WEBVTT

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

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

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<v Speaker 3>When they go out to a theater, they want cold sodas,

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<v Speaker 3>hot popcorn, and no monsters in the projection booths.

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<v Speaker 4>Everyone pretend podcasting isn't boring.

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<v Speaker 1>Okay, Oh the street life simplify? Have you for real?

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<v Speaker 2>There a brand new series, the most sophisticated AI on

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<v Speaker 2>the planet.

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<v Speaker 5>Laddie, can we get her bees?

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<v Speaker 4>Think about your family? How about Maggie? I'm sorry this

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<v Speaker 4>is a roll. Now have you done?

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<v Speaker 2>Should I prepare dinner? I seem a small suffering is

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<v Speaker 2>not productive.

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<v Speaker 6>I can help you you have.

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<v Speaker 3>I was my wife.

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<v Speaker 6>If your medication it would be quite easy to lose

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<v Speaker 6>consciousness and slip under the water.

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<v Speaker 2>Imagine how upset Nick would be if you die?

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<v Speaker 1>What's wrong?

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<v Speaker 3>She won't live long?

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<v Speaker 7>Nick?

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<v Speaker 2>And I figured out a solution. Can do so much

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<v Speaker 2>for everyone.

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<v Speaker 3>Let me do this for you.

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<v Speaker 4>I distacle loom, but we didn't stop it.

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<v Speaker 7>Thanks would be doing.

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<v Speaker 8>We can't do that anymore.

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<v Speaker 7>I can't let that happen.

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<v Speaker 4>No one can find out about this.

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<v Speaker 6>Maybe if I had your heart, he would love me

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<v Speaker 6>the way.

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<v Speaker 4>He loves you.

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<v Speaker 7>Love.

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<v Speaker 9>Hey, folks, welcome to a special episode of the Projection Booth.

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<v Speaker 8>I'm your host Mike White.

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<v Speaker 9>On this episode, I'm talking with director s K. Dale

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<v Speaker 9>all about his latest film, Subservience. The film is.

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<v Speaker 8>About a family that gets a new robotic maid who's

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<v Speaker 8>definitely not like Rosie from the Jetsons. Thank you so

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<v Speaker 8>much for listening, and I hope you enjoyed this interview.

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<v Speaker 8>Can you tell me a little bit about your background

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<v Speaker 8>on how you got into filmmaking.

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<v Speaker 2>I'm from Melbourne and where I grew up was way

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<v Speaker 2>out in the woods. So growing up as a kid

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<v Speaker 2>and telling people you want to be a film director

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<v Speaker 2>pure laughed at a lot. But for some reason I

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<v Speaker 2>stuck to that dream and went to film school here

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<v Speaker 2>in Melbourne, but really wanted to focus on making genre

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<v Speaker 2>films and making action films. And the films that excited

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<v Speaker 2>me the most are the ones that I was watching

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<v Speaker 2>come out of Hollywood. So at a very early age,

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<v Speaker 2>I was saving up for the whole year and then

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<v Speaker 2>I would come over to LA and I would try

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<v Speaker 2>to meet anyone I could. What I love about that

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<v Speaker 2>place is the film community, the creative community and people.

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<v Speaker 2>Every person you go to a bar who is someone's

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<v Speaker 2>writing a script and you want to hear stories, you

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<v Speaker 2>want to talk and I love that world. And yeah,

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<v Speaker 2>and eventually, after numerous years, I found myself a manager

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<v Speaker 2>and managed to get myself and I would actually do

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<v Speaker 2>a short film each year before I came over. So

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<v Speaker 2>I would say, up, make a short film, fly over

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<v Speaker 2>and I had done this one horror short that just

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<v Speaker 2>went viral and got a lot of people talking about

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<v Speaker 2>and everything and opened a lot of doors for me.

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<v Speaker 2>And from that point on, Yeah, it was just a

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<v Speaker 2>wild ride of getting people, people allowing me to film

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<v Speaker 2>things and make my dream, my childhood dream come true.

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<v Speaker 9>Is that how Till Death came about? Was that kind

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<v Speaker 9>of an entree to your first feature?

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<v Speaker 4>Yes?

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<v Speaker 2>Correct, Yeah, having that short film and going around they

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<v Speaker 2>saw that, and it was actually because the short film

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<v Speaker 2>itself was only three or four minutes. So once I

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<v Speaker 2>was attached to Till Death, and it took a long

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<v Speaker 2>time for them to finally say yes to me as

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<v Speaker 2>a person who hadn't done a feature film before. There

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<v Speaker 2>was probably fifteen to twenty pictures with them on that,

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<v Speaker 2>But once they said yes, having that short film really

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<v Speaker 2>allowed them to show their buyers what my capabilities were director,

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<v Speaker 2>And so we had Megan attached for that film, and

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<v Speaker 2>they had a short film and it sold really well

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<v Speaker 2>for them. So I think ultimately having those short films

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<v Speaker 2>behind me helped my career even in the feature world.

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<v Speaker 9>It feels like you were Delta pretty lousy hand though.

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<v Speaker 9>As far as Till Death coming out in twenty twenty one,

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<v Speaker 9>did you actually shoot that during the pandemic? Was the

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<v Speaker 9>background to that film?

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<v Speaker 6>Yes?

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<v Speaker 4>Yeah, So my goal was always to make a film.

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<v Speaker 2>By the time I was thirty and I was on

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<v Speaker 2>set for my thirtieth birthday and they brought in the cakes.

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<v Speaker 2>Actually we were prepping. We were a week out from shooting.

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<v Speaker 2>They brought in the cake and I blew out the

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<v Speaker 2>candles and I remember my first ad coming up to

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<v Speaker 2>me and saying, Hey, I don't know what's going to

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<v Speaker 2>happen with this movie, but I know you're going to

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<v Speaker 2>have a nice, great career. And then he left the room,

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<v Speaker 2>and I turned to my partner and said, what does

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<v Speaker 2>he mean? And I had been so focused on prep

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<v Speaker 2>I didn't realize how much this was all spreading and

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<v Speaker 2>everything like that. And then then producers came into the

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<v Speaker 2>studios or came into my office and said we're shutting

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<v Speaker 2>down the studios. You need to fly home tomorrow. This

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<v Speaker 2>was the day of my birthday that we got shut

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<v Speaker 2>down and we went back and it took a few

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<v Speaker 2>months to reassess and to create these protocols for.

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<v Speaker 4>Health and everything like that.

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<v Speaker 2>But we were like one of the first productions in

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<v Speaker 2>the world to start up again.

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<v Speaker 4>We all got back there because we had.

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<v Speaker 2>Such a contained location of a film and very minimal cast.

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<v Speaker 2>It was the perfect well probably a bit of a

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<v Speaker 2>test monkey for the studio, but it was, Yeah, it

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<v Speaker 2>was the perfect film to start up again. So once

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<v Speaker 2>we got everyone on there, it was getting tested. And

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<v Speaker 2>in fact, I flew out the day before Melbourne went

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<v Speaker 2>into lockdown and we went into one hundred and intense

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<v Speaker 2>low down time restrictions distances you couldn't go past three kilometers,

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<v Speaker 2>so like it was pretty crazy and we were just

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<v Speaker 2>lucky enough.

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<v Speaker 4>To fly out.

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<v Speaker 2>But at the airport they were calling up every passenger,

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<v Speaker 2>they were calling up their final destination and saying is

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<v Speaker 2>this person approved to land there? So I had to

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<v Speaker 2>get approval from them. I had to get approval from

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<v Speaker 2>our government to be let out.

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<v Speaker 4>It was a wild time.

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<v Speaker 2>On top of trying to direct my first feature. But

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<v Speaker 2>in fact, by the time we got back onto set

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<v Speaker 2>and we were starting to roll again, winter was finishing.

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<v Speaker 2>So we had to then completely reconfigure out this idea

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<v Speaker 2>of how we're going to shoot in the middle of

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<v Speaker 2>winter now in the middle of summer. So it was

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<v Speaker 2>that was huge challenge within itself as well. So it

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<v Speaker 2>was an exciting time, but it was also a terrifying time.

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<v Speaker 9>Do you think you'll ever use your birthday wish for

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<v Speaker 9>a global pandemic? Again?

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<v Speaker 4>That's the one of no time.

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<v Speaker 9>Yeah, you said that, Megan Fox was already signed up

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<v Speaker 9>for the film. Tell me a little bit about you

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<v Speaker 9>and your relationship with her, because it feels like she

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<v Speaker 9>may become your rabbit's foot here.

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<v Speaker 4>This is the second film I've done with her.

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<v Speaker 2>I didn't know her We're going into the first film

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<v Speaker 2>and everything like that. I just knew her as Jennifer's

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<v Speaker 2>body and Transformers. Megan Fox and I remember getting off

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<v Speaker 2>the phone call for the first time when I heard

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<v Speaker 2>she was attached to Till Death and the producer was, yeah, look,

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<v Speaker 2>I think she's pretty interested to do it and all

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<v Speaker 2>this and blah blah blah blah. Just be ready to

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<v Speaker 2>fly out maybe Friday and said that to me and

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<v Speaker 2>hung up, and I turned to my partner. I was like,

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<v Speaker 2>I think Megan said yes, and I was like, when

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<v Speaker 2>I was in so much shock, I just didn't confirm anything.

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<v Speaker 2>So having done that first film and we had a

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<v Speaker 2>really excellent kind of relationship on set in terms of

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<v Speaker 2>building that trust and everything and doing some you know,

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<v Speaker 2>action sequences that were really exciting when we were doing.

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<v Speaker 2>When we were developing this next project, she did pop

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<v Speaker 2>up in the back of my mind and I was

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<v Speaker 2>thinking about this darker path that we have in Subservienes,

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<v Speaker 2>kind of the mirroring effect of Jennifer's body or playing

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<v Speaker 2>into that element of Jennifer's body, and that the character

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<v Speaker 2>arc there.

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<v Speaker 4>So that was exciting to me early on.

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<v Speaker 2>And I also felt like it was a completely different

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<v Speaker 2>performance that we would have to do to till death,

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<v Speaker 2>and that was a big thing for me. So I

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<v Speaker 2>didn't want to do the same thing twice with the

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<v Speaker 2>same actor or actress. So I just was very excited

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<v Speaker 2>by that idea of Okay, we've done this, now let's

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<v Speaker 2>try to do this and ultimately we have these intimate

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<v Speaker 2>scenes here that having that trust goes a long way

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<v Speaker 2>with in terms of building an environment and making everyone

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<v Speaker 2>feel safe and comfortable and creatively able to explore those

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<v Speaker 2>aspects of that scene.

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<v Speaker 9>How did subserbiens come to you? How did you get

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<v Speaker 9>the script?

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<v Speaker 2>It was through the same team that we did Till

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<v Speaker 2>Death with, so I was kind of in production and

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<v Speaker 2>you know, we just had such a great run with

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<v Speaker 2>that movie that we were discussing a few other projects

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<v Speaker 2>and everything, and they just happened to be developing that

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<v Speaker 2>with the screenwriters April and Will and said, hey, would

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<v Speaker 2>you be interested in just, you know, pitching on this.

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<v Speaker 2>So I read it, and as a filmmaker, saying no

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<v Speaker 2>to some sci fi is just impossible. It's just so

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<v Speaker 2>exciting that the things you can do with that genre,

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<v Speaker 2>and reading that script, it was really there's a moment

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<v Speaker 2>in that script where Maggie the wife comes home and

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<v Speaker 2>realizes that her role as the mother has been replaced

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<v Speaker 2>by this ai, and that to me was like, I

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<v Speaker 2>was like, that's it, That's the film. To me, that

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<v Speaker 2>is the core element here that it really excited me,

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<v Speaker 2>and if anything, in terms of developing the script from there,

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<v Speaker 2>it was leaning more into that conflict and really building

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<v Speaker 2>that third act to be into that these two women

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<v Speaker 2>fighting to the death.

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<v Speaker 9>Megan's performance is fantastic and so much of her role

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<v Speaker 9>is her and what she's bringing to it. Are you

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<v Speaker 9>using special effects to deaden her even more?

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<v Speaker 5>You know?

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<v Speaker 2>We did a few things which was more like the

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<v Speaker 2>motion of her keeping her completely still in certain shots,

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<v Speaker 2>but also removing blinking. That was a big thing for me.

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<v Speaker 2>And if we did have blinking in there, it had

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<v Speaker 2>to have like a performance to it. If she's blinking,

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<v Speaker 2>she's saying something, or she's processing something, or she's we

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<v Speaker 2>see things happening. But ultimately, no, this was just her.

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<v Speaker 2>I think that performance that she was doing was Yeah,

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<v Speaker 2>she just as soon as you call action, her face

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<v Speaker 2>would relax in this way and her eyes, yeah, they

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<v Speaker 2>felt dead in this certain way. That just was like

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<v Speaker 2>exciting to watch. I don't think I expected this kind

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<v Speaker 2>of performance as we're going into it. And she said

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<v Speaker 2>earlier on as well, she mentioned this idea of the

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<v Speaker 2>physicality being like a ballerina and having this precise and

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<v Speaker 2>slow movement, and I think that just informed everything from

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<v Speaker 2>that point on in terms of the way she would

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<v Speaker 2>speak and everything like that. So for me, the challenge

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<v Speaker 2>was probably more allowing a certain level of emotion as

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<v Speaker 2>we were closing in on the intimate scene, so that

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<v Speaker 2>way they felt organic or real that we could buy

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<v Speaker 2>into them. And a particular scene for me that was

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<v Speaker 2>vital for that was the Casablanca scene, and we really

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<v Speaker 2>wanted to see how much we could lean into her

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<v Speaker 2>and this kind of even this childlike wonder of her

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<v Speaker 2>watching the film for the first time and going through

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<v Speaker 2>that process.

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<v Speaker 9>I love even one of the first scenes that she's

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<v Speaker 9>in where she's saying goodbye to the family and she

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<v Speaker 9>has that big smile on her face, and then after

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<v Speaker 9>they're gone, there's no reason for her to be smiling anymore,

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<v Speaker 9>and the way it just disappears is so nice.

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<v Speaker 4>Exactly.

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<v Speaker 2>Yeah, it was something I always and I had that

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<v Speaker 2>shot so early on. I knew exactly how we're going

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<v Speaker 2>to shoot it and everything, and and Megan was really

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<v Speaker 2>on the ball with that, where it was like, we

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<v Speaker 2>don't want to there's no menace here. This is just

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<v Speaker 2>you like allowing yourself to go, Okay, no one's here,

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<v Speaker 2>I don't need to do this smile and it's gone,

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<v Speaker 2>and then you turn away and you walk away, but

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<v Speaker 2>there's something inhuman about it that feels interesting to look at,

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<v Speaker 2>and I do.

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<v Speaker 4>I love that shot. That's one of my favorites.

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<v Speaker 9>Have you seen the film with an audience yet?

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<v Speaker 2>We did a bunch of test screenings during the editing process,

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<v Speaker 2>but it was really just like family and friends and

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<v Speaker 2>we would get them in groups of ten to come in.

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<v Speaker 2>But I haven't watched the completed visual effects film with

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<v Speaker 2>an audience yet. In fact, we are next Friday. I

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<v Speaker 2>have like our first kind of family and Friends screening

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<v Speaker 2>here in Melbourne with a one hundred seat audience. I

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<v Speaker 2>once a film is completed, I hate watching it with

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<v Speaker 2>people kids. I can't change anything, but I really want

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<v Speaker 2>to see how it goes with I got to just

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<v Speaker 2>watch it once, as terrifying as it is to watch

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<v Speaker 2>it with an audience.

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<v Speaker 9>Do you have your next project already picked out?

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<v Speaker 2>We're developing a few things currently, nothing set in stone yet,

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<v Speaker 2>but yeah, it's exciting to look at potentially bigger projects

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<v Speaker 2>and staying within the sci fi world. I love that

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<v Speaker 2>genre and I'd love to play with in that sandbox

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<v Speaker 2>a little.

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<v Speaker 4>Bit more if people would allow me.

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<v Speaker 2>But yeah, we're currently developing a few things, so we'll

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<v Speaker 2>see which one kind of takes off first.

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<v Speaker 9>Having seen these two features, I am so ready for

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<v Speaker 9>a third. So thank you so much for making these.

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<v Speaker 4>Thank you so much.

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<v Speaker 2>And I have to say I listened to your podcast,

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<v Speaker 2>so hearing your voice as you're talking to me, it's

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<v Speaker 2>quite soothing.

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<v Speaker 9>Yeah, you might be the first person that ever told

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<v Speaker 9>me that.

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<v Speaker 4>Oh wow, that's good.

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<v Speaker 9>Number one, I like, mister Dale. Thank you so much

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<v Speaker 9>for your time. This is wonderful.

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<v Speaker 4>Thank you, I really appreciate it.

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<v Speaker 3>Tax zero bas Tex zero bus tax zero, bas tax zero, bats,

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<v Speaker 3>tax zero.

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<v Speaker 7>Bas Tex zero, bus tax zero, mas Tex zero bots,

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<v Speaker 7>text zero, master tex zero.

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<v Speaker 3>Bus text zero Maso text ros.

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<v Speaker 5>She's still still soul versatile. She will download files will.

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<v Speaker 2>There's that loud in mental styles.

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<v Speaker 3>Text ro man text robots, text ro mas.

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<v Speaker 6>Text yer robots, text texts, text roast.

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<v Speaker 5>She comes grown some fox in last stage and she's

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<v Speaker 5>coming about the last stage. She's still really tastage. I'll

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<v Speaker 5>save them bonus. It's so compatible. She's a very respectable

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<v Speaker 5>Anthony rex.

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<v Speaker 7>Please text robs the tax one last text.

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<v Speaker 3>See ros tax ye blasting pleases.

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<v Speaker 7>roll match. Tax yero.

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<v Speaker 7>ro match.

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