just talking to department heads, 209 00:11:44.519 --> 00:11:46.840 making a choice and then letting them do their thing. 210 00:11:47.519 --> 00:11:49.600 Can you talk a little bit about the post process 211 00:11:49.639 --> 00:11:50.799 on this The. 212 00:11:50.799 --> 00:11:54.480 Post process was interesting because I had my first child 213 00:11:54.559 --> 00:11:54.759 in the. 214 00:11:54.720 --> 00:11:55.320 Middle of it. 215 00:11:55.480 --> 00:11:58.759 Actually, so I made I had a cut in the movie. 216 00:11:58.799 --> 00:12:01.519 I felt pretty good about it. I stepped away to 217 00:12:02.600 --> 00:12:04.080 be there for the birth of my son and be 218 00:12:04.120 --> 00:12:06.440 there for those first several months, and when I came 219 00:12:06.440 --> 00:12:08.840 back to the movie, it was like I just had 220 00:12:08.840 --> 00:12:12.519 this whole new perspective on cutting, and that's where David 221 00:12:12.600 --> 00:12:15.440 came in and the editing booth helped out try to 222 00:12:15.480 --> 00:12:17.960 show the movie to a lot of different people. We 223 00:12:18.000 --> 00:12:20.559 took our time with it because we didn't have any 224 00:12:21.519 --> 00:12:23.960 external deadline, so we were able to really test it 225 00:12:24.000 --> 00:12:27.799 out over and over. And the response so far has 226 00:12:27.840 --> 00:12:30.360 been pretty positive about the movie, and I think a 227 00:12:30.360 --> 00:12:32.559 big part of that is the fact that we were 228 00:12:32.600 --> 00:12:34.559 able to take some time in post production and really 229 00:12:34.559 --> 00:12:35.039 get it right. 230 00:12:35.519 --> 00:12:37.960 The jokes are really tight, and I was curious if 231 00:12:38.000 --> 00:12:41.759 you had many test screenings in order to get that 232 00:12:41.840 --> 00:12:44.879 material so tight and so well worked out. 233 00:12:44.960 --> 00:12:46.919 There were a few, like official kind of things that 234 00:12:46.960 --> 00:12:48.200 we did, but a lot of it. 235 00:12:48.159 --> 00:12:52.360 Was just having new groups of people every weekend to 236 00:12:52.440 --> 00:12:54.720 my house to watch the movie, people who hadn't seen 237 00:12:54.879 --> 00:12:57.279 who knew nothing about it, and just gauging their reaction. 238 00:12:57.879 --> 00:13:00.399 We do that on Saturday, and then in the next 239 00:13:00.399 --> 00:13:03.399 week editing have a different group come in the following 240 00:13:03.440 --> 00:13:06.679 Saturday get their reactions. So it was just a lot 241 00:13:06.679 --> 00:13:09.399 of that, and I think for a comedy it's necessary 242 00:13:09.639 --> 00:13:12.679 because it is so much about the rhythm and about 243 00:13:13.039 --> 00:13:16.120 trying to cut extraneous things when necessary, but also knowing 244 00:13:16.399 --> 00:13:18.480 when to let a moment be a moment. 245 00:13:18.879 --> 00:13:19.919 But there's no such thing. 246 00:13:19.840 --> 00:13:22.200 As perfection with this kind of thing, but it's an 247 00:13:22.240 --> 00:13:25.360 intuitive led process. And yes, we were thank you to 248 00:13:25.399 --> 00:13:27.080 everyone out there who saw a cut of the movie 249 00:13:27.279 --> 00:13:27.799 and weighed in. 250 00:13:28.360 --> 00:13:29.440 Have you had your premiere? 251 00:13:29.519 --> 00:13:32.799 Yep, yep. We premiered in Austin at the Austin Film Fest. 252 00:13:32.799 --> 00:13:36.320 We were opening night and it was a raucous response. 253 00:13:36.840 --> 00:13:39.279 This is probably the best way to describe it. I'm 254 00:13:39.360 --> 00:13:43.039 just very grateful and humbled by the response in the room, 255 00:13:43.080 --> 00:13:46.159 the response afterwards. We're starting to get the early reviews 256 00:13:46.159 --> 00:13:49.480 and that kind of thing, and it's been awesome letterboxing, 257 00:13:49.960 --> 00:13:53.480 the funny quips that people have about the movie. Someone 258 00:13:53.519 --> 00:13:58.080 commented this is a big himbo movie, which I really 259 00:13:58.159 --> 00:14:01.240 liked that comment actually, because it is so Yeah, it's 260 00:14:01.279 --> 00:14:03.519 we had a premiere. We have some more stuff upcoming 261 00:14:04.039 --> 00:14:06.799 as well. That's in the works. Hopefully we'll be able 262 00:14:06.840 --> 00:14:07.519 to announce soon. 263 00:14:08.039 --> 00:14:09.480 What was it like for you guys to see this 264 00:14:09.559 --> 00:14:10.879 with an audience for the first. 265 00:14:11.159 --> 00:14:15.960 It speaks to the communal experience of theater viewing that 266 00:14:16.879 --> 00:14:22.399 seems to be lost. But the wonderful thing about more 267 00:14:22.480 --> 00:14:26.159 comedies being made, right. We were in this dry spell 268 00:14:26.200 --> 00:14:29.960 of comedies for a very long time. Certainly studios stop 269 00:14:30.039 --> 00:14:32.759 making comedies, and they seem to be making more now 270 00:14:33.360 --> 00:14:37.279 they're reinventing it. And that's kind of the nature of comedy, right, 271 00:14:37.399 --> 00:14:40.080 Like there's some bumps in the road of what's funny, 272 00:14:40.120 --> 00:14:45.399 what works, what doesn't. But I think comedy is you 273 00:14:45.559 --> 00:14:47.440 want to You don't want to laugh. 274 00:14:47.639 --> 00:14:48.120 In your head. 275 00:14:48.159 --> 00:14:50.639 If you laugh in your house alone, does anyone and 276 00:14:50.679 --> 00:14:51.679 no one's around. 277 00:14:51.399 --> 00:14:52.200 To hear you laugh? 278 00:14:52.279 --> 00:14:57.080 Did you really laugh? Whereas in a theater it's this communal, 279 00:14:57.200 --> 00:15:01.279 joyful experience. And so so it's nice to see a 280 00:15:01.320 --> 00:15:05.399 comedy in theaters, and it's nice to be in that 281 00:15:05.559 --> 00:15:09.320 comedy and watch people laugh at my work, and you know, 282 00:15:09.360 --> 00:15:12.279 it's a bit of a party. And so it was great. 283 00:15:12.519 --> 00:15:15.720 It was a great feeling. You worry about these things, right, 284 00:15:16.399 --> 00:15:19.559 they're your little baby. You pour your heart and soul 285 00:15:19.600 --> 00:15:24.240 into a very sort of precious egg, right that you 286 00:15:24.279 --> 00:15:27.600 can't drop, and you got to be really gentle with 287 00:15:27.720 --> 00:15:32.240 and so you worry, like, how is the egg going 288 00:15:32.279 --> 00:15:36.000 to play? And is it going to come out scrambled 289 00:15:36.120 --> 00:15:39.799 or is it still going to be intact, and our 290 00:15:39.799 --> 00:15:44.519 little egg was really beautifully received. Everybody got everything like 291 00:15:44.639 --> 00:15:48.559 no one missed a beat, and everyone was surprised by 292 00:15:48.600 --> 00:15:53.840 the twists and turns, and everyone was very engaged from 293 00:15:54.240 --> 00:15:56.840 the beginning to the end. It's exactly what you want, 294 00:15:57.000 --> 00:15:58.679 So couldn't have gone better. 295 00:15:59.240 --> 00:16:01.960 You're talking about seeing comedies in the theater, which I 296 00:16:02.000 --> 00:16:04.840 completely agree with your feed off of that energy. The 297 00:16:04.960 --> 00:16:07.879 last must see in a theater movie that I saw 298 00:16:08.159 --> 00:16:11.279 also had you in it, which was Oppenheimer. Talk about 299 00:16:11.320 --> 00:16:15.120 a difference of scope and scale between Oppenheimer and Forelock. 300 00:16:14.799 --> 00:16:16.440 But mon and tone. 301 00:16:16.519 --> 00:16:20.399 Yeah, nothing funny about that movie. I'm an eighties kid, right, 302 00:16:20.519 --> 00:16:23.960 So it was two movies a weekend with my dad, 303 00:16:24.840 --> 00:16:26.480 who didn't know what else to do with me. He 304 00:16:26.480 --> 00:16:30.879 had customy custody if me on the weekends, and he would. 305 00:16:31.000 --> 00:16:33.799 He was like, let's see whatever's out. He took me 306 00:16:33.840 --> 00:16:37.000 to some crazy movies, nothing too scary and nothing too violent. 307 00:16:37.559 --> 00:16:41.200 But I saw pretty much every eighties comedy, and I 308 00:16:41.320 --> 00:16:46.519 just that is such a romantic thing and the it 309 00:16:46.600 --> 00:16:50.720 shouldn't be nostalgic. It should still be happening and developing 310 00:16:50.759 --> 00:16:54.440 and evolving now, whether it be because of the pandemic 311 00:16:54.639 --> 00:17:00.960 or for whatever reason, we've sidetracked into home viewing and streaming, 312 00:17:01.000 --> 00:17:03.360 and it isn't the same. It is not the same. 313 00:17:03.559 --> 00:17:06.519 And movies are made to be seen in a movie theater. 314 00:17:07.039 --> 00:17:12.079 Certainly with Caleb with making this film, writing this script, 315 00:17:12.440 --> 00:17:17.440 having Roberto Schaeffer and Jim Plannett shoot and light this thing, 316 00:17:17.519 --> 00:17:19.799 this was meant to be seen in a movie theater, 317 00:17:20.400 --> 00:17:23.720 and it plays beautifully at home. Sure, movies are meant 318 00:17:23.720 --> 00:17:28.480 to be seen on a large screen with people around you. 319 00:17:28.519 --> 00:17:31.720 The movie's funnier if you can if you're not laughing alone. 320 00:17:31.960 --> 00:17:35.119 When you're talking about nostalgia, and there are elements of 321 00:17:35.240 --> 00:17:38.799 forelocks that really speak to me as far as screwball comedy. 322 00:17:39.160 --> 00:17:41.440 So much of the scene in the house, that big 323 00:17:41.480 --> 00:17:45.920 set piece of the house. He's upstairs, you're downstairs, you're outside, 324 00:17:45.960 --> 00:17:48.799 he's up all those different things so remind me of 325 00:17:49.279 --> 00:17:51.440 some of our better screwballs that we have back in 326 00:17:51.440 --> 00:17:55.119 the thirties and forties. So again I applaud that so much. 327 00:17:55.759 --> 00:17:57.960 Thank you for picking up on that. That is something 328 00:17:58.039 --> 00:18:01.759 a lot of people understand them Cowboy jumping off point 329 00:18:01.960 --> 00:18:04.640 and the sting is in there, and some things from 330 00:18:04.680 --> 00:18:09.640 the seventies. But I love Lubitsch. I love Billy Wilder, 331 00:18:09.720 --> 00:18:13.240 especially my dog is named Billy Wilder. I love the 332 00:18:13.359 --> 00:18:18.720 energy of Screwball. I think that it is it, you know. 333 00:18:18.720 --> 00:18:21.240 I know the Cohens have some of that in there 334 00:18:21.519 --> 00:18:24.680 in especially the first half of their career, and I 335 00:18:24.720 --> 00:18:28.599 love it. I love the idea of just being mad 336 00:18:28.680 --> 00:18:33.480 cap and raising up the hilarity and the absurdity all 337 00:18:33.519 --> 00:18:35.599 the way as high as you can in the scale 338 00:18:35.920 --> 00:18:38.960 and just then letting it fly. I didn't want to 339 00:18:39.000 --> 00:18:42.400 be too cool for school with this movie and hold back. 340 00:18:42.519 --> 00:18:44.960 I just wanted to let it be zany. And I 341 00:18:44.960 --> 00:18:47.400 think that's reflected in the colors and like the bold 342 00:18:48.039 --> 00:18:51.839 saturation and these primary red blues and yellows, and I 343 00:18:51.839 --> 00:18:55.240 think it's reflected in the setups and the payoffs and 344 00:18:55.240 --> 00:18:59.640 in the performances too. And one of the funniest lines 345 00:19:00.319 --> 00:19:03.960 in the movie is in the bathroom of that house, 346 00:19:04.640 --> 00:19:08.319 and it's a line with Randy in the bathroom. He 347 00:19:08.400 --> 00:19:10.119 has some activity in there, and I'm not going to 348 00:19:10.160 --> 00:19:12.599 spoil it, but it's something that Dave just came up 349 00:19:12.680 --> 00:19:15.799 with on the spot. And there's another moment leading into 350 00:19:15.799 --> 00:19:18.759 the chase scene that it was something that just before 351 00:19:18.799 --> 00:19:19.720 we rolled cameras. 352 00:19:20.119 --> 00:19:21.839 It was a line I gave to Dave, and. 353 00:19:22.240 --> 00:19:24.599 I think we had a lot of it is built 354 00:19:24.599 --> 00:19:28.000 into the script. But when you're in that spirit of play, 355 00:19:28.680 --> 00:19:31.920 I think you open yourself up to hopefully mining the 356 00:19:31.960 --> 00:19:36.519 material to even greater depths. So yes, I love the 357 00:19:36.559 --> 00:19:39.359 films of the thirties and forties, and if there's just 358 00:19:39.400 --> 00:19:41.279 a little bit of that energy, and for Lock, I'm 359 00:19:41.400 --> 00:19:41.839 very proud. 360 00:19:42.359 --> 00:19:43.680 No, you can't be wilder. 361 00:19:43.720 --> 00:19:45.920 And I think Lubitsch is a lot of his stuff 362 00:19:46.000 --> 00:19:48.640 is less seen, but Nanatchka and all these things where 363 00:19:48.640 --> 00:19:50.440 it's about I like mix up humor. 364 00:19:50.920 --> 00:19:53.160 It's a really silly thing, but when it's pulled. 365 00:19:52.960 --> 00:19:55.680 Off so satisfying that if they think you're supposed to 366 00:19:55.720 --> 00:19:58.799 be acting, there actually why people get their wires crossed 367 00:19:59.200 --> 00:20:02.960 and there's confusion and it's silly stuff, but hopefully it 368 00:20:03.000 --> 00:20:06.119 does get our shared humanity and we're all a part 369 00:20:06.160 --> 00:20:07.799 of this human struggle together. 370 00:20:08.200 --> 00:20:11.279 We kind of pick up on David's egg metaphor from before. 371 00:20:11.319 --> 00:20:14.160 I know, the chicken is hatched, but now you have 372 00:20:14.200 --> 00:20:15.920 to nurture it. Now you have to get this movie 373 00:20:15.920 --> 00:20:18.839 out there, get more people seeing it. You talked about 374 00:20:18.839 --> 00:20:21.559 getting it out to different festival, different events and things. 375 00:20:22.039 --> 00:20:24.839 But past that, do you have your next idea? Do 376 00:20:24.880 --> 00:20:26.880 you know where you're going to go after this one? 377 00:20:26.920 --> 00:20:29.759 I'm always writing and I have something that I'm zeroing 378 00:20:29.799 --> 00:20:30.039 in on. 379 00:20:30.200 --> 00:20:32.039 I can't say too much about it because it's just 380 00:20:32.079 --> 00:20:36.759 at such a nascent stage, but yeah, we'll We're happy 381 00:20:36.799 --> 00:20:40.079 to be promoting Forelock. I think we're probably looking at 382 00:20:40.200 --> 00:20:43.000 some more festivals and doing it that way because we 383 00:20:43.039 --> 00:20:45.799 do love the audience ground swell and building this buzz. 384 00:20:46.319 --> 00:20:48.559 And then we would hope for it to be released 385 00:20:49.160 --> 00:20:51.839 next year, maybe next spring or so. We'll see about 386 00:20:51.839 --> 00:20:55.039 the details on that and then, yeah, the idea is 387 00:20:55.079 --> 00:20:58.119 to just get the band back together and make another one. 388 00:20:58.480 --> 00:21:00.759 David, how about yourself? I know you are always working. 389 00:21:00.839 --> 00:21:02.160 Where are you going to be up next? 390 00:21:02.559 --> 00:21:06.359 I'm in that Supergirl movie coming out June twenty sixth, 391 00:21:06.400 --> 00:21:11.359 twenty twenty six, six six six. That's going to be 392 00:21:11.440 --> 00:21:14.359 very exciting. I've never been in a superhero film before. 393 00:21:14.440 --> 00:21:17.559 I've only been this is not a superhero film, but 394 00:21:18.160 --> 00:21:22.519 it's just following me the whole Superman thing, and so now, yeah, 395 00:21:22.559 --> 00:21:27.640 I play Supergirl's father. I'm Zorel, brother of Joorrel. Bradley 396 00:21:27.640 --> 00:21:32.319 Cooper's brother has been established in the Superman film, which 397 00:21:32.359 --> 00:21:32.920 makes sense. 398 00:21:33.559 --> 00:21:34.519 It's very exciting. 399 00:21:34.559 --> 00:21:36.720 I got a couple other things, hopefully a horror film 400 00:21:36.759 --> 00:21:39.440 I made last year in eight twenty four Horror from 401 00:21:39.480 --> 00:21:42.720