WEBVTT 1 00:00:05.120 --> 00:00:09.480 Old you is boat It's show Die. People say good 2 00:00:09.519 --> 00:00:10.599 money to see this movie. 3 00:00:10.919 --> 00:00:12.160 When they go out to a theater. 4 00:00:12.439 --> 00:00:16.199 They want cloth, sodas, hot popcorn, and no monsters in 5 00:00:16.239 --> 00:00:20.879 the protection booths. Everyone pretend podcasting isn't boring. Cut it off. 6 00:00:39.280 --> 00:00:41.240 Let's call we gotta school. 7 00:00:41.359 --> 00:00:46.560 The mornings two and eight North Meadows high schools have 8 00:00:46.679 --> 00:00:49.399 their school year cut short due to a tornado eighteen 9 00:00:49.479 --> 00:00:52.560 years later. Is that class we'll return home and finish 10 00:00:52.759 --> 00:00:53.399 high school? 11 00:00:53.880 --> 00:00:54.439 Yikes? 12 00:00:57.679 --> 00:01:01.840 Can you please just ignore two weeks? Then we're done, 13 00:01:01.920 --> 00:01:04.400 you graduate and we all go back to our normal lives. 14 00:01:04.840 --> 00:01:07.680 No drama. You cannot do this play. You have to. 15 00:01:08.000 --> 00:01:12.959 It's the roles, no drinking and plata. 16 00:01:13.239 --> 00:01:14.480 Okay, let me get one of you with to be. 17 00:01:15.640 --> 00:01:17.640 Everything has to be exactly the way it was in 18 00:01:17.640 --> 00:01:20.319 two thousand and eight. Oh, who is this? Same classes? 19 00:01:20.439 --> 00:01:25.400 Same sports? Ok we can give this graduating class and 20 00:01:25.400 --> 00:01:29.000 a fresh started deserves. Baby, Why would I do killing 21 00:01:29.200 --> 00:01:37.239 at a cracker barrel? I love that place. You're one 22 00:01:37.239 --> 00:01:41.200 of the dumbest people I ever Next, I've changed people. 23 00:01:41.359 --> 00:01:45.879 Never change. If you don't these final exams, you're gonna 24 00:01:45.879 --> 00:01:50.319 have to do the semester all over again, cool life. 25 00:01:51.280 --> 00:01:54.480 I'm already at my house today. My parents just died. 26 00:01:54.760 --> 00:01:57.680 Everyone's going to be there. Oh my god. The house 27 00:01:57.760 --> 00:02:01.920 is totally to ourselves and we're going to rage classic. 28 00:02:04.680 --> 00:02:08.479 In high school, I was sort of like some of 29 00:02:08.520 --> 00:02:09.120 them a bitch. 30 00:02:09.759 --> 00:02:14.080 I was rude and selfish, and I can remember at 31 00:02:14.159 --> 00:02:17.319 least two specific times that I called somebody fat ass. 32 00:02:22.240 --> 00:02:24.639 Hey, folks, welcome to a special episode of The Projection Booth. 33 00:02:24.680 --> 00:02:27.280 I'm your host Mike White. On this episode, I'm talking 34 00:02:27.319 --> 00:02:31.800 with editor Wit Conway all about the new film Never Change. 35 00:02:31.919 --> 00:02:32.680 I believe it just. 36 00:02:32.680 --> 00:02:36.159 Dropped on Hulu like the day before I'm recording this, 37 00:02:36.319 --> 00:02:38.879 so I had a great time talking with mister Conway. 38 00:02:38.960 --> 00:02:41.120 Hope you have a great time watching Never Change and 39 00:02:41.199 --> 00:02:43.159 have a great time listening to this interview. 40 00:02:43.240 --> 00:02:43.879 Thanks so much. 41 00:02:44.360 --> 00:02:46.520 Before we even start to talk about this latest project, 42 00:02:46.560 --> 00:02:48.280 I would love to tell a little bit more about you. 43 00:02:48.360 --> 00:02:51.280 You've done a little bit of a lot of stuff, 44 00:02:51.360 --> 00:02:53.000 and I'm so curious. Can you tell me how you 45 00:02:53.000 --> 00:02:54.599 even got your start and show business. 46 00:02:55.120 --> 00:02:57.800 Yes, I grew up in Chicago, and after college I 47 00:02:57.919 --> 00:03:00.800 landed back. I got a degree in film television production 48 00:03:00.840 --> 00:03:03.879 from Indiana University. But After college, I was back in 49 00:03:03.960 --> 00:03:08.319 Chicago doing production stuff postwork, mostly advertising, which is in Chicago, 50 00:03:08.400 --> 00:03:12.800 and I fell into Second City and iow comedy schools 51 00:03:12.840 --> 00:03:16.000 over there, so doing performing and writing and stuff. And 52 00:03:16.039 --> 00:03:20.080 then at night and on the weekends, I was asking 53 00:03:20.080 --> 00:03:22.319 all my comedy friends to say, like, hey, I've got 54 00:03:22.360 --> 00:03:25.199 equipment and I know production skills, and I was like 55 00:03:25.240 --> 00:03:29.840 dipping the toe into trying to learn about filmmaking through 56 00:03:29.840 --> 00:03:32.159 filmmaking and through making stuff with friends. And this is 57 00:03:32.159 --> 00:03:34.719 in like I graduated college in two thousand and six, 58 00:03:34.840 --> 00:03:37.360 so you know, in the advent of sort of a 59 00:03:37.439 --> 00:03:41.560 camera that's now affordable, that looks good, and Premiere Pro 60 00:03:41.759 --> 00:03:45.080 being suddenly you know, workable on a laptop. You know, 61 00:03:45.199 --> 00:03:48.280 I was spending my days at these post production facilities 62 00:03:48.439 --> 00:03:52.280 and where avids were, you know, thirty grand to be 63 00:03:52.319 --> 00:03:55.039 able to edit something and then suddenly you're able to 64 00:03:55.080 --> 00:03:57.680 do it at home. Obviously final cut was there, but 65 00:03:57.719 --> 00:03:59.520 I don't know why. In college I sort of never 66 00:03:59.520 --> 00:04:02.560 got into it. And then I spent about ten years 67 00:04:02.639 --> 00:04:06.159 doing that, working in advertising and production and in Chicago 68 00:04:06.319 --> 00:04:08.639 was working at these places where like you just did everything. 69 00:04:08.719 --> 00:04:11.800 It was that time of like, hey, we've got a client. 70 00:04:12.000 --> 00:04:13.960 Someone's got to go out. They've got to talk to 71 00:04:14.000 --> 00:04:16.800 the client. They've got to book the you know, the locations, 72 00:04:16.839 --> 00:04:19.560 they've got to hire the crew. They've got to go shoot, 73 00:04:19.759 --> 00:04:21.439 you know, with camera that's it's only going to be 74 00:04:21.480 --> 00:04:24.279 six to eight people maybe on on set, so you're 75 00:04:24.319 --> 00:04:27.399 sort of doing everything and then we would bring that 76 00:04:27.439 --> 00:04:29.959 footage back and then edit it, color correct it, do 77 00:04:30.000 --> 00:04:33.480 the motion graphics. So I sort of got this very 78 00:04:33.480 --> 00:04:37.920 well rounded start of being introduced to everything. And when 79 00:04:37.959 --> 00:04:40.720 I got out of school, I had seen a couple 80 00:04:40.759 --> 00:04:42.920 of people and you know, obviously like feature films were 81 00:04:43.000 --> 00:04:46.720 my they were my dream north Star, but I knew 82 00:04:46.759 --> 00:04:49.279 that I was not ready to like jump in. And 83 00:04:49.360 --> 00:04:52.639 I saw three or four friends make feature films and 84 00:04:52.639 --> 00:04:55.040 they it literally killed them to the point where they 85 00:04:55.120 --> 00:04:57.560 stopped doing it. And I was like, well, I'm not 86 00:04:57.639 --> 00:05:01.279 doing that. But I can work with my friends and 87 00:05:01.360 --> 00:05:05.199 make short films and try things out and go, hey, 88 00:05:05.240 --> 00:05:08.560 I've never shot anything handheld, Okay, what's that look like. 89 00:05:08.600 --> 00:05:11.079 Now I'm going to do this whole short just working 90 00:05:11.120 --> 00:05:12.959 on a tripod and I'm not ever going to put 91 00:05:12.959 --> 00:05:14.920 my hands on the camera. And then, you know, just 92 00:05:14.959 --> 00:05:18.519 sort of like trying things out over very very short, 93 00:05:18.600 --> 00:05:21.959 small projects over many years. I moved to New York 94 00:05:22.000 --> 00:05:24.920 in twenty fifteen and learned that like most people don't 95 00:05:24.920 --> 00:05:28.360 do that, most people don't try and take more sort 96 00:05:28.399 --> 00:05:32.879 of responsibilities on There's much much more specialization. And so 97 00:05:33.000 --> 00:05:35.480 when I got to New York, I was just available 98 00:05:35.519 --> 00:05:37.920 for a lot of jobs and a lot of things, 99 00:05:37.920 --> 00:05:40.279 and for some people I became you know, when I 100 00:05:40.319 --> 00:05:42.560 started working for some people, I was a jack of 101 00:05:42.639 --> 00:05:44.839 all trades guy, and I could do the whole pipeline. 102 00:05:44.879 --> 00:05:46.560 For some people, I was just an editor or just 103 00:05:46.600 --> 00:05:49.959 a DP or just a director, and that led to 104 00:05:50.680 --> 00:05:53.839 just getting into I also, you know, used my connections 105 00:05:53.839 --> 00:05:56.600 in Chicago comedy to come to the New York comedy scene, 106 00:05:56.600 --> 00:05:59.560 and everybody that I was working with in Chicago sort 107 00:05:59.560 --> 00:06:01.480 of said, hey, hey, wits here. He's come to New 108 00:06:01.560 --> 00:06:04.240 York if you need anybody. And I got in with 109 00:06:04.360 --> 00:06:06.839 a bunch of people basically there in this movie, and 110 00:06:06.920 --> 00:06:10.240 the director, Marty Scausbow and I met through those connections 111 00:06:10.639 --> 00:06:13.519 and then we started working with each other and we 112 00:06:13.639 --> 00:06:17.199 cut three seasons of TV together for Joe Parra Talks 113 00:06:17.240 --> 00:06:20.720 with You. So I was editing there the first season 114 00:06:20.720 --> 00:06:22.759 of that led to me meeting someone and getting an 115 00:06:22.759 --> 00:06:25.519 opportunity to go to SNL and edit at SNL. And 116 00:06:25.720 --> 00:06:30.519 simultaneously I was dpeing stuff and I met a producer 117 00:06:30.560 --> 00:06:32.639 at the Late Show with Stephen Colbert and he hired 118 00:06:32.639 --> 00:06:35.000 me to start dpeing stuff at Colbert. So it was 119 00:06:35.040 --> 00:06:39.120 like spending my weekdays over at Colbert doing field shoots 120 00:06:39.160 --> 00:06:42.720 with with Jake Plunkett and then going to SNL on 121 00:06:42.759 --> 00:06:45.319 Friday and spending the weekend at SNL Friday and Saturday. 122 00:06:45.759 --> 00:06:48.879 And then I was also directing stuff, and I got 123 00:06:48.879 --> 00:06:53.120 an opportunity to direct. Jimmy Kimmel saw short that I 124 00:06:53.199 --> 00:06:56.160 made through a friend of ours and he invited me 125 00:06:56.199 --> 00:06:58.519 out to direct at his show, and that was sort 126 00:06:58.519 --> 00:07:01.600 of the entre into into directing. But you know, to 127 00:07:01.639 --> 00:07:05.439 your point about doing everything, that was sort of my 128 00:07:05.560 --> 00:07:09.360 goal from the get go is if I learn everything, 129 00:07:09.680 --> 00:07:12.240 all of these skills, then at least if I don't 130 00:07:12.879 --> 00:07:16.000 have someone to do this aspect, I could probably do it. 131 00:07:16.279 --> 00:07:18.360 I could probably stumble my way through it, and especially 132 00:07:18.399 --> 00:07:22.000 with YouTube now that everything is available education wise, but 133 00:07:22.560 --> 00:07:24.519 it really did help me work, you know, it helped 134 00:07:24.560 --> 00:07:29.120 me keep working and helped me allow myself to say 135 00:07:29.199 --> 00:07:31.560 yes to as many people and work with as many 136 00:07:31.600 --> 00:07:34.399 people as possible, which you know, the more relationships you have, 137 00:07:34.600 --> 00:07:37.680 the more people you can connect with. And you know 138 00:07:37.759 --> 00:07:39.720 the other side of that being like I try to 139 00:07:39.800 --> 00:07:42.720 be as warm and jovial and hard working as I 140 00:07:42.720 --> 00:07:45.639 possibly can so that I can get hired again, because 141 00:07:45.680 --> 00:07:48.079 I do think part of I worked with a great, 142 00:07:48.360 --> 00:07:51.279 great director at when I was producer director at Last 143 00:07:51.279 --> 00:07:53.199 Week Tonight. He directed the show's over there directs the 144 00:07:53.240 --> 00:07:55.800 shows over Their Name's Paul Penlino. He says, it's all 145 00:07:56.000 --> 00:07:58.000 about the good hang. If you're not a good hang, 146 00:07:58.199 --> 00:08:00.920 you're not going to be around. It was a really 147 00:08:01.120 --> 00:08:03.480 this well rounded education that I feel like now I 148 00:08:04.480 --> 00:08:07.480 do feel strong in all those and I can talk 149 00:08:07.519 --> 00:08:10.879 about all of the different disciplines with any department head 150 00:08:10.879 --> 00:08:13.639 that I get to hire. Production design and like sort 151 00:08:13.639 --> 00:08:15.199 of art is the one thing that I feel like 152 00:08:15.279 --> 00:08:18.279 I never had enough resources to really put towards that, 153 00:08:18.439 --> 00:08:21.160 and that's when I'm so excited to, like, you know, 154 00:08:21.199 --> 00:08:24.319 build a set or do anything with any large practical 155 00:08:25.319 --> 00:08:27.959 fabricated stuff. Though those are always the really fun things 156 00:08:27.959 --> 00:08:29.839 because that's the stuff that I feel like I never 157 00:08:29.879 --> 00:08:32.200 got to experience as a sort of jack of ball 158 00:08:32.240 --> 00:08:32.720 trades guy. 159 00:08:33.360 --> 00:08:35.200 So it helped me correct an image I have in 160 00:08:35.200 --> 00:08:38.799 my head, which is editing at Saturday Night Live, because 161 00:08:38.879 --> 00:08:42.200 I picture more like broadcast news where you're in the 162 00:08:42.240 --> 00:08:46.000 control booth and you've got the switches, camera one, camera three. 163 00:08:46.720 --> 00:08:49.240 What is actual editing on Saturday Night Live? 164 00:08:49.440 --> 00:08:49.519 Like? 165 00:08:50.200 --> 00:08:52.440 So, I was a part of the film pre tape department, 166 00:08:52.639 --> 00:08:56.519 so all the sketches that get shot, which is, you know, 167 00:08:56.600 --> 00:09:03.120 it's a really extremely educational, intense, fun job to get. 168 00:09:04.159 --> 00:09:07.240 There is a sort of a cadre of editors that 169 00:09:07.279 --> 00:09:11.159 they keep at thirty Rock. As they start shooting stuff, 170 00:09:11.240 --> 00:09:15.000 they roll the footage right over to thirty Rock and 171 00:09:15.039 --> 00:09:16.960 the editors start working on it. So when they're doing 172 00:09:16.960 --> 00:09:19.679 their pre tapes, the editors are sort of working as 173 00:09:19.679 --> 00:09:21.720 stuff comes out of the camera. It goes from wherever 174 00:09:21.919 --> 00:09:24.360 set they are in New York City over to thirty Rock, 175 00:09:24.399 --> 00:09:27.399 and then the editors are you know, the assistant editors, 176 00:09:27.399 --> 00:09:30.480 and the editors are organizing all that footage, managing that footage, 177 00:09:30.720 --> 00:09:33.960 handing stuff off to an editor. There's usually three editors 178 00:09:34.279 --> 00:09:36.960 to a piece, with one point editor and then two 179 00:09:37.039 --> 00:09:41.399 sort of assistant editors, and you start on Friday. Those 180 00:09:41.440 --> 00:09:44.120 pre tape all the pre tapes are shot on Friday, 181 00:09:44.279 --> 00:09:47.759 the day before SML, and that's for a couple of reasons. 182 00:09:47.759 --> 00:09:50.519 So one, the scripts aren't chosen till Wednesday night. Then 183 00:09:50.559 --> 00:09:53.200 they need one full day really sort of thirty six 184 00:09:53.240 --> 00:09:56.840 hours to do all the pre tape prep work, which 185 00:09:57.080 --> 00:10:02.600 all the pre producing and what new locations, wardrobe, costume, animals, 186 00:10:02.639 --> 00:10:05.080 whatever they need to source within twenty four hours. And 187 00:10:05.200 --> 00:10:09.399 SML has an incredible rolodex of people and also people 188 00:10:09.399 --> 00:10:11.320 that they you know, they already have these crews on hold. 189 00:10:11.639 --> 00:10:14.759 And then so they do all that pre production on Thursday, 190 00:10:14.840 --> 00:10:18.840 and then on Friday everything starts shooting, and on Friday 191 00:10:18.919 --> 00:10:21.679 the editors also start, so they start organizing stuff as 192 00:10:21.679 --> 00:10:24.039 it comes out of the camera, and then you work 193 00:10:24.080 --> 00:10:27.080 overnight until about four or five in the morning. Usually, 194 00:10:27.480 --> 00:10:29.440 then they get you a hotel across the street, you 195 00:10:29.480 --> 00:10:31.000 go sleep for a couple hours, and then you come 196 00:10:31.039 --> 00:10:35.879 back and you work with the So that's all without 197 00:10:35.879 --> 00:10:37.960 the director. The director is still on set essentially, so 198 00:10:38.000 --> 00:10:40.200 you're sort of managing the footage and then doing the 199 00:10:40.240 --> 00:10:43.960 assembly and then at about nine to ten in the morning, 200 00:10:44.000 --> 00:10:46.960 you go back in. The director comes in and you 201 00:10:47.000 --> 00:10:49.879 work with the director at about ten to one ish 202 00:10:50.039 --> 00:10:52.279 twelve to one, depending on you know, I haven't been 203 00:10:52.279 --> 00:10:53.639 there in a bunch of years, but this is what 204 00:10:53.679 --> 00:10:56.679 it was when I was there. Then you one, the 205 00:10:56.679 --> 00:10:58.840 writers come in and the producers start coming in, and 206 00:10:58.840 --> 00:11:01.000 then that's that's the main thing thrush of the editors 207 00:11:01.039 --> 00:11:03.440 during that day. As an assistant editor, you're sort of 208 00:11:03.679 --> 00:11:07.399 sitting in the room watching and listening, building sound effects 209 00:11:07.440 --> 00:11:09.519 and doing the whole sound design pass because there's really 210 00:11:09.559 --> 00:11:12.320 no time for the sound mix to happen. The sound 211 00:11:12.360 --> 00:11:14.159 mix has to happen when it's locked, and it doesn't, 212 00:11:14.279 --> 00:11:16.279 you know, it gets locked and then unlocked because it 213 00:11:16.320 --> 00:11:19.159 goes to dress rehearsal and then comes back and has 214 00:11:19.279 --> 00:11:22.919 changes after dress rehearsal. So you make edits after nine 215 00:11:23.080 --> 00:11:25.559 thirty pm on Saturday night, and that means you have 216 00:11:25.600 --> 00:11:28.519 to make edits and you have to make visual effects changes, 217 00:11:28.559 --> 00:11:31.919 you have to make color changes, and so there it 218 00:11:31.960 --> 00:11:34.679 becomes this very very shrinking window and then you back 219 00:11:34.799 --> 00:11:38.159 time to what time your sketch is airing, so you 220 00:11:38.159 --> 00:11:40.799 know it's not eleven thirty five, it's done, It's okay. 221 00:11:40.879 --> 00:11:43.279 Now we're going till twelve oh seven because that's when 222 00:11:43.279 --> 00:11:46.840 it has to go on TV, and so that's the 223 00:11:46.879 --> 00:11:49.360 main thrush of it. And you work really, really furiously 224 00:11:49.399 --> 00:11:51.519 and hard, and there are really intense points. Then there 225 00:11:51.519 --> 00:11:53.320 are sort of lulls in the day, like getting it 226 00:11:53.360 --> 00:11:56.039 off to go to dress. Everything sort of calms down 227 00:11:56.080 --> 00:11:58.600 and you can go have dinner and stuff and then 228 00:11:58.720 --> 00:12:00.759 and then it airs on TV that night and you 229 00:12:00.799 --> 00:12:03.720 watch it, go out and play and however it airs. 230 00:12:04.480 --> 00:12:08.120 It is thrilling to see that sort of thirty six 231 00:12:08.200 --> 00:12:11.320 hours of work on TV right there. So it is 232 00:12:11.799 --> 00:12:14.840 really really exciting work. And it's also the best film 233 00:12:14.879 --> 00:12:17.799 school that I've ever experienced. That's the best people in 234 00:12:17.799 --> 00:12:21.039 New York working in that department and for those crews, 235 00:12:21.559 --> 00:12:24.879 and I learned the most there. I learned the most 236 00:12:24.919 --> 00:12:28.519 because I'm truly the best editors that I've ever been 237 00:12:28.559 --> 00:12:31.360 around are in that department, and they work so fast 238 00:12:31.399 --> 00:12:33.759 and they work that I learn everything about sound design 239 00:12:34.240 --> 00:12:36.559 from them because I came in knowing like I should 240 00:12:36.559 --> 00:12:39.639 be sound designing, not nearly to the level that they do, 241 00:12:39.720 --> 00:12:41.679 because they have to make it like a final pass 242 00:12:41.919 --> 00:12:44.879 on their first months. If you can't handle the stress 243 00:12:44.919 --> 00:12:47.080 and if you can't handle the pace, then you don't 244 00:12:47.120 --> 00:12:49.679 last very long. And that's probably better. It's not for everybody, 245 00:12:49.759 --> 00:12:52.120 that's for sure. It's not a place where you can 246 00:12:52.240 --> 00:12:54.720 just sit back. You know, there is a speed and 247 00:12:54.759 --> 00:12:57.919 an urgency at which you have to operate less yeah, 248 00:12:57.960 --> 00:12:59.240 you won't be back the next week. 249 00:13:00.000 --> 00:13:02.399 Iinitly sounds like you've been in the comedy world for 250 00:13:02.879 --> 00:13:06.519 a long damn time, and I'm curious have you edited 251 00:13:06.600 --> 00:13:09.600 any other type of things or worked on other type 252 00:13:09.639 --> 00:13:11.200 of things, because I imagine there's got to be a 253 00:13:11.200 --> 00:13:13.639 different style when you edit comedy. 254 00:13:13.279 --> 00:13:14.200 Versus the narrative. 255 00:13:14.240 --> 00:13:17.120 I would say, yeah, of course, I think in terms 256 00:13:17.159 --> 00:13:21.440 of like different than comedy, I would almost just say, like, 257 00:13:21.480 --> 00:13:23.399 what is the goal of the piece. I've done plenty 258 00:13:23.399 --> 00:13:26.559 of like corporate doc work. I used to do pharmaceutical 259 00:13:26.600 --> 00:13:29.759 interviews in Chicago, you know, like working and making trade 260 00:13:29.759 --> 00:13:32.639 show sizzle reels and stuff like that. So I've done 261 00:13:32.720 --> 00:13:35.000 all of that work. And I think for me, as 262 00:13:35.039 --> 00:13:37.279 an editor especially, it's what's the goal of the piece? 263 00:13:37.320 --> 00:13:40.480 And then how are we communicating that in terms of 264 00:13:40.519 --> 00:13:44.080 like comedy or drama. I really think and I believe 265 00:13:44.120 --> 00:13:46.919 like comedy taken seriously is when it's the most funny. 266 00:13:47.000 --> 00:13:49.879 I laughed the hardest at the characters who are not 267 00:13:50.159 --> 00:13:52.879 being funny. They are the way they are to me, 268 00:13:52.960 --> 00:13:55.559 it's like taking the world seriously. I wouldn't say it's 269 00:13:55.679 --> 00:13:58.879 narratively different. I've cut some more dramatic short films that 270 00:14:00.000 --> 00:14:03.039 maybe I've been asked to help out with or you know, 271 00:14:03.080 --> 00:14:05.840 but they've not really taken off the way. I feel 272 00:14:05.840 --> 00:14:07.919 like some of my comedic stuff as more of just 273 00:14:07.960 --> 00:14:10.639 because a dramatic short is really hard to stand out 274 00:14:10.759 --> 00:14:14.399 unless it's got some two people talking on an emotional 275 00:14:14.519 --> 00:14:18.440 arc is really nice and sweet. But for short content 276 00:14:18.519 --> 00:14:21.960 and short short narrative, you would definitely want to make 277 00:14:22.000 --> 00:14:25.879 something happen. I think. I think comedies generally, even if 278 00:14:25.879 --> 00:14:28.360 they're sort of slapstick and silly, they sort of have 279 00:14:28.480 --> 00:14:30.960 more of that. So I and I think also just 280 00:14:31.000 --> 00:14:33.720 being a part of the world of what you put out, 281 00:14:34.039 --> 00:14:36.440 as you know, I think people ask you for what 282 00:14:36.440 --> 00:14:38.440 you've already done. Hey, you did that thing, Can you 283 00:14:38.480 --> 00:14:40.879 do that again? For me? So I think that more 284 00:14:40.919 --> 00:14:43.360 than anything which is which is honestly the biggest lesson 285 00:14:43.399 --> 00:14:45.679 to learn. You know, if you start putting stuff out, 286 00:14:45.799 --> 00:14:47.919 people are going to see that and go When they 287 00:14:47.960 --> 00:14:50.200 react and respond, they're going to say, great, I want 288 00:14:50.200 --> 00:14:52.360 more of that. They are not necessarily going to say 289 00:14:52.399 --> 00:14:54.840 what else can you do? Or what else would you 290 00:14:55.000 --> 00:14:57.720 like to be doing? So, you know, something to keep 291 00:14:58.159 --> 00:15:00.799 in mind. I think, like I've and talk to a 292 00:15:00.799 --> 00:15:03.000 bunch of people throughout my career, they're like, I'm stuck 293 00:15:03.039 --> 00:15:06.120 in this corner. When I was young, that was reality. 294 00:15:06.159 --> 00:15:08.639 It was don't go into reality. If you go in, 295 00:15:08.720 --> 00:15:11.200 you'll never you'll never get out. And I had a 296 00:15:11.240 --> 00:15:13.799 couple of friends that like they fell in because they 297 00:15:13.840 --> 00:15:15.919 needed a job or whatever reason, and then they spent 298 00:15:16.000 --> 00:15:18.240 like five or six years and we're like, I gotta 299 00:15:18.279 --> 00:15:21.679 get out of here. It's toxic. So yeah, I don't really, 300 00:15:21.879 --> 00:15:24.200 I don't think I you know, I'll take never changes 301 00:15:24.200 --> 00:15:27.559 is a good example. Like we treat the characters in 302 00:15:27.600 --> 00:15:30.039 the world and the silliness of the world though it's 303 00:15:30.159 --> 00:15:33.799 as if it's serious. We really don't try and parse 304 00:15:33.840 --> 00:15:36.960 out when it's being irreverent and silly and when it's 305 00:15:36.960 --> 00:15:40.000 being serious, because I don't think we want to indicate 306 00:15:40.039 --> 00:15:42.480 that we want to make people believe that the world 307 00:15:42.559 --> 00:15:45.960 is existing in front of them sort of everything seriously. 308 00:15:46.759 --> 00:15:49.279 So obviously you probably had more than thirty six hours 309 00:15:49.320 --> 00:15:51.799 to work on Never Change. But when were you brought 310 00:15:51.840 --> 00:15:55.399 into the project? Was still in the writing phase? Was 311 00:15:55.399 --> 00:15:57.440 it already shooting? Where were you at? 312 00:15:57.679 --> 00:16:00.840 So Marty Scasbow the director, and John Renlll the writer 313 00:16:00.960 --> 00:16:03.759 and star, and Marty was the story writer as well 314 00:16:03.799 --> 00:16:05.799 on it. So they'd been working on the project for 315 00:16:05.879 --> 00:16:07.960 about five years. And Marty and I are very good friends. 316 00:16:08.200 --> 00:16:10.519 Like I said earlier, we cut a season, we cut 317 00:16:10.559 --> 00:16:12.840 three seasons of Joe Para Talks with You, an adult 318 00:16:12.879 --> 00:16:16.200 swim show together, and so you know, we've spent years 319 00:16:16.200 --> 00:16:19.080 and years in the editing room already, and he is 320 00:16:19.159 --> 00:16:22.960 the director and the editor of all of that whole series. 321 00:16:23.120 --> 00:16:25.360 And then also have Never Changed. So we just have 322 00:16:25.440 --> 00:16:29.080 a really good rapport and way of working. He really 323 00:16:29.120 --> 00:16:32.480 trusts me, obviously, and so I'd been talking to him 324 00:16:32.480 --> 00:16:34.519 about this project for a bunch of years because I 325 00:16:34.600 --> 00:16:37.000 was his friend and we were I was watching him 326 00:16:37.000 --> 00:16:40.480 go through the pitching process and they pitched it as 327 00:16:40.480 --> 00:16:43.360 a TV show. It didn't go. That was right before 328 00:16:43.360 --> 00:16:46.200 the strike, so it was sort of like nothing was happening. 329 00:16:46.519 --> 00:16:48.759 And then after the strike, they took it back out 330 00:16:48.799 --> 00:16:51.600 as a movie and Hulu green lit it, and then 331 00:16:51.639 --> 00:16:53.759 it took you know, I think even then it took 332 00:16:53.840 --> 00:16:55.720 almost a year and a half to like make all 333 00:16:55.720 --> 00:16:58.559 the deals and have everything happen and then get in 334 00:16:58.879 --> 00:17:01.600 the production slot at American High which was where it 335 00:17:01.639 --> 00:17:03.840 was shot up in Syracuse. There's a production company that 336 00:17:03.879 --> 00:17:07.160 has a high school that they use for filming movies 337 00:17:07.519 --> 00:17:09.440 and they have a deal with Hulu to do that. 338 00:17:09.880 --> 00:17:11.680 So it was sort of a lot of things that 339 00:17:12.079 --> 00:17:14.119 had to happen to like get it on the schedule. 340 00:17:14.119 --> 00:17:15.759 And I was talking to Marty through the whole thing, 341 00:17:16.200 --> 00:17:18.680 just because we're good buddies, and we're also sort of like, okay, 342 00:17:18.680 --> 00:17:20.920 what's you know, if this doesn't happen, what else are 343 00:17:20.960 --> 00:17:22.720 we working on? And what are you working on? And 344 00:17:22.839 --> 00:17:25.039 we keep each other a little bit accountable in that way, 345 00:17:25.319 --> 00:17:27.720 which is nice to have a buddy to do that with. 346 00:17:28.119 --> 00:17:32.200 And then when the movie actually started to happen and 347 00:17:32.279 --> 00:17:36.200 he's like prepping for going to do prep and be 348 00:17:36.240 --> 00:17:41.240 in Syracuse to shoot, I'm tasked with figuring out how 349 00:17:41.240 --> 00:17:43.359 the post is going to work and sort of giving 350 00:17:43.440 --> 00:17:45.200 him my best. You know, he trusts me a lot. 351 00:17:45.319 --> 00:17:47.839 In season three, Joe Para, we didn't want to go 352 00:17:47.880 --> 00:17:50.279 to a post house. We just found an apartment and 353 00:17:50.319 --> 00:17:53.279 I built us a server, and you know, we built 354 00:17:53.319 --> 00:17:56.400 out an apartment as if it was our space because 355 00:17:56.400 --> 00:17:57.720 we knew we were going to be there for almost 356 00:17:57.759 --> 00:18:00.599 a year. We wanted a really comfortable place. So in 357 00:18:00.640 --> 00:18:04.079 the same vein, it's figuring out all of the the 358 00:18:04.680 --> 00:18:07.480 who are the vendors and the places that we're keeping 359 00:18:07.480 --> 00:18:11.480 our footage ad and who are our post vendors going 360 00:18:11.519 --> 00:18:13.880 to be in terms of mix and color and v 361 00:18:13.880 --> 00:18:16.319 effects and all that is done through our post supervising 362 00:18:16.359 --> 00:18:19.200 team and the producers. And then as soon as they 363 00:18:19.279 --> 00:18:21.519 started shooting, I started cutting is on for a couple 364 00:18:21.559 --> 00:18:26.319 of weeks before the production and then production the union 365 00:18:26.400 --> 00:18:29.640 rules that you know, you start the day that like, 366 00:18:29.720 --> 00:18:32.559 you can't start for some reason before that, and so 367 00:18:32.640 --> 00:18:35.480 I started the day of production, and then I went 368 00:18:35.519 --> 00:18:38.799 throughout the whole production working and Marty and I had 369 00:18:38.799 --> 00:18:41.400 talked like our timeline was very short. You said more 370 00:18:41.400 --> 00:18:43.359 than thirty six hours. We did have more than thirty 371 00:18:43.359 --> 00:18:46.079 six hours, but it wasn't much more. This was shot 372 00:18:46.319 --> 00:18:50.200 September to October, end of October last year, so the 373 00:18:50.319 --> 00:18:53.640 last day of production was like right around Halloween and 374 00:18:53.680 --> 00:18:57.240 then it's on TV next week, which is a very 375 00:18:57.440 --> 00:19:01.359 very very fast turn for a full feature shelf. So 376 00:19:01.559 --> 00:19:05.000 we we knew we had to go very fast, and 377 00:19:05.119 --> 00:19:09.039 going very fast meant I had to work really fast 378 00:19:09.079 --> 00:19:12.000 in the prep to, you know, while I was alone, 379 00:19:12.519 --> 00:19:15.240 to just put everything up on its feet. And so 380 00:19:15.440 --> 00:19:18.000 a week after production wrapped, I had a full cut 381 00:19:18.039 --> 00:19:20.720 of the movie that was two hours and forty five minutes, 382 00:19:20.759 --> 00:19:24.079 and it was sort of everything that every scene and 383 00:19:24.200 --> 00:19:26.799 every even bit in every scene like an attempt. Okay, 384 00:19:26.799 --> 00:19:29.240 you guys improvised this on the day. I thought this 385 00:19:29.400 --> 00:19:31.839 was funny. I'm gonna include this in the scene just 386 00:19:31.880 --> 00:19:34.480 to see, Okay, we're gonna chop half of this out, 387 00:19:34.519 --> 00:19:37.079 you know, we we sort of know that. But what 388 00:19:37.279 --> 00:19:39.480 is going to tickle Marty and John as they watch 389 00:19:39.519 --> 00:19:42.079 it for the first time, even though those first watches 390 00:19:42.079 --> 00:19:46.359 for directors and writers are awful of getting over all 391 00:19:46.440 --> 00:19:49.799 of the production problems and that they see in every 392 00:19:49.839 --> 00:19:52.319 single frame, that all the compromises that you have to make, 393 00:19:52.880 --> 00:19:56.480 and then So then Marty and I worked through November 394 00:19:56.519 --> 00:19:59.640 and December, and the director's cut was like the end 395 00:19:59.759 --> 00:20:02.799 the you know, just at Christmas time, so really really 396 00:20:02.880 --> 00:20:04.799 short time. I think it was about six or seven 397 00:20:04.799 --> 00:20:08.359 weeks for them. And then we worked until the end 398 00:20:08.519 --> 00:20:15.119 of February to locke and then did score, BFCS, sound 399 00:20:15.119 --> 00:20:19.640 design and color between March April May and now and 400 00:20:19.720 --> 00:20:21.240 here we are, Oh, is. 401 00:20:21.240 --> 00:20:23.559