WEBVTT

1
00:00:03.919 --> 00:00:07.000
<v Speaker 1>You are listening to the IFH podcast Network. For more

2
00:00:07.080 --> 00:00:12.679
<v Speaker 1>amazing filmmaking and screenwriting podcasts, just go to ifahpodcastnetwork dot com.

3
00:00:12.839 --> 00:00:16.480
<v Speaker 2>Welcome to the Bulletproof Screenwriting Podcast, episode number four zero one.

4
00:00:16.559 --> 00:00:20.440
<v Speaker 2>In Hollywood. Breakfast means maybe we'll do business, Lunch means yes,

5
00:00:20.679 --> 00:00:22.399
<v Speaker 2>and dinner means we're in bed.

6
00:00:22.960 --> 00:00:27.800
<v Speaker 1>Richard Rolla broadcasting from a dark, windowless room in Hollywood

7
00:00:27.879 --> 00:00:30.039
<v Speaker 1>when we really should be working on that next draft.

8
00:00:30.359 --> 00:00:34.359
<v Speaker 1>It's the Bulletproof Screenwriting Podcast, showing you the craft and

9
00:00:34.439 --> 00:00:36.799
<v Speaker 1>business of screenwriting while teaching you how to make your

10
00:00:36.880 --> 00:00:38.320
<v Speaker 1>screenplay bulletproof.

11
00:00:38.640 --> 00:00:43.840
<v Speaker 2>And here's your host, Alex Ferrari. Welcome, Welcome to another

12
00:00:43.840 --> 00:00:46.840
<v Speaker 2>episode of the Bulletproof Screenwriting Podcast. I am your humble host,

13
00:00:47.039 --> 00:00:52.840
<v Speaker 2>Alex Ferrari. Now, today's show is sponsored by Bulletproof script Coverage. Now.

14
00:00:52.920 --> 00:00:57.840
<v Speaker 2>Unlike other script coverage services, Bulletproof Script Coverage actually focuses

15
00:00:57.880 --> 00:01:00.880
<v Speaker 2>on the kind of project you are in the goals

16
00:01:00.920 --> 00:01:03.280
<v Speaker 2>of the project you are, so we actually break it

17
00:01:03.320 --> 00:01:06.840
<v Speaker 2>down by three categories micro budget, indie film, market and

18
00:01:06.920 --> 00:01:09.599
<v Speaker 2>studio film. There's no reason to get coverage from a

19
00:01:09.640 --> 00:01:11.920
<v Speaker 2>reader that you used to reading temp pole movies when

20
00:01:11.959 --> 00:01:14.760
<v Speaker 2>your movie is gonna be done for one hundred thousand dollars,

21
00:01:14.840 --> 00:01:17.719
<v Speaker 2>and we wanted to focus on that. At Bulletproof Script Coverage,

22
00:01:18.000 --> 00:01:23.480
<v Speaker 2>our readers have worked with Marvel Studios, CIA, WME, NBC, HBO, Disney,

23
00:01:23.920 --> 00:01:27.319
<v Speaker 2>Scott Free, Warner Brothers, The Blacklist, and many many more.

24
00:01:27.400 --> 00:01:30.799
<v Speaker 2>So if you need your screenplay or TV script covered

25
00:01:31.040 --> 00:01:36.400
<v Speaker 2>by professional readers, head on over to covermiscreenplay dot com.

26
00:01:36.799 --> 00:01:39.079
<v Speaker 2>Now I have filmmakers that come up to me all

27
00:01:39.120 --> 00:01:41.359
<v Speaker 2>the time and say, Alex, I can't afford a camera.

28
00:01:41.439 --> 00:01:43.840
<v Speaker 2>I can't I can't shoot what I want to shoot

29
00:01:43.840 --> 00:01:46.640
<v Speaker 2>because you know, these cameras are so expensive, and you

30
00:01:46.680 --> 00:01:49.000
<v Speaker 2>know I can't afford an Alexa, I need a Red

31
00:01:49.159 --> 00:01:51.599
<v Speaker 2>or I can't even afford a black Magic. It just

32
00:01:51.640 --> 00:01:54.519
<v Speaker 2>doesn't I can't do it. And every time I always

33
00:01:54.560 --> 00:01:56.879
<v Speaker 2>look at them, I said, you have the power to

34
00:01:57.120 --> 00:02:01.760
<v Speaker 2>make your own film, probably in your pocket with your smartphone.

35
00:02:02.519 --> 00:02:04.920
<v Speaker 2>You know, so many of us out there have either

36
00:02:04.959 --> 00:02:08.240
<v Speaker 2>an iPhone or a Samsung or an Android or something

37
00:02:08.560 --> 00:02:12.800
<v Speaker 2>that is more than capable of shooting an amazing film.

38
00:02:13.080 --> 00:02:17.120
<v Speaker 2>And now Sean Baker with Tangerine really broke the mold

39
00:02:17.599 --> 00:02:19.919
<v Speaker 2>on what can be done with the iPhone, and he

40
00:02:19.960 --> 00:02:24.159
<v Speaker 2>was shooting with an iPhone I think five s back

41
00:02:24.199 --> 00:02:27.759
<v Speaker 2>in the day, and nowadays with like the new iPhones

42
00:02:27.759 --> 00:02:30.319
<v Speaker 2>and even like the Fillway phone I have, the Sixcess

43
00:02:30.800 --> 00:02:35.360
<v Speaker 2>is more than capable of shooting an amazing short or

44
00:02:35.400 --> 00:02:38.439
<v Speaker 2>even an amazing feature, depending on what kind of story

45
00:02:38.479 --> 00:02:41.000
<v Speaker 2>you're trying to tell. If you guys have not seen

46
00:02:41.080 --> 00:02:45.479
<v Speaker 2>Tangerine Sean Baker's Tangerine, please search it out for it.

47
00:02:45.520 --> 00:02:47.319
<v Speaker 2>I'll put a link to it in the description, as

48
00:02:47.319 --> 00:02:50.479
<v Speaker 2>well as our interview about how he did it in

49
00:02:50.520 --> 00:02:54.400
<v Speaker 2>the show notes. But today's guest is kind of a

50
00:02:54.439 --> 00:02:58.400
<v Speaker 2>revolutionary filmmaker man. His name is Jason van Jendrin, and

51
00:02:58.639 --> 00:03:04.719
<v Speaker 2>Jason is an iPhone filmmaking fanatic. He actually threw away

52
00:03:04.919 --> 00:03:07.599
<v Speaker 2>and gave away or sold all of his big high

53
00:03:07.680 --> 00:03:12.039
<v Speaker 2>end gear, and he is a strictly an iPhone filmmaker.

54
00:03:12.479 --> 00:03:17.199
<v Speaker 2>All his productions, all of his videos, he shoots strictly

55
00:03:17.280 --> 00:03:21.520
<v Speaker 2>on iPhones and has built an insane business around it.

56
00:03:21.560 --> 00:03:23.000
<v Speaker 2>And I'm not just talking about he's doing his own

57
00:03:23.000 --> 00:03:27.319
<v Speaker 2>little private shorts. He does, you know, client based work

58
00:03:27.800 --> 00:03:31.439
<v Speaker 2>shooting iPhones, and people always freak out about like why

59
00:03:31.520 --> 00:03:33.039
<v Speaker 2>you just showing up with an iPhone. I'm like, just

60
00:03:33.080 --> 00:03:35.879
<v Speaker 2>trust us, we know what we're doing. He actually teaches

61
00:03:36.000 --> 00:03:41.120
<v Speaker 2>all around Australia, in the US, in Europe about filmmaking

62
00:03:41.159 --> 00:03:43.400
<v Speaker 2>with iPhones. And I wanted to have him on the

63
00:03:43.400 --> 00:03:46.319
<v Speaker 2>show because I wanted to prove again to you guys

64
00:03:46.560 --> 00:03:49.599
<v Speaker 2>that you don't need all this big, heavy equipment. You

65
00:03:49.599 --> 00:03:51.919
<v Speaker 2>don't need a Red, you don't need an Alexa, you

66
00:03:51.960 --> 00:03:55.479
<v Speaker 2>don't even need a big black magic camera. You just

67
00:03:55.599 --> 00:03:57.759
<v Speaker 2>need what's in your pocket. If you could afford the

68
00:03:57.759 --> 00:04:02.560
<v Speaker 2>bigger cameras, great, but you don't need it, just so

69
00:04:02.639 --> 00:04:05.360
<v Speaker 2>you know you can tell compelling stories without it. And

70
00:04:05.400 --> 00:04:08.400
<v Speaker 2>his first short film he shot on iPhone has been

71
00:04:08.439 --> 00:04:11.639
<v Speaker 2>played in hundreds of film festivals around the world and

72
00:04:11.800 --> 00:04:16.160
<v Speaker 2>is one tens of thousands of dollars in film festival

73
00:04:17.000 --> 00:04:22.000
<v Speaker 2>prizes and stuff. So he really is an inspiration to

74
00:04:22.079 --> 00:04:25.279
<v Speaker 2>filmmakers around the world, and I so wanted to I

75
00:04:25.360 --> 00:04:27.439
<v Speaker 2>really searched them out and I wanted him on the show.

76
00:04:27.759 --> 00:04:30.879
<v Speaker 2>And I'm so blessed and humbled that he's on the

77
00:04:30.879 --> 00:04:33.399
<v Speaker 2>show and he's going to be dropping. I'm talking about

78
00:04:33.439 --> 00:04:36.879
<v Speaker 2>some serious knowledge bombs on how you make films with

79
00:04:37.240 --> 00:04:39.759
<v Speaker 2>an iPhone. We talk about the gear of what you

80
00:04:39.800 --> 00:04:42.319
<v Speaker 2>do to put around the iPhone to make it work

81
00:04:42.399 --> 00:04:46.319
<v Speaker 2>even more like a cinematic tool, what apps he uses

82
00:04:46.639 --> 00:04:50.800
<v Speaker 2>to shoot, twenty four p and all that good stuff. Audio, everything.

83
00:04:50.839 --> 00:04:53.199
<v Speaker 2>We go into it deep and he has a great

84
00:04:53.879 --> 00:04:57.040
<v Speaker 2>course on iPhone filmmaking that will hopefully be coming to

85
00:04:57.160 --> 00:05:02.120
<v Speaker 2>IFHTV very very soon. I am working on it, guys,

86
00:05:02.839 --> 00:05:06.600
<v Speaker 2>but it is a great course as well. He's taught,

87
00:05:06.680 --> 00:05:10.839
<v Speaker 2>He's had ted talks about filmmaking with iPhones and other

88
00:05:10.920 --> 00:05:14.639
<v Speaker 2>things in the business. He's just an inspiration in general. Now,

89
00:05:14.639 --> 00:05:17.920
<v Speaker 2>if you guys want to see this video live and

90
00:05:18.000 --> 00:05:20.879
<v Speaker 2>actually watch this interview, which was a great one, it's

91
00:05:20.920 --> 00:05:24.680
<v Speaker 2>available on the Indie Film Hustle video podcast on IFHTV.

92
00:05:25.279 --> 00:05:28.879
<v Speaker 2>Just go to Indie Film Hustle dot tv the chech

93
00:05:29.000 --> 00:05:30.839
<v Speaker 2>it out and I'll put a link to that in

94
00:05:30.920 --> 00:05:34.639
<v Speaker 2>the show notes as well. Without any further ado, please

95
00:05:34.959 --> 00:05:39.959
<v Speaker 2>enjoy my conversation with Jason van gendron I'd like to

96
00:05:40.000 --> 00:05:42.560
<v Speaker 2>welcome to the show Jason van gendron Man. Thank you

97
00:05:42.680 --> 00:05:43.920
<v Speaker 2>so much for being on the show.

98
00:05:43.959 --> 00:05:47.439
<v Speaker 3>Brother Alex. It's amazing to finally meet you rather than

99
00:05:47.480 --> 00:05:50.439
<v Speaker 3>just listening to you through the podcast. Channels finally get

100
00:05:50.480 --> 00:05:52.959
<v Speaker 3>to see you and hear your voice one on one.

101
00:05:53.000 --> 00:05:53.920
<v Speaker 3>It's fantastic nights.

102
00:05:54.040 --> 00:05:56.319
<v Speaker 2>It's awesome man, and you are and we are having this.

103
00:05:56.639 --> 00:06:00.920
<v Speaker 2>This is like an international call. So you are in Australia.

104
00:06:01.000 --> 00:06:02.319
<v Speaker 2>What time is it over there right now?

105
00:06:02.600 --> 00:06:06.160
<v Speaker 3>I know, Well it's almost coming up to half past

106
00:06:06.199 --> 00:06:10.240
<v Speaker 3>ten in the morning for me here. Oh nice sunny morning.

107
00:06:10.639 --> 00:06:12.800
<v Speaker 2>So you are in the future, so you can tell

108
00:06:12.839 --> 00:06:13.560
<v Speaker 2>me what happens.

109
00:06:14.360 --> 00:06:16.439
<v Speaker 3>I can tell you everything that happens. We're at least

110
00:06:16.480 --> 00:06:17.360
<v Speaker 3>a good half day ahead of.

111
00:06:17.360 --> 00:06:18.759
<v Speaker 2>You, exactly.

112
00:06:19.399 --> 00:06:21.399
<v Speaker 3>Well, thank you for the only time Australia is considered

113
00:06:21.439 --> 00:06:22.639
<v Speaker 3>to be ahead of anywhere in the world.

114
00:06:22.800 --> 00:06:26.639
<v Speaker 2>So fair enough, fair enough, So thank you again for

115
00:06:26.720 --> 00:06:29.720
<v Speaker 2>jumping on man. And you know, the reason I wanted

116
00:06:29.800 --> 00:06:32.160
<v Speaker 2>to put you on is because you have a very

117
00:06:32.240 --> 00:06:34.920
<v Speaker 2>unique set of skills that we have not had a

118
00:06:34.920 --> 00:06:38.040
<v Speaker 2>guest on the show before, which is iPhone filmmaking or

119
00:06:38.079 --> 00:06:40.240
<v Speaker 2>pocket filmmaking as you put it. So we're going to

120
00:06:40.240 --> 00:06:42.920
<v Speaker 2>get deep into that. But first, how did you get

121
00:06:42.959 --> 00:06:46.160
<v Speaker 2>into this crazy business we like to call the film industry.

122
00:06:47.519 --> 00:06:51.920
<v Speaker 3>Well, my checked background really start in the world of advertising.

123
00:06:51.959 --> 00:06:55.040
<v Speaker 3>So I was working as an art director in the

124
00:06:55.040 --> 00:06:59.560
<v Speaker 3>advertising industry for about thirteen years and got really really

125
00:06:59.560 --> 00:07:04.040
<v Speaker 3>tired of just making thirty second and forty five second

126
00:07:04.120 --> 00:07:09.680
<v Speaker 3>stories for yeah, and just thought there must be another

127
00:07:09.680 --> 00:07:13.279
<v Speaker 3>life beyond that. So basically I set up my own

128
00:07:13.319 --> 00:07:18.319
<v Speaker 3>little business, a production business called Treehouse seventeen years ago,

129
00:07:19.160 --> 00:07:22.079
<v Speaker 3>and from there we've gradually we started pretty much as

130
00:07:22.600 --> 00:07:26.160
<v Speaker 3>an advertising branding agency. We started working more in television

131
00:07:26.160 --> 00:07:29.600
<v Speaker 3>and video and online, and now it's one hundred percent

132
00:07:29.639 --> 00:07:32.160
<v Speaker 3>of our business. We do a lot of branded content,

133
00:07:32.240 --> 00:07:35.480
<v Speaker 3>so we do a lot of commercial content, We do

134
00:07:35.480 --> 00:07:38.079
<v Speaker 3>a lot of social content for a lot of brands

135
00:07:38.120 --> 00:07:41.319
<v Speaker 3>around the world, and in the spare time, I still

136
00:07:41.360 --> 00:07:43.079
<v Speaker 3>make my own films and make a lot of training

137
00:07:43.120 --> 00:07:48.040
<v Speaker 3>resources and have really as you said before, I've not

138
00:07:48.120 --> 00:07:52.680
<v Speaker 3>that I've fallen in love with making things on smartphones,

139
00:07:52.720 --> 00:07:56.480
<v Speaker 3>but smartphones really found me as a way of making content,

140
00:07:56.639 --> 00:08:00.319
<v Speaker 3>and I was so surprised by what they could create

141
00:08:00.360 --> 00:08:02.800
<v Speaker 3>as a tool that I started digging deeper and was

142
00:08:02.839 --> 00:08:06.639
<v Speaker 3>just so pleasantly surprised by how deep we could take

143
00:08:06.639 --> 00:08:09.360
<v Speaker 3>the technology and the level of what we could actually

144
00:08:09.360 --> 00:08:13.120
<v Speaker 3>create with this new miniaturization of our cameras.

145
00:08:13.360 --> 00:08:15.439
<v Speaker 2>It is, I mean, it is like the latest stuff.

146
00:08:15.480 --> 00:08:17.800
<v Speaker 2>I mean, they're they're really powerful cameras. I mean, they

147
00:08:17.800 --> 00:08:22.360
<v Speaker 2>have some insane capabilities that literally around. It's sitting around

148
00:08:22.399 --> 00:08:24.360
<v Speaker 2>in your pocket. But a lot of people just don't

149
00:08:24.439 --> 00:08:26.480
<v Speaker 2>know what to do with it because you are not

150
00:08:26.600 --> 00:08:30.360
<v Speaker 2>trained anywhere how to shoot with an iPhone's not in

151
00:08:30.399 --> 00:08:34.360
<v Speaker 2>a film school, it's not generally in the mainstream. Everyone

152
00:08:34.399 --> 00:08:37.399
<v Speaker 2>looks down upon it because oh, it's just an iPhone.

153
00:08:38.519 --> 00:08:40.679
<v Speaker 2>But Sean Baker kind of taught us a little bit

154
00:08:40.679 --> 00:08:44.720
<v Speaker 2>about that with his amazing film Tangerine. By the way,

155
00:08:44.759 --> 00:08:47.080
<v Speaker 2>what did you think of Tangerine when you saw it?

156
00:08:47.159 --> 00:08:49.639
<v Speaker 3>Incredible? I watched it in flight somewhere on the way

157
00:08:49.679 --> 00:08:52.519
<v Speaker 3>to another festival, and yeah, I thought it was I mean,

158
00:08:52.559 --> 00:08:54.159
<v Speaker 3>he shot it on iPhone five.

159
00:08:54.279 --> 00:08:57.440
<v Speaker 2>I think it was five s if I'm not missing,

160
00:08:57.519 --> 00:08:59.639
<v Speaker 2>it was either four us. I think I might have

161
00:08:59.679 --> 00:09:01.879
<v Speaker 2>even been fours, but it might have been five. Yeah,

162
00:09:01.879 --> 00:09:04.279
<v Speaker 2>because I own a six. I own a six ass

163
00:09:04.320 --> 00:09:07.600
<v Speaker 2>I haven't jumped yet, so I think it was one

164
00:09:07.679 --> 00:09:09.320
<v Speaker 2>or two back it was a while ago.

165
00:09:09.399 --> 00:09:13.399
<v Speaker 3>Yeah, I think again it was a trial blazing project

166
00:09:13.440 --> 00:09:16.919
<v Speaker 3>and it was very brave, very adventurous, and again, with

167
00:09:16.960 --> 00:09:20.000
<v Speaker 3>every great story, you're watching a film that sure you

168
00:09:20.080 --> 00:09:23.279
<v Speaker 3>know it's been shot on a smartphone. Maybe that's how

169
00:09:23.279 --> 00:09:26.399
<v Speaker 3>you come across Tangerina initially to watch it, but I

170
00:09:26.399 --> 00:09:28.080
<v Speaker 3>think you know, a few minutes in you were totally

171
00:09:28.120 --> 00:09:30.440
<v Speaker 3>swept into that story. And that's the great charm of

172
00:09:30.799 --> 00:09:32.720
<v Speaker 3>any film, regardless of what we make it on, is

173
00:09:33.360 --> 00:09:37.440
<v Speaker 3>all about creating that incredible story. And I think that's

174
00:09:37.480 --> 00:09:39.240
<v Speaker 3>the voice we need to rise to the top through this.

175
00:09:39.320 --> 00:09:41.399
<v Speaker 3>It's not so much about what camera we're filming on.

176
00:09:41.480 --> 00:09:46.919
<v Speaker 3>It's about enabling ourselves to tell better stories in more ways.

177
00:09:47.399 --> 00:09:50.759
<v Speaker 2>No without question. And I mean when I had Sean

178
00:09:50.799 --> 00:09:53.559
<v Speaker 2>on the show to talk about that a while ago,

179
00:09:53.679 --> 00:09:56.720
<v Speaker 2>and he actually told me, he's like, we played in

180
00:09:56.759 --> 00:09:59.559
<v Speaker 2>Sundance and nobody knew that we shot it on iPhone.

181
00:10:00.919 --> 00:10:03.440
<v Speaker 2>We'll be right back after a word from our sponsor.

182
00:10:07.080 --> 00:10:11.720
<v Speaker 2>And now back to the show. Like after the first screening,

183
00:10:11.799 --> 00:10:13.759
<v Speaker 2>at the very end, it set shot on an iPhone,

184
00:10:13.759 --> 00:10:16.000
<v Speaker 2>and everybody just mind blew up.

185
00:10:16.279 --> 00:10:18.399
<v Speaker 3>It was like it's saying And I think that that

186
00:10:18.720 --> 00:10:22.519
<v Speaker 3>was an absolute stroke of brilliance on Sean's behalf, because

187
00:10:23.480 --> 00:10:25.519
<v Speaker 3>a lot of people would have had the temptation of

188
00:10:25.559 --> 00:10:30.200
<v Speaker 3>actually saying right up front, oh, yeah, but yeah, it's

189
00:10:30.240 --> 00:10:32.679
<v Speaker 3>incredible the fact that he did that, Like I said,

190
00:10:32.720 --> 00:10:35.720
<v Speaker 3>it's extremely brave, but you know, very credible film. It's

191
00:10:35.759 --> 00:10:38.600
<v Speaker 3>deserved all the success it's it's enjoyed, and yeah, I

192
00:10:38.639 --> 00:10:42.360
<v Speaker 3>think wonderful. A great example of exactly what we're talking

193
00:10:42.360 --> 00:10:44.679
<v Speaker 3>about today, which is the fact that you know, people

194
00:10:44.720 --> 00:10:48.799
<v Speaker 3>anywhere with a fantastic idea can actually realize their story

195
00:10:48.919 --> 00:10:52.080
<v Speaker 3>in some capacity if they just rethink the tools that

196
00:10:52.080 --> 00:10:54.960
<v Speaker 3>they have accessible to them now already, and certainly our

197
00:10:55.000 --> 00:11:00.200
<v Speaker 3>smartphones are a fantastic way of upskilling our filmic ability.

198
00:11:00.639 --> 00:11:03.840
<v Speaker 2>Yeah, with our questions. So so from what I read

199
00:11:03.840 --> 00:11:06.279
<v Speaker 2>about you, there was this like famous moment where you

200
00:11:06.320 --> 00:11:10.720
<v Speaker 2>literally threw away your high end video camera or film camera.

201
00:11:10.840 --> 00:11:12.879
<v Speaker 2>It was a video camera, I guess, and just said,

202
00:11:12.919 --> 00:11:16.120
<v Speaker 2>screw it, I'm going iPhone all the way. What was

203
00:11:16.120 --> 00:11:18.559
<v Speaker 2>that moment and what caused you to go down that road?

204
00:11:19.679 --> 00:11:21.679
<v Speaker 3>You're going down the rabbit hole, now, Alexia, this is

205
00:11:21.679 --> 00:11:24.679
<v Speaker 3>a crazy story. So this takes us all the way

206
00:11:24.720 --> 00:11:26.120
<v Speaker 3>back to two thousand and eight.

207
00:11:26.600 --> 00:11:30.879
<v Speaker 2>What that was like? That was like, Yeah, this years decades, millions.

208
00:11:30.960 --> 00:11:34.039
<v Speaker 3>Ten years ago, ten years ago. It's just crazy. And

209
00:11:34.080 --> 00:11:35.720
<v Speaker 3>I think that we you know this is I think

210
00:11:35.799 --> 00:11:39.960
<v Speaker 3>two years in on having cameras on smartphones right commercially so,

211
00:11:39.960 --> 00:11:43.360
<v Speaker 3>so iPhone had only just released the year before. I'm

212
00:11:43.399 --> 00:11:45.279
<v Speaker 3>not even sure if the two thousand and eight version

213
00:11:45.320 --> 00:11:47.919
<v Speaker 3>of the iPhone could record video. But the camera that

214
00:11:47.960 --> 00:11:50.320
<v Speaker 3>I had back then was a Nokia and ninety five,

215
00:11:50.360 --> 00:11:54.639
<v Speaker 3>a little sliding smartphone, and I remember carrying this thing around,

216
00:11:54.639 --> 00:11:58.039
<v Speaker 3>looking at it and wondering whether one day we'd actually

217
00:11:58.120 --> 00:12:00.480
<v Speaker 3>end up telling stories on our smartphones, we could use

218
00:12:00.480 --> 00:12:03.519
<v Speaker 3>them as actual camera tools. So I pretty much just

219
00:12:03.799 --> 00:12:06.360
<v Speaker 3>walked around and with a couple of friends of mine,

220
00:12:06.360 --> 00:12:09.600
<v Speaker 3>Shane Emmett and John Roy, who's this fantastic musical composer,

221
00:12:09.679 --> 00:12:11.519
<v Speaker 3>I just we started talking. One day, I said, I'd

222
00:12:11.559 --> 00:12:13.519
<v Speaker 3>love to make a film on a smartphone and see

223
00:12:13.519 --> 00:12:17.480
<v Speaker 3>if we could actually ever get that into a film festival.

224
00:12:17.840 --> 00:12:20.720
<v Speaker 3>And of course, sitting here in Australia, our aim was

225
00:12:20.759 --> 00:12:23.679
<v Speaker 3>to try and get into an international film festival. So

226
00:12:24.279 --> 00:12:31.639
<v Speaker 3>we had this concept of you know those magnetic poetry kits. Yeah, yeah,

227
00:12:31.679 --> 00:12:33.879
<v Speaker 3>you can make it oh about something. Someone had something

228
00:12:33.919 --> 00:12:35.519
<v Speaker 3>to it as they walked past the fridge. It's it's

229
00:12:35.600 --> 00:12:37.480
<v Speaker 3>a cool little idea. So we thought, what if we

230
00:12:37.519 --> 00:12:39.759
<v Speaker 3>could do that with a smartphone film, What if we

231
00:12:39.799 --> 00:12:43.320
<v Speaker 3>could actually walk around the city. And so we walked

232
00:12:43.320 --> 00:12:46.279
<v Speaker 3>around Sydney with this little Nokia and we just filmed

233
00:12:46.279 --> 00:12:49.919
<v Speaker 3>words on science. So we were I guess, harvesting words

234
00:12:49.960 --> 00:12:53.080
<v Speaker 3>from shopfronts and vans parked on the side of the street,

235
00:12:53.120 --> 00:12:56.120
<v Speaker 3>from the sidewalk, from anywhere we could see signage and words.

236
00:12:56.399 --> 00:12:59.320
<v Speaker 3>We'd start filming individual words. We had no concept of

237
00:12:59.320 --> 00:13:02.639
<v Speaker 3>a script, storyboard, we had no budget, and we're working

238
00:13:02.639 --> 00:13:04.399
<v Speaker 3>with a smartphone. That was it. Back in two thousand

239
00:13:04.399 --> 00:13:08.480
<v Speaker 3>and eight. We ended up collecting twelve hundred words. I

240
00:13:08.480 --> 00:13:12.240
<v Speaker 3>remember bluetoothing them one at a time from the phone

241
00:13:12.320 --> 00:13:13.000
<v Speaker 3>to my mac.

242
00:13:13.159 --> 00:13:16.320
<v Speaker 2>Yeah, there was no way to look it up. There

243
00:13:16.399 --> 00:13:17.639
<v Speaker 2>was no way to look it up back then.

244
00:13:17.720 --> 00:13:21.360
<v Speaker 3>That's right, no way, absolutely no way. But still, you know,

245
00:13:21.360 --> 00:13:23.320
<v Speaker 3>we were blitzed by that science, like, wow, we can

246
00:13:23.360 --> 00:13:26.600
<v Speaker 3>actually wirelessly transmit this thing from a phone to a dice.

247
00:13:27.240 --> 00:13:30.879
<v Speaker 2>It's fairly it's fairly insane. That technology is fairly it is.

248
00:13:31.440 --> 00:13:35.399
<v Speaker 3>So we ended up with twelve hundred words and we

249
00:13:35.519 --> 00:13:37.240
<v Speaker 3>decided to try and make a film out of that,

250
00:13:37.399 --> 00:13:39.399
<v Speaker 3>and of course there was the complete one oh one

251
00:13:39.440 --> 00:13:41.559
<v Speaker 3>way of do not try and make a short film

252
00:13:41.559 --> 00:13:44.000
<v Speaker 3>this way. We had no concept of really what we

253
00:13:44.000 --> 00:13:45.879
<v Speaker 3>were making film about. We had, like I said before,

254
00:13:45.919 --> 00:13:50.919
<v Speaker 3>no script, no storyboard. So we we were we realized

255
00:13:50.919 --> 00:13:53.600
<v Speaker 3>as we were capturing these words on street signs that

256
00:13:53.600 --> 00:13:57.840
<v Speaker 3>we were very affected by homeless communities in the city

257
00:13:58.039 --> 00:14:00.240
<v Speaker 3>and the fact that you know, you can walk down

258
00:14:00.240 --> 00:14:03.840
<v Speaker 3>the street and you can walk past ten twenty homeless

259
00:14:03.840 --> 00:14:05.559
<v Speaker 3>people a day and never looked them in the eye.

260
00:14:06.000 --> 00:14:09.120
<v Speaker 3>They kind of become part of the furniture and the city,

261
00:14:10.320 --> 00:14:13.320
<v Speaker 3>the landscape. Yeah, And so we decided we would try

262
00:14:13.320 --> 00:14:15.919
<v Speaker 3>and make a project that I guess a story that

263
00:14:16.080 --> 00:14:19.600
<v Speaker 3>spoke to that and questioned whether you know, there was

264
00:14:19.639 --> 00:14:22.519
<v Speaker 3>another way we could connect with one another on that level.

265
00:14:22.759 --> 00:14:24.759
<v Speaker 3>And so we wanted to make a film about homeless

266
00:14:24.799 --> 00:14:30.000
<v Speaker 3>societies in cities and urban environs. And Shane and I

267
00:14:30.360 --> 00:14:32.559
<v Speaker 3>we sat there looking at this list of twelve hundred

268
00:14:32.600 --> 00:14:35.519
<v Speaker 3>words for three nights in a row and trying to

269
00:14:35.559 --> 00:14:39.679
<v Speaker 3>find something, something to stitch together into a narrative, and

270
00:14:40.600 --> 00:14:43.120
<v Speaker 3>nothing really happened. It was just like it was like

271
00:14:43.159 --> 00:14:44.960
<v Speaker 3>going to the dentist three times in a row. It

272
00:14:45.080 --> 00:14:48.120
<v Speaker 3>was honestly, we were sitting there, just nothing was coming

273
00:14:48.120 --> 00:14:53.240
<v Speaker 3>to us. And then I remember one night we contacted

274
00:14:53.320 --> 00:14:56.120
<v Speaker 3>John Roy, this composer friend of ours, and we said, look,

275
00:14:56.120 --> 00:14:57.879
<v Speaker 3>we've got this idea of a film. We want to

276
00:14:57.879 --> 00:15:00.960
<v Speaker 3>cut these things together, these words, We've got some shots

277
00:15:00.960 --> 00:15:02.879
<v Speaker 3>of these incredible homeless people we've met along the way.

278
00:15:03.440 --> 00:15:05.480
<v Speaker 3>We wanted to make a story about homeless societies in

279
00:15:05.519 --> 00:15:07.639
<v Speaker 3>an urban environment and our sense of disconnect with that.

280
00:15:08.360 --> 00:15:10.120
<v Speaker 3>We wanted like a piano score, but it has to

281
00:15:10.120 --> 00:15:12.039
<v Speaker 3>be like plinky blank, so we can cut the words

282
00:15:12.080 --> 00:15:15.840
<v Speaker 3>on certain notes. And I'm totally from a non musical background,

283
00:15:16.000 --> 00:15:18.519
<v Speaker 3>so when I say plinky plank, that's pretty advanced to

284
00:15:18.559 --> 00:15:19.919
<v Speaker 3>technical musical speak.

285
00:15:19.679 --> 00:15:21.399
<v Speaker 2>From same here.

286
00:15:23.840 --> 00:15:26.440
<v Speaker 3>But I know what I like, right, So I sent him.

287
00:15:26.960 --> 00:15:29.080
<v Speaker 3>I sent him a page with twelve images on it

288
00:15:29.159 --> 00:15:31.720
<v Speaker 3>from the chute, and he went away and composed this

289
00:15:31.799 --> 00:15:34.519
<v Speaker 3>incredible three and a half minute piece which he almost

290
00:15:34.600 --> 00:15:38.039
<v Speaker 3>threw away, and he fold me the next day said look,

291
00:15:38.080 --> 00:15:40.639
<v Speaker 3>I've got one little piece of music, but I want

292
00:15:40.679 --> 00:15:42.759
<v Speaker 3>to just fine tune it now. I said, no, no, no, John,

293
00:15:42.799 --> 00:15:44.919
<v Speaker 3>send it through and he did, and Shane and I

294
00:15:44.960 --> 00:15:46.840
<v Speaker 3>listened to it and just knew instantly it was the

295
00:15:46.919 --> 00:15:48.840
<v Speaker 3>right piece of music for this film. You can hear

296
00:15:48.840 --> 00:15:51.759
<v Speaker 3>the breath in the piano strings. It was incredible. And

297
00:15:51.799 --> 00:15:55.320
<v Speaker 3>the film we made was called Mankind Is No Island.

298
00:15:55.639 --> 00:15:58.080
<v Speaker 3>We ended up being inspired by the music. The words

299
00:15:58.120 --> 00:16:00.159
<v Speaker 3>started leaping off the page once we heard the music.

300
00:16:00.480 --> 00:16:03.559
<v Speaker 3>We started finding all of those connections. We put this together.

301
00:16:03.759 --> 00:16:05.840
<v Speaker 3>We entered it into a film festival in New York

302
00:16:05.879 --> 00:16:10.759
<v Speaker 3>called Troupfest New York and troup Fest at that stage

303
00:16:11.039 --> 00:16:15.639
<v Speaker 3>was Australia's biggest short film festival. It attracted an annual

304
00:16:16.000 --> 00:16:19.559
<v Speaker 3>live audience of between eighteen one hundred thousand people. I'm

305
00:16:19.559 --> 00:16:23.279
<v Speaker 3>sure how much eighty to one hundred thousand for a

306
00:16:23.320 --> 00:16:26.039
<v Speaker 3>short film festival. For a short film festival, This is

307
00:16:26.120 --> 00:16:30.240
<v Speaker 3>right on a Sunday evening, on a Sunday summer's evening

308
00:16:30.240 --> 00:16:30.759
<v Speaker 3>in Sydney.

309
00:16:30.919 --> 00:16:33.399
<v Speaker 2>Is there nothing else to do in Sydney during that? Like,

310
00:16:33.440 --> 00:16:37.919
<v Speaker 2>I don't know. That's mind blowing. Even Sundance doesn't get

311
00:16:37.919 --> 00:16:41.200
<v Speaker 2>like that. Making Even Sundance doesn't even get that many people.

312
00:16:41.440 --> 00:16:44.600
<v Speaker 3>That's crazy. It is like a rock concert for short filmmakers.

313
00:16:46.360 --> 00:16:47.919
<v Speaker 3>So they had a version in New York and we

314
00:16:47.960 --> 00:16:50.720
<v Speaker 3>decided to enter it into that. And that's where the

315
00:16:50.720 --> 00:16:53.320
<v Speaker 3>whole story for us started. We end up getting selected

316
00:16:54.559 --> 00:16:59.360
<v Speaker 3>flew across for the festival, we played the film, we

317
00:16:59.440 --> 00:17:02.000
<v Speaker 3>won one people's choice as well, we got Best Film,

318
00:17:02.440 --> 00:17:05.400
<v Speaker 3>and it just started this whole conversation rolling in a

319
00:17:05.480 --> 00:17:07.759
<v Speaker 3>much bigger space. And we did lots of media interviews

320
00:17:07.799 --> 00:17:11.680
<v Speaker 3>and lots of talks at other film festivals and universities

321
00:17:11.720 --> 00:17:15.599
<v Speaker 3>and film colleges, and yeah, it just started this love

322
00:17:15.720 --> 00:17:19.599
<v Speaker 3>of actually not being confined so much by the limitations

323
00:17:19.640 --> 00:17:22.119
<v Speaker 3>in the gear we didn't have to tell stories, and

324
00:17:22.240 --> 00:17:24.599
<v Speaker 3>actually looking at what we did have available to us

325
00:17:24.799 --> 00:17:27.400
<v Speaker 3>and how we could appropriate it and appropriate the concepts

326
00:17:27.400 --> 00:17:29.920
<v Speaker 3>that we're working on to be told with simpler tools,

327
00:17:29.920 --> 00:17:31.559
<v Speaker 3>simpler camera tools.

328
00:17:32.160 --> 00:17:35.440
<v Speaker 2>And that film cost you fifty seven dollars if I read.

329
00:17:35.400 --> 00:17:38.000
<v Speaker 3>Correctly, fifty seven Australian dollars.

330
00:17:38.119 --> 00:17:40.160
<v Speaker 2>Wow, so it's not even American dollars. So wow, that's

331
00:17:40.200 --> 00:17:41.119
<v Speaker 2>not even Americans.

332
00:17:41.160 --> 00:17:44.279
<v Speaker 3>So it would have been forty forty two or three

333
00:17:44.480 --> 00:17:45.559
<v Speaker 3>American dollars to make.

334
00:17:45.720 --> 00:17:47.880
<v Speaker 2>And then how much we end up how muching, how

335
00:17:47.920 --> 00:17:48.599
<v Speaker 2>much prize.

336
00:17:48.400 --> 00:17:52.119
<v Speaker 3>Money today so it's still actually going in festivals around

337
00:17:52.119 --> 00:17:54.799
<v Speaker 3>the world. There's ten years on, it's still during the

338
00:17:54.880 --> 00:17:58.920
<v Speaker 3>rounds and it managed to win over thirty three thousand

339
00:17:58.960 --> 00:17:59.960
<v Speaker 3>dollars in prize money.

340
00:18:00.119 --> 00:18:05.160
<v Speaker 2>That's insane. Oh my god, Like that is that is

341
00:18:05.200 --> 00:18:09.160
<v Speaker 2>the hustle. That is the indie film hustle. Without question. Look,

342
00:18:09.200 --> 00:18:11.519
<v Speaker 2>I thought I was rough because my first short film,

343
00:18:11.559 --> 00:18:13.519
<v Speaker 2>I had it running in festivals probably like four or

344
00:18:13.519 --> 00:18:16.720
<v Speaker 2>five years, and you're still going ten years in.

345
00:18:16.880 --> 00:18:20.000
<v Speaker 3>That's in sen years. It's not competing anymore, but it's

346
00:18:20.039 --> 00:18:23.799
<v Speaker 3>still it's beating invitations all the time to screen, and

347
00:18:25.000 --> 00:18:27.640
<v Speaker 3>it's it's amazing. I just love those little projects you

348
00:18:27.680 --> 00:18:30.319
<v Speaker 3>work on, those little experimental projects that end up surprising

349
00:18:30.400 --> 00:18:32.799
<v Speaker 3>you as the creator as well as well as the audience.

350
00:18:32.839 --> 00:18:35.519
<v Speaker 3>And I think, you know, it's it's for us. It's

351
00:18:35.559 --> 00:18:38.240
<v Speaker 3>the gift that keeps on giving. It's the film story

352
00:18:38.279 --> 00:18:41.720
<v Speaker 3>that just keeps on traveling around the world finding you audiences.

353
00:18:42.079 --> 00:18:44.480
<v Speaker 3>And I watch it every now and then. It still

354
00:18:44.480 --> 00:18:46.359
<v Speaker 3>teaches me a little bit about what I'm doing. It's

355
00:18:46.359 --> 00:18:49.559
<v Speaker 3>still it still has little little gems to give.

356
00:18:49.799 --> 00:18:51.440
<v Speaker 2>You know. It's funny. I was because a lot of

357
00:18:51.440 --> 00:18:53.160
<v Speaker 2>the people I worked, a lot of my collaborators worked

358
00:18:53.160 --> 00:18:54.720
<v Speaker 2>on with that short film. They kept every time they

359
00:18:54.720 --> 00:18:57.240
<v Speaker 2>would see that short film my film film come back up.

360
00:18:57.240 --> 00:19:00.720
<v Speaker 2>They're like, isn't that horse dead? Like, didn't you kill that?

361
00:19:00.839 --> 00:19:03.680
<v Speaker 2>Like that? You've you've ridden that horse as long as

362
00:19:03.680 --> 00:19:06.000
<v Speaker 2>you can on anything since I'm like, I'm like, no,

363
00:19:06.119 --> 00:19:08.640
<v Speaker 2>I just I just you know, inject them with some adrenaline,

364
00:19:08.680 --> 00:19:10.799
<v Speaker 2>picked the horse back up and just keep riding them

365
00:19:11.079 --> 00:19:13.640
<v Speaker 2>until it keeps going. So hey, if it keeps going,

366
00:19:13.680 --> 00:19:15.640
<v Speaker 2>why not, right, I mean, if people still want to

367
00:19:15.640 --> 00:19:18.759
<v Speaker 2>see it, it's all good. And then what was your

368
00:19:19.119 --> 00:19:21.519
<v Speaker 2>did you distribute that film? Did you actually put it

369
00:19:21.559 --> 00:19:24.160
<v Speaker 2>somewhere to be watched or sold or is it strictly

370
00:19:24.240 --> 00:19:25.079
<v Speaker 2>just off.

371
00:19:24.839 --> 00:19:29.359
<v Speaker 3>Offline literally just just offline on festivals? It's it's it

372
00:19:29.440 --> 00:19:33.160
<v Speaker 3>is online at the moment on the trop fest YouTube channel,

373
00:19:34.039 --> 00:19:35.720
<v Speaker 3>so it's had a life there. It's had over a

374
00:19:35.720 --> 00:19:41.000
<v Speaker 3>million views on there. Yeah, it's it's it's crazy. I mean,

375
00:19:42.400 --> 00:19:45.240
<v Speaker 3>short film in Australia is a really strong, healthy medium

376
00:19:45.400 --> 00:19:50.240
<v Speaker 3>for creatives coming out of colleges and film schools. It's

377
00:19:50.240 --> 00:19:51.960
<v Speaker 3>something we really actively embrace.

378
00:19:53.680 --> 00:19:56.160
<v Speaker 2>We'll be right back after a word from our sponsor

379
00:19:59.759 --> 00:20:01.039
<v Speaker 2>and out back to the show.

380
00:20:03.319 --> 00:20:06.319
<v Speaker 3>And I feel really fortunate that, you know, even in

381
00:20:06.319 --> 00:20:08.480
<v Speaker 3>a little old Australia, we can actually say we've got

382
00:20:08.480 --> 00:20:10.519
<v Speaker 3>a film festival that draws a live audience of eighty

383
00:20:10.559 --> 00:20:13.880
<v Speaker 3>to one hundred thousand years. Just insane. And when filmmakers

384
00:20:13.920 --> 00:20:16.440
<v Speaker 3>come from overseas, they've never experienced anything like that. They

385
00:20:16.440 --> 00:20:18.880
<v Speaker 3>walk into this field and they see this sea of

386
00:20:19.000 --> 00:20:22.200
<v Speaker 3>people and they think they're at some crazy concert. It's

387
00:20:22.319 --> 00:20:24.160
<v Speaker 3>just an incredible experience.

388
00:20:24.440 --> 00:20:27.039
<v Speaker 2>I mean, you're almost inspiring me to make a short film.

389
00:20:27.079 --> 00:20:28.640
<v Speaker 2>I mean, I seriously, I got to send something over

390
00:20:28.680 --> 00:20:31.359
<v Speaker 2>there because I just want to experience that. That sounds

391
00:20:31.359 --> 00:20:35.160
<v Speaker 2>amazing for a filmmaker. Look, look, there's very few venues,

392
00:20:35.359 --> 00:20:40.160
<v Speaker 2>very few things out there. Can you know Sundance Toronto.

393
00:20:40.720 --> 00:20:44.359
<v Speaker 2>They don't bring in one hundred thousand eyeballs, you know,

394
00:20:44.640 --> 00:20:47.839
<v Speaker 2>that's insane. That's like YouTube numbers, like you get one

395
00:20:47.880 --> 00:20:48.680
<v Speaker 2>hundred thousand.

396
00:20:48.440 --> 00:20:52.319
<v Speaker 3>Of us that's it. Yeah, So if any filmmakers want

397
00:20:52.319 --> 00:20:54.079
<v Speaker 3>to make a trip to Australia, try and try and

398
00:20:54.880 --> 00:20:59.440
<v Speaker 3>make it around February when trop Fest screens in Australian

399
00:20:59.480 --> 00:21:02.039
<v Speaker 3>come and experience into the festival, because as a filmmaker,

400
00:21:02.039 --> 00:21:05.440
<v Speaker 3>it's just this energy of even just being in the audience,

401
00:21:05.880 --> 00:21:07.440
<v Speaker 3>even if you don't have a film in the festival.

402
00:21:07.519 --> 00:21:09.880
<v Speaker 3>Just being in that crowd and seeing eighty to one

403
00:21:09.920 --> 00:21:13.079
<v Speaker 3>hundred thousand people react and respond at once that's to

404
00:21:13.519 --> 00:21:15.640
<v Speaker 3>something they've seen in the screen is just mind blowing.

405
00:21:15.799 --> 00:21:18.000
<v Speaker 3>It gives me chills for speaking about Yeah, because.

406
00:21:17.799 --> 00:21:21.279
<v Speaker 2>It's nothing that no normal filmmakers don't get that, Like,

407
00:21:21.359 --> 00:21:25.279
<v Speaker 2>you know, even the biggest blockbusters from Hollywood doesn't get

408
00:21:25.279 --> 00:21:26.759
<v Speaker 2>that all in one. But you don't get an eighty

409
00:21:26.799 --> 00:21:30.279
<v Speaker 2>to one hundred thousand people watching Avengers like it doesn't happen.

410
00:21:30.440 --> 00:21:33.960
<v Speaker 2>So it's that must be amazing. So let me ask

411
00:21:34.000 --> 00:21:37.200
<v Speaker 2>you a few tips for making your iPhone more cinematic,

412
00:21:37.559 --> 00:21:39.839
<v Speaker 2>because that is a because if you I mean, iPhones

413
00:21:39.880 --> 00:21:41.400
<v Speaker 2>is like any other tool, you could use it portally,

414
00:21:41.440 --> 00:21:42.400
<v Speaker 2>you can use it really well.

415
00:21:43.480 --> 00:21:46.400
<v Speaker 3>Yeah. Yeah, So there's probably a couple of key things.

416
00:21:46.440 --> 00:21:51.279
<v Speaker 3>One would be you need to obviously understand the strength

417
00:21:51.319 --> 00:21:54.920
<v Speaker 3>and the limitations of your iPhone as a camera tool.

418
00:21:55.039 --> 00:21:59.440
<v Speaker 3>It's got a tiny lens, it's got a tiny imaging chip. Obviously,

419
00:21:59.440 --> 00:22:03.519
<v Speaker 3>the latest versions of the iPhone have stepped it up

420
00:22:03.519 --> 00:22:06.960
<v Speaker 3>in quality again and they've got incredible you know, dynamic

421
00:22:07.039 --> 00:22:11.799
<v Speaker 3>range now. So the things that I would say from

422
00:22:11.799 --> 00:22:13.880
<v Speaker 3>the get go, you really need to focus on in

423
00:22:13.920 --> 00:22:16.400
<v Speaker 3>accessorizing your phone with to make it a real cinematic

424
00:22:16.440 --> 00:22:19.880
<v Speaker 3>capture tool would be First of all, there's an app

425
00:22:19.920 --> 00:22:22.839
<v Speaker 3>called filmic Pro, which is the same app that Sean

426
00:22:22.880 --> 00:22:26.279
<v Speaker 3>Baker filmed on as well film Tangerine onto. It gives

427
00:22:26.279 --> 00:22:30.559
<v Speaker 3>you a complete manual control of all the camera inputs

428
00:22:30.680 --> 00:22:33.160
<v Speaker 3>on your iPhone. So if you can imagine the kind

429
00:22:33.200 --> 00:22:35.960
<v Speaker 3>of controls you have on a DSLR camera, you can

430
00:22:36.000 --> 00:22:39.640
<v Speaker 3>have those on your iPhone with filmic Pro. So it's

431
00:22:39.680 --> 00:22:43.119
<v Speaker 3>in vable. It's the number one selling manual camera app

432
00:22:43.160 --> 00:22:46.759
<v Speaker 3>around the world, I believe, and it allows you to

433
00:22:46.799 --> 00:22:49.000
<v Speaker 3>then work with a whole host of other accessories which

434
00:22:49.039 --> 00:22:52.319
<v Speaker 3>you can obviously then put onto your phone to expand

435
00:22:52.359 --> 00:22:56.240
<v Speaker 3>what it can see optically what it can hear. So yeah,

436
00:22:56.279 --> 00:22:57.960
<v Speaker 3>filmic Pro, that'll be the first thing I'll tell people

437
00:22:58.039 --> 00:23:00.319
<v Speaker 3>to do. Rush out, find that apput it on your

438
00:23:00.359 --> 00:23:01.079
<v Speaker 3>phone and play with it.

439
00:23:01.119 --> 00:23:01.960
<v Speaker 2>And it's pretty good.

440
00:23:03.400 --> 00:23:08.480
<v Speaker 3>It's incredible, like mucho probably yeah, probably, I think it's

441
00:23:08.480 --> 00:23:12.119
<v Speaker 3>around twenty something here in Australia, but yeah, it's look

442
00:23:12.200 --> 00:23:15.039
<v Speaker 3>for Isn't it funny these days with apps we talk about,

443
00:23:15.359 --> 00:23:17.200
<v Speaker 3>you know, paying anything for an app and whenever I

444
00:23:17.240 --> 00:23:18.680
<v Speaker 3>go to a film college and I say, oh, you

445
00:23:18.720 --> 00:23:20.039
<v Speaker 3>need to buy this app, and it's twenty dollars and

446
00:23:20.079 --> 00:23:21.960
<v Speaker 3>they go like, why, that's crazy. I'm never paying twenty

447
00:23:22.039 --> 00:23:24.880
<v Speaker 3>dollars for an app. But you know, you're expanding the

448
00:23:24.920 --> 00:23:28.400
<v Speaker 3>functionality of your device so much. Everybody wants everything for free,

449
00:23:28.440 --> 00:23:29.119
<v Speaker 3>it's insane.

450
00:23:29.200 --> 00:23:34.279
<v Speaker 2>Tell me about it, brother, I know, yeah, I completely

451
00:23:34.359 --> 00:23:35.240
<v Speaker 2>understand what you're.

452
00:23:35.119 --> 00:23:39.240
<v Speaker 3>Saying, totally fatally. So filmy Pro is the bedrock. That's

453
00:23:39.279 --> 00:23:40.960
<v Speaker 3>that's the thing I would start with. And of course

454
00:23:40.960 --> 00:23:44.279
<v Speaker 3>it's available in an Android version as well, so if

455
00:23:44.319 --> 00:23:46.119
<v Speaker 3>you're not on iPhone, if you got something else you can,

456
00:23:46.160 --> 00:23:48.640
<v Speaker 3>you can run filmic Pro. It's amazing. The other thing

457
00:23:48.680 --> 00:23:51.960
<v Speaker 3>that that is a real game changer with iphon we

458
00:23:52.039 --> 00:23:59.200
<v Speaker 3>call it iphonography, is trademark is the ability to add

459
00:23:59.200 --> 00:24:01.319
<v Speaker 3>accessory lenses. Now, so a lot of people away they've

460
00:24:01.319 --> 00:24:05.200
<v Speaker 3>heard of lens clips like olo clip or moment lenses

461
00:24:05.240 --> 00:24:07.440
<v Speaker 3>and things like that, which have their own sort of

462
00:24:07.599 --> 00:24:12.119
<v Speaker 3>fastening system onto your phone. B script make an incredible

463
00:24:12.599 --> 00:24:15.640
<v Speaker 3>cage system for your iPhone or for any smartphone, and

464
00:24:15.759 --> 00:24:17.920
<v Speaker 3>have a device called a dof too, which is a

465
00:24:17.960 --> 00:24:21.640
<v Speaker 3>depth of field converter and Essentially, it's a barrel which

466
00:24:21.680 --> 00:24:26.119
<v Speaker 3>attaches to their b script camera cage which you put

467
00:24:26.119 --> 00:24:29.480
<v Speaker 3>your phone in, and it allows you to then accessorize

468
00:24:29.480 --> 00:24:33.359
<v Speaker 3>your iPhone with any number of different DSLR lenses or

469
00:24:33.359 --> 00:24:34.279
<v Speaker 3>CINY lenses.

470
00:24:35.200 --> 00:24:37.200
<v Speaker 2>Is it worth it because that's a lot of glass

471
00:24:37.319 --> 00:24:39.759
<v Speaker 2>going through like a lot of glass, So is it

472
00:24:39.799 --> 00:24:41.960
<v Speaker 2>going to degrade the image a bunch or is it

473
00:24:42.039 --> 00:24:43.599
<v Speaker 2>worth it?

474
00:24:43.599 --> 00:24:47.279
<v Speaker 3>It's definitely worth it if you want to work with

475
00:24:47.480 --> 00:24:49.599
<v Speaker 3>nashallow depth of field. It's really, at the moment the

476
00:24:49.680 --> 00:24:52.640
<v Speaker 3>only real way we can do it until computational imaging

477
00:24:52.720 --> 00:24:54.839
<v Speaker 3>sort of steps it up another couple of notches and

478
00:24:54.880 --> 00:24:56.880
<v Speaker 3>we can get the effect of what we see in

479
00:24:57.000 --> 00:24:59.880
<v Speaker 3>portrait still mode now on our phones. But you know,

480
00:25:00.000 --> 00:25:02.000
<v Speaker 3>when we can get that in video mode, then that

481
00:25:02.079 --> 00:25:04.920
<v Speaker 3>kind of is another conversation again. But in the meantime,

482
00:25:04.920 --> 00:25:08.319
<v Speaker 3>if you do love that beautiful cinematic look of layering

483
00:25:08.400 --> 00:25:11.079
<v Speaker 3>the focus in your vision, you need something like a

484
00:25:11.119 --> 00:25:14.519
<v Speaker 3>depth of field converter to actually attach accessory lenses to

485
00:25:14.720 --> 00:25:17.920
<v Speaker 3>your smartphone and look at this great It does cut

486
00:25:17.960 --> 00:25:20.160
<v Speaker 3>back the light input a little bit because essentially what

487
00:25:20.400 --> 00:25:22.240
<v Speaker 3>you're telling the lens to do is to focus on

488
00:25:22.599 --> 00:25:26.559
<v Speaker 3>another focusing screen inside the depth of field converter. And

489
00:25:26.599 --> 00:25:28.640
<v Speaker 3>that sounds all very technical, but in the end of

490
00:25:28.640 --> 00:25:31.359
<v Speaker 3>the day, it allows your iPhone to be able to

491
00:25:31.400 --> 00:25:33.720
<v Speaker 3>see through any lens pretty much you can put in

492
00:25:33.720 --> 00:25:37.359
<v Speaker 3>front of it. And we've seen things captured. We've certainly

493
00:25:37.400 --> 00:25:42.079
<v Speaker 3>captured things ourselves here commercially through lenses that people never

494
00:25:42.160 --> 00:25:44.279
<v Speaker 3>ever guess have been attached to a phone. They just

495
00:25:44.480 --> 00:25:46.519
<v Speaker 3>they wouldn't think it's been filmed on a smartphone.

496
00:25:46.599 --> 00:25:48.640
<v Speaker 2>I mean, I think you and I are similar vintages

497
00:25:48.680 --> 00:25:50.400
<v Speaker 2>as far as our age is concerned. So you might

498
00:25:50.440 --> 00:25:53.200
<v Speaker 2>remember this camera. Do you remember the DVX one hundred

499
00:25:53.240 --> 00:25:57.400
<v Speaker 2>day Panasonic? Yes, wonderful, wonderful, wasn't that with the most

500
00:25:57.400 --> 00:25:59.720
<v Speaker 2>beautiful camera ever. It was the first twenty four ft

501
00:25:59.720 --> 00:26:02.920
<v Speaker 2>the first twenty four p camera, and it had a

502
00:26:02.960 --> 00:26:05.079
<v Speaker 2>stock lens on it was alike. It was a beautiful

503
00:26:05.119 --> 00:26:07.440
<v Speaker 2>lock lens, but then you couldn't get that depth. So

504
00:26:07.480 --> 00:26:09.759
<v Speaker 2>you had the thirty five millimeter adapter and then you

505
00:26:09.799 --> 00:26:13.400
<v Speaker 2>could put on those things, but then you would automatically

506
00:26:13.480 --> 00:26:15.599
<v Speaker 2>lose like a stop or two, so you had to

507
00:26:15.640 --> 00:26:18.960
<v Speaker 2>like pump, so similar in that way, and I think it.

508
00:26:18.920 --> 00:26:21.680
<v Speaker 3>Had like a glass didn't have like a glass the mirror.

509
00:26:22.200 --> 00:26:26.160
<v Speaker 2>Yeah, this something I did a movie once that because

510
00:26:26.200 --> 00:26:27.839
<v Speaker 2>I shot my film on the DVX and I had

511
00:26:27.880 --> 00:26:30.000
<v Speaker 2>the adapt I had a screwing adapter, not the thirty five,

512
00:26:30.039 --> 00:26:32.240
<v Speaker 2>but a screwing to get the white hand, just to

513
00:26:32.279 --> 00:26:35.920
<v Speaker 2>get the Sorry everybody, we're geeking out old school now, ye,

514
00:26:36.920 --> 00:26:40.000
<v Speaker 2>But but I had a film that came in. It

515
00:26:40.039 --> 00:26:42.119
<v Speaker 2>was a million dollar feature film that they shot on

516
00:26:42.160 --> 00:26:45.119
<v Speaker 2>the DVX. I don't know why, but they did. This

517
00:26:45.160 --> 00:26:50.119
<v Speaker 2>is back years years ago, and they never attached the

518
00:26:50.400 --> 00:26:54.039
<v Speaker 2>adopter properly, and in the top corner you would see

519
00:26:54.039 --> 00:26:58.880
<v Speaker 2>the mirror like the little little circle like flickering the

520
00:26:58.960 --> 00:27:02.200
<v Speaker 2>whole movie, all the footage. I'm like it was the

521
00:27:02.240 --> 00:27:03.880
<v Speaker 2>first time DP. But that's a whole other story for

522
00:27:03.880 --> 00:27:07.119
<v Speaker 2>a whole other movie podcast. But that was that was

523
00:27:07.160 --> 00:27:09.400
<v Speaker 2>the technology we were dealing with. But the reason I

524
00:27:09.400 --> 00:27:11.720
<v Speaker 2>brought that up is because it did drop a lot

525
00:27:11.759 --> 00:27:15.759
<v Speaker 2>of a drop stop. So I'm assuming that this is similar.

526
00:27:16.000 --> 00:27:17.200
<v Speaker 2>That you've got to pump.

527
00:27:17.200 --> 00:27:20.400
<v Speaker 3>More light in more light and that's that is an

528
00:27:20.400 --> 00:27:23.799
<v Speaker 3>absolutely given with with all smilephones and any small lens camera,

529
00:27:23.920 --> 00:27:26.559
<v Speaker 3>we need to you know, smaller sensors need more light,

530
00:27:26.640 --> 00:27:29.039
<v Speaker 3>so we need to work with more light when we're shooting.

531
00:27:29.400 --> 00:27:31.400
<v Speaker 3>Although you know, having said that, the new ten S,

532
00:27:32.119 --> 00:27:34.440
<v Speaker 3>you know the dynamic range and that is incredible. We

533
00:27:34.680 --> 00:27:36.519
<v Speaker 3>took that out for a camera test a couple of

534
00:27:36.519 --> 00:27:39.920
<v Speaker 3>weeks ago to film festival here in Australia, just comparing

535
00:27:39.960 --> 00:27:42.960
<v Speaker 3>the ten to the ten S in nighttime tests and

536
00:27:43.640 --> 00:27:47.599
<v Speaker 3>the amount of extra latitude and exposure was insane. It's

537
00:27:47.640 --> 00:27:51.039
<v Speaker 3>it's like thirty to more light coming in in low

538
00:27:51.119 --> 00:27:53.720
<v Speaker 3>light situations. Now are you which is incredible?

539
00:27:53.799 --> 00:27:57.319
<v Speaker 2>Are you finding more filmmakers using this as a serious

540
00:27:58.079 --> 00:28:00.400
<v Speaker 2>like a serious package, because I don't see I mean

541
00:28:00.440 --> 00:28:02.359
<v Speaker 2>other than Sean Baker, and there's a handful of other

542
00:28:02.759 --> 00:28:06.960
<v Speaker 2>you know, outliers and yourself obviously, but are there have

543
00:28:07.079 --> 00:28:09.400
<v Speaker 2>you seen have you run across other filmmakers who are

544
00:28:09.400 --> 00:28:10.920
<v Speaker 2>doing serious work with iPhones?

545
00:28:12.160 --> 00:28:14.640
<v Speaker 3>We have. We've actually started to see the explosion of

546
00:28:14.720 --> 00:28:18.720
<v Speaker 3>smartphone film festivals really started taking on. Yeah yeah, yeah.

547
00:28:18.759 --> 00:28:21.319
<v Speaker 3>So earlier this year I was at one in San

548
00:28:21.359 --> 00:28:26.720
<v Speaker 3>Diego run by Susan Bateello amazing smartphone film fest went

549
00:28:26.720 --> 00:28:29.400
<v Speaker 3>to one in Zurich, the Memo Film Festival here in

550
00:28:29.400 --> 00:28:32.839
<v Speaker 3>Australia with SF three Smartphone Flick fest. Now these these

551
00:28:32.839 --> 00:28:35.440
<v Speaker 3>are getting big support. It played at the Opera House

552
00:28:35.480 --> 00:28:39.279
<v Speaker 3>in Sydney. I mean, that's how much tension these festivals

553
00:28:39.319 --> 00:28:41.559
<v Speaker 3>are getting. People are rocking up at the Opera House,

554
00:28:41.559 --> 00:28:44.119
<v Speaker 3>the Laymark Building here in Australia to watch films all

555
00:28:44.160 --> 00:28:47.200
<v Speaker 3>creating a smartphone and people are really starting to push

556
00:28:47.240 --> 00:28:50.799
<v Speaker 3>the boundaries. It's not just people picking these up and

557
00:28:51.240 --> 00:28:53.440
<v Speaker 3>a weekend hack, someone just having a go at the

558
00:28:53.480 --> 00:28:57.960
<v Speaker 3>first time at storytelling. We're seeing real capable storytellers picking

559
00:28:58.039 --> 00:29:00.640
<v Speaker 3>up their smartphones and really experiment ending with the media

560
00:29:00.680 --> 00:29:02.519
<v Speaker 3>and pushing the envelope as to what it can do

561
00:29:03.440 --> 00:29:06.240
<v Speaker 3>as a camera tool. And of course these days too,

562
00:29:06.279 --> 00:29:10.720
<v Speaker 3>we can we can accessorize with any microphone we can.

563
00:29:10.880 --> 00:29:15.359
<v Speaker 3>We can put wireless microphones on our smartphones and capture

564
00:29:15.400 --> 00:29:17.880
<v Speaker 3>dialogue from a distance without being connected with leads. We

565
00:29:17.920 --> 00:29:19.079
<v Speaker 3>can do all that sort of thing.

566
00:29:19.160 --> 00:29:20.799
<v Speaker 2>Yeah, I was going to actually ask you how do

567
00:29:20.880 --> 00:29:23.400
<v Speaker 2>you record professional sound, because a lot of people will

568
00:29:23.480 --> 00:29:26.279
<v Speaker 2>just pick up and go action and we're like, no,

569
00:29:26.440 --> 00:29:28.079
<v Speaker 2>that's not going to work real.

570
00:29:27.960 --> 00:29:32.559
<v Speaker 3>Well, well, we we work with all the full range

571
00:29:32.599 --> 00:29:34.680
<v Speaker 3>of pro microphones we've used in any other other kind

572
00:29:34.680 --> 00:29:36.640
<v Speaker 3>of production we can still work with with our smartphones

573
00:29:36.680 --> 00:29:38.799
<v Speaker 3>as well, or you're obviously still have the choice of

574
00:29:39.200 --> 00:29:42.640
<v Speaker 3>recording your audio separately and syncing it in post. We

575
00:29:42.720 --> 00:29:45.519
<v Speaker 3>generally do both. We record into the camera as well

576
00:29:45.519 --> 00:29:48.039
<v Speaker 3>as have back up audio too. We can never enough

577
00:29:48.079 --> 00:29:48.920
<v Speaker 3>backups of audio.

578
00:29:50.880 --> 00:29:53.359
<v Speaker 2>We'll be right back after a word from our sponsor

579
00:29:57.000 --> 00:29:58.279
<v Speaker 2>and now back to the show.

580
00:30:01.319 --> 00:30:05.359
<v Speaker 3>So yeah, you know, accessory microphones are definitely out there.

581
00:30:05.440 --> 00:30:07.960
<v Speaker 3>For literally, for less than one hundred dollars, you can

582
00:30:08.000 --> 00:30:14.559
<v Speaker 3>buy a really incredible quality microphone to improve the quality

583
00:30:14.559 --> 00:30:17.680
<v Speaker 3>of the sounding a smartphone three hundred percent, and it's

584
00:30:17.720 --> 00:30:19.519
<v Speaker 3>a no brain. And we see people actually starting to

585
00:30:19.519 --> 00:30:21.599
<v Speaker 3>accessorize with a couple of hundred dollars worth of equipment,

586
00:30:21.640 --> 00:30:23.799
<v Speaker 3>and they see the leap in quality that they're achieving,

587
00:30:25.039 --> 00:30:27.000
<v Speaker 3>they just get the bargain and they want to get

588
00:30:27.000 --> 00:30:28.240
<v Speaker 3>more and more and more. And the amount of times

589
00:30:28.240 --> 00:30:30.839
<v Speaker 3>I've been on red carpets at film festivals and I

590
00:30:30.920 --> 00:30:32.640
<v Speaker 3>pull out in a little smartphone rig and I'm just

591
00:30:32.680 --> 00:30:35.119
<v Speaker 3>doing some little voxpops with someone or someone I've met

592
00:30:35.119 --> 00:30:37.039
<v Speaker 3>that I want to ask a question to, and I

593
00:30:37.160 --> 00:30:39.640
<v Speaker 3>get one or two questions out and then instantly it's finished.

594
00:30:39.640 --> 00:30:42.000
<v Speaker 3>All the producers and directors just start coming over. They're

595
00:30:42.000 --> 00:30:44.519
<v Speaker 3>taking photos of the phone rig They want to know

596
00:30:44.559 --> 00:30:46.559
<v Speaker 3>what it is, how do you shoot with it? Where

597
00:30:46.559 --> 00:30:48.599
<v Speaker 3>do I get it? Like? It still seems to be

598
00:30:48.599 --> 00:30:51.279
<v Speaker 3>such a new conversation. But the more that people are

599
00:30:51.279 --> 00:30:52.880
<v Speaker 3>seeing it, the more they're getting exposed to it, the

600
00:30:52.880 --> 00:30:55.000
<v Speaker 3>more they're understanding that there's a place in their production

601
00:30:55.160 --> 00:30:59.759
<v Speaker 3>kit for a smartphone, a broadcast smartphone kit.

602
00:31:01.519 --> 00:31:03.720
<v Speaker 2>Now, let me ask you, because there is a stigma

603
00:31:04.680 --> 00:31:07.920
<v Speaker 2>around shooting with an iPhone. I mean, Sean Baker definitely

604
00:31:07.920 --> 00:31:11.200
<v Speaker 2>broke that down a bunch, but everybody, I mean, I've

605
00:31:11.200 --> 00:31:14.039
<v Speaker 2>talked to people, professionals, you know, snoody let's call them

606
00:31:14.079 --> 00:31:18.480
<v Speaker 2>snoody la guys who's like, that's not a real cinema phone.

607
00:31:18.599 --> 00:31:21.000
<v Speaker 2>I mean, that's this or that. And you know what,

608
00:31:21.079 --> 00:31:23.519
<v Speaker 2>you can't compete an iPhone's not gonna compete with Alexa.

609
00:31:23.599 --> 00:31:26.319
<v Speaker 2>It's just not going to period, It's never going to.

610
00:31:26.880 --> 00:31:31.480
<v Speaker 2>But it will put the power of it of being

611
00:31:31.559 --> 00:31:33.799
<v Speaker 2>able to tell a story in the hands of someone

612
00:31:34.079 --> 00:31:38.319
<v Speaker 2>who can't maybe afford or get access to an Alexa. Now,

613
00:31:38.319 --> 00:31:40.000
<v Speaker 2>how do you because I know a lot of people

614
00:31:40.279 --> 00:31:44.799
<v Speaker 2>listening right now. Their egos are are full right now,

615
00:31:44.920 --> 00:31:47.759
<v Speaker 2>people listening, I promise you, I promise you, someone out

616
00:31:47.759 --> 00:31:50.920
<v Speaker 2>there is going this is ridiculous. I would never I'm

617
00:31:50.920 --> 00:31:56.400
<v Speaker 2>a serious exactly like, I'm a serious cinematic cinephile. I'm

618
00:31:56.400 --> 00:31:59.279
<v Speaker 2>a filmmaker. I don't I don't shoot with an iPhone.

619
00:31:59.279 --> 00:32:01.480
<v Speaker 2>That's what's in my can I talk on that text

620
00:32:01.519 --> 00:32:04.839
<v Speaker 2>on that. But what do you say to people like that?

621
00:32:04.920 --> 00:32:07.440
<v Speaker 2>Because I mean, I'm always about like, whatever is the

622
00:32:07.480 --> 00:32:09.519
<v Speaker 2>best tool for you know, I shot my last film

623
00:32:09.559 --> 00:32:11.799
<v Speaker 2>on a pocket camera, So it's just like, what's the

624
00:32:11.839 --> 00:32:14.000
<v Speaker 2>proper tool. It's not perfect for everything. If you're going

625
00:32:14.039 --> 00:32:17.160
<v Speaker 2>to shoot a half million dollar movie, iPhone may not

626
00:32:17.240 --> 00:32:19.759
<v Speaker 2>be the right tool for it. But if you're doing shorts,

627
00:32:19.759 --> 00:32:22.880
<v Speaker 2>are you doing a smaller micro budget feature and you

628
00:32:22.880 --> 00:32:24.519
<v Speaker 2>could get a lot of bang for your buck. So

629
00:32:24.559 --> 00:32:26.200
<v Speaker 2>what do you say to people like that who have that?

630
00:32:26.319 --> 00:32:27.480
<v Speaker 2>And I'm sure you've run into them.

631
00:32:27.640 --> 00:32:30.680
<v Speaker 3>I'm positively all the time, all the time, and they're

632
00:32:30.720 --> 00:32:32.359
<v Speaker 3>my favorite people to convert when I go to a

633
00:32:32.400 --> 00:32:35.720
<v Speaker 3>festival and the I mean, some of my peers I

634
00:32:35.720 --> 00:32:37.680
<v Speaker 3>work with in the industry here, I'm still saying I've

635
00:32:37.680 --> 00:32:40.160
<v Speaker 3>got rocks in my head, but when I show them

636
00:32:40.160 --> 00:32:44.319
<v Speaker 3>what's possible with the equipment, they quickly change their mind.

637
00:32:44.359 --> 00:32:46.559
<v Speaker 3>And I think, as you said, there is a definite

638
00:32:46.599 --> 00:32:50.079
<v Speaker 3>stigma associated with not having a large camera in your

639
00:32:50.079 --> 00:32:52.279
<v Speaker 3>hands when you're going to film a serious project. But

640
00:32:52.640 --> 00:32:54.680
<v Speaker 3>we can turn that stigma around too. I think that

641
00:32:55.160 --> 00:32:57.680
<v Speaker 3>stigma is something that's been a bit of a stain

642
00:32:57.759 --> 00:33:00.319
<v Speaker 3>on the industry as a whole for a long time.

643
00:33:00.359 --> 00:33:03.200
<v Speaker 3>A lot of people feel that they there hasn't been

644
00:33:03.400 --> 00:33:05.880
<v Speaker 3>room for them, there hasn't been an inclusion there because

645
00:33:06.519 --> 00:33:09.519
<v Speaker 3>they don't have access to that red epic or they

646
00:33:09.559 --> 00:33:12.559
<v Speaker 3>don't have the means of able to them to tool

647
00:33:12.680 --> 00:33:15.519
<v Speaker 3>up with what's considered to be a proper cinematic camera

648
00:33:15.559 --> 00:33:19.240
<v Speaker 3>or a broadcast camera, and they've not gone into storytelling or

649
00:33:19.279 --> 00:33:21.960
<v Speaker 3>filmmaking because of that. And I think that's a great shame,

650
00:33:22.000 --> 00:33:24.240
<v Speaker 3>because I've met some incredible riders. I've met some incredible

651
00:33:24.240 --> 00:33:28.079
<v Speaker 3>producers and want to be cinematographers that have incredible ideas

652
00:33:28.119 --> 00:33:30.480
<v Speaker 3>that just have put them on ice for three, four

653
00:33:30.559 --> 00:33:32.920
<v Speaker 3>or five years, and they may never make them because

654
00:33:32.920 --> 00:33:35.079
<v Speaker 3>they just don't think those things are available to them.

655
00:33:35.480 --> 00:33:38.759
<v Speaker 3>So The great joy here is actually saying we can

656
00:33:38.759 --> 00:33:41.000
<v Speaker 3>turn that stigma around, actually say that stigma is probably

657
00:33:41.000 --> 00:33:44.440
<v Speaker 3>one of the strengths of smartphone cinematography, and that you

658
00:33:44.519 --> 00:33:48.480
<v Speaker 3>can actually be a story teller anywhere, anytime with that

659
00:33:48.480 --> 00:33:51.839
<v Speaker 3>thing that's in your pocket, and no one's going to

660
00:33:51.920 --> 00:33:55.119
<v Speaker 3>question you. You can be a one person production team.

661
00:33:55.559 --> 00:33:58.119
<v Speaker 3>You can be operating very frugally. You could be in

662
00:33:58.160 --> 00:34:02.759
<v Speaker 3>the middle of Times Square filming this incredible shot, but

663
00:34:02.839 --> 00:34:04.880
<v Speaker 3>nobody knows whether you're filming it just for a social

664
00:34:04.880 --> 00:34:06.680
<v Speaker 3>feed or whether you're actually making something it's going to

665
00:34:06.680 --> 00:34:08.960
<v Speaker 3>screen at Sundance. You're never going to get a tap

666
00:34:08.960 --> 00:34:11.679
<v Speaker 3>on the shoulder by the security guards or the local

667
00:34:11.679 --> 00:34:14.920
<v Speaker 3>administration asking you for your film permits. You're never going

668
00:34:15.559 --> 00:34:17.400
<v Speaker 3>You see what I'm saying. You can really fly under

669
00:34:17.400 --> 00:34:21.280
<v Speaker 3>the radar with a small camera like a smartphone, and

670
00:34:21.320 --> 00:34:23.679
<v Speaker 3>even when it's accessorized with some lenses and audio. We've

671
00:34:23.760 --> 00:34:25.880
<v Speaker 3>never ever been kicked out of an area, We've never

672
00:34:25.920 --> 00:34:29.679
<v Speaker 3>been stopped from filming, We've never been considered a serious crew.

673
00:34:29.679 --> 00:34:32.239
<v Speaker 3>And that's part of what I love. We can actually

674
00:34:32.480 --> 00:34:35.000
<v Speaker 3>travel around, we can get these incredible stories, we can

675
00:34:35.039 --> 00:34:38.239
<v Speaker 3>capture this incredible footage and we're never hindered in our way,

676
00:34:39.079 --> 00:34:43.920
<v Speaker 3>and it's such an enabler for us in capturing story.

677
00:34:43.960 --> 00:34:45.480
<v Speaker 3>I love it. For me, that's what I love doing.

678
00:34:45.519 --> 00:34:49.559
<v Speaker 3>I'm a documentary filmmaker. So for me being able to

679
00:34:49.960 --> 00:34:53.079
<v Speaker 3>run around like a ninja and capture and create story

680
00:34:53.119 --> 00:34:55.360
<v Speaker 3>and not be burdened by the process or the people

681
00:34:55.400 --> 00:34:58.320
<v Speaker 3>around me or the environment that I'm filming in is

682
00:34:58.320 --> 00:35:00.559
<v Speaker 3>a wonderful joy and it's something that's been allowed me

683
00:35:00.559 --> 00:35:03.119
<v Speaker 3>to actually make stories I couldn't make any other way.

684
00:35:03.599 --> 00:35:06.039
<v Speaker 2>Yeah, exactly. I think it was a lot like the

685
00:35:06.159 --> 00:35:10.400
<v Speaker 2>when the DSLRs first came out, people were making, you know,

686
00:35:11.039 --> 00:35:13.599
<v Speaker 2>like Michael Polish's film for Lovers Only or things like that,

687
00:35:13.599 --> 00:35:18.280
<v Speaker 2>where they literally went to Paris and shot everywhere in restaurants,

688
00:35:18.320 --> 00:35:20.159
<v Speaker 2>every because it was it was a people thought they

689
00:35:20.159 --> 00:35:22.760
<v Speaker 2>were taking pictures. The technology was so new, and now

690
00:35:23.039 --> 00:35:25.960
<v Speaker 2>similar things with the iPhones, like, no one, they're not

691
00:35:26.039 --> 00:35:29.719
<v Speaker 2>professionals obviously there. They don't know what they're doing, obviously,

692
00:35:29.760 --> 00:35:33.079
<v Speaker 2>so let's not bother them. You know. I even ran

693
00:35:33.119 --> 00:35:35.480
<v Speaker 2>across that with the pocket you know, like with my

694
00:35:35.559 --> 00:35:38.760
<v Speaker 2>pocket camera. People were like, what are you doing? I'm oh,

695
00:35:38.800 --> 00:35:42.320
<v Speaker 2>I'm shooting them a feature like what like it's it's

696
00:35:42.360 --> 00:35:44.960
<v Speaker 2>mind bloying, but you could sneak in with those kind

697
00:35:45.000 --> 00:35:46.880
<v Speaker 2>of cameras. And the iPhone is the ultimate of that

698
00:35:46.960 --> 00:35:50.719
<v Speaker 2>because everybody knows that camera. I mean, you know that device,

699
00:35:51.159 --> 00:35:54.039
<v Speaker 2>so you never you'll never get caught with it.

700
00:35:54.599 --> 00:35:57.559
<v Speaker 3>And do you feel like it's happened all through the chain? Sorry,

701
00:35:57.599 --> 00:35:58.800
<v Speaker 3>I was just I said, it's happened all through the

702
00:35:58.840 --> 00:36:01.280
<v Speaker 3>chain of evolution in camera craft. If we look back

703
00:36:01.320 --> 00:36:05.599
<v Speaker 3>to you know, the very begin with film cameras, actual

704
00:36:05.639 --> 00:36:09.039
<v Speaker 3>film cameras. When the digital video camera revolution came along,

705
00:36:09.760 --> 00:36:12.480
<v Speaker 3>the film industry, the film camera industry, all as traditional

706
00:36:12.480 --> 00:36:17.119
<v Speaker 3>cinematographers did not rate the digital camera setups. They never

707
00:36:17.159 --> 00:36:18.639
<v Speaker 3>thought they were going to have a long lasting place

708
00:36:18.639 --> 00:36:21.800
<v Speaker 3>in the industry. And of course history tells us otherwise.

709
00:36:21.840 --> 00:36:25.239
<v Speaker 3>When you know, the first DSLR came out, I think

710
00:36:25.280 --> 00:36:30.280
<v Speaker 3>in two thousand and seven or eight, actually film video.

711
00:36:30.039 --> 00:36:32.079
<v Speaker 2>Yeah, I remember the five D came out.

712
00:36:32.159 --> 00:36:35.360
<v Speaker 3>Yeah, yeah, yeah. You know, when that first one came

713
00:36:35.360 --> 00:36:39.280
<v Speaker 3>out with the record capacity for video, the digital video

714
00:36:39.320 --> 00:36:41.920
<v Speaker 3>camera market said, that's not a proper camera, that's not

715
00:36:41.920 --> 00:36:43.639
<v Speaker 3>how we going to record video. Of course, you know,

716
00:36:43.760 --> 00:36:46.559
<v Speaker 3>everybody denied that that was actually going to make any

717
00:36:46.599 --> 00:36:48.519
<v Speaker 3>kind of inroads in our industry. And now we're sitting

718
00:36:48.559 --> 00:36:51.840
<v Speaker 3>at that other chapter. We've got the further miniaturization of

719
00:36:51.880 --> 00:36:56.079
<v Speaker 3>our craft. We've got smartphones, we've got action cameras, adventure cameras,

720
00:36:56.880 --> 00:36:59.400
<v Speaker 3>we've got all sorts, we've got wearable cameras coming next.

721
00:36:59.440 --> 00:37:02.599
<v Speaker 3>You know, we've got so many things that are new

722
00:37:02.639 --> 00:37:05.239
<v Speaker 3>to the industry. And of course everyone shooting on a

723
00:37:05.320 --> 00:37:08.119
<v Speaker 3>DSLR or a digital video camera or anything else is

724
00:37:09.039 --> 00:37:11.719
<v Speaker 3>going No, that's definitely not a serious camera. History will

725
00:37:11.760 --> 00:37:15.239
<v Speaker 3>prove that different. And again it's not about saying, you know,

726
00:37:15.280 --> 00:37:18.239
<v Speaker 3>smartphone cameras are going to overtake the industry and you

727
00:37:18.280 --> 00:37:20.000
<v Speaker 3>know every other kind of camera is going to discribe.

728
00:37:20.159 --> 00:37:21.800
<v Speaker 3>Of course, that's not going to happen now. But what

729
00:37:22.199 --> 00:37:24.320
<v Speaker 3>we do need to be aware of is the fact that,

730
00:37:24.719 --> 00:37:26.880
<v Speaker 3>you know, for some of those productions, there's some elements

731
00:37:26.880 --> 00:37:29.960
<v Speaker 3>of your production, maybe a smartphone camera is actually going

732
00:37:30.039 --> 00:37:31.719
<v Speaker 3>to be able to capture that scene or tell that

733
00:37:31.800 --> 00:37:34.599
<v Speaker 3>story better than something else you're already have in your kid.

734
00:37:35.159 --> 00:37:38.679
<v Speaker 2>Yeah, and with our question, no, no, absolutely, with our question,

735
00:37:38.760 --> 00:37:41.239
<v Speaker 2>and you could sneak into places with that small camera

736
00:37:41.320 --> 00:37:44.199
<v Speaker 2>and get shots. I do actually know of a few

737
00:37:44.280 --> 00:37:50.920
<v Speaker 2>filmmaking dps who are on network shows who will we'll

738
00:37:50.960 --> 00:37:54.320
<v Speaker 2>do a little and they'll intercut and if it's a

739
00:37:54.360 --> 00:37:57.559
<v Speaker 2>quick little action thing or something like that, you know,

740
00:37:57.719 --> 00:37:59.480
<v Speaker 2>it works, It really works.

741
00:37:59.719 --> 00:38:03.119
<v Speaker 3>Away. A couple of weeks ago, Alex I actually was

742
00:38:03.119 --> 00:38:05.480
<v Speaker 3>a guest at one of our major television networks here

743
00:38:05.480 --> 00:38:08.119
<v Speaker 3>in Australia. There was two hundred and forty of their

744
00:38:08.159 --> 00:38:10.840
<v Speaker 3>executives gathered around in one of their big studios. They

745
00:38:10.840 --> 00:38:13.199
<v Speaker 3>have one of these get togethers every three months and

746
00:38:14.360 --> 00:38:17.519
<v Speaker 3>they have guest speakers from all sides of the film

747
00:38:17.519 --> 00:38:20.440
<v Speaker 3>and television industry coming and address them once every quarter.

748
00:38:21.000 --> 00:38:23.239
<v Speaker 3>I came in to talk to them about what smartphones

749
00:38:23.280 --> 00:38:25.920
<v Speaker 3>are going to do, what space is there for smartphones

750
00:38:25.960 --> 00:38:29.599
<v Speaker 3>in the broadcast television world. And I would have thought

751
00:38:29.599 --> 00:38:31.400
<v Speaker 3>that would have been a really hostile audience going in

752
00:38:31.440 --> 00:38:36.199
<v Speaker 3>and speaking to all those executives and EP network producers

753
00:38:36.199 --> 00:38:39.800
<v Speaker 3>and series producers, and they loved it. They were totally

754
00:38:39.800 --> 00:38:42.320
<v Speaker 3>on board. They loved opening their minds to what they

755
00:38:42.320 --> 00:38:44.679
<v Speaker 3>could do. And of course, you know we'd be having

756
00:38:45.599 --> 00:38:48.480
<v Speaker 3>dops working on TV series coming up to us afterwards saying,

757
00:38:48.519 --> 00:38:50.280
<v Speaker 3>you know, we've been filming with the same cameras for

758
00:38:50.320 --> 00:38:53.000
<v Speaker 3>twenty years and we're not allowed to upgrade our cameras

759
00:38:53.039 --> 00:38:56.360
<v Speaker 3>because of budget, but we could afford two or three

760
00:38:56.360 --> 00:39:00.360
<v Speaker 3>of these kits to accessorize what we're doing in our action.

761
00:39:00.480 --> 00:39:04.000
<v Speaker 3>And so they're seeing the opportunity for it, and there's

762
00:39:04.039 --> 00:39:06.880
<v Speaker 3>definitely space for it in the industry. And when people

763
00:39:06.960 --> 00:39:08.880
<v Speaker 3>start seeing some you know, in the coming years, you

764
00:39:09.039 --> 00:39:11.239
<v Speaker 3>will see some more feature films. We'll see definitely see

765
00:39:11.239 --> 00:39:13.840
<v Speaker 3>a lot more documentaries coming out that have been created

766
00:39:14.840 --> 00:39:18.239
<v Speaker 3>on smartphones, and I think that'll help really change, be

767
00:39:18.400 --> 00:39:20.920
<v Speaker 3>a catalyst of change for that conversation. And you know,

768
00:39:21.280 --> 00:39:23.960
<v Speaker 3>you can buy a one hundred and twenty dollars anamorphic

769
00:39:24.039 --> 00:39:27.000
<v Speaker 3>lens to put on the front of your phone and

770
00:39:27.119 --> 00:39:32.079
<v Speaker 3>capture a beautiful animalphic picture. Right with anamorphic lensmears the

771
00:39:32.159 --> 00:39:34.920
<v Speaker 3>whole thing. You know, it's and it fits in your pocket.

772
00:39:35.079 --> 00:39:37.199
<v Speaker 3>It's it is insane, it's crazy.

773
00:39:37.840 --> 00:39:40.000
<v Speaker 2>I mean, do you feel like it's I mean, the

774
00:39:40.039 --> 00:39:44.039
<v Speaker 2>iPhone revolution or the smartphone revolution is kind of similar

775
00:39:44.159 --> 00:39:47.159
<v Speaker 2>to what happened with the DSLRs. Like people were like

776
00:39:47.320 --> 00:39:50.719
<v Speaker 2>only like the first early adopters would go in and

777
00:39:50.880 --> 00:39:53.960
<v Speaker 2>start playing and toying and making little films with it

778
00:39:54.079 --> 00:39:57.480
<v Speaker 2>and all that kind of stuff. We'll be right back

779
00:39:57.639 --> 00:40:03.559
<v Speaker 2>after a word from our sponsor, and now back to

780
00:40:03.639 --> 00:40:07.079
<v Speaker 2>the show. And now I feel that that's what's happening

781
00:40:07.119 --> 00:40:09.679
<v Speaker 2>with iPhone technology and with with smartphone.

782
00:40:09.280 --> 00:40:13.719
<v Speaker 3>Technology completely completely. In fact, we've you know, so we

783
00:40:13.880 --> 00:40:17.639
<v Speaker 3>run a production agency here in Australia and we earlier

784
00:40:17.719 --> 00:40:20.360
<v Speaker 3>this year became the first production house in Australia to

785
00:40:20.440 --> 00:40:24.719
<v Speaker 3>actually downscale our tools, so we now actually shoot all

786
00:40:24.760 --> 00:40:27.199
<v Speaker 3>of our television commercials and all of our brand content

787
00:40:27.280 --> 00:40:30.000
<v Speaker 3>for big brands exclusively on iPhones. We do it all

788
00:40:30.079 --> 00:40:34.119
<v Speaker 3>on iPhones with accessory lenses, accessory microphones. Everything we produce

789
00:40:34.199 --> 00:40:37.559
<v Speaker 3>out of our production agency is all sourced on a phone.

790
00:40:37.760 --> 00:40:39.559
<v Speaker 2>Now, how how is it when you show up to

791
00:40:39.639 --> 00:40:43.639
<v Speaker 2>set and you're bust open the iPhone like fantastic?

792
00:40:43.679 --> 00:40:44.079
<v Speaker 3>I love it.

793
00:40:44.599 --> 00:40:47.199
<v Speaker 2>No, no, but like other people, like other people like

794
00:40:47.280 --> 00:40:49.039
<v Speaker 2>what are the what does the other people say? I

795
00:40:49.159 --> 00:40:50.800
<v Speaker 2>have to believe that, Like you show up and there's

796
00:40:50.840 --> 00:40:52.920
<v Speaker 2>a crew and they're like, no, seriously, what are we

797
00:40:52.960 --> 00:40:53.360
<v Speaker 2>shooting on?

798
00:40:53.880 --> 00:40:56.440
<v Speaker 3>Yeah, instead of twenty people, there's five people. And then

799
00:40:56.480 --> 00:40:58.079
<v Speaker 3>all of a sudden, it's like, yeah, but you guys

800
00:40:58.079 --> 00:40:59.760
<v Speaker 3>aren't seriously, you're just doing the social stuff right, No,

801
00:41:00.039 --> 00:41:03.800
<v Speaker 3>we're actually doing the broadcast stuff today. And look, it's

802
00:41:03.840 --> 00:41:07.800
<v Speaker 3>amazing because it opens so many conversations. When we're filming talent,

803
00:41:07.960 --> 00:41:10.400
<v Speaker 3>they love it because it's a completely different way of

804
00:41:10.480 --> 00:41:13.719
<v Speaker 3>working and they find they're more in the moment rather

805
00:41:13.800 --> 00:41:17.920
<v Speaker 3>than the process of the filmmaking process, so that it's

806
00:41:17.920 --> 00:41:20.960
<v Speaker 3>a bit of liberator for talent as well. And definitely,

807
00:41:21.320 --> 00:41:24.920
<v Speaker 3>you know, when we're doing documentary interviews, there's nothing like

808
00:41:25.159 --> 00:41:28.000
<v Speaker 3>putting an unassuming camera set up in front of the

809
00:41:28.079 --> 00:41:31.960
<v Speaker 3>documentary subject and getting them to open up. We have

810
00:41:32.039 --> 00:41:36.199
<v Speaker 3>been able to get so many more incredibly deep conversations

811
00:41:36.239 --> 00:41:39.679
<v Speaker 3>going through using smartphones as camera capture tools as opposed

812
00:41:39.679 --> 00:41:42.400
<v Speaker 3>to traditional camera setups for people that aren't used to

813
00:41:42.480 --> 00:41:44.320
<v Speaker 3>being in front of the camera. It is an incredible

814
00:41:44.440 --> 00:41:49.199
<v Speaker 3>enabler and absolutely, without a doubt, we've made stories that

815
00:41:49.360 --> 00:41:51.960
<v Speaker 3>wouldn't have ever made it to air if it wasn't

816
00:41:52.079 --> 00:41:54.960
<v Speaker 3>for the iPhone as ature capture tool.

817
00:41:55.199 --> 00:41:57.039
<v Speaker 2>Now, and you said you touched on something, I would

818
00:41:57.039 --> 00:41:59.599
<v Speaker 2>love to kind of dig deep, a little deeper into

819
00:42:00.880 --> 00:42:03.920
<v Speaker 2>I mean, obviously in the documentary world, You're right because

820
00:42:03.960 --> 00:42:06.519
<v Speaker 2>if you know, obviously documentaries you want people to open up.

821
00:42:06.519 --> 00:42:10.159
<v Speaker 2>And when they see this alexa a red rig which

822
00:42:10.320 --> 00:42:13.119
<v Speaker 2>tend to be huge. Sometimes it could be over into

823
00:42:13.400 --> 00:42:16.320
<v Speaker 2>especially intimidating for people who are not versed in our world.

824
00:42:17.039 --> 00:42:18.920
<v Speaker 2>But when you you know, you're like, okay, we're just

825
00:42:18.960 --> 00:42:20.760
<v Speaker 2>gonna shoot this on, just open up, it's fine.

826
00:42:21.280 --> 00:42:21.480
<v Speaker 3>Yeah.

827
00:42:21.639 --> 00:42:23.840
<v Speaker 2>Yeah, that I have to believe is a lot better

828
00:42:23.960 --> 00:42:27.719
<v Speaker 2>on a documentary standpoint. But also just as actors, you know,

829
00:42:28.800 --> 00:42:32.159
<v Speaker 2>there's a freedom and a speed that you can move

830
00:42:32.360 --> 00:42:35.480
<v Speaker 2>with these rigs. You know, even with my experience with

831
00:42:35.519 --> 00:42:38.719
<v Speaker 2>shooting with the small camera, I was able to move

832
00:42:38.960 --> 00:42:42.320
<v Speaker 2>so quickly and the actors were just like on, like,

833
00:42:42.400 --> 00:42:45.719
<v Speaker 2>there's no going back to the trailer for an hour

834
00:42:45.920 --> 00:42:51.159
<v Speaker 2>while we reset. Now we're going and there's an energy

835
00:42:51.280 --> 00:42:53.320
<v Speaker 2>to it. So what would I'd love to talk to

836
00:42:53.360 --> 00:42:53.679
<v Speaker 2>you about that?

837
00:42:55.039 --> 00:42:58.320
<v Speaker 3>Yeah, totally. We find exactly the same. It's you know,

838
00:42:58.719 --> 00:43:02.920
<v Speaker 3>it's so much faster to do. Scene transitions to lighting,

839
00:43:03.000 --> 00:43:05.719
<v Speaker 3>setups are simpler. Everything is a lot more simpler, and

840
00:43:05.840 --> 00:43:09.639
<v Speaker 3>so we find we have more ability to block through

841
00:43:09.679 --> 00:43:13.519
<v Speaker 3>a scene, we have more ability to work through the

842
00:43:13.639 --> 00:43:17.360
<v Speaker 3>dialogue the transactions. We see a lot more scope, a

843
00:43:17.440 --> 00:43:20.599
<v Speaker 3>lot more experimentation with what we're capturing as opposed to

844
00:43:20.719 --> 00:43:24.000
<v Speaker 3>being extremely didactic about what we're wanting to shoot. And

845
00:43:24.079 --> 00:43:26.960
<v Speaker 3>we call it lean forward filmmaking. We think it's really

846
00:43:27.119 --> 00:43:30.800
<v Speaker 3>this sense of stepping on set and we actually have

847
00:43:30.920 --> 00:43:33.079
<v Speaker 3>the camera in hand, ready to go, and we let

848
00:43:33.119 --> 00:43:36.079
<v Speaker 3>the camera almost show and guide for us what could

849
00:43:36.119 --> 00:43:38.400
<v Speaker 3>be a good flow for the camera movement, what could

850
00:43:38.440 --> 00:43:41.760
<v Speaker 3>be good coverage in the scene. It's quite different to

851
00:43:41.840 --> 00:43:44.920
<v Speaker 3>actually sitting there and first of all overly pre producing

852
00:43:45.320 --> 00:43:47.719
<v Speaker 3>how we're going to actually capture that scene, how we're

853
00:43:47.719 --> 00:43:49.119
<v Speaker 3>going to lends it, how we're going to light it,

854
00:43:49.239 --> 00:43:52.599
<v Speaker 3>how all that sort of thing. We find there's just

855
00:43:52.679 --> 00:43:56.119
<v Speaker 3>this there's almost like an organic nature to the production,

856
00:43:56.239 --> 00:43:59.079
<v Speaker 3>which is really nice, and particularly I think for people

857
00:43:59.119 --> 00:44:02.000
<v Speaker 3>that are not really versed with working with larger crews,

858
00:44:03.440 --> 00:44:06.480
<v Speaker 3>that are relatively new to working with other people. I

859
00:44:06.559 --> 00:44:10.760
<v Speaker 3>think anything you can do to help keep your crew small,

860
00:44:11.480 --> 00:44:13.559
<v Speaker 3>to keep your equipment tight over to be able to

861
00:44:13.760 --> 00:44:16.119
<v Speaker 3>keep you more flexibility in your shoot day, and then

862
00:44:16.199 --> 00:44:18.599
<v Speaker 3>you call sheet I think all that stuff's all a positive.

863
00:44:18.679 --> 00:44:22.079
<v Speaker 3>So it's a great way to actually really give yourself,

864
00:44:22.119 --> 00:44:23.719
<v Speaker 3>many more options and what you probably would do with

865
00:44:23.800 --> 00:44:25.159
<v Speaker 3>it with a traditional camera setup.

866
00:44:25.559 --> 00:44:26.960
<v Speaker 2>And at the end of the day, and I think

867
00:44:27.000 --> 00:44:28.920
<v Speaker 2>this is I think we could both agree on this.

868
00:44:29.079 --> 00:44:31.199
<v Speaker 2>It doesn't really matter what the hell you shoot on

869
00:44:31.360 --> 00:44:34.440
<v Speaker 2>is what's the story, and that's what people get. So

870
00:44:34.719 --> 00:44:38.400
<v Speaker 2>and so, I mean, I did full podcast about stop

871
00:44:38.519 --> 00:44:42.039
<v Speaker 2>obsessing about gear. No one gives a rap, like they

872
00:44:42.119 --> 00:44:44.719
<v Speaker 2>really don't. Only guys like you and me will go

873
00:44:44.880 --> 00:44:47.719
<v Speaker 2>so what you shoot on? Like really, but like people

874
00:44:47.840 --> 00:44:50.119
<v Speaker 2>watching a film on Netflix doesn't care if they shot

875
00:44:50.159 --> 00:44:52.519
<v Speaker 2>on Alexa, on Red, on Black Magic, on an iPhone.

876
00:44:52.559 --> 00:44:56.360
<v Speaker 2>It doesn't matter. But people, I think, and you might,

877
00:44:56.480 --> 00:44:58.280
<v Speaker 2>you know, you might. I'd love to hear what you

878
00:44:58.360 --> 00:45:00.440
<v Speaker 2>think about it. But I think a lot of times

879
00:45:00.559 --> 00:45:05.679
<v Speaker 2>filmmakers use that as an excuse not to actually be

880
00:45:05.880 --> 00:45:08.239
<v Speaker 2>filmmakers because they're high behind it.

881
00:45:09.119 --> 00:45:11.199
<v Speaker 3>I totally agree, And I think you and I have

882
00:45:11.360 --> 00:45:14.800
<v Speaker 3>both gone to the exact same networking opportunities at festivals

883
00:45:15.239 --> 00:45:19.440
<v Speaker 3>where you step into a room of fellow creatives filmmakers,

884
00:45:20.360 --> 00:45:22.920
<v Speaker 3>you meet one another and it's nobody talks about the

885
00:45:23.039 --> 00:45:25.039
<v Speaker 3>project they're working on. They say, I've just been shooting

886
00:45:25.079 --> 00:45:27.679
<v Speaker 3>something on X y Z you know, they're straight away,

887
00:45:27.679 --> 00:45:30.239
<v Speaker 3>they're end of the gear. That's straight away. It's all

888
00:45:30.280 --> 00:45:32.639
<v Speaker 3>about the box. And I'm sure if you go to,

889
00:45:33.159 --> 00:45:36.400
<v Speaker 3>you know, a great restaurant and go and have a

890
00:45:36.480 --> 00:45:38.719
<v Speaker 3>chat to some chefs, they're not talking about what brand

891
00:45:38.760 --> 00:45:41.480
<v Speaker 3>knife they've been chopping vegetables and fish with that night.

892
00:45:42.039 --> 00:45:44.400
<v Speaker 3>They're talking about something totally different. You know, when we

893
00:45:44.480 --> 00:45:48.079
<v Speaker 3>think about, you know, incredible performers on stage, the first

894
00:45:48.119 --> 00:45:50.480
<v Speaker 3>thing they don't credit their success with is the brand

895
00:45:50.519 --> 00:45:53.079
<v Speaker 3>of the microphone that they're singing into or the PA system.

896
00:45:53.840 --> 00:45:57.519
<v Speaker 3>You know. But somehow in the filmmaking industry, we're still

897
00:45:57.599 --> 00:45:59.079
<v Speaker 3>very caught up in the fact that it's all about

898
00:45:59.079 --> 00:45:59.880
<v Speaker 3>boxes and lenses.

899
00:46:00.199 --> 00:46:03.079
<v Speaker 2>It's it's the marketing. Beyond that, it's the marketing of

900
00:46:03.119 --> 00:46:05.159
<v Speaker 2>the companies. Though the companies want you to continue to

901
00:46:05.199 --> 00:46:08.400
<v Speaker 2>buy new lenses, buy new cameras, buying new everything. So

902
00:46:09.119 --> 00:46:12.079
<v Speaker 2>it's again, you hear it from the beginning of your career,

903
00:46:12.440 --> 00:46:14.639
<v Speaker 2>so you get caught up in it. I've kind of

904
00:46:14.719 --> 00:46:16.360
<v Speaker 2>let go of that now, I'm like, what's the right

905
00:46:16.400 --> 00:46:17.159
<v Speaker 2>tool for the job?

906
00:46:18.039 --> 00:46:20.719
<v Speaker 3>Yeah, yeah, totally. And it's become almost like a skin.

907
00:46:20.800 --> 00:46:22.920
<v Speaker 3>I feel, It's like something you said before, like we

908
00:46:23.360 --> 00:46:26.840
<v Speaker 3>wrap it over ourselves like a mask, and that's we're

909
00:46:27.119 --> 00:46:28.880
<v Speaker 3>talking about the equipment of the gear seems to be

910
00:46:28.920 --> 00:46:30.760
<v Speaker 3>an easier thing to do than actually opening up about

911
00:46:30.760 --> 00:46:32.519
<v Speaker 3>what we're trying to say with what we're capturing. And

912
00:46:33.199 --> 00:46:36.440
<v Speaker 3>I think as soon as we can start changing those conversations,

913
00:46:36.519 --> 00:46:39.480
<v Speaker 3>it's actually alex the same reason why I never go

914
00:46:39.599 --> 00:46:43.119
<v Speaker 3>in and introduce myself as a filmmaker anymore. As of

915
00:46:43.199 --> 00:46:46.039
<v Speaker 3>earlier this year, I now call myself a film breaker

916
00:46:46.639 --> 00:46:50.039
<v Speaker 3>because I feel the way I make films is at

917
00:46:50.079 --> 00:46:52.880
<v Speaker 3>odds with what the industry perception of normal is, and

918
00:46:53.000 --> 00:46:54.400
<v Speaker 3>so I think I tend to break a lot of

919
00:46:54.480 --> 00:46:56.320
<v Speaker 3>rules when I make my films rather than making them.

920
00:46:56.440 --> 00:46:59.719
<v Speaker 3>So when I say I'm a filmmaker and I step

921
00:46:59.800 --> 00:47:02.559
<v Speaker 3>in that same environment, what's the first question you think

922
00:47:02.599 --> 00:47:04.679
<v Speaker 3>someone asks you when you say you're a filmmaker? What's

923
00:47:04.719 --> 00:47:05.800
<v Speaker 3>the next thing that comes out of them.

924
00:47:05.679 --> 00:47:06.559
<v Speaker 2>Out, Oh, what are you shooting on?

925
00:47:07.920 --> 00:47:09.920
<v Speaker 3>Well? What films have you made that I know?

926
00:47:10.159 --> 00:47:12.360
<v Speaker 2>Well, there's that chance, Yeah it's not a lot.

927
00:47:12.519 --> 00:47:14.320
<v Speaker 3>Yeah, there's probably not a lot that I've made that

928
00:47:14.480 --> 00:47:15.599
<v Speaker 3>that most people would have seen.

929
00:47:15.719 --> 00:47:16.599
<v Speaker 2>So, yeah, you're right.

930
00:47:17.199 --> 00:47:20.000
<v Speaker 3>Let myself as a film breaker that introduces a conversation

931
00:47:20.199 --> 00:47:22.679
<v Speaker 3>rather than stopping it with, you know, a period in

932
00:47:22.719 --> 00:47:25.440
<v Speaker 3>the conversation. It's just it's a way of enabling people

933
00:47:25.480 --> 00:47:27.400
<v Speaker 3>to understand that there's more than one way to make

934
00:47:27.559 --> 00:47:28.400
<v Speaker 3>a film come alive.

935
00:47:28.800 --> 00:47:31.119
<v Speaker 2>I always tell people that, you know, if you give

936
00:47:31.239 --> 00:47:37.480
<v Speaker 2>a canvas and paint and brush to Basquiacht Warhol and pollen,

937
00:47:38.559 --> 00:47:41.400
<v Speaker 2>you're gonna get paint on a canvas. But how you

938
00:47:41.559 --> 00:47:43.920
<v Speaker 2>get it is up to them, and it really doesn't

939
00:47:44.039 --> 00:47:46.280
<v Speaker 2>matter the style that you make it. Like I know,

940
00:47:46.400 --> 00:47:50.320
<v Speaker 2>I've worked with filmmakers who and I've also talked to

941
00:47:50.360 --> 00:47:53.800
<v Speaker 2>filmmakers who are completely improv films like I've done. My

942
00:47:53.880 --> 00:47:56.360
<v Speaker 2>last two films were fairly you know, structures, outlines and

943
00:47:56.440 --> 00:47:58.480
<v Speaker 2>film and you know, and and and that's the first

944
00:47:58.519 --> 00:47:59.840
<v Speaker 2>time I ever did that. Before that, it was more

945
00:48:00.239 --> 00:48:03.920
<v Speaker 2>structured and storyboards and pre viz and all that kind

946
00:48:03.920 --> 00:48:06.280
<v Speaker 2>of stuff. But there's millions of different ways to tell

947
00:48:06.360 --> 00:48:08.159
<v Speaker 2>the story. But at the end of the day, and

948
00:48:08.239 --> 00:48:11.079
<v Speaker 2>I think this is where filmmakers get so just miss

949
00:48:11.159 --> 00:48:13.960
<v Speaker 2>the mark. It is about what story you're trying to tell?

950
00:48:14.159 --> 00:48:17.039
<v Speaker 2>How are you trying to impact the world in one way?

951
00:48:17.119 --> 00:48:20.679
<v Speaker 2>Shape or form, whatever your what's your what's your take

952
00:48:20.920 --> 00:48:22.360
<v Speaker 2>on it? What is your perspective?

953
00:48:22.440 --> 00:48:24.960
<v Speaker 3>Exactly? What's your voice? What's a lot of people get

954
00:48:25.000 --> 00:48:28.239
<v Speaker 3>lost in that. Yeah, they forget that. Really, the perfecting

955
00:48:28.280 --> 00:48:31.159
<v Speaker 3>their craft is not about learning how to use more boxes.

956
00:48:31.960 --> 00:48:34.360
<v Speaker 3>It's really about learning how to really define their voice

957
00:48:34.400 --> 00:48:38.199
<v Speaker 3>and their style as a storyteller and embracing that and

958
00:48:39.159 --> 00:48:42.960
<v Speaker 3>feeling comfortable in their skin, actually owning their style of

959
00:48:43.039 --> 00:48:46.920
<v Speaker 3>production and what they bring to the films that they

960
00:48:46.960 --> 00:48:49.119
<v Speaker 3>want to release the market. Actually, and I think that's

961
00:48:49.599 --> 00:48:51.880
<v Speaker 3>that's actually a really good point. People really need to

962
00:48:52.039 --> 00:48:55.199
<v Speaker 3>focus more on their voice and what they want to say,

963
00:48:55.280 --> 00:49:00.480
<v Speaker 3>is opposed to experimenting with fourteen different up the camera

964
00:49:00.559 --> 00:49:02.679
<v Speaker 3>setups before they feel they've made a serious film.

965
00:49:02.960 --> 00:49:04.880
<v Speaker 2>Well, I think the other thing is that, like, well

966
00:49:05.639 --> 00:49:07.559
<v Speaker 2>that movie was shot, you know, this Oscar winning movie

967
00:49:07.639 --> 00:49:09.320
<v Speaker 2>was shot on Alexa. So if I shoot a movie

968
00:49:09.360 --> 00:49:11.679
<v Speaker 2>with Alexa, then my chances are so much better to

969
00:49:11.719 --> 00:49:15.760
<v Speaker 2>get an Oscar. Like that's isn't that the mentality? Like seriously, oh,

970
00:49:15.800 --> 00:49:17.880
<v Speaker 2>I have to get a red because that's what like

971
00:49:18.239 --> 00:49:20.280
<v Speaker 2>The Avengers were shot on. So I want a two

972
00:49:20.360 --> 00:49:22.320
<v Speaker 2>hundred million dollar budgets I guess I have to sit

973
00:49:22.360 --> 00:49:26.079
<v Speaker 2>in the red it's it's it's nutty. It really is nutty.

974
00:49:26.119 --> 00:49:26.760
<v Speaker 2>I hope we've.

975
00:49:26.719 --> 00:49:30.119
<v Speaker 3>Changed if we only felt comfortable stepping out on the

976
00:49:30.199 --> 00:49:31.719
<v Speaker 3>road and driving a car, if we could have a

977
00:49:31.800 --> 00:49:34.360
<v Speaker 3>three hundred thousand dollars vehicle. I mean, we can still

978
00:49:34.480 --> 00:49:37.320
<v Speaker 3>drive in a two thousand dollar bomb. But you know,

979
00:49:37.559 --> 00:49:39.760
<v Speaker 3>it's we're still get It still gets us to a

980
00:49:39.880 --> 00:49:44.159
<v Speaker 3>to B hopefully, but it's fine to aspire towards those

981
00:49:44.360 --> 00:49:46.559
<v Speaker 3>those other lofty cameras and setups.

982
00:49:48.039 --> 00:49:50.480
<v Speaker 2>We'll be right back after a word from our sponsor,

983
00:49:54.159 --> 00:49:55.360
<v Speaker 2>and now back to the show.

984
00:49:57.199 --> 00:49:59.519
<v Speaker 3>But the main thing is, I think what people who

985
00:49:59.559 --> 00:50:01.800
<v Speaker 3>think about it is, if I'm a great story teller,

986
00:50:01.800 --> 00:50:04.039
<v Speaker 3>if I've got an idea for telling a story, what

987
00:50:04.159 --> 00:50:07.119
<v Speaker 3>can a resource around me that will help enable me

988
00:50:07.239 --> 00:50:09.840
<v Speaker 3>to tell that story right, rather than give myself more

989
00:50:09.880 --> 00:50:14.599
<v Speaker 3>excuses and delays and procrastinating about actually starting making that film.

990
00:50:14.880 --> 00:50:19.400
<v Speaker 2>Absolutely, and I hope today's conversation Jason has has woken

991
00:50:19.480 --> 00:50:22.559
<v Speaker 2>a few people up, has inspired a few people to

992
00:50:22.639 --> 00:50:24.480
<v Speaker 2>pick up the thing in their pocket and go tell

993
00:50:24.519 --> 00:50:29.320
<v Speaker 2>the story. Experiment learn. I mean, there is no film development,

994
00:50:29.880 --> 00:50:32.480
<v Speaker 2>There is no huge amounts of media that you have

995
00:50:32.599 --> 00:50:36.639
<v Speaker 2>to buy and trans I mean, it's if you want

996
00:50:36.679 --> 00:50:39.880
<v Speaker 2>to tell a story, there is no excuse, and that's

997
00:50:39.920 --> 00:50:42.199
<v Speaker 2>what I and that's what I hope this conversation, this

998
00:50:42.360 --> 00:50:45.280
<v Speaker 2>interview has helped a few people today, So thank you

999
00:50:45.400 --> 00:50:47.639
<v Speaker 2>for dropping the knowledge bombs. I'm going to ask a

1000
00:50:47.679 --> 00:50:50.880
<v Speaker 2>few questions that I ask all of my guests. What

1001
00:50:51.039 --> 00:50:52.960
<v Speaker 2>advice would you give a filmmaker wanting to break into

1002
00:50:53.000 --> 00:50:57.480
<v Speaker 2>the business today, I.

1003
00:50:57.559 --> 00:51:05.480
<v Speaker 3>Would say, you are your project's best advocate, So never

1004
00:51:05.599 --> 00:51:07.199
<v Speaker 3>ever give up on it. If you give up on

1005
00:51:07.239 --> 00:51:10.639
<v Speaker 3>your project, if you waiver, if you lose the love,

1006
00:51:11.480 --> 00:51:12.960
<v Speaker 3>nobody else is going to have the love for your

1007
00:51:13.000 --> 00:51:14.840
<v Speaker 3>project like you do. So you need to be the

1008
00:51:14.920 --> 00:51:17.679
<v Speaker 3>absolute champion for your project and never ever lose sight

1009
00:51:17.760 --> 00:51:19.480
<v Speaker 3>of that. I think I see a lot of people

1010
00:51:19.559 --> 00:51:22.519
<v Speaker 3>with an idea that as soon as they start shopping

1011
00:51:22.559 --> 00:51:27.320
<v Speaker 3>it around or they start asking for opinions, they feel

1012
00:51:27.440 --> 00:51:30.239
<v Speaker 3>that it's probably less a lesser thing than what they

1013
00:51:30.320 --> 00:51:32.480
<v Speaker 3>started out with, and they park it off to the side,

1014
00:51:32.519 --> 00:51:34.800
<v Speaker 3>and then they lose the love for it. I think, Yeah,

1015
00:51:34.880 --> 00:51:37.400
<v Speaker 3>you need to be your project's best advocate, So never

1016
00:51:37.440 --> 00:51:40.280
<v Speaker 3>stop selling the concept of what you want to make

1017
00:51:40.559 --> 00:51:42.599
<v Speaker 3>if you believe in it with all your heart, if

1018
00:51:42.639 --> 00:51:44.119
<v Speaker 3>you feel it's a thing you really want to make,

1019
00:51:44.880 --> 00:51:47.639
<v Speaker 3>it's your sole responsibility with the champion for it. You

1020
00:51:48.119 --> 00:51:49.920
<v Speaker 3>need to pull everybody else on board, and you need

1021
00:51:50.039 --> 00:51:51.719
<v Speaker 3>to fly the flag all the time.

1022
00:51:52.199 --> 00:51:54.320
<v Speaker 2>And I think you have to be free of the

1023
00:51:54.360 --> 00:51:57.039
<v Speaker 2>good opinion about others in many ways.

1024
00:51:58.360 --> 00:52:04.280
<v Speaker 3>Absolutely. In fact, you know, seeking the advice and opinions

1025
00:52:04.280 --> 00:52:06.880
<v Speaker 3>of people around you that aren't your friends and family

1026
00:52:07.079 --> 00:52:08.840
<v Speaker 3>is probably the other thing I would say is making

1027
00:52:08.880 --> 00:52:12.199
<v Speaker 3>sure you get some good independent reviews of your work.

1028
00:52:13.559 --> 00:52:16.840
<v Speaker 3>And it'll hurt the first time someone comes back to

1029
00:52:16.880 --> 00:52:20.039
<v Speaker 3>you and tears it to shreds. It's a horrible experience.

1030
00:52:20.079 --> 00:52:21.239
<v Speaker 3>But if you sit in it for two or three

1031
00:52:21.320 --> 00:52:23.159
<v Speaker 3>days and look at your work again with that in

1032
00:52:23.239 --> 00:52:25.360
<v Speaker 3>your mind, hopefully you can learn from the process. And

1033
00:52:25.840 --> 00:52:28.800
<v Speaker 3>certainly that's probably how I've grown as a filmmaker a storyteller,

1034
00:52:28.920 --> 00:52:31.800
<v Speaker 3>is by exposing my work to people that I really respect,

1035
00:52:32.440 --> 00:52:37.280
<v Speaker 3>that don't have a personal association with me, that feel

1036
00:52:37.320 --> 00:52:39.599
<v Speaker 3>honest enough to actually really be honest about a project

1037
00:52:39.599 --> 00:52:43.159
<v Speaker 3>when I show that to them, and to take on board,

1038
00:52:43.679 --> 00:52:45.760
<v Speaker 3>to listen to their conversation with fresh ears and eyes.

1039
00:52:45.800 --> 00:52:48.320
<v Speaker 3>After a few days, when the pain is settled and

1040
00:52:48.480 --> 00:52:50.119
<v Speaker 3>you can look at your work and actually learn from

1041
00:52:50.199 --> 00:52:52.360
<v Speaker 3>it and grow as a storyteller. Is really important.

1042
00:52:52.519 --> 00:52:54.760
<v Speaker 2>Absolutely. Now, can you tell me the book that had

1043
00:52:54.800 --> 00:52:57.199
<v Speaker 2>the biggest impact on your life or career.

1044
00:52:59.639 --> 00:53:01.920
<v Speaker 3>The book that the biggest impact in my life for Korea.

1045
00:53:02.599 --> 00:53:05.519
<v Speaker 3>I'm going to probably be a little controversial here and

1046
00:53:05.679 --> 00:53:08.320
<v Speaker 3>say it's going to be a book with no words, OK,

1047
00:53:08.920 --> 00:53:11.519
<v Speaker 3>And I'm going to give you a book called The

1048
00:53:11.719 --> 00:53:14.960
<v Speaker 3>Arrival by Sean Tan. And I don't know if you've

1049
00:53:15.039 --> 00:53:18.639
<v Speaker 3>heard of that. He's a graphic novelist based in the

1050
00:53:18.679 --> 00:53:24.039
<v Speaker 3>Western side of Australia. He won an Academy Award for

1051
00:53:24.320 --> 00:53:27.719
<v Speaker 3>an animation called The Lost Thing I Believe a few

1052
00:53:27.800 --> 00:53:32.719
<v Speaker 3>years ago. And he Yeah, this graphical novel called The

1053
00:53:33.199 --> 00:53:37.239
<v Speaker 3>Arrival is an incredible story about what it likes, what

1054
00:53:38.000 --> 00:53:40.679
<v Speaker 3>it's like to feel to walk in the shoes of

1055
00:53:40.760 --> 00:53:44.199
<v Speaker 3>being an immigrant in a new country. But it's completely

1056
00:53:44.280 --> 00:53:48.400
<v Speaker 3>told through incredible illustrations, no words needed. It invents its

1057
00:53:48.400 --> 00:53:51.840
<v Speaker 3>own language through the book when you read it. So, yeah,

1058
00:53:51.920 --> 00:53:54.800
<v Speaker 3>The Arrival by Sean Tan. Definitely check that out. It's incredible,

1059
00:53:56.519 --> 00:53:59.360
<v Speaker 3>It's like a storyboard, incredible storyboard awesome.

1060
00:53:59.840 --> 00:54:02.559
<v Speaker 2>Now, what lesson took you the longest to learn, whether

1061
00:54:02.679 --> 00:54:04.400
<v Speaker 2>the film industry or in life.

1062
00:54:07.320 --> 00:54:11.119
<v Speaker 3>The lesson that took me the longest to learn would

1063
00:54:11.400 --> 00:54:15.039
<v Speaker 3>have to be to never stop making. Whether you feel

1064
00:54:15.079 --> 00:54:18.239
<v Speaker 3>you're a success or a failure, whether you feel you're

1065
00:54:18.320 --> 00:54:22.920
<v Speaker 3>inspired or not, there is no replacement for making and

1066
00:54:23.079 --> 00:54:26.199
<v Speaker 3>keeping your tool sharp and keeping your skills sharp. And

1067
00:54:26.280 --> 00:54:31.840
<v Speaker 3>I think always staying in the game, always going out,

1068
00:54:32.039 --> 00:54:36.519
<v Speaker 3>finding story, listening, making story all the time. Always refine

1069
00:54:36.559 --> 00:54:39.079
<v Speaker 3>your skills and keep going. Don't give yourself a year

1070
00:54:39.159 --> 00:54:42.000
<v Speaker 3>off from filmmaking. You need to keep making. Wherever you are,

1071
00:54:42.119 --> 00:54:44.480
<v Speaker 3>whatever you're doing, you need to keep making. Whatever that

1072
00:54:44.559 --> 00:54:46.400
<v Speaker 3>story is that's in front of you, keep making it.

1073
00:54:47.079 --> 00:54:48.920
<v Speaker 2>And three of your favorite films of all time.

1074
00:54:51.480 --> 00:54:53.840
<v Speaker 3>Three of my favorite films of all time. I'm going

1075
00:54:53.880 --> 00:54:56.679
<v Speaker 3>to keep it to documentary because that's probably my passion.

1076
00:54:56.920 --> 00:54:57.239
<v Speaker 2>Okay.

1077
00:54:59.079 --> 00:55:03.280
<v Speaker 3>The first one I would say would be, uh, Blackfish,

1078
00:55:03.719 --> 00:55:06.280
<v Speaker 3>probably one of my old Yeah, that's a crazy story.

1079
00:55:07.119 --> 00:55:10.119
<v Speaker 3>Kill a while, incredible what well killed it?

1080
00:55:10.199 --> 00:55:13.320
<v Speaker 2>It killed an entire company? I mean yeah, absolutely, I

1081
00:55:13.400 --> 00:55:16.119
<v Speaker 2>mean we're here, I'm here in La so I saw

1082
00:55:16.239 --> 00:55:17.840
<v Speaker 2>I saw what had happened, like I went to see

1083
00:55:17.880 --> 00:55:20.119
<v Speaker 2>World like with my family. Girls wanted to go. I

1084
00:55:20.199 --> 00:55:22.239
<v Speaker 2>was like, I don't really want to go. Let's that

1085
00:55:22.280 --> 00:55:25.079
<v Speaker 2>support it or we're gonna go once and that's it. Man,

1086
00:55:25.199 --> 00:55:30.480
<v Speaker 2>they changed everything. It was pretty remarkable that one movie

1087
00:55:31.119 --> 00:55:33.800
<v Speaker 2>knocked down a multi million dollar corporation.

1088
00:55:33.920 --> 00:55:36.800
<v Speaker 3>It's pretty amazing completely and if you want inspiration as

1089
00:55:36.880 --> 00:55:40.320
<v Speaker 3>a documentary filmmaker, there is no greater inspiration than something

1090
00:55:40.440 --> 00:55:42.320
<v Speaker 3>like that when you see the cause and effect of

1091
00:55:42.400 --> 00:55:46.000
<v Speaker 3>the film, like, that's incredible. The second film I would

1092
00:55:46.079 --> 00:55:48.840
<v Speaker 3>probably pick is Searching for Sugarman.

1093
00:55:48.719 --> 00:55:52.000
<v Speaker 2>Or what I wondered film. Oh god, I love that movie.

1094
00:55:53.360 --> 00:55:57.000
<v Speaker 3>It was so loved and sorry, go ahead, I just said.

1095
00:55:57.280 --> 00:55:59.800
<v Speaker 3>Large chunks of it were actually filmed on iPhone.

1096
00:56:00.840 --> 00:56:02.280
<v Speaker 2>Really, I didn't know that.

1097
00:56:03.519 --> 00:56:06.199
<v Speaker 3>Yes, I looked it up. Large chunks of the the

1098
00:56:06.920 --> 00:56:10.280
<v Speaker 3>recreated historical footage I think was filmed with a eight

1099
00:56:10.360 --> 00:56:12.119
<v Speaker 3>millimeter film app on a smartphone.

1100
00:56:14.320 --> 00:56:17.199
<v Speaker 2>That's because he was doing that. It's sad that he

1101
00:56:17.320 --> 00:56:20.400
<v Speaker 2>passed away, but I remember the filmmaker. He did it

1102
00:56:20.599 --> 00:56:23.760
<v Speaker 2>almost all by himself, like he was editing for like

1103
00:56:23.840 --> 00:56:27.119
<v Speaker 2>two or three years, and and then he got the Oscar,

1104
00:56:27.239 --> 00:56:29.119
<v Speaker 2>which is just like, oh my god, what I saw.

1105
00:56:29.360 --> 00:56:31.480
<v Speaker 3>I mean, that is the ultimate indie film. Hustle searching

1106
00:56:31.519 --> 00:56:33.239
<v Speaker 3>for sugar and this this guy made it happen. An

1107
00:56:33.239 --> 00:56:38.199
<v Speaker 3>incredible story made with with with really sparse resources. Yeah, beautiful.

1108
00:56:38.239 --> 00:56:39.679
<v Speaker 2>What was that other one that just came out a

1109
00:56:39.760 --> 00:56:41.880
<v Speaker 2>few years ago? Was it The Walk Walk the line

1110
00:56:43.039 --> 00:56:45.000
<v Speaker 2>about what you don't want to talking about? The one

1111
00:56:45.039 --> 00:56:47.000
<v Speaker 2>that the guy acrossed the twin Towers?

1112
00:56:47.519 --> 00:56:50.880
<v Speaker 3>Yeah yeah, yeah, yeah, yeah, yes yeah.

1113
00:56:50.679 --> 00:56:54.400
<v Speaker 2>Type yeah yeah yeah, something like that. What an amazing documentary.

1114
00:56:54.480 --> 00:56:56.480
<v Speaker 2>I fell in love with that guy. He's crazy. I

1115
00:56:56.719 --> 00:56:59.719
<v Speaker 2>love him. All right, I'm sorry I was in the.

1116
00:56:59.719 --> 00:57:01.320
<v Speaker 3>Third I got a third one for you. I got

1117
00:57:01.360 --> 00:57:04.480
<v Speaker 3>a third one for you. And that's a filmmaker called

1118
00:57:04.519 --> 00:57:08.000
<v Speaker 3>Brian Hertzlinger and his documentary was My Date with Drew,

1119
00:57:08.840 --> 00:57:09.280
<v Speaker 3>came out in.

1120
00:57:09.400 --> 00:57:11.519
<v Speaker 2>Yes, I remember that. I've seen that movie.

1121
00:57:11.760 --> 00:57:14.199
<v Speaker 3>That one. Yeah, he was about making it.

1122
00:57:14.800 --> 00:57:17.440
<v Speaker 2>When the stalker laws were a little less back then, apparently.

1123
00:57:18.079 --> 00:57:21.199
<v Speaker 2>But he wanted to he wanted to make he wanted

1124
00:57:21.199 --> 00:57:22.760
<v Speaker 2>a date with Drew Barrymore, and he made a old

1125
00:57:22.800 --> 00:57:23.960
<v Speaker 2>dock you merry about.

1126
00:57:23.719 --> 00:57:27.199
<v Speaker 3>It in thirty days incredibly just the ultimate challenge, you know,

1127
00:57:27.239 --> 00:57:28.880
<v Speaker 3>can you make a film in thirty days. He didn't

1128
00:57:28.880 --> 00:57:30.559
<v Speaker 3>even own a camera. That was an incredible thing. He

1129
00:57:30.639 --> 00:57:33.000
<v Speaker 3>and his two friends had to go and beg borrow

1130
00:57:33.039 --> 00:57:35.000
<v Speaker 3>and steal a camera on a credit card, which I

1131
00:57:35.039 --> 00:57:36.519
<v Speaker 3>had to be able to get a refund on within

1132
00:57:36.639 --> 00:57:38.480
<v Speaker 3>thirty days. That was a premise to making their film,

1133
00:57:40.000 --> 00:57:43.320
<v Speaker 3>Window to make thirty days to go and find a

1134
00:57:43.440 --> 00:57:46.880
<v Speaker 3>date with Drew Barrymore. And I think Rotten Tomatoes actually

1135
00:57:46.960 --> 00:57:50.960
<v Speaker 3>called it the Love It or Hate Its Stalkerazzi like

1136
00:57:51.079 --> 00:57:54.679
<v Speaker 3>it was like I said, you probably could not make

1137
00:57:54.760 --> 00:57:57.519
<v Speaker 3>that film in twenty eighteen, but back in two thousand

1138
00:57:57.519 --> 00:57:59.960
<v Speaker 3>and four, it was just it's one of those heartwarm,

1139
00:58:00.000 --> 00:58:03.360
<v Speaker 3>I mean, very simply made films. The aesthetics in it

1140
00:58:04.119 --> 00:58:07.719
<v Speaker 3>are a very pure, very basic, but a super sweet story.

1141
00:58:07.800 --> 00:58:10.039
<v Speaker 3>And as a documentary filmmakers, so much hope in there

1142
00:58:10.119 --> 00:58:12.280
<v Speaker 3>for making story with minimal means.

1143
00:58:12.320 --> 00:58:16.000
<v Speaker 2>So that was awesome. Ask great choices, my friend, Great choices. Now,

1144
00:58:16.039 --> 00:58:17.800
<v Speaker 2>where can people find you in the work you do?

1145
00:58:19.639 --> 00:58:22.280
<v Speaker 3>Look? Probably the best place would be on Facebook to

1146
00:58:22.360 --> 00:58:25.559
<v Speaker 3>look up film breaker FI L M br E a

1147
00:58:25.760 --> 00:58:29.760
<v Speaker 3>k E. That's the page where I've been sharing most

1148
00:58:29.800 --> 00:58:33.760
<v Speaker 3>of my knowledge, bombs and work of late. We've got

1149
00:58:33.760 --> 00:58:36.800
<v Speaker 3>a few influences on there contributing. Basically, it's a space

1150
00:58:36.920 --> 00:58:40.079
<v Speaker 3>where people who want to learn how to make films

1151
00:58:40.079 --> 00:58:44.960
<v Speaker 3>with their smartphones can be tooled up, can be inspired.

1152
00:58:45.480 --> 00:58:48.360
<v Speaker 3>And we set that up in March this year with

1153
00:58:48.480 --> 00:58:50.599
<v Speaker 3>an aim of finding ten thousand people around the world

1154
00:58:50.639 --> 00:58:52.679
<v Speaker 3>that had a similar mindset, and we're now up to

1155
00:58:52.840 --> 00:58:56.599
<v Speaker 3>just over thirty thousand. So yeah, a film breaker on

1156
00:58:56.679 --> 00:58:59.400
<v Speaker 3>Facebook is definitely the place to connect to stay in

1157
00:58:59.440 --> 00:59:02.559
<v Speaker 3>touch with got making and yeah, check out our what

1158
00:59:03.079 --> 00:59:03.679
<v Speaker 3>awesome man.

1159
00:59:03.800 --> 00:59:06.079
<v Speaker 2>Thank you Jason again so much. This has been an

1160
00:59:06.079 --> 00:59:10.199
<v Speaker 2>amazing interview, amazing conversation, and I really do hope it

1161
00:59:10.320 --> 00:59:13.880
<v Speaker 2>inspires people out there in the tribe and whoever is

1162
00:59:14.000 --> 00:59:16.320
<v Speaker 2>listening to this to get out there and just go

1163
00:59:16.519 --> 00:59:19.119
<v Speaker 2>tell their story. Man, it doesn't matter what you could.

1164
00:59:19.800 --> 00:59:21.079
<v Speaker 2>You have the power in your.

1165
00:59:21.000 --> 00:59:23.920
<v Speaker 3>Hands and play Alex wonderful being in the show. Thanks

1166
00:59:23.920 --> 00:59:25.880
<v Speaker 3>so much for the opportunity and I really appreciate it.

1167
00:59:26.679 --> 00:59:29.039
<v Speaker 2>I want to thank Jason again for being on this show.

1168
00:59:29.159 --> 00:59:29.320
<v Speaker 3>Man.

1169
00:59:29.400 --> 00:59:32.599
<v Speaker 2>Thank you for those knowledge bombs. Jason, and guys, I'm

1170
00:59:32.679 --> 00:59:35.239
<v Speaker 2>telling you it is in the power of your hands.

1171
00:59:35.639 --> 00:59:40.000
<v Speaker 2>Don't let the lack of big movie gear stop you.

1172
00:59:40.159 --> 00:59:42.360
<v Speaker 2>You can make your movie, you can make your short,

1173
00:59:42.360 --> 00:59:44.159
<v Speaker 2>you can make your feature, you can make your series

1174
00:59:44.559 --> 00:59:47.599
<v Speaker 2>with an iPhone, with an Android phone. They are so

1175
00:59:48.239 --> 00:59:50.599
<v Speaker 2>so so powerful. I would have killed to have something

1176
00:59:50.679 --> 00:59:52.760
<v Speaker 2>like this when I was coming up in the business,

1177
00:59:53.039 --> 00:59:55.360
<v Speaker 2>to just even practice with, let alone to take it

1178
00:59:55.400 --> 00:59:58.079
<v Speaker 2>to the next level and actually shoot professional projects with

1179
00:59:58.519 --> 01:00:01.239
<v Speaker 2>So thanks again Jason for the inspiration. If you want

1180
01:00:01.320 --> 01:00:04.719
<v Speaker 2>to get links to Jason's work what he's doing, as

1181
01:00:04.800 --> 01:00:07.840
<v Speaker 2>well as links to the movie Tangerine and our interview

1182
01:00:07.880 --> 01:00:10.679
<v Speaker 2>with Sean Baker, and also a link to the video

1183
01:00:10.760 --> 01:00:14.559
<v Speaker 2>podcast of this, head over to Bulletproofscreenwriting dot tv. Forward

1184
01:00:14.599 --> 01:00:17.360
<v Speaker 2>slash for zero one. Thank you so much for listening, guys,

1185
01:00:17.400 --> 01:00:20.599
<v Speaker 2>as always, keep on writing no matter what. I'll talk

1186
01:00:20.639 --> 01:00:21.000
<v Speaker 2>to you soon.

1187
01:00:21.519 --> 01:00:25.440
<v Speaker 1>Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof

1188
01:00:25.519 --> 01:00:26.880
<v Speaker 1>Screenwriting dot tv.