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Speaker 1: I'm just gonna say it. Go ahead, how did this happen?

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Speaker 2: I'm very excited. I think a Zach made it happen.

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Speaker 2: Zach's a dream maker.

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Speaker 3: Listen, for any of you out there, this is like

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Speaker 3: the freaking Avengers Infinity Saga of Guests when it comes

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Speaker 3: to musical theater. Yeah, this is someone who made it

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Speaker 3: so that when you go to the movies as a straight,

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Speaker 3: heterosexual male, nobody's gonna question you for wearing green skin,

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Speaker 3: green paint.

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Speaker 1: A hat and a dress. Nobody's gonna question you.

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Speaker 2: This is more about how you saw this movie. But okay,

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Speaker 2: this is the.

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Speaker 3: Man that made it okay for anyone in the audience

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Speaker 3: before Cynthia Arriba goes to you know, when it reaches

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Speaker 3: crushindo as they call it in musical theater, climax. Climax

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Speaker 3: allows anyone in the audience to go.

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Speaker 2: Oh my god. I had to turn down my headphones. Sorry, audience.

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Speaker 3: This revolutionized theater for musical movie theater theater for twenty

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Speaker 3: twenty four, twenty twenty five.

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Speaker 2: Well, it's quite a movie and it's a good get.

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Speaker 2: We're also going to be joined audience by Myron Kirstine,

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Speaker 2: who was nominated for an Academy Award for editing Wicked.

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Speaker 2: He's the reason we got to John was because Myron

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Speaker 2: has cut most of my movies. He cut Garden State,

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Speaker 2: he cut I Wish I was here. He cut a

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Speaker 2: movie I made called Going in Style. So we've been

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Speaker 2: friends a very long time and his career has been

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Speaker 2: on the up and up and up. And this is

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Speaker 2: second Oscar nomination.

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Speaker 1: He's going to get. He's going to get nominated again.

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Speaker 2: When nominated for Out the the Andrew Garfield musical that

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Speaker 2: I loved? What was that called? Joel Netflix One?

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Speaker 3: No, the one that got nominated for in the movie theater.

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Speaker 2: Lin Manuel directed it like Boom something or Tic Tic

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Speaker 2: Boom Boom. I love that movie.

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Speaker 1: It's a great one.

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Speaker 3: Did Lin Manuel get nominated for directing that movie, Bardie Chance?

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Speaker 2: I don't know, but I bet you Joel Monique could

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Speaker 2: look at it.

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Speaker 1: Should have.

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Speaker 4: It was a Netflix movie. I like, Yeah, Tictic One

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Speaker 4: was a Netflix movie. The director Violin.

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Speaker 1: For Netflix movies. Now that's right, I forgot about that.

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Speaker 2: I love that movie. By the way, can we digress

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Speaker 2: for a moment. Are y'all watching this new Netflix show

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Speaker 2: called adolescentscence.

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Speaker 4: Adolescents see the first episode, but wow, Donald, it's every

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Speaker 4: episode is a wonner.

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Speaker 2: And I'm not talking to wonner with fake wipes. I'm

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Speaker 2: talking like they choreographed the most insane wonners. And you

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Speaker 2: get to the end of the episode and you're like,

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Speaker 2: I cannot believe there has not been a cut They've

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Speaker 2: been Episode two takes place all around this whole school

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Speaker 2: with like hundreds of kids, and they're here, and then

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Speaker 2: they're there, and then there's a fire drill, and then

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Speaker 2: they're chasing one kid and they get them down. And

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Speaker 2: then at the end of the episode. Sorry this is

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Speaker 2: not a spoiler, maybe it is, but at the end

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Speaker 2: of the episode, the fucking camera takes flight. They clipped

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Speaker 2: it onto a drone and it flies to another location

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Speaker 2: and lands.

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Speaker 1: It's fun gonna put it out there.

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Speaker 3: I truly believe that in some ways this can be

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Speaker 3: construed as a wonner. But there's no way that they

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Speaker 3: can risk that much money and get to like the

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Speaker 3: last five minutes.

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Speaker 1: Of the show.

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Speaker 3: There's somebody go, fuck, what's my line, and them have

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Speaker 3: to be like, all right, we're taking it from the top.

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Speaker 2: That's what they what they did i'dy, I'm trying to

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Speaker 2: there's you can watch the behind the scenes shit on YouTube.

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Speaker 2: I I I I'm trying to watch them because as

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Speaker 2: a filmmaker, I'm so obsessed with how they executed this.

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Speaker 2: But also I don't want any spoilers because I'm only

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Speaker 2: I'm only two episodes in out of four. But it's

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Speaker 2: it's the I mean, they just rehearsed and rehearsed and rehearsed,

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Speaker 2: and they it was like rehearsing a play, except then

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Speaker 2: they started folding in the camera and it's like the

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Speaker 2: cameraman's like a like a dancer who basically I mean,

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Speaker 2: at moments he's just going around and then at moments

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Speaker 2: I saw from the behind the scenes he likes getting

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Speaker 2: on it. He like steps onto a golf cart, and

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Speaker 2: then the golf cart takes it a tracking shot and

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Speaker 2: then I mean the pilot.

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Speaker 1: It's all done on steady cam.

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Speaker 2: Obviously, no it's not steady kim, it's a it's a gimbal.

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Speaker 2: It's a handheld gimbal. But it's I mean, first of all,

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Speaker 2: the the the technical production aspects of it are one thing,

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Speaker 2: but also it's brilliantly acted and it's the number one

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Speaker 2: show on Netflix. I really really recommend it to everybody.

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Speaker 1: Amazing.

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Speaker 2: How's everybody doing when we haven't been together and so long?

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Speaker 2: I miss y'all.

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Speaker 1: You've been working, man, You've been working up a storm.

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Speaker 2: I've been directing Han Solo.

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Speaker 3: I don't know if he likes people calling him that.

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Speaker 3: I'm gonna be honest with you. I'm gonna be honest

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Speaker 3: with you. If I said if I met him, and

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Speaker 3: I was like, I mean, I haven't met him, but

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Speaker 3: if when I saw him, I was like, holy shit,

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Speaker 3: Han Solo, he'd be like, I will never.

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Speaker 2: Be You wouldn't like that from you.

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Speaker 3: No, I don't think he likes that from you. I've

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Speaker 3: been directing Hans Solo.

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Speaker 2: Well, I don't say I wouldn't say that to Han,

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Speaker 2: but if him. Sometimes I call him, I'll say something like, okay,

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Speaker 2: mister Ford, you're standing here, and he goes, mister Ford's

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Speaker 2: my father.

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Speaker 1: I love it. I love that Harrison Ford is still like,

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Speaker 1: I'm a young man you call me.

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Speaker 2: That's at the moment, like there was this moment where

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Speaker 2: something was broken on the set, like a piece of

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Speaker 2: molding or something, and he the grips are trying to

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Speaker 2: put back in place. He goes, let me do it

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Speaker 2: and starts kicking it. He goes, I was a carpenter.

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Speaker 5: That's a duful.

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Speaker 1: He's like one of the most famous.

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Speaker 3: He's like one of the fam most famous former carpenters

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Speaker 3: in the history of.

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Speaker 1: Cars and Jesus, one of the most famous.

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Speaker 3: Did you know that Hans Solo was a carpenter before

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Speaker 3: he became Han Solo.

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Speaker 1: That's the that's the thing. Harrison Ford was a carpenter.

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Speaker 3: He was actually laying freaking uh uh it sighting in

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Speaker 3: the in the in the office when he was asked

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Speaker 3: to audition every human being on the planet is like, yo,

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Speaker 3: maybe I can Harrison port it someday him. Daniel day

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Speaker 3: lewis most famous shoemaker other than freaking John Madden.

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Speaker 1: Freaking most famous.

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Speaker 3: I say John maddocause John Maddon stole so many shoe

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Speaker 3: I did. But I'm not saying Daniel Dan. But my

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Speaker 3: point is, got it. All I gotta do is read

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Speaker 3: Daniel's face. Daniel's face is always the one.

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Speaker 2: Yeah, well, Danield's a good read. I can't have question.

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Speaker 2: Daniel's a good read. For when you say something that

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Speaker 2: we don't know what you're talking about. Danil's face tells

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Speaker 2: us that we don't know what you're talking about. But

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Speaker 2: uh so anyway, Yeah, I've been directing Shrinking. It's so fun.

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Speaker 2: I just really like the cast. Everyone's so cool. It's

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Speaker 2: such a good show. Everybody who loves the show. You're

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Speaker 2: gonna be blown away by season three. It's really really good,

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Speaker 2: really fun.

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Speaker 4: Did you get on the pit set? I know that

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Speaker 4: was a goal of yours.

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Speaker 2: I did. I got a tour of the pit set.

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Speaker 2: You know, it's incredible because it's enormous. It's a huge,

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Speaker 2: huge set of an er And what they do is

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Speaker 2: they everything is controlled. They don't bring any in any

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Speaker 2: film lights. Everything is practical lighting within the hot spittal set.

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Speaker 2: And so the way they shoot the show, they choreograph

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Speaker 2: it and then they don't wait on almost every other

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Speaker 2: thing that's made. You then go and light it and

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Speaker 2: bring in lights on stands and flags and and and

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Speaker 2: all sorts of things to shape and cut the light.

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Speaker 2: But on this show they don't do that at all.

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Speaker 2: Everything is lit from the actual practical lights that are

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Speaker 2: built into the er set. So it's really cool. From

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Speaker 2: someone who's a geek of film production. It was a

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Speaker 2: cool thing to see.

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Speaker 3: If you're the not the D I guess the DP,

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Speaker 3: how do you it's just camera setups, then that's it

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Speaker 3: it is.

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Speaker 2: I think, like, yeah, every single thing. I'm sure they

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Speaker 2: have some lighting guys on in case they have to

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Speaker 2: adjust something, but everything's in the lighting board. So if

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Speaker 2: the if they want more light on the person, they'll

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Speaker 2: just bring up the dimmer on that little area, you know,

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Speaker 2: almost like a play. I think. Then they told me

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Speaker 2: they have a couple of little cheap tricks they do

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Speaker 2: where they can they can sort of snap something into

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Speaker 2: one of the ceiling lights and that and that will

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Speaker 2: bring light further down. There's all these little things, but

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Speaker 2: it's just really really incredible and what a great show

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Speaker 2: that is. If you're not watching the pit, that's just

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Speaker 2: fucking incredible.

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Speaker 3: Yeah, that's that's I mean, my mind's going crazy right

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Speaker 3: now because all I can think of is that what

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Speaker 3: we're going to do when and if we do scrubs.

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Speaker 2: I really hope so, by the way, Donald, because it

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Speaker 2: gives you so much more time to particularly the stuff

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Speaker 2: that's just hospital like if and scrubs, if when you

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Speaker 2: get into fantasies and all that stuff. Of course that's different,

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Speaker 2: but and specialty shots. But you know, with scrubs, the

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Speaker 2: camera is such a character, whereas this is where is

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Speaker 2: the pit. It's made to feel almost like a documentary.

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Speaker 2: But I got to tell you, when we're just doing

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Speaker 2: straight if and when it happens and we're just doing

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Speaker 2: straight hospital stuff, we'd have so much more time in

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Speaker 2: your day to not be waiting for all these these

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Speaker 2: lighting set up changes. So I would love to I

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Speaker 2: would love to convince whomever the DP is to do

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Speaker 2: it that way. I guess it would come from Bill.

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Speaker 2: Bill would just tire someone to say, do it that way.

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Speaker 1: You took the tour on your own, or you you

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Speaker 1: and Bill went how to go?

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Speaker 2: No, So.

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Speaker 1: You know.

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Speaker 2: Shrinking also has just incredible sets for those of you

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Speaker 2: who love the show. All of those interiors are sets there.

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Speaker 2: They have houses in the real world that are the exteriors,

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Speaker 2: but the office set, Liz's house, Jimmy's house, just Gabby's house.

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Speaker 2: All of the big interiors are all built huge sets

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Speaker 2: on stage. And the construction coordinator, sorry, there's an ambulance

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Speaker 2: some in New York City. The construction the head of

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Speaker 2: construction for Shrinking also did the pit and he was like,

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Speaker 2: someone told me you like the pit, go Yeah, man,

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Speaker 2: can I get a tour of the set because they're

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Speaker 2: not shooting right now, but the set is so massive

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Speaker 2: they left it up and he's like, of course, So

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Speaker 2: he arranged for me to get a whole tour, and

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Speaker 2: I thought it was just gonna be him, but he

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Speaker 2: brought like the art director, the production designer, and like,

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Speaker 2: they gave me this amazing walkthrough. They were so kind.

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Speaker 2: They gave me merch. They gave me fucking pit merch.

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Speaker 2: I got a pit ski hat. Whew.

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Speaker 3: That's how you know you're on a hit show when

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Speaker 3: they're like, listen, we're just gonna keep the sets up

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Speaker 3: for the summer. We're gonna keep it up for the

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Speaker 3: whole year. We're gonna just rent out the stage. The

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Speaker 3: stage is ours, don't even worry about it. We're just

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Speaker 3: gonna leave it up. That's how you know you're coming

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Speaker 3: back next year.

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Speaker 1: Yeah.

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Speaker 2: Well, some of these sets are just so I mean,

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Speaker 2: it's crazy. One of those shrinkings, big sets. They moved

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Speaker 2: stages and when you see this thing, you're like, I

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Speaker 2: can't believe the amount of work it must have taken

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Speaker 2: to fucking take this all down and put it back

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Speaker 2: up on a different soundstage. It's really really cool. There's

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Speaker 2: some great work happening on that show, really good stuff.

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Speaker 1: Can we get into a little bit of Star Wars.

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Speaker 2: Yeah, but let's keep it brief because we love all

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Speaker 2: those things, all of us love all those things.

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Speaker 3: But but have you seen this? Is how long it's been.

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Speaker 3: Have you seen the trailer for and Or?

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Speaker 6: Yeah?

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Speaker 1: No, are we not ready for this this? Have you

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Speaker 1: seen the most recent trailer for and Or? Yeah?

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Speaker 4: Okay, it's delightful. I'm very excited. I was curious about

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Speaker 4: the pomp and circumstances of the first trailer where they

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Speaker 4: were like, all the critics love it, but I get

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Speaker 4: that they're trying to get people to see it. Disney

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Speaker 4: recently released I think all the episodes on YouTube, or

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Speaker 4: at the very least the pilot is available on YouTube.

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Speaker 4: They're like, please, for love of God, watchings in one

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Speaker 4: and come check out season two. So they believe in it.

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Speaker 4: I'm excited about it.

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Speaker 3: This looks like it looks more Star Wars than anything

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Speaker 3: I've seen, and are really like, it looks like great,

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Speaker 3: it looks.

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Speaker 1: Like it's a lot like they made the Empire strikes

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Speaker 1: back again.

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Speaker 3: Dude, Like, that's what it looks like, at least that's

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Speaker 3: what it looks like to me, the color tone, all

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Speaker 3: of that stuff.

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Speaker 2: Are you excited about Thunderbolts?

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Speaker 3: You know, I'm gonna be honest with you ahead and

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Speaker 3: being honest. I just right now Marvel is putting out

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Speaker 3: things that I'm I'm excited for Fantastic four. Let's put

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Speaker 3: it that way.

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Speaker 2: We'll see, Okay, okay, Joel, Are you excited for Thunderbolts?

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Speaker 4: I am. Here's why Marvel has had a bit of

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Speaker 4: a it's been rough over there. We can't lie, but

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Speaker 4: it's clear they believe in this film. It's clear that

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Speaker 4: Disney's trying to do some new stuff. They have a

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Speaker 4: wild wonky schedule for and or they were like, listen

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Speaker 4: a twenty four freaks, y'all have cinema, Come see this.

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Speaker 4: It's gonna be movies in a big way here. So

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Speaker 4: that makes me excited. Plus, you know, we got love

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Speaker 4: for Florence in this house. She's talented. There's a lot

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Speaker 4: of good names.

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Speaker 1: Up in there.

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Speaker 2: So I'm really thought, I don't know if they did

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Speaker 2: it off of they cut that trailer there was basically like,

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Speaker 2: this is an eight four movie. And I thought that

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Speaker 2: was really clever. I don't know if you know, I

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Speaker 2: thought that was really good marketing because that kind of

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Speaker 2: went to viral.

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Speaker 5: Mm hmm.

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Speaker 3: There's no way this movie is gonna is A twenty four.

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Speaker 3: This shit, and halfway through.

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Speaker 2: When you do you see the trailer.

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Speaker 3: I'm talking about absolutely halfway through the movie, everybody's going

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Speaker 3: to be like, holy shit, this is like more special

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Speaker 3: effects than any of this is a this is an

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Speaker 3: Avengers movie.

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Speaker 1: This is an Avengers level.

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Speaker 2: But I think that I think the level of marketing

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Speaker 2: was we didn't just hire I mean, I'm just I'm

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Speaker 2: just seeing what they're selling. And they're saying we hired

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Speaker 2: a lot of people from all of these A twenty

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Speaker 2: four movies that you love, and these are the people

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Speaker 2: executing this particular Marvel Meet. It might be a bit

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Speaker 2: different because it's been made by these people.

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Speaker 3: I think that's a I think that's a bonus if

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Speaker 3: anything too.

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Speaker 2: Yeah, so today that's why they're cutting trailers about.

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Speaker 3: Yeah, I'm gonna say and I will say this also,

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Speaker 3: I feel like, and this is me predicting the future.

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Speaker 3: I feel like this universe is dying, and that's why

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Speaker 3: the colors are starting to turn into this Also.

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Speaker 1: I think we're going to I think we're going.

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Speaker 3: To experience a new a new reality in the Marble

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Speaker 3: Cinematic Marble Universe to combine all of these characters within

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Speaker 3: the next five years.

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Speaker 1: I think that's where this is going.

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Speaker 2: Well, let me tell you some underbolts. I think you

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Speaker 2: can bet on Florence Pew anytime.

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Speaker 1: I will bet on her anytime. Anything.

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Speaker 2: You're gonna buy stock, taking to buy stock, you could

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Speaker 2: buy stock in Florence, save Florence.

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Speaker 1: Bet. That is a safe bet.

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Speaker 2: When is this going to air? This episode too? Well,

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Speaker 2: because my event is coming up next Tuesday. And next Tuesday, okay, well,

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Speaker 2: my event for the midnight mission, which is a celebration

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Speaker 2: of the music from the Garden State soundtrack twenty years Later,

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Speaker 2: is coming up again March twenty ninth. Oh my goodness,

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Speaker 2: that's this weekend, buddy. That's not this weekend. That's next weekend. Please,

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Speaker 2: I got a lot to do. It's this weekend. It's

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Speaker 2: this weekend when people are and I wanted to I

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Speaker 2: wanted to make sure everyone knows that if you're unable

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Speaker 2: to come. We've partnered with the company called veeps dot

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Speaker 2: com v E E p s dot com and you

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Speaker 2: can buy the stream of the show starting April six,

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Speaker 2: which is my birthday. And thanks to our good pals

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Speaker 2: at T Mobile, every single cent of the money you

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Speaker 2: spend to buy the stream goes directly to the midnight mission,

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Speaker 2: which is really really cool, great time, because these things

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Speaker 2: all cost a lot of money, so to be able

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Speaker 2: to have T Mobile offset the production cost so that

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Speaker 2: every cent of you buying the stream from anywhere in

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Speaker 2: the world, anywhere in the world goes directly to the

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Speaker 2: midnight mission. So check it out. We're gonna have a

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Speaker 2: lot of special guests, including spoiler for you podcast listeners only,

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Speaker 2: Donald Fazon I will be there. You know who else

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Speaker 2: is going to be there. I'm going to spoil another

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Speaker 2: one for the podcast audience. Sarah Chalk.

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Speaker 3: Yeah, it's going down.

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Speaker 1: I have a feeling there's gonna be a whole lot

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Speaker 1: of Scrubs people at this event.

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Speaker 2: They are They're all coming, but only you two are

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Speaker 2: going to be on stage introducing a band with me.

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Speaker 1: Is there going to be a teleprompter?

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Speaker 2: There will be a teleprompter, but I'm also going to, uh.

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Speaker 1: Write your cuff. We could go off the cuff if

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Speaker 1: you want.

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Speaker 2: Well, you know the bit we're gonna do. I'm going

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Speaker 2: to talk about how you said are there any black

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Speaker 2: people in this movie?

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Speaker 1: Right? And then I'm gonna say, are there any black

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Speaker 1: people in this at this concert?

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Speaker 2: No, don't do that.

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Speaker 1: Don't do that. No, you can't do that. Okay, damn No,

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Speaker 1: I don't think that goes that joke.

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Speaker 2: That's why I don't want you going off the cuff.

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Speaker 2: That's why I don't That's why I don't want you

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Speaker 2: going off the cuff.

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Speaker 1: Bro.

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Speaker 2: You're sticking to the script of all people that are

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Speaker 2: going to be on that stage. I need you to

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Speaker 2: be sticking to the prompt. Why because you go rogue

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Speaker 2: and say stupid ship?

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Speaker 1: That's not stupid. It's a good question.

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Speaker 2: Remember when Doja Cat left you hanging?

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Speaker 3: Yeah, I do remember that. That was that was me

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Speaker 3: going rogue and doing some stupid ship.

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Speaker 2: He's just trying to Doja Cat at some event and

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Speaker 2: he went to like do like a high five with

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Speaker 2: her and she didn't see him. She wasn't like being rude.

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Speaker 2: But then Donald left his hand up there and you

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Speaker 2: didn't know what to do with it. So then he

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Speaker 2: started high five in it himself.

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Speaker 3: It was high five, dude, that's all I know. You

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Speaker 3: didn't I did yourself?

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Speaker 1: Are you? And then you hit it? Yeah, don't even

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Speaker 1: try it.

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Speaker 2: It was sometimes I think about that.

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Speaker 1: Yeah, that's called to the script.

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Speaker 2: Yeah, that's sometimes I think about that in the shower

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Speaker 2: and I shiver. You don't, but cat left you hanging.

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Speaker 1: I know you would shiver. I know you would shiver.

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Speaker 3: If I said that ship about how many black people

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Speaker 3: are performing at your show, you'd be like, that'd be

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Speaker 3: twenty weeks later in the shower.

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Speaker 1: Oh god, I remember that.

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Speaker 2: He's don't say anything that's going to make me shiver.

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Speaker 2: I don't like it when you go off script. I'm

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Speaker 2: gonna put your lines in the prompter in bold with

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Speaker 2: an underline Sarah. Sarah's gonna get a regular font. You're

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Speaker 2: gonna get bold and underlined.

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Speaker 1: No, wait, is John here?

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Speaker 2: He is?

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Speaker 4: Yes, we have both guy, Myron Kirstine.

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Speaker 2: Here both myn nervously. What are you nervously? Donald, don't

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Speaker 2: embarrass me.

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Speaker 1: I'm not gonna embarrass you.

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Speaker 2: I wish you had a teleprompter right now.

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Speaker 1: First question, how do I get in your next.

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Speaker 2: No, don't do that. I wish we guy, I wish

400
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Speaker 2: just start chill, okay, okay, Joelle, I wish we had

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Speaker 2: a teleprompter for Donald.

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Speaker 4: On this fucking zoom Callanel's face, rely on Donald face, Daniel,

403
00:19:47,400 --> 00:19:49,160
Speaker 4: Donald wants channel's face.

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Speaker 2: Five six seven eight.

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Speaker 7: I'm not sure we made about a bunch of he said,

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Speaker 7: he's the stormy net so YadA here yeada.

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Speaker 2: Oh my god, yeah, let's gosh.

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Speaker 1: I can't believe we did this.

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Speaker 2: This is the best.

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Speaker 1: Okay they are. Listen you guys. I've been I'm down

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Speaker 1: to be chill.

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00:20:28,880 --> 00:20:31,959
Speaker 3: I've been, I've been prompted to be chill and not

413
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Speaker 3: act crazy. But we have freaking cinema royalty, in my opinion,

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Speaker 3: in the motherfucking.

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Speaker 2: You guys. Good to see you, Good to see you.

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Speaker 2: Welcome Myron and John. That's our engineer, Daniel and our

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Speaker 2: producer Joel. And I know you know there are a

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Speaker 2: lot of fans of the movie Wicked, but probably the

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Speaker 2: number one fan in the universe up there is Donald

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Speaker 2: Faison right there, who who has already sung some of

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Speaker 2: the songs for our audience before you've joined us.

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Speaker 3: I said, I wouldn't do it when you're on the air.

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Speaker 3: I'm not going to embarrass myself. Listen, we need to

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Speaker 3: stop now. Just Zach proceed because.

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Speaker 2: You just calm down.

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Speaker 1: Coming up, it's coming up.

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Speaker 2: John, John, I'll be the more calm voice and say, uh,

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00:21:23,600 --> 00:21:26,880
Speaker 2: Donald and I love musicals, and we that's one thing

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Speaker 2: we've shared in comments is the day we met. We

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00:21:29,080 --> 00:21:32,879
Speaker 2: we You know, it's funny because he's into sports and

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00:21:33,640 --> 00:21:35,640
Speaker 2: so many and Marvel and Star Wars and so many

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00:21:35,640 --> 00:21:39,240
Speaker 2: things I'm not into. And but one thing we overlap

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Speaker 2: with is our just love of musicals. And we both,

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Speaker 2: from the bottom of my hearts, think you did the

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Speaker 2: most fantastic job with this.

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Speaker 1: Both of you did. We I'm gonna get to Myron.

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Speaker 2: I'm starting with John. Myron, I'm going to get to

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00:21:52,000 --> 00:21:55,600
Speaker 2: but John, I just think you absolutely crushed it. I

439
00:21:55,640 --> 00:21:58,000
Speaker 2: loved it. It was my favorite Mooey of last year.

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Speaker 8: Thank you.

441
00:21:58,760 --> 00:22:01,360
Speaker 5: I appreciate that. Appreciate that. And it's been a long

442
00:22:01,400 --> 00:22:03,240
Speaker 5: time coming for all of us to be together. I mean,

443
00:22:03,240 --> 00:22:06,760
Speaker 5: I've heard stories of you for so long from Myron.

444
00:22:06,800 --> 00:22:10,240
Speaker 5: He's given me all the secrets of how you've done things.

445
00:22:10,280 --> 00:22:11,280
Speaker 5: So it's been perfect.

446
00:22:11,440 --> 00:22:16,080
Speaker 2: I trained him, So for those of you who don't know,

447
00:22:16,119 --> 00:22:17,840
Speaker 2: I think I mentioned it briefly in the intro, but

448
00:22:18,000 --> 00:22:22,560
Speaker 2: Myron cut Garden State and he was really, you know,

449
00:22:23,320 --> 00:22:27,560
Speaker 2: just absolutely incredible editor, but particularly with music. I mean,

450
00:22:27,920 --> 00:22:30,440
Speaker 2: the reason so much of what worked in Garden State

451
00:22:30,480 --> 00:22:33,840
Speaker 2: with music was because of Myron and how he plays songs.

452
00:22:34,320 --> 00:22:35,840
Speaker 2: And I was just thinking the other day, Myron, and

453
00:22:35,880 --> 00:22:39,440
Speaker 2: how you know, I had always imagined that ecstasy party

454
00:22:39,480 --> 00:22:41,960
Speaker 2: scene to be to be like something like that, but

455
00:22:42,000 --> 00:22:43,440
Speaker 2: I just didn't know how the hell we're going to

456
00:22:43,520 --> 00:22:45,439
Speaker 2: execute it. I remember you came to set one day.

457
00:22:45,560 --> 00:22:47,199
Speaker 2: It was it was so long ago. I think he

458
00:22:47,240 --> 00:22:50,040
Speaker 2: may have even brought like a VHS tape and put

459
00:22:50,080 --> 00:22:52,000
Speaker 2: it in my trailer, in the in the in the

460
00:22:52,040 --> 00:22:54,879
Speaker 2: in the in the VHS player, and I just was

461
00:22:54,960 --> 00:22:57,359
Speaker 2: so floored. I was like, oh my god, I never

462
00:22:57,440 --> 00:22:59,160
Speaker 2: thought it was going to be as good as that.

463
00:22:59,280 --> 00:23:02,280
Speaker 2: So Myron, and from the very beginning of me meeting him,

464
00:23:02,280 --> 00:23:07,000
Speaker 2: it's been someone so gifted, uh with music and and heart.

465
00:23:07,080 --> 00:23:09,160
Speaker 2: So you guys are such a perfect marriage for each

466
00:23:09,200 --> 00:23:11,879
Speaker 2: other because this is like the epitome. I mean, a

467
00:23:11,880 --> 00:23:14,639
Speaker 2: movie cannot get bigger when it comes to music and

468
00:23:14,720 --> 00:23:15,960
Speaker 2: heart than what you guys made.

469
00:23:16,240 --> 00:23:18,280
Speaker 5: Oh that's so nice, and you know, you know the

470
00:23:18,320 --> 00:23:20,240
Speaker 5: only reason, because we've got paired together.

471
00:23:20,680 --> 00:23:22,359
Speaker 8: I never on Crazy Wit Jasions.

472
00:23:22,520 --> 00:23:26,080
Speaker 5: I was looking for another editor and someone suggested him

473
00:23:26,080 --> 00:23:30,560
Speaker 5: and the one credit that brought him into my life

474
00:23:30,600 --> 00:23:34,960
Speaker 5: was Garden State Seeing. I mean, obviously that soundtrack was

475
00:23:34,960 --> 00:23:36,639
Speaker 5: became a part of my life. That movie became a

476
00:23:36,640 --> 00:23:38,399
Speaker 5: part of my life. I was like right in the

477
00:23:38,440 --> 00:23:41,360
Speaker 5: pocket of who you were speaking to in that and

478
00:23:41,440 --> 00:23:44,199
Speaker 5: so it was, it's been, it's been, and it awoke

479
00:23:44,280 --> 00:23:47,919
Speaker 5: me to two different artists and things like that. So

480
00:23:48,000 --> 00:23:50,639
Speaker 5: and how you can make a movie where music is

481
00:23:52,119 --> 00:23:54,560
Speaker 5: the power using the power of music, which is where

482
00:23:54,600 --> 00:23:56,840
Speaker 5: you were where it says so much more than what

483
00:23:56,920 --> 00:24:01,280
Speaker 5: words ever could. And it can be expressed cinematically, visually

484
00:24:01,359 --> 00:24:05,160
Speaker 5: in ways and in cuts in ways that no other

485
00:24:05,240 --> 00:24:05,960
Speaker 5: medium can do.

486
00:24:06,040 --> 00:24:06,920
Speaker 8: So it was really it was.

487
00:24:06,920 --> 00:24:09,520
Speaker 2: Music always a part of your life because you you you.

488
00:24:11,280 --> 00:24:12,840
Speaker 2: I'm sorry to ask. I know you've been on a

489
00:24:12,840 --> 00:24:14,600
Speaker 2: mega press tour and some of these questions you've been

490
00:24:14,600 --> 00:24:16,399
Speaker 2: asked a zillion time, So I promise I have some

491
00:24:16,440 --> 00:24:18,840
Speaker 2: original ones, but it's hard not to ask you as

492
00:24:18,840 --> 00:24:22,119
Speaker 2: someone who's so gifted? I mean you started with dance,

493
00:24:22,200 --> 00:24:26,679
Speaker 2: right with the Dance movie? Yeah, yeah, they step up

494
00:24:26,720 --> 00:24:28,840
Speaker 2: and then, but like, how was it always? Are you

495
00:24:28,880 --> 00:24:30,119
Speaker 2: a dancer? Do you dance at all?

496
00:24:30,520 --> 00:24:30,760
Speaker 1: No?

497
00:24:30,840 --> 00:24:32,800
Speaker 8: I mean I've taken dance when I was a kid.

498
00:24:32,840 --> 00:24:34,480
Speaker 2: How did you get in? How did like, how did

499
00:24:34,520 --> 00:24:36,439
Speaker 2: like step up? Land? Like, how did you know you

500
00:24:36,480 --> 00:24:39,159
Speaker 2: were the right guy for that? Well?

501
00:24:39,280 --> 00:24:41,720
Speaker 5: Well, I grew up in the Bay Area and I'm

502
00:24:41,760 --> 00:24:44,879
Speaker 5: the youngest of five kids, and my parents are immigrants

503
00:24:45,240 --> 00:24:48,840
Speaker 5: from China, and they wanted all us kids to be

504
00:24:49,040 --> 00:24:52,160
Speaker 5: as Americanized as possible so they could be the opposite

505
00:24:52,200 --> 00:24:53,879
Speaker 5: of what they came when they came here, because they

506
00:24:53,880 --> 00:24:56,240
Speaker 5: didn't speak a word of English. So they put us

507
00:24:56,320 --> 00:25:01,320
Speaker 5: in dance classes. I took tap for twelve years because

508
00:25:01,320 --> 00:25:03,320
Speaker 5: I had to be with my sisters basically when they

509
00:25:03,359 --> 00:25:07,080
Speaker 5: were taking it. I took drum, saxophone, violin, guitar. I'm

510
00:25:07,080 --> 00:25:09,480
Speaker 5: not good at any of these things, but I took it.

511
00:25:09,520 --> 00:25:12,200
Speaker 5: And every weekend my parents would take us to the

512
00:25:12,200 --> 00:25:17,280
Speaker 5: theater in San Francisco musical musical season, opera season, ballet season, like.

513
00:25:17,320 --> 00:25:19,200
Speaker 5: We would be there all the time. Of course, we'd

514
00:25:19,200 --> 00:25:23,000
Speaker 5: watch movies all the time. TV was always on our

515
00:25:23,920 --> 00:25:26,119
Speaker 5: on in our house, so it was just sort of

516
00:25:26,800 --> 00:25:29,919
Speaker 5: a part of me. And when I started actually working

517
00:25:29,960 --> 00:25:34,960
Speaker 5: with the camera and editing with my little VHS camera.

518
00:25:35,000 --> 00:25:40,000
Speaker 5: At that time, all my friends were dancers or musicians,

519
00:25:40,080 --> 00:25:42,239
Speaker 5: and so I was the guy with the camera, and

520
00:25:42,280 --> 00:25:45,320
Speaker 5: so that's where I was. I was sort of theater

521
00:25:45,440 --> 00:25:48,200
Speaker 5: kid adjacent. I was part of theater but not great

522
00:25:48,200 --> 00:25:51,200
Speaker 5: at it, but I could. I knew them well enough

523
00:25:51,200 --> 00:25:54,120
Speaker 5: that I could try to communicate what I knew from

524
00:25:54,160 --> 00:25:56,439
Speaker 5: the film side into what they.

525
00:25:56,320 --> 00:25:56,920
Speaker 8: Wanted to say.

526
00:25:56,960 --> 00:25:59,080
Speaker 5: And that's where it sort of all started. And first

527
00:25:59,080 --> 00:26:02,280
Speaker 5: step up that came to me, and I did not

528
00:26:02,359 --> 00:26:03,960
Speaker 5: want to do it because it was a direct to

529
00:26:04,040 --> 00:26:07,040
Speaker 5: DVD movie, and I called my mom. I was like,

530
00:26:08,000 --> 00:26:09,680
Speaker 5: I can't have my first movie be a direct to

531
00:26:09,720 --> 00:26:13,879
Speaker 5: DVD movie. I was discovered by Spielberg from my student

532
00:26:13,960 --> 00:26:16,760
Speaker 5: short like this is not right, and my mom's like,

533
00:26:16,760 --> 00:26:19,160
Speaker 5: when did you become a snob? I was like, if

534
00:26:19,200 --> 00:26:22,040
Speaker 5: you are a storyteller, you can tell a story in

535
00:26:22,080 --> 00:26:24,560
Speaker 5: any medium, in any way. You could be by a campfire,

536
00:26:24,880 --> 00:26:27,840
Speaker 5: you could be in a car, like prove yourself. And

537
00:26:27,920 --> 00:26:29,439
Speaker 5: I was like, you're right, I'm going to make the

538
00:26:29,440 --> 00:26:32,359
Speaker 5: best damn direct to DVD dance movie sequel of all time.

539
00:26:32,520 --> 00:26:33,960
Speaker 8: And that's where it's all sort of started.

540
00:26:33,960 --> 00:26:36,480
Speaker 2: And you did, right, and then they changed it to

541
00:26:36,560 --> 00:26:39,360
Speaker 2: not go directed to DVD. Right.

542
00:26:39,520 --> 00:26:42,480
Speaker 5: Yeah, became a theatrical two weeks after I joined, and

543
00:26:42,520 --> 00:26:44,480
Speaker 5: I repitched it in a way that I thought a

544
00:26:44,560 --> 00:26:47,840
Speaker 5: dance movie should be. Instead of five numbers, I wanted thirteen.

545
00:26:48,000 --> 00:26:51,720
Speaker 5: And all these different Disney who distributed the first movie

546
00:26:51,720 --> 00:26:53,399
Speaker 5: came around, was like, hey, let's listen to your pitch.

547
00:26:53,720 --> 00:26:55,680
Speaker 5: And twenty minutes later they're like, we have a slot,

548
00:26:55,680 --> 00:26:57,160
Speaker 5: but it's in nine months. Can you get it done

549
00:26:57,200 --> 00:26:57,800
Speaker 5: in nine months?

550
00:26:57,840 --> 00:26:58,440
Speaker 8: And we did.

551
00:26:59,040 --> 00:26:59,800
Speaker 2: That's strung me off.

552
00:27:00,920 --> 00:27:02,920
Speaker 1: Wow, So listen to your mom, listen to you.

553
00:27:03,359 --> 00:27:04,760
Speaker 3: I know that a lot of the kids from that

554
00:27:04,840 --> 00:27:07,600
Speaker 3: movie went on to do several of the sequels too,

555
00:27:08,000 --> 00:27:10,000
Speaker 3: So yeah, like that and are very and I looked

556
00:27:10,040 --> 00:27:13,399
Speaker 3: at as high levels in the dance community. Also, do

557
00:27:13,440 --> 00:27:17,000
Speaker 3: you still use any of them when you're doing other projects?

558
00:27:17,320 --> 00:27:18,800
Speaker 8: Yeah, I mean amazingly.

559
00:27:19,000 --> 00:27:22,320
Speaker 5: One of our actors in it, Christopher Scott, is one

560
00:27:22,359 --> 00:27:25,119
Speaker 5: of the dancers in it. He plays his bit part.

561
00:27:24,960 --> 00:27:27,480
Speaker 5: He auditioned for us in Baltimore because that's where he's from.

562
00:27:27,840 --> 00:27:30,640
Speaker 5: He came back after shooting, and we all became friends

563
00:27:30,640 --> 00:27:33,440
Speaker 5: because we're all young, we're all our first movies, and

564
00:27:33,480 --> 00:27:35,640
Speaker 5: he would just hang out at the edit room. And

565
00:27:36,080 --> 00:27:38,679
Speaker 5: now he's the choreographer of Wicket, and he choreographed in

566
00:27:38,720 --> 00:27:41,639
Speaker 5: the Heights, and so I watched him transition from dancer

567
00:27:41,680 --> 00:27:45,320
Speaker 5: to choreographer. He watched how I pitched movies, and I

568
00:27:45,359 --> 00:27:47,920
Speaker 5: taught him how to use certain things and photoshop and

569
00:27:48,119 --> 00:27:50,800
Speaker 5: keynote and whatever, and he used those skills to get

570
00:27:51,119 --> 00:27:52,560
Speaker 5: his first choreography jobs.

571
00:27:52,600 --> 00:27:53,600
Speaker 8: And so now we get.

572
00:27:53,480 --> 00:27:53,960
Speaker 1: To it together.

573
00:27:54,200 --> 00:27:58,240
Speaker 2: Well, the choreography in this movie was just absolutely incredible.

574
00:27:58,280 --> 00:28:00,240
Speaker 2: I mean, what has it been with you? We have

575
00:28:00,320 --> 00:28:02,040
Speaker 2: so many questions for you, But how does it feel

576
00:28:02,080 --> 00:28:04,960
Speaker 2: when you watch these kids and all these videos of people,

577
00:28:05,320 --> 00:28:07,840
Speaker 2: you know, doing the choreography like it's meant This movie

578
00:28:07,880 --> 00:28:11,119
Speaker 2: has meant so much to people of so many different ages.

579
00:28:11,160 --> 00:28:14,159
Speaker 2: I mean, we're fifty years old and we're walking around

580
00:28:14,160 --> 00:28:16,959
Speaker 2: singing it, and then you've got the little kids walking around,

581
00:28:18,000 --> 00:28:21,119
Speaker 2: you know, doing the dance moves on TikTok. I mean

582
00:28:21,160 --> 00:28:23,359
Speaker 2: that just must be so gratifying for you, guys.

583
00:28:24,560 --> 00:28:25,800
Speaker 8: That's the best. It's the best.

584
00:28:25,800 --> 00:28:28,560
Speaker 5: And Mayron and I share, you know, we're texting each

585
00:28:28,560 --> 00:28:31,760
Speaker 5: other videos, TikTok videos back and forth of people doing it.

586
00:28:32,119 --> 00:28:34,840
Speaker 5: You know, we all, you know, especially as storyteller, if

587
00:28:34,840 --> 00:28:37,320
Speaker 5: we want our stories to be seen and to be

588
00:28:37,400 --> 00:28:40,720
Speaker 5: accepted and for them people to like dig in even deeper.

589
00:28:40,640 --> 00:28:41,960
Speaker 8: And learn the choreography.

590
00:28:42,280 --> 00:28:44,160
Speaker 5: I mean, that's how I learned watching all the Michael

591
00:28:44,240 --> 00:28:48,640
Speaker 5: Jackson videos and you know, recording it, recording MTV on

592
00:28:49,720 --> 00:28:52,200
Speaker 5: my VCR, just watching it over and over and over

593
00:28:52,280 --> 00:28:53,160
Speaker 5: against studying.

594
00:28:53,560 --> 00:28:56,400
Speaker 8: Like to me, that's like that's the ultimate goal from it.

595
00:28:56,440 --> 00:28:59,080
Speaker 2: So heat is so when you just if we can

596
00:28:59,120 --> 00:29:02,440
Speaker 2: just begin to break down, Well, first of all, I

597
00:29:02,480 --> 00:29:04,520
Speaker 2: just wanted to say, how did it come to Cynthia

598
00:29:04,640 --> 00:29:08,880
Speaker 2: and Ariana. I'm sure every woman of who's the right

599
00:29:08,920 --> 00:29:13,800
Speaker 2: age and can sing audition for you, both famous and

600
00:29:13,880 --> 00:29:18,000
Speaker 2: not famous. We can tell why you chose them, because

601
00:29:18,000 --> 00:29:21,160
Speaker 2: they're both absolutely brilliant. But what was that process?

602
00:29:21,280 --> 00:29:21,360
Speaker 5: Like?

603
00:29:21,440 --> 00:29:24,920
Speaker 2: Did you I read in my notes that you that

604
00:29:25,000 --> 00:29:27,320
Speaker 2: you initially thought you'd hire unknowns.

605
00:29:27,680 --> 00:29:27,960
Speaker 1: Yeah.

606
00:29:28,040 --> 00:29:29,960
Speaker 5: I thought Wicked was big enough that you could we

607
00:29:30,000 --> 00:29:34,000
Speaker 5: could actually like break somebody, and I was I didn't

608
00:29:34,000 --> 00:29:39,200
Speaker 5: want any anything, uh, sort of dictating how the movie

609
00:29:39,200 --> 00:29:42,280
Speaker 5: should feel or be because there's some big star or

610
00:29:42,320 --> 00:29:44,280
Speaker 5: the studio wanted that. And so when I came in,

611
00:29:44,360 --> 00:29:47,520
Speaker 5: it was very clear that studio knew that Wicked could

612
00:29:47,560 --> 00:29:49,200
Speaker 5: be big enough that we could do that, and so

613
00:29:49,360 --> 00:29:51,760
Speaker 5: that was sort of the staate, like whoever's best for this,

614
00:29:51,960 --> 00:29:54,440
Speaker 5: and and in my head it was like, well, we're

615
00:29:54,560 --> 00:29:57,120
Speaker 5: going to discover someone so Wicked is its own thing,

616
00:29:57,720 --> 00:30:01,160
Speaker 5: and of course you're getting We got inundated with calls

617
00:30:01,160 --> 00:30:04,760
Speaker 5: from everyone around town to come, and we said there's

618
00:30:04,760 --> 00:30:07,240
Speaker 5: no offers. Everyone has to come in and read, and

619
00:30:07,280 --> 00:30:10,160
Speaker 5: everyone starts at the same spot. And we saw a

620
00:30:10,240 --> 00:30:14,440
Speaker 5: lot of people and all really really good. I mean,

621
00:30:14,480 --> 00:30:19,160
Speaker 5: everyone prepared. Everyone was so amazing. But you know, there's

622
00:30:19,200 --> 00:30:21,800
Speaker 5: a moment where someone just takes it from your lap.

623
00:30:22,280 --> 00:30:24,240
Speaker 5: And we had been down the road of seeing a

624
00:30:24,280 --> 00:30:26,880
Speaker 5: lot and sort of debating. What we realized is, you know,

625
00:30:27,920 --> 00:30:30,040
Speaker 5: we had to get experienced people because these songs are

626
00:30:30,080 --> 00:30:33,680
Speaker 5: way more difficult than I thought they were. People come in,

627
00:30:33,720 --> 00:30:34,840
Speaker 5: their voices are breaking.

628
00:30:34,880 --> 00:30:37,720
Speaker 2: They're double black diamond songs.

629
00:30:38,040 --> 00:30:39,840
Speaker 8: Absolutely, you know, I have a funny memory.

630
00:30:39,880 --> 00:30:42,080
Speaker 2: Just to digress for a moment, I was reading in

631
00:30:42,160 --> 00:30:45,560
Speaker 2: New York at Bernie Telsey's casting office. I don't know

632
00:30:45,560 --> 00:30:46,880
Speaker 2: if Bernie cast this, didn't.

633
00:30:46,680 --> 00:30:47,240
Speaker 8: He Bernie did.

634
00:30:47,360 --> 00:30:50,080
Speaker 2: Yeah. And for those who don't know, Bernie Telsey is

635
00:30:50,120 --> 00:30:55,040
Speaker 2: by far the biggest Broadway casting directors, particularly musicals. He's

636
00:30:55,400 --> 00:30:59,400
Speaker 2: he's almost got a monopoly on Broadway musical casting. And

637
00:30:59,480 --> 00:31:01,880
Speaker 2: he's a brilliant guy. And I was auditioning. This was

638
00:31:01,920 --> 00:31:04,840
Speaker 2: many years ago, but I was auditioning for the production

639
00:31:04,840 --> 00:31:07,840
Speaker 2: of Angels in America. And next to me in the

640
00:31:07,920 --> 00:31:12,000
Speaker 2: next Versus studio, they were auditioning women to replace Alphaba.

641
00:31:12,520 --> 00:31:15,760
Speaker 1: And to replace Nadel Nazine.

642
00:31:15,640 --> 00:31:20,320
Speaker 2: No, not Adel. This was after Adele Deseine. I think

643
00:31:20,320 --> 00:31:21,720
Speaker 2: it may be in for a tour. I don't know.

644
00:31:21,720 --> 00:31:24,040
Speaker 2: I don't know the specifics. All they know is that

645
00:31:24,440 --> 00:31:27,440
Speaker 2: while I was waiting, they have gotten this down to

646
00:31:27,440 --> 00:31:29,880
Speaker 2: such a science that they really just have them come in.

647
00:31:30,000 --> 00:31:32,960
Speaker 2: And these girls were just women were walking in and

648
00:31:33,000 --> 00:31:39,920
Speaker 2: they were like basically like, oh, like, just can you

649
00:31:40,000 --> 00:31:41,960
Speaker 2: hit the fucking note or not? And then then we'll

650
00:31:42,000 --> 00:31:43,720
Speaker 2: talk to see if you can hit the note.

651
00:31:44,040 --> 00:31:48,840
Speaker 3: And I don't get a ramp ump nothing, huh no

652
00:31:49,680 --> 00:31:53,280
Speaker 3: read it.

653
00:31:53,280 --> 00:31:56,080
Speaker 2: It was basically it may have been like it may

654
00:31:56,120 --> 00:31:58,640
Speaker 2: have been like two bars before the note. I don't know,

655
00:31:59,000 --> 00:32:04,200
Speaker 2: but but it was brutal because they were just like next, next, next,

656
00:32:05,440 --> 00:32:07,360
Speaker 2: And I was shocked how many of these women walked

657
00:32:07,360 --> 00:32:09,320
Speaker 2: into this audition, like, you know, if you could hit

658
00:32:09,320 --> 00:32:12,160
Speaker 2: it or not, why why are you here?

659
00:32:13,240 --> 00:32:16,320
Speaker 3: There's that one chance that God will bless me right

660
00:32:16,360 --> 00:32:17,520
Speaker 3: now at this moment.

661
00:32:17,880 --> 00:32:20,400
Speaker 1: Yes it will come out exact.

662
00:32:20,480 --> 00:32:23,000
Speaker 2: Yes I have never hit it before, but I will

663
00:32:23,040 --> 00:32:25,160
Speaker 2: hit it at Bernie Telsey's.

664
00:32:27,160 --> 00:32:29,200
Speaker 5: Yeah, it was an intimidating lobby because you could hear

665
00:32:29,240 --> 00:32:31,440
Speaker 5: everybody going for it, and that would be any if

666
00:32:31,480 --> 00:32:32,480
Speaker 5: you're an actor walking in.

667
00:32:32,640 --> 00:32:34,720
Speaker 8: And we did not just say you had to be

668
00:32:34,760 --> 00:32:35,320
Speaker 8: able to sing.

669
00:32:35,440 --> 00:32:37,480
Speaker 5: I mean this is a movie, and so we needed

670
00:32:37,520 --> 00:32:39,360
Speaker 5: them to be able to act and the camera need

671
00:32:39,400 --> 00:32:41,080
Speaker 5: to be able to be two inches from their face

672
00:32:41,440 --> 00:32:44,520
Speaker 5: and then and give layers to this character and not

673
00:32:44,560 --> 00:32:47,400
Speaker 5: be imitation of what we've seen before, but something fresh

674
00:32:47,400 --> 00:32:47,640
Speaker 5: in news.

675
00:32:47,880 --> 00:32:50,120
Speaker 8: There's a lot to ask.

676
00:32:50,000 --> 00:32:53,040
Speaker 5: Of them, and there were people who were like, you

677
00:32:53,040 --> 00:32:55,440
Speaker 5: know what, don't even worry about the big notes. Just

678
00:32:55,480 --> 00:32:57,560
Speaker 5: go do what you can if it. If you fail,

679
00:32:57,640 --> 00:33:00,760
Speaker 5: it's all good. There's things we can do that can help.

680
00:33:01,160 --> 00:33:03,959
Speaker 5: And but but when those two ladies came in, it

681
00:33:04,000 --> 00:33:05,360
Speaker 5: was just like they had the full package.

682
00:33:05,720 --> 00:33:07,240
Speaker 2: You know, it's it's.

683
00:33:07,240 --> 00:33:10,800
Speaker 3: Timid hold up, but you know it's intimidating when Cynthia Rivo,

684
00:33:10,880 --> 00:33:14,720
Speaker 3: who is known for singing very well and killing it

685
00:33:15,040 --> 00:33:18,040
Speaker 3: and is known for being such a phenomenal actress, had

686
00:33:18,040 --> 00:33:20,920
Speaker 3: to walk into the audition with a blanket tied around

687
00:33:20,920 --> 00:33:24,400
Speaker 3: her neck and a damn and a damn broom.

688
00:33:24,600 --> 00:33:26,400
Speaker 8: In the ninety nine cent store from.

689
00:33:26,200 --> 00:33:29,720
Speaker 3: Anti store to freaking get a leg up on this audition.

690
00:33:29,880 --> 00:33:32,960
Speaker 1: Man. You know, it's really feel when somebody who is

691
00:33:33,000 --> 00:33:34,480
Speaker 1: a comment she is.

692
00:33:34,680 --> 00:33:37,480
Speaker 2: Would walk I would like to walk into audition rooms

693
00:33:37,840 --> 00:33:42,000
Speaker 2: with the confidence of Cynthia Revial walking into sing defying gravity,

694
00:33:42,920 --> 00:33:45,320
Speaker 2: because she must have been like, I got this.

695
00:33:46,240 --> 00:33:48,440
Speaker 3: Well, we know when she walked in with a blanket

696
00:33:48,480 --> 00:33:51,800
Speaker 3: and a broom.

697
00:33:52,000 --> 00:33:54,080
Speaker 5: Let me let me let me clarify that she it

698
00:33:54,160 --> 00:33:56,560
Speaker 5: was a I think that was like a jacket that

699
00:33:56,600 --> 00:33:58,920
Speaker 5: she had on earlier. She had taken that off because

700
00:33:58,960 --> 00:34:01,640
Speaker 5: we sang Wizard and I first, and she was singing

701
00:34:01,640 --> 00:34:05,600
Speaker 5: opposite another big actor and that actor was like.

702
00:34:05,560 --> 00:34:08,200
Speaker 8: You know, she was like awestruck by Cynthia.

703
00:34:08,200 --> 00:34:11,280
Speaker 5: She's like, you know, she just sang at a sold

704
00:34:11,280 --> 00:34:14,880
Speaker 5: out a Disney concert hall last night at like nine pm,

705
00:34:14,960 --> 00:34:16,759
Speaker 5: and she's here this morning. She's like, you know how

706
00:34:16,760 --> 00:34:19,120
Speaker 5: many people would pay for tickets to be sitting here

707
00:34:19,160 --> 00:34:21,880
Speaker 5: in this room right now to watch her sing defying gravity?

708
00:34:22,480 --> 00:34:24,960
Speaker 5: And so already you could feel that vibe. And she

709
00:34:25,000 --> 00:34:27,359
Speaker 5: sang wizard and I first. And when she sang those

710
00:34:27,400 --> 00:34:31,440
Speaker 5: first words, did that really just happen? She became a

711
00:34:31,440 --> 00:34:34,719
Speaker 5: little girl. She became not the Cynthia Rivo on the

712
00:34:34,719 --> 00:34:37,600
Speaker 5: big stage of the sold out show. She became a

713
00:34:37,680 --> 00:34:42,480
Speaker 5: dreamer in their dorm room. And I felt so connected

714
00:34:42,520 --> 00:34:46,640
Speaker 5: with that little girl singing, and then watched her grow

715
00:34:46,719 --> 00:34:49,359
Speaker 5: in that song to hit those final notes. It was

716
00:34:49,840 --> 00:34:53,000
Speaker 5: very clear, very quickly that she was our Alphaba.

717
00:34:53,400 --> 00:34:55,359
Speaker 2: You must have been so excited. I mean, when I'm

718
00:34:55,440 --> 00:35:01,480
Speaker 2: auditioning people, you know, people think people don't know this,

719
00:35:01,560 --> 00:35:05,520
Speaker 2: but you're really quite nervous. You don't know if you're

720
00:35:05,560 --> 00:35:07,759
Speaker 2: going to find the person. You know, you're like, I

721
00:35:07,800 --> 00:35:10,280
Speaker 2: hope we find the person. And when she when she performed,

722
00:35:10,320 --> 00:35:11,919
Speaker 2: you must have been like, oh my god, we found

723
00:35:11,920 --> 00:35:12,360
Speaker 2: the person.

724
00:35:12,400 --> 00:35:15,880
Speaker 3: Hold on, you mean you got how often is it

725
00:35:16,400 --> 00:35:20,040
Speaker 3: that directors and production settles and says, you know what,

726
00:35:20,280 --> 00:35:23,000
Speaker 3: we didn't find a person, but we've found somebody close

727
00:35:23,120 --> 00:35:24,680
Speaker 3: enough to just tell this story.

728
00:35:24,840 --> 00:35:28,200
Speaker 1: How often does that happen? Hold on? This opens up

729
00:35:28,239 --> 00:35:29,480
Speaker 1: a new conversation for me.

730
00:35:29,560 --> 00:35:30,160
Speaker 2: Well, I don't know.

731
00:35:30,080 --> 00:35:32,640
Speaker 3: How you feel, like, oh, I got the part, but

732
00:35:32,719 --> 00:35:36,319
Speaker 3: the possibility that I wasn't right for it.

733
00:35:36,360 --> 00:35:38,320
Speaker 1: But they just settled because they could tell the story.

734
00:35:38,360 --> 00:35:41,120
Speaker 2: Now, I don't know if it's settling. It's we're out

735
00:35:41,120 --> 00:35:45,440
Speaker 2: of time and and and I for me, I might

736
00:35:45,440 --> 00:35:47,520
Speaker 2: can only speak for me, not John, but we're out

737
00:35:47,560 --> 00:35:51,319
Speaker 2: of time and this person is great. They might not

738
00:35:51,360 --> 00:35:54,000
Speaker 2: be exactly what I pictured, but maybe they'll be better

739
00:35:54,160 --> 00:35:56,440
Speaker 2: than I could have imagined. But we need to go

740
00:35:56,520 --> 00:35:58,400
Speaker 2: and we need to start now. That's you know what

741
00:35:58,560 --> 00:36:01,520
Speaker 2: John and Myron are engaged is something that's eighteen months

742
00:36:01,520 --> 00:36:04,440
Speaker 2: of pre production. So you certainly have a whole lot

743
00:36:04,480 --> 00:36:06,680
Speaker 2: more time to make sure you find the right person

744
00:36:06,800 --> 00:36:08,160
Speaker 2: for your gargantuan movie.

745
00:36:08,360 --> 00:36:10,439
Speaker 8: But there's always but there's always a leap of faith.

746
00:36:10,560 --> 00:36:12,839
Speaker 5: It's always there's always like a section that you're like, well,

747
00:36:12,840 --> 00:36:15,319
Speaker 5: I think that I have confidence they can get there

748
00:36:15,719 --> 00:36:18,000
Speaker 5: in these areas because they haven't dug into obviously the

749
00:36:18,080 --> 00:36:20,440
Speaker 5: text and all that stuff. So it's always just a

750
00:36:20,440 --> 00:36:23,160
Speaker 5: little bit of like, trust your instincts, Myron.

751
00:36:23,200 --> 00:36:27,560
Speaker 3: How how often are you like, look, all right, it's good,

752
00:36:28,760 --> 00:36:30,000
Speaker 3: but I could fix it in post.

753
00:36:30,000 --> 00:36:32,000
Speaker 1: Don't worry about it. I'll fix it. I can fix this.

754
00:36:32,040 --> 00:36:34,200
Speaker 1: Don't worry about it. I mean, you're like freaking Scotty.

755
00:36:34,560 --> 00:36:37,320
Speaker 2: You're asking him to answer that in in front of you.

756
00:36:37,320 --> 00:36:39,799
Speaker 6: Your daily is Donald, I'm always like, I could fix this.

757
00:36:39,920 --> 00:36:41,439
Speaker 6: I don't worry about it.

758
00:36:40,920 --> 00:36:42,680
Speaker 2: Right, you become Scotty.

759
00:36:43,280 --> 00:36:51,360
Speaker 1: I'm giving you.

760
00:36:47,600 --> 00:36:50,120
Speaker 6: Now what I What I love is that you know

761
00:36:50,200 --> 00:36:52,439
Speaker 6: every actor is bringing on the day and then I'm

762
00:36:52,520 --> 00:36:57,600
Speaker 6: there to be the next collaborator to bring my own

763
00:36:57,640 --> 00:37:00,480
Speaker 6: take to it, and everyone's going to do the best job.

764
00:37:00,520 --> 00:37:01,719
Speaker 1: And and what.

765
00:37:01,840 --> 00:37:04,560
Speaker 6: Was so nice about Wicked is that I was privy

766
00:37:04,600 --> 00:37:07,359
Speaker 6: to see some of these auditions, so it was very

767
00:37:07,600 --> 00:37:13,480
Speaker 6: it was it was a real gift to see John's process.

768
00:37:13,600 --> 00:37:16,080
Speaker 6: And then when you did see Cynthia and Ari step in,

769
00:37:16,680 --> 00:37:19,640
Speaker 6: You're like, oh my god, this this is on another level.

770
00:37:19,880 --> 00:37:23,680
Speaker 6: And you know, of course I think that you know

771
00:37:23,719 --> 00:37:27,200
Speaker 6: there's there's a different version of every movie that with

772
00:37:27,239 --> 00:37:29,680
Speaker 6: a different cast in there. But then when you actually

773
00:37:29,680 --> 00:37:31,799
Speaker 6: see it together and you're like, oh, this was inevitable,

774
00:37:31,840 --> 00:37:33,520
Speaker 6: this is exactly it was supposed to be.

775
00:37:33,920 --> 00:37:34,640
Speaker 1: Let's take a break.

776
00:37:34,719 --> 00:37:44,239
Speaker 2: We'll be right back after these fine words. Did you

777
00:37:44,280 --> 00:37:47,800
Speaker 2: guys always plan to have it be to films? I

778
00:37:48,080 --> 00:37:50,040
Speaker 2: wanted to ask you that what was that? Was that

779
00:37:50,080 --> 00:37:52,759
Speaker 2: from the get go? Or because I'm so glad you did,

780
00:37:52,840 --> 00:37:55,080
Speaker 2: because it's so much movie the idea of trying to

781
00:37:55,120 --> 00:37:57,880
Speaker 2: cram that whole story into one, But but was that

782
00:37:57,920 --> 00:37:58,560
Speaker 2: always a plan?

783
00:37:59,320 --> 00:37:59,440
Speaker 1: Well?

784
00:37:59,440 --> 00:38:02,759
Speaker 5: When I came in, you know, they had been they

785
00:38:02,760 --> 00:38:06,040
Speaker 5: had been developing scripts, many scripts for the past I

786
00:38:06,080 --> 00:38:08,960
Speaker 5: don't know, twenty years before I ever came in, and

787
00:38:09,080 --> 00:38:15,239
Speaker 5: those scripts weren't ready, and the big question was can

788
00:38:15,280 --> 00:38:17,440
Speaker 5: you make this into one movie? And so when I

789
00:38:17,440 --> 00:38:21,600
Speaker 5: stepped in, the debate was already in progress. And for me,

790
00:38:21,920 --> 00:38:27,239
Speaker 5: it was like, if you are debating this, then you're

791
00:38:27,280 --> 00:38:30,400
Speaker 5: never going to make two great movies. You're always going

792
00:38:30,480 --> 00:38:32,200
Speaker 5: to be in between, and you might as well just

793
00:38:32,200 --> 00:38:34,759
Speaker 5: shove it all into one and that's a whatever four

794
00:38:34,760 --> 00:38:36,800
Speaker 5: and have five hour movie. Or if you're going to

795
00:38:36,840 --> 00:38:38,640
Speaker 5: get it into let's say you want to get into

796
00:38:38,719 --> 00:38:44,320
Speaker 5: a three hour movie that you're ripping out half the songs,

797
00:38:44,400 --> 00:38:45,400
Speaker 5: and then is that Wicked?

798
00:38:45,760 --> 00:38:47,160
Speaker 8: And it became very clear it was.

799
00:38:47,320 --> 00:38:50,520
Speaker 5: There's almost no question that in order to do Wicked properly,

800
00:38:50,600 --> 00:38:52,480
Speaker 5: you needed to break it up. And then we needed

801
00:38:52,520 --> 00:38:54,239
Speaker 5: to make that decision fast. Usually when you come in

802
00:38:54,239 --> 00:38:56,840
Speaker 5: as a director and something's been sort of half developed,

803
00:38:57,200 --> 00:38:59,600
Speaker 5: then you have about two weeks as the honeymoon period

804
00:38:59,640 --> 00:39:02,040
Speaker 5: you can do whatever you want. And so I knew

805
00:39:02,080 --> 00:39:04,360
Speaker 5: you have to make big, bold choices right from the beginning,

806
00:39:04,360 --> 00:39:06,480
Speaker 5: and that choice of I don't want We're not going

807
00:39:06,520 --> 00:39:09,800
Speaker 5: to debate this anymore two movies. Let's focus in to

808
00:39:09,880 --> 00:39:13,480
Speaker 5: make each movie the best singular movie we can and

809
00:39:13,560 --> 00:39:15,440
Speaker 5: every piece of architecture that we need to do in

810
00:39:15,440 --> 00:39:17,680
Speaker 5: this story in order to make that happen is what

811
00:39:17,719 --> 00:39:18,920
Speaker 5: we need to do, and that's what we need to

812
00:39:18,920 --> 00:39:19,640
Speaker 5: be focusing on.

813
00:39:20,040 --> 00:39:22,279
Speaker 8: Of course, in the back of my mind, I'm always like, well,

814
00:39:22,280 --> 00:39:23,160
Speaker 8: we're going to shoot too.

815
00:39:23,480 --> 00:39:25,880
Speaker 5: If it's better to be one movie, then we'll figure

816
00:39:25,880 --> 00:39:28,759
Speaker 5: that out later. But we had to make bold, very

817
00:39:28,920 --> 00:39:31,839
Speaker 5: specific choices, intentional choices from the very beginning. So that's

818
00:39:31,840 --> 00:39:32,440
Speaker 5: where it started.

819
00:39:32,520 --> 00:39:35,520
Speaker 1: Can I say ask, just say something, yeah, something that

820
00:39:35,520 --> 00:39:36,200
Speaker 1: I really love.

821
00:39:36,320 --> 00:39:38,200
Speaker 2: To raise your hand. It's your podcast you now.

822
00:39:38,120 --> 00:39:40,239
Speaker 1: Sometimes you like to talk too.

823
00:39:41,080 --> 00:39:43,479
Speaker 3: So what I really loved is that you didn't shy

824
00:39:43,480 --> 00:39:47,000
Speaker 3: away from the fantasy part of this story. And a

825
00:39:47,000 --> 00:39:50,520
Speaker 3: lot of people focus mainly on Okay, let's focus on

826
00:39:50,640 --> 00:39:55,320
Speaker 3: the music. Let's focus on let's focus on the dancing.

827
00:39:55,520 --> 00:39:57,959
Speaker 3: Usually when musicals are made, let's focus on that part.

828
00:39:58,120 --> 00:40:01,120
Speaker 3: And then the part that's always left out is either

829
00:40:01,680 --> 00:40:08,640
Speaker 3: the surrounding area, like how the story looks, or the

830
00:40:09,040 --> 00:40:12,160
Speaker 3: or the heart. And you tackled all of them at once,

831
00:40:12,200 --> 00:40:15,960
Speaker 3: and that was for me as a moviegoer. Like he

832
00:40:16,000 --> 00:40:19,160
Speaker 3: said earlier, I love Star Wars, I love Marvel, and

833
00:40:19,360 --> 00:40:22,960
Speaker 3: was great to see all of those genres but flipped

834
00:40:23,040 --> 00:40:26,200
Speaker 3: upside down with music coming through also, and you don't

835
00:40:26,280 --> 00:40:28,680
Speaker 3: really see you. You never see that, to be honest

836
00:40:28,719 --> 00:40:32,000
Speaker 3: with you, Even the biggest movie musical before this, it

837
00:40:32,040 --> 00:40:34,360
Speaker 3: didn't have it. I think what was it grease is

838
00:40:34,360 --> 00:40:36,800
Speaker 3: that the you know what I mean, it has numbers,

839
00:40:36,840 --> 00:40:40,319
Speaker 3: but it's relying on the dance, it's relying on the singing.

840
00:40:40,040 --> 00:40:40,919
Speaker 1: And everything like that.

841
00:40:41,239 --> 00:40:46,000
Speaker 3: You have great performances and musical numbers, but the movie

842
00:40:46,080 --> 00:40:49,920
Speaker 3: also hits fantasy dead on, and I really really appreciate it.

843
00:40:49,960 --> 00:40:52,319
Speaker 1: As a fantasy lover, I really.

844
00:40:52,040 --> 00:40:55,439
Speaker 3: Appreciated that, and so that's one of the reasons why

845
00:40:55,480 --> 00:40:57,680
Speaker 3: this movie sticks with me so well. It's like I'm

846
00:40:57,680 --> 00:41:00,239
Speaker 3: going to see Star Wars, but I'm also getting a

847
00:41:00,320 --> 00:41:02,040
Speaker 3: nice show out of it too, a good song and

848
00:41:02,160 --> 00:41:02,960
Speaker 3: dance out of it too.

849
00:41:03,239 --> 00:41:05,839
Speaker 5: That's great, I think because also, like I said, I'm

850
00:41:05,880 --> 00:41:08,319
Speaker 5: theater adjacent, a theater kid adjacent I'm not.

851
00:41:08,440 --> 00:41:10,959
Speaker 8: I didn't come from theater, so.

852
00:41:10,920 --> 00:41:13,560
Speaker 5: I am definitely of the film side, and yet I

853
00:41:13,640 --> 00:41:13,920
Speaker 5: love it.

854
00:41:13,960 --> 00:41:15,480
Speaker 8: Those are my friends, are my family.

855
00:41:15,600 --> 00:41:19,000
Speaker 5: That's where I enjoy watching stories, and so I think

856
00:41:19,040 --> 00:41:21,240
Speaker 5: we could bridge that gap. There was funny thing because

857
00:41:21,440 --> 00:41:24,520
Speaker 5: and I realized with Wicked that oh, this was a

858
00:41:24,560 --> 00:41:27,560
Speaker 5: property that has opportunities to do the thing that no

859
00:41:27,680 --> 00:41:31,439
Speaker 5: other musical could do. The world of oz was as

860
00:41:31,520 --> 00:41:36,920
Speaker 5: important as the music of Wicked, and that we were

861
00:41:36,960 --> 00:41:40,640
Speaker 5: bringing cinema lovers back to a world that they had

862
00:41:40,680 --> 00:41:43,040
Speaker 5: fallen in love with cinema maybe in the first place,

863
00:41:43,320 --> 00:41:46,480
Speaker 5: and that there was a great responsibility with that. And

864
00:41:46,600 --> 00:41:50,360
Speaker 5: at a time after COVID, when cinemas were hurting, and

865
00:41:50,400 --> 00:41:53,200
Speaker 5: at a time when people are doubting the scope and

866
00:41:53,280 --> 00:41:55,840
Speaker 5: scale of what cinema can do. And we're at a

867
00:41:55,840 --> 00:41:59,120
Speaker 5: time where representation is such an important thing and in

868
00:41:59,440 --> 00:42:02,600
Speaker 5: works of timeless art, that we if we could incorporate

869
00:42:04,560 --> 00:42:09,040
Speaker 5: a physically disabled actor, truly disabled, playing a disabled person

870
00:42:09,080 --> 00:42:12,040
Speaker 5: in the in there, we could We could have people

871
00:42:12,080 --> 00:42:16,840
Speaker 5: of all shaped, the size, colors, ages, and and have

872
00:42:16,920 --> 00:42:19,600
Speaker 5: the music as not as a separate piece, but as

873
00:42:19,600 --> 00:42:22,719
Speaker 5: a as an integral part of the expression of that

874
00:42:23,000 --> 00:42:25,680
Speaker 5: in a timeless world. And by the way, that timeless

875
00:42:25,719 --> 00:42:28,120
Speaker 5: fantasy world maybe one of the first that has accessible

876
00:42:28,200 --> 00:42:30,799
Speaker 5: ramps for the characters and things like that, that we

877
00:42:30,840 --> 00:42:33,279
Speaker 5: can do that, and we and because ultimately the story

878
00:42:33,320 --> 00:42:35,880
Speaker 5: is digging at truth. If we could at these actors

879
00:42:35,880 --> 00:42:39,040
Speaker 5: could could portray the truth, and of course Meyern digging

880
00:42:39,080 --> 00:42:39,479
Speaker 5: that out.

881
00:42:39,800 --> 00:42:40,960
Speaker 8: Then we had something.

882
00:42:40,680 --> 00:42:43,920
Speaker 5: That was very unique in Wicked that I'd never gotten

883
00:42:43,960 --> 00:42:44,480
Speaker 5: that opportunity.

884
00:42:44,560 --> 00:42:46,560
Speaker 2: I think, he's I love I love what you said.

885
00:42:46,600 --> 00:42:49,480
Speaker 2: And from my perspective, I don't go to these you know,

886
00:42:49,560 --> 00:42:53,640
Speaker 2: most of the bockbusters, with these budgets and these scale

887
00:42:53,680 --> 00:42:57,000
Speaker 2: of production are there not made for me. This was

888
00:42:57,040 --> 00:42:59,120
Speaker 2: the first movie in a long time I can remember

889
00:42:59,239 --> 00:43:02,799
Speaker 2: like where I thought, Oh, I get to enjoy the

890
00:43:02,840 --> 00:43:05,720
Speaker 2: spectacle that Donald gets to see in these Marvel movies

891
00:43:05,719 --> 00:43:08,160
Speaker 2: that he enjoys, but in a world that's interesting to me.

892
00:43:08,360 --> 00:43:11,960
Speaker 2: I mean, I can't think of a movie that that Yeah,

893
00:43:13,440 --> 00:43:16,560
Speaker 2: reiterating what you're saying, that that that gives me a

894
00:43:16,680 --> 00:43:22,160
Speaker 2: musical theater lover scope and scale and and fantasy and

895
00:43:23,200 --> 00:43:26,080
Speaker 2: just I mean, I I can segue into into this

896
00:43:26,120 --> 00:43:29,719
Speaker 2: into a question in you built so much of these

897
00:43:29,719 --> 00:43:32,279
Speaker 2: sets practically. I mean, this could have been such a

898
00:43:32,360 --> 00:43:35,839
Speaker 2: It wouldn't have been nearly as beautiful if this had

899
00:43:35,880 --> 00:43:39,080
Speaker 2: been a green screen so much as a green screen.

900
00:43:39,120 --> 00:43:40,640
Speaker 2: I know, obviously you have some green screen in it,

901
00:43:40,719 --> 00:43:43,680
Speaker 2: but yeah, but you built so many practical sets. Was

902
00:43:43,719 --> 00:43:46,600
Speaker 2: that hard to convince the studio to spend the money

903
00:43:46,719 --> 00:43:49,360
Speaker 2: on building those worlds? Because I know you built some

904
00:43:49,400 --> 00:43:52,840
Speaker 2: pretty epic sets. We can tell from watching the movie.

905
00:43:53,920 --> 00:43:56,520
Speaker 5: Yeah, I mean it's it still goes to today. You know,

906
00:43:56,920 --> 00:44:00,960
Speaker 5: the amount of money it takes to Mount Oz is

907
00:44:01,000 --> 00:44:04,960
Speaker 5: a lot, and the commitment it takes, I mean today

908
00:44:05,000 --> 00:44:07,040
Speaker 5: is a lot easier than it was five months ago.

909
00:44:07,719 --> 00:44:10,120
Speaker 8: But when you were building these sets, very that.

910
00:44:10,120 --> 00:44:11,880
Speaker 5: Was part of the concept, you know, how I said, like,

911
00:44:12,040 --> 00:44:13,880
Speaker 5: you get two weeks to do whatever you want. Like

912
00:44:14,200 --> 00:44:16,920
Speaker 5: what I knew is I had to sell this idea

913
00:44:17,000 --> 00:44:20,920
Speaker 5: that in order to have us revisit Oz, that we

914
00:44:21,000 --> 00:44:24,520
Speaker 5: had to take the physical attributes of the Wizard of

915
00:44:24,520 --> 00:44:25,680
Speaker 5: Oz of the nineteen thirty nine.

916
00:44:25,600 --> 00:44:28,240
Speaker 8: Movie and break the matte painting.

917
00:44:28,520 --> 00:44:31,080
Speaker 5: And actually, if this movie was about truth, then we

918
00:44:31,120 --> 00:44:33,839
Speaker 5: needed to believe that this place actually exists, that it

919
00:44:33,880 --> 00:44:36,600
Speaker 5: was not in a dream, and so that the grass

920
00:44:36,600 --> 00:44:38,759
Speaker 5: had to be real, the walls had to be high,

921
00:44:38,840 --> 00:44:42,279
Speaker 5: the physicality of it had to be there, and so

922
00:44:42,480 --> 00:44:44,800
Speaker 5: we wanted this. I always sold this, like Lawrence of

923
00:44:44,880 --> 00:44:48,319
Speaker 5: Arabia as Cleopatra, as one of those things that we

924
00:44:48,400 --> 00:44:50,680
Speaker 5: only get once in our lifetime to really build. And

925
00:44:50,719 --> 00:44:53,160
Speaker 5: so by pushing that hard in those first two weeks,

926
00:44:53,160 --> 00:44:54,880
Speaker 5: I sort of like held their feet to the fire

927
00:44:55,000 --> 00:44:55,640
Speaker 5: every time.

928
00:44:55,600 --> 00:44:56,359
Speaker 8: Questions would come.

929
00:44:56,480 --> 00:44:58,640
Speaker 5: And then you get someone like Nathan Crowley, our amazing

930
00:44:58,680 --> 00:45:03,000
Speaker 5: production designer who who is a big trouble maker, builds,

931
00:45:03,120 --> 00:45:05,000
Speaker 5: loves to build. He you know, he worked with Nolan

932
00:45:05,080 --> 00:45:09,640
Speaker 5: for many years and did great, great showmen, and he

933
00:45:09,520 --> 00:45:11,759
Speaker 5: he he's the one who's like John, we're gonna plant

934
00:45:11,840 --> 00:45:16,680
Speaker 5: nine million tulips. John, We're going to build the train

935
00:45:16,840 --> 00:45:19,680
Speaker 5: and it's gonna move. John, We're gonna make that lake

936
00:45:20,120 --> 00:45:22,560
Speaker 5: in front of the in front of the school. And

937
00:45:22,640 --> 00:45:25,759
Speaker 5: I was like, they're gonna kill us. And he's like,

938
00:45:25,840 --> 00:45:26,680
Speaker 5: you don't worry.

939
00:45:26,800 --> 00:45:29,439
Speaker 8: You just keep moving and we'll make it happen.

940
00:45:29,480 --> 00:45:31,880
Speaker 5: He's like, by the way, the tulips are already planted,

941
00:45:32,040 --> 00:45:33,040
Speaker 5: so that's no choice.

942
00:45:33,280 --> 00:45:35,719
Speaker 2: I love a guy like that. I love someone like that.

943
00:45:35,960 --> 00:45:38,560
Speaker 3: Do you think it's because it's Wicked that people feel

944
00:45:38,600 --> 00:45:42,880
Speaker 3: this way? Like Wicked changed Broadway? You know, there are

945
00:45:42,880 --> 00:45:45,080
Speaker 3: not a lot of shows that come into Broadway and

946
00:45:45,080 --> 00:45:45,719
Speaker 3: are sold.

947
00:45:45,520 --> 00:45:47,480
Speaker 1: Out for two years straight.

948
00:45:47,760 --> 00:45:51,120
Speaker 3: I think Wicked was What's the other one that that

949
00:45:51,280 --> 00:45:53,320
Speaker 3: Josh gadd was a part of the Book of Mormon

950
00:45:53,600 --> 00:45:56,239
Speaker 3: is another movie that was sold out for you couldn't.

951
00:45:55,920 --> 00:45:57,080
Speaker 1: Get tickets for two years.

952
00:45:57,280 --> 00:45:59,719
Speaker 3: Do you think the response that you're getting from all

953
00:45:59,719 --> 00:46:02,879
Speaker 3: of these these are the creatives that you are collaborating with,

954
00:46:03,200 --> 00:46:05,560
Speaker 3: is because it's such a special piece, Like.

955
00:46:05,600 --> 00:46:08,000
Speaker 5: Absolutely absolutely, I think that I think it was on

956
00:46:08,080 --> 00:46:11,000
Speaker 5: multiple fronts. I would think of of course, Wicked, the

957
00:46:11,040 --> 00:46:14,200
Speaker 5: show that the work that Kristin Adina, Joe, all these

958
00:46:14,200 --> 00:46:16,320
Speaker 5: people did on the uh.

959
00:46:16,200 --> 00:46:17,520
Speaker 1: Try to call her adele.

960
00:46:17,560 --> 00:46:18,880
Speaker 8: I'm sorry, yes, sorry, yes, yes.

961
00:46:21,600 --> 00:46:26,880
Speaker 5: The work that they did was was huge obviously lifting

962
00:46:26,920 --> 00:46:29,200
Speaker 5: I mean it said it, and it only allowed us

963
00:46:29,239 --> 00:46:31,120
Speaker 5: to do what we could do. What we were able

964
00:46:31,120 --> 00:46:33,680
Speaker 5: to do is then take that and and and use

965
00:46:33,719 --> 00:46:37,600
Speaker 5: them as excuses to then crank it up and to

966
00:46:37,800 --> 00:46:40,040
Speaker 5: actually build it into a cinematic world, which is which

967
00:46:40,080 --> 00:46:43,400
Speaker 5: is a very different thing. But absolutely Stephen Schwartz Winnie

968
00:46:43,400 --> 00:46:46,480
Speaker 5: Holtsman that everybody who worked on that show for twenty years,

969
00:46:46,680 --> 00:46:50,280
Speaker 5: who honed those jokes, who honed the thing, they deserve

970
00:46:51,000 --> 00:46:52,960
Speaker 5: huge amounts of credits because we you don't get this

971
00:46:53,040 --> 00:46:57,200
Speaker 5: kind of uh, this kind of opportunity without the show itself,

972
00:46:57,239 --> 00:46:58,000
Speaker 5: of course, no doubt.

973
00:46:58,080 --> 00:47:00,239
Speaker 2: Let me ask you something I was wondering. This is

974
00:47:00,280 --> 00:47:04,560
Speaker 2: an example with the library dance sequence. So you built

975
00:47:04,600 --> 00:47:09,719
Speaker 2: this insane set that is just so beautiful, and then

976
00:47:09,760 --> 00:47:14,320
Speaker 2: you have choreography that's specific to the moving library stacks,

977
00:47:14,360 --> 00:47:17,680
Speaker 2: which was in stunt people. And I've literally watched behind

978
00:47:17,719 --> 00:47:20,200
Speaker 2: the scenes stuff. That's the level of geeking out I've done.

979
00:47:21,280 --> 00:47:24,040
Speaker 2: But how do you how what's the chicken or the

980
00:47:24,080 --> 00:47:27,920
Speaker 2: egg with that? Does your production designer say, hey, John,

981
00:47:28,880 --> 00:47:31,920
Speaker 2: What if there were these circular spinning library stacks and

982
00:47:31,960 --> 00:47:34,480
Speaker 2: then you go to the choreographer, Okay, what could you

983
00:47:34,520 --> 00:47:37,360
Speaker 2: do with that? How did that, just as an example,

984
00:47:37,640 --> 00:47:43,719
Speaker 2: evolve because I've never directed anything, you know, even with choreography,

985
00:47:43,760 --> 00:47:46,200
Speaker 2: well maybe one tiny thing with choreography, but I've always wondered,

986
00:47:46,200 --> 00:47:49,920
Speaker 2: how how youse a director evolve something like that?

987
00:47:50,360 --> 00:47:54,320
Speaker 5: Yeah, it's well, I have some amazing collaborators, of course,

988
00:47:54,320 --> 00:47:56,920
Speaker 5: and we've done this for many years, so we have

989
00:47:57,000 --> 00:47:59,480
Speaker 5: a process. And this may not work for everybody, but

990
00:47:59,560 --> 00:48:03,680
Speaker 5: for us. Myron's in on that process. Alice our DP

991
00:48:03,880 --> 00:48:06,440
Speaker 5: is in on that process. Chris Scott, our choreographer who

992
00:48:06,480 --> 00:48:09,080
Speaker 5: I've known for so long, is in process. By the way,

993
00:48:09,120 --> 00:48:12,120
Speaker 5: Alice our DP I've worked with since college. So she

994
00:48:12,200 --> 00:48:15,440
Speaker 5: shot my college musical. So we can get in a

995
00:48:15,480 --> 00:48:18,280
Speaker 5: room and usually the script is very basic in terms

996
00:48:18,320 --> 00:48:22,160
Speaker 5: of the description of what's happening within the dance. I

997
00:48:22,840 --> 00:48:25,000
Speaker 5: ask them not to go too into detail because I

998
00:48:25,040 --> 00:48:28,959
Speaker 5: then take all the pieces and I'll break them out

999
00:48:29,080 --> 00:48:31,920
Speaker 5: and start to sort of I don't just sort of

1000
00:48:32,040 --> 00:48:35,960
Speaker 5: riff off of what I think could happen. And I'm

1001
00:48:36,000 --> 00:48:38,600
Speaker 5: there with Chris and so then Chris adds on to

1002
00:48:38,719 --> 00:48:40,960
Speaker 5: that and says, well, and this is all just part

1003
00:48:40,960 --> 00:48:42,520
Speaker 5: of the discussion, Well what if you did that? What

1004
00:48:42,600 --> 00:48:45,319
Speaker 5: if they're if everything is circular? We start with like

1005
00:48:45,360 --> 00:48:48,520
Speaker 5: the themes of the of the movie. Okay, so Oz

1006
00:48:48,600 --> 00:48:51,960
Speaker 5: is everything is circular. Everything's been constructed to be perfect circles.

1007
00:48:52,160 --> 00:48:56,040
Speaker 5: And yet in order to be a perfect group that

1008
00:48:56,080 --> 00:48:58,120
Speaker 5: the cracks need to happen, The sharp edges the z

1009
00:48:58,440 --> 00:49:00,560
Speaker 5: in Oz needs to happen. And that's where alpha but

1010
00:49:00,640 --> 00:49:04,280
Speaker 5: comes in. So at shiz, everything has been perfectly circled.

1011
00:49:04,440 --> 00:49:08,120
Speaker 5: We need to create some cracks in that. And this

1012
00:49:08,160 --> 00:49:10,759
Speaker 5: is where the young generation first starts to like let

1013
00:49:10,840 --> 00:49:13,080
Speaker 5: loose in their movement. So Chris starts to work on

1014
00:49:13,120 --> 00:49:15,960
Speaker 5: like what movement could look like then, and then when

1015
00:49:15,960 --> 00:49:19,440
Speaker 5: I bring up this, like what if this is turning bookshelves?

1016
00:49:19,480 --> 00:49:21,799
Speaker 5: We knew that everything in Oz couldn't be had to

1017
00:49:21,800 --> 00:49:24,360
Speaker 5: be bespoke, had to be a little bit delightful. If

1018
00:49:24,600 --> 00:49:27,480
Speaker 5: the Wizard's sort of whole plan is to distract people

1019
00:49:27,520 --> 00:49:29,920
Speaker 5: with delight so they didn't have to worry about and

1020
00:49:29,920 --> 00:49:31,840
Speaker 5: they could always feel happy and didn't have to worry

1021
00:49:31,840 --> 00:49:35,279
Speaker 5: about worry or anything like that, then he could be

1022
00:49:35,320 --> 00:49:38,279
Speaker 5: in full control. So so okay, let's let's make the

1023
00:49:38,320 --> 00:49:42,440
Speaker 5: bookshelves not straight but delightfully circular. And of course when

1024
00:49:42,480 --> 00:49:44,560
Speaker 5: that starts to spin, we had done in the Heights

1025
00:49:44,600 --> 00:49:48,480
Speaker 5: a spinning number on a fire escape.

1026
00:49:49,120 --> 00:49:50,200
Speaker 8: We had just experienced that.

1027
00:49:50,280 --> 00:49:52,759
Speaker 5: So what if this whole thing was circular, and what

1028
00:49:52,760 --> 00:49:54,560
Speaker 5: if there's a little nod to two thousand and one,

1029
00:49:54,680 --> 00:49:56,560
Speaker 5: like what if it had all these elements to it.

1030
00:49:56,680 --> 00:50:00,319
Speaker 5: We wanted to do nods to American movies because we

1031
00:50:00,320 --> 00:50:02,720
Speaker 5: were also sort of kicking the tires on the American story.

1032
00:50:02,920 --> 00:50:06,040
Speaker 5: So there was this idea that how would the dancers

1033
00:50:06,880 --> 00:50:09,799
Speaker 5: do that? And so then we have to convince this

1034
00:50:10,080 --> 00:50:11,920
Speaker 5: so that I pitch it to our group, all our

1035
00:50:11,960 --> 00:50:15,160
Speaker 5: heads of departments, and we have boards that Alice and

1036
00:50:15,200 --> 00:50:18,080
Speaker 5: I work on. We don't know any actual choreography yet.

1037
00:50:18,120 --> 00:50:20,719
Speaker 5: Chris doesn't even know what the dancers are able to

1038
00:50:20,760 --> 00:50:23,040
Speaker 5: do in a spinning wheel because he doesn't have a

1039
00:50:23,040 --> 00:50:25,080
Speaker 5: spinning wheel to actually doesn't know if he needs to

1040
00:50:25,160 --> 00:50:31,520
Speaker 5: hire parkour people, chimnysts or bay boys or whatever or combination.

1041
00:50:32,560 --> 00:50:35,680
Speaker 5: And so then our engineers start to build our physical

1042
00:50:35,719 --> 00:50:38,160
Speaker 5: special effects. People start to say what they can build

1043
00:50:38,880 --> 00:50:42,080
Speaker 5: and then Nathan starts to build around it how the

1044
00:50:42,120 --> 00:50:46,080
Speaker 5: whole library is sort of circular, and then we deal

1045
00:50:46,120 --> 00:50:47,840
Speaker 5: with the insurance, which is a whole other issue, and

1046
00:50:47,920 --> 00:50:51,959
Speaker 5: at some point Chris goes into all the choreography before

1047
00:50:51,960 --> 00:50:54,480
Speaker 5: getting into the wheel. We got the wheel and we

1048
00:50:54,640 --> 00:50:57,680
Speaker 5: videotape it with iPhones or whatever we can. We start

1049
00:50:57,680 --> 00:51:00,680
Speaker 5: cutting it together with boards or whatever, and then when

1050
00:51:00,680 --> 00:51:02,439
Speaker 5: we got the wheel. We got the wheel about two

1051
00:51:02,440 --> 00:51:05,600
Speaker 5: weeks before shooting because it was so expensive, there was

1052
00:51:05,600 --> 00:51:08,320
Speaker 5: a lot of fights of getting it done. There's such

1053
00:51:08,440 --> 00:51:12,520
Speaker 5: huge elements of engineering to actually complete it. Two weeks

1054
00:51:12,520 --> 00:51:15,040
Speaker 5: before is when Chris started to actually choreograph within that.

1055
00:51:15,120 --> 00:51:17,440
Speaker 5: So this we could have shipped the bed like, we

1056
00:51:17,440 --> 00:51:19,160
Speaker 5: could have spent all this money and it wouldn't have

1057
00:51:19,160 --> 00:51:21,680
Speaker 5: been good. We had no idea, but Chris and I

1058
00:51:21,719 --> 00:51:23,160
Speaker 5: just sort of looked at each other and we're like,

1059
00:51:23,360 --> 00:51:26,520
Speaker 5: you just fucking figure it out, because I don't want

1060
00:51:26,560 --> 00:51:28,480
Speaker 5: to have to turn to my line producer and say, sorry,

1061
00:51:28,480 --> 00:51:31,600
Speaker 5: it doesn't work. But we knew that there was that risk,

1062
00:51:31,840 --> 00:51:33,360
Speaker 5: and we just don't tell everybody else.

1063
00:51:33,200 --> 00:51:36,799
Speaker 1: That Ron, you must no doubt.

1064
00:51:36,880 --> 00:51:39,560
Speaker 5: And then we just dump it on Myron, Ye say Maron,

1065
00:51:39,600 --> 00:51:43,000
Speaker 5: you must have great rhythm, like when the dance parties happened,

1066
00:51:43,080 --> 00:51:45,719
Speaker 5: you must be front and on the dance floor.

1067
00:51:45,840 --> 00:51:50,319
Speaker 3: Because literally, like from Garden State to Wicked bro like,

1068
00:51:50,520 --> 00:51:54,200
Speaker 3: everything has a rhythm and everything is you know, we've

1069
00:51:54,239 --> 00:51:56,160
Speaker 3: been listening to John and we've been listening to Zach

1070
00:51:56,280 --> 00:51:59,080
Speaker 3: talk about the process of making and everything. But then

1071
00:51:59,120 --> 00:52:01,319
Speaker 3: you're given this huge puzzle and of course you have

1072
00:52:01,400 --> 00:52:04,440
Speaker 3: help from the directors and everything, and it's now here's

1073
00:52:04,520 --> 00:52:06,120
Speaker 3: my vision. Make it work.

1074
00:52:06,400 --> 00:52:08,279
Speaker 1: Well, you know what I mean, make it, make it.

1075
00:52:08,440 --> 00:52:11,120
Speaker 3: When I watch it, I wanted to feel like I

1076
00:52:11,200 --> 00:52:13,479
Speaker 3: wanted to feel like how I saw it in my head.

1077
00:52:13,920 --> 00:52:17,560
Speaker 3: That is so much pressure, dude, so much pressure. Well

1078
00:52:17,600 --> 00:52:19,719
Speaker 3: can you talk about that, just to rewind a little bit.

1079
00:52:19,760 --> 00:52:23,000
Speaker 6: You know, when I when I met Zach, I was

1080
00:52:23,080 --> 00:52:26,680
Speaker 6: so excited by the script he had written because I

1081
00:52:26,719 --> 00:52:31,240
Speaker 6: felt this emotion, I felt this this kinship with this character.

1082
00:52:31,880 --> 00:52:34,799
Speaker 6: And while making the film, it was first about the

1083
00:52:34,840 --> 00:52:37,640
Speaker 6: heart and wearing your heart on your sleeve, and then

1084
00:52:37,680 --> 00:52:41,920
Speaker 6: the music was secondary. And of course I loved musicals

1085
00:52:41,960 --> 00:52:45,799
Speaker 6: growing up. I loved, you know how Ashby films. I

1086
00:52:45,840 --> 00:52:48,279
Speaker 6: loved films that had a lot of source of music

1087
00:52:48,360 --> 00:52:51,439
Speaker 6: John Hughes films all that, But it was first about

1088
00:52:51,440 --> 00:52:54,279
Speaker 6: the heart. And so when I got to work on

1089
00:52:54,360 --> 00:52:57,080
Speaker 6: Garden State and I get to apply my love for music,

1090
00:52:57,600 --> 00:53:00,319
Speaker 6: it was mostly about how does that support the motion?

1091
00:53:01,080 --> 00:53:03,120
Speaker 6: And then when I got to work on more complicated

1092
00:53:03,160 --> 00:53:06,560
Speaker 6: things like In the Heights and Crazy Rich Asians and

1093
00:53:06,600 --> 00:53:09,080
Speaker 6: then Wicked, it all started with a heart and then

1094
00:53:09,120 --> 00:53:12,239
Speaker 6: the rhythm and all that stuff afterwards just came from

1095
00:53:12,280 --> 00:53:14,560
Speaker 6: out of the emotion of like what what what was

1096
00:53:14,600 --> 00:53:19,160
Speaker 6: I trying to evoke emotionally through dance or through character

1097
00:53:19,440 --> 00:53:23,719
Speaker 6: or through music. And and so Zach came at the

1098
00:53:23,800 --> 00:53:26,000
Speaker 6: right time of the career, you know, he did train

1099
00:53:26,080 --> 00:53:30,440
Speaker 6: me in some ways, and then and then and then

1100
00:53:30,440 --> 00:53:34,279
Speaker 6: when I found when I found John, it was this

1101
00:53:34,360 --> 00:53:37,640
Speaker 6: further exploration about how do I, how do I sincerely

1102
00:53:38,360 --> 00:53:42,640
Speaker 6: like express heart without it feeling cynical or something I

1103
00:53:42,640 --> 00:53:45,760
Speaker 6: don't know what it was. But then to use dance

1104
00:53:45,800 --> 00:53:48,239
Speaker 6: and music, and then the rhythm just comes out of

1105
00:53:48,760 --> 00:53:53,840
Speaker 6: something internally that has to do with just expressing this emotion.

1106
00:53:54,280 --> 00:53:56,920
Speaker 2: It has, But you must get so much, like just

1107
00:53:56,920 --> 00:53:59,239
Speaker 2: to stick with the library example, there must be so

1108
00:53:59,760 --> 00:54:04,520
Speaker 2: much much footage. I can't believe how you you know,

1109
00:54:04,600 --> 00:54:09,080
Speaker 2: on an indie there's a finite amount of footage. I'm

1110
00:54:09,120 --> 00:54:12,640
Speaker 2: just imagining it's so challenging for you to go, well,

1111
00:54:12,840 --> 00:54:14,799
Speaker 2: all of these shots, I mean so many of these

1112
00:54:14,840 --> 00:54:17,440
Speaker 2: shots are beautiful for this moment. How do I decide

1113
00:54:17,480 --> 00:54:18,719
Speaker 2: what to go to where?

1114
00:54:18,920 --> 00:54:22,120
Speaker 6: Yeah, I mean John shoots a lot of he has

1115
00:54:22,360 --> 00:54:24,680
Speaker 6: sometimes in some of these big numbers who have three

1116
00:54:24,719 --> 00:54:28,279
Speaker 6: cameras going at once, just to just to make sure

1117
00:54:28,320 --> 00:54:30,520
Speaker 6: he's not missing something or has a little piece that

1118
00:54:30,560 --> 00:54:33,279
Speaker 6: we can use somewhere in the edit. And again it's

1119
00:54:33,360 --> 00:54:37,759
Speaker 6: just I really pride myself of just watching everything and

1120
00:54:37,920 --> 00:54:41,640
Speaker 6: just being really patient with learning the footage, and because

1121
00:54:41,680 --> 00:54:43,720
Speaker 6: there is some kind of nugget or kernel. I remember

1122
00:54:43,719 --> 00:54:45,920
Speaker 6: when we first worked togere Zachaus, It's like, you got

1123
00:54:45,960 --> 00:54:48,520
Speaker 6: to make sure you watch everything because there might be

1124
00:54:48,640 --> 00:54:50,640
Speaker 6: just that one little piece of improv.

1125
00:54:50,360 --> 00:54:52,520
Speaker 2: Or so what I always do what I always do,

1126
00:54:52,560 --> 00:54:55,120
Speaker 2: And I'm directing Shrinking now, and I'm still worried about it.

1127
00:54:55,120 --> 00:54:57,920
Speaker 2: When I'm directing Shrinking even is like we just we

1128
00:54:58,000 --> 00:55:00,640
Speaker 2: keep the camera rolling and we're riffing around, and I'm

1129
00:55:00,719 --> 00:55:03,120
Speaker 2: always worried that the editor is going to miss something

1130
00:55:03,800 --> 00:55:06,759
Speaker 2: that's it's at the end of take seven, and it

1131
00:55:06,880 --> 00:55:09,680
Speaker 2: was just one take of it. And so I'm always like,

1132
00:55:09,719 --> 00:55:11,560
Speaker 2: you watched everything, right, you watch everything.

1133
00:55:11,840 --> 00:55:12,600
Speaker 1: Let's take a break.

1134
00:55:12,640 --> 00:55:22,520
Speaker 2: We'll be right back after these fine words. One thing

1135
00:55:22,560 --> 00:55:25,760
Speaker 2: I wanted to ask you with a number, like defining gravity.

1136
00:55:25,880 --> 00:55:29,040
Speaker 2: You know, so much of this movie was practical, but

1137
00:55:29,160 --> 00:55:31,960
Speaker 2: in Defining Gravity you obviously have a lot of visual effects.

1138
00:55:32,600 --> 00:55:35,600
Speaker 2: How do you cut something so effectively when so much

1139
00:55:35,640 --> 00:55:38,720
Speaker 2: of it isn't going to be there until you've locked picture?

1140
00:55:39,960 --> 00:55:41,560
Speaker 2: Do you know what I mean? Like that whole sequence

1141
00:55:43,160 --> 00:55:45,239
Speaker 2: in the mirror and all of that, the whole all

1142
00:55:45,320 --> 00:55:47,839
Speaker 2: the whole climax of the end of the movie, how

1143
00:55:47,840 --> 00:55:51,600
Speaker 2: do you how do you cut that with so much

1144
00:55:51,640 --> 00:55:54,680
Speaker 2: green screen footage and and stuff you know isn't going

1145
00:55:54,760 --> 00:55:58,239
Speaker 2: to gonna You have to use your imagination, really use

1146
00:55:58,239 --> 00:55:58,960
Speaker 2: your imagination.

1147
00:55:59,120 --> 00:56:03,719
Speaker 6: You really have to imagine in the building in the background,

1148
00:56:03,920 --> 00:56:06,560
Speaker 6: you know, moving with her. But at the end of

1149
00:56:06,560 --> 00:56:09,759
Speaker 6: the day, you know, you again, you're really focused on performance,

1150
00:56:09,960 --> 00:56:14,280
Speaker 6: you know, and focused on you know, you know, Cynthia,

1151
00:56:14,480 --> 00:56:16,800
Speaker 6: and then looking at this this one, I forget the

1152
00:56:17,080 --> 00:56:21,400
Speaker 6: the cast members named the little girl looking at her, Yeah,

1153
00:56:21,440 --> 00:56:24,560
Speaker 6: and then you know, just focusing on the performance and

1154
00:56:24,600 --> 00:56:28,080
Speaker 6: then imagining everything else. And then you're of course pacing

1155
00:56:28,120 --> 00:56:30,960
Speaker 6: that stuff out, and then you know, you start to

1156
00:56:31,000 --> 00:56:33,239
Speaker 6: get things like post viz in there, and you get like,

1157
00:56:33,600 --> 00:56:36,520
Speaker 6: you know, really crappy versions of a building flying in

1158
00:56:36,560 --> 00:56:40,600
Speaker 6: the background, or you know, a cutout version of a

1159
00:56:40,640 --> 00:56:44,879
Speaker 6: monkey chasing her. But ultimately it's just again just really

1160
00:56:44,920 --> 00:56:47,239
Speaker 6: focusing on the performance and then just trying to use

1161
00:56:47,239 --> 00:56:50,600
Speaker 6: your imagination. I mean, you you Donald, you talk about

1162
00:56:50,640 --> 00:56:54,839
Speaker 6: all these films like Star Wars or Empire Strikes Back,

1163
00:56:54,880 --> 00:56:58,560
Speaker 6: and I was always thinking about these movies when I

1164
00:56:58,600 --> 00:57:00,680
Speaker 6: was cutting this movie, you know, just like I was

1165
00:57:00,719 --> 00:57:04,960
Speaker 6: just so happy I finally got a chance to work

1166
00:57:05,000 --> 00:57:07,240
Speaker 6: with a s geeky side in myself that I've always

1167
00:57:07,280 --> 00:57:10,440
Speaker 6: wanted to do these movies, these really big epic films,

1168
00:57:10,680 --> 00:57:13,440
Speaker 6: and now I get this chance. I was like, Okay,

1169
00:57:13,640 --> 00:57:16,480
Speaker 6: what would Spielberg do, what would Lucas do? Like what

1170
00:57:16,560 --> 00:57:18,400
Speaker 6: you know, what, you know, what kind of shot would

1171
00:57:18,400 --> 00:57:19,720
Speaker 6: he want to cut to?

1172
00:57:19,720 --> 00:57:20,120
Speaker 2: You?

1173
00:57:20,120 --> 00:57:21,840
Speaker 6: You know, when the balloon is going up in the

1174
00:57:21,880 --> 00:57:25,440
Speaker 6: air and then the you know cascades, you know, uh,

1175
00:57:25,520 --> 00:57:27,600
Speaker 6: you know, fiery down to the ground, and.

1176
00:57:27,640 --> 00:57:32,360
Speaker 5: I just I would be like, what would you do Myron?

1177
00:57:36,200 --> 00:57:39,520
Speaker 2: Do you ever do you ever call maron you were cutting?

1178
00:57:39,560 --> 00:57:41,760
Speaker 2: I'm assuming while they were shooting, do you ever call

1179
00:57:41,960 --> 00:57:44,760
Speaker 2: John and be like, hey, you know'd be great. You

1180
00:57:44,760 --> 00:57:46,400
Speaker 2: don't have this, it'd be great if you got this.

1181
00:57:47,360 --> 00:57:50,680
Speaker 5: I mean, it's usually a series of texts that I ignore.

1182
00:57:52,480 --> 00:57:54,200
Speaker 2: I mean, what's what is nice?

1183
00:57:54,240 --> 00:57:54,400
Speaker 1: You know?

1184
00:57:54,440 --> 00:57:56,640
Speaker 6: I was in London for eight months during the shoot,

1185
00:57:56,840 --> 00:57:59,680
Speaker 6: and it was over one hundred and fifty five days,

1186
00:58:00,160 --> 00:58:03,240
Speaker 6: and you know, to be there and then I can

1187
00:58:03,480 --> 00:58:07,720
Speaker 6: actually walk downstairs to the set and say, hey, can

1188
00:58:07,760 --> 00:58:10,560
Speaker 6: I show you this piece? And you know, I think

1189
00:58:10,560 --> 00:58:13,080
Speaker 6: we might be missing here or are you okay if

1190
00:58:13,120 --> 00:58:15,800
Speaker 6: I ask second unit to pick up something, you know,

1191
00:58:17,000 --> 00:58:20,080
Speaker 6: And sometimes like on the balloon chase scene, we're kind

1192
00:58:20,080 --> 00:58:23,640
Speaker 6: of like figuring that scene as John was still shooting,

1193
00:58:23,720 --> 00:58:26,360
Speaker 6: Like he shot one version of this of the scene,

1194
00:58:27,680 --> 00:58:29,280
Speaker 6: and then we were like, maybe there should be a

1195
00:58:29,320 --> 00:58:32,720
Speaker 6: ticking clock with the with the roof closing, So then

1196
00:58:32,760 --> 00:58:35,600
Speaker 6: we we, uh we kind of I developed it with

1197
00:58:35,720 --> 00:58:39,040
Speaker 6: the effects and then I presented to John and John's like, okay,

1198
00:58:39,080 --> 00:58:41,200
Speaker 6: this kind of works, this we could change and then

1199
00:58:41,320 --> 00:58:44,800
Speaker 6: we then he shot principal and second unit again, and

1200
00:58:44,880 --> 00:58:47,200
Speaker 6: so it's nice to be there, to be able to

1201
00:58:47,520 --> 00:58:50,160
Speaker 6: not affect production but just be involved.

1202
00:58:49,800 --> 00:58:53,320
Speaker 1: In it, you know, to have money. That's all that

1203
00:58:53,440 --> 00:58:57,160
Speaker 1: is rich people, I know.

1204
00:58:57,920 --> 00:59:01,640
Speaker 2: I mean just for those of for our listeners who

1205
00:59:01,880 --> 00:59:04,000
Speaker 2: don't know film production, I mean, this is just filmmaking

1206
00:59:04,080 --> 00:59:06,800
Speaker 2: on the largest scale. Second unit is a whole other

1207
00:59:06,960 --> 00:59:10,600
Speaker 2: unit that's shooting stuff that doesn't involve the stars. So

1208
00:59:10,760 --> 00:59:12,480
Speaker 2: forming to be able to like, hey, do you mind

1209
00:59:12,520 --> 00:59:14,360
Speaker 2: if I have second unit go off and shoot this?

1210
00:59:14,520 --> 00:59:17,080
Speaker 2: That's pretty bougie.

1211
00:59:16,360 --> 00:59:19,720
Speaker 5: But I'll tell you what the best part about working

1212
00:59:19,920 --> 00:59:21,880
Speaker 5: with someone like Mayra and you really did, Zach. I

1213
00:59:21,880 --> 00:59:25,680
Speaker 5: don't know how you guys got to this, but finding

1214
00:59:25,720 --> 00:59:29,320
Speaker 5: those little in between moments intakes like that's to me

1215
00:59:29,880 --> 00:59:32,880
Speaker 5: was what I've been always looking for because I love

1216
00:59:33,120 --> 00:59:35,400
Speaker 5: finding things with our actors.

1217
00:59:35,680 --> 00:59:35,840
Speaker 1: You know.

1218
00:59:35,880 --> 00:59:39,440
Speaker 5: The hardest part I think about directing is getting used

1219
00:59:39,480 --> 00:59:42,600
Speaker 5: to not being in control all the time. When you're

1220
00:59:42,640 --> 00:59:45,040
Speaker 5: making your little things, you are literally in control all

1221
00:59:45,040 --> 00:59:47,160
Speaker 5: your time. I'm telling my friends to grab the thing

1222
00:59:47,200 --> 00:59:49,240
Speaker 5: at this time and whatever itever. But when you start

1223
00:59:49,240 --> 00:59:52,280
Speaker 5: to get into the bigger movies, you need you need people,

1224
00:59:52,360 --> 00:59:54,080
Speaker 5: and you need them to make it better than you

1225
00:59:54,160 --> 00:59:57,000
Speaker 5: ever could. If it's what you could imagine in your bedroom,

1226
00:59:57,200 --> 01:00:00,520
Speaker 5: then it's not good enough, and so you're con instantly.

1227
01:00:00,960 --> 01:00:02,760
Speaker 5: I think you have to have the fundamentals right, your

1228
01:00:02,760 --> 01:00:06,000
Speaker 5: intention of the story, where what the architecture is.

1229
01:00:06,240 --> 01:00:07,680
Speaker 8: How you want these characters unfold.

1230
01:00:07,880 --> 01:00:10,560
Speaker 5: Then if you're going to be truly collaborative, the actors

1231
01:00:10,760 --> 01:00:12,240
Speaker 5: bring a whole new perspective to that.

1232
01:00:12,440 --> 01:00:13,080
Speaker 8: At a certain point.

1233
01:00:13,120 --> 01:00:15,280
Speaker 5: I always say, like, we can plan, plan, plan, but

1234
01:00:15,440 --> 01:00:17,920
Speaker 5: when you start making the movie, the movie starts speaking

1235
01:00:17,960 --> 01:00:20,640
Speaker 5: back to you, and you better be listening. And that's

1236
01:00:20,680 --> 01:00:23,600
Speaker 5: where Myron comes in, because he's the ultimate listener. He's

1237
01:00:23,640 --> 01:00:26,360
Speaker 5: getting footage that I haven't even shared how I think

1238
01:00:26,360 --> 01:00:28,520
Speaker 5: it's being cut. He hasn't even seen boards of some

1239
01:00:28,600 --> 01:00:30,880
Speaker 5: of these things that's in my head. I don't even

1240
01:00:30,880 --> 01:00:33,680
Speaker 5: share boards with people on set, really because I just

1241
01:00:33,720 --> 01:00:36,600
Speaker 5: want to feel like we're just playing in most instances,

1242
01:00:36,600 --> 01:00:38,200
Speaker 5: and I want the freedom to be able to do

1243
01:00:38,240 --> 01:00:40,520
Speaker 5: that and not have checkboxes. But then I dump it

1244
01:00:40,520 --> 01:00:43,040
Speaker 5: to Myron and he has to actually figure it out

1245
01:00:43,280 --> 01:00:46,560
Speaker 5: himself and go where instinctually it feels right in the

1246
01:00:46,600 --> 01:00:49,840
Speaker 5: performances themselves, or with the camera work or whatever it is,

1247
01:00:49,920 --> 01:00:51,840
Speaker 5: and so for me that reset and you have to

1248
01:00:51,840 --> 01:00:55,040
Speaker 5: do that reset several times in this movie to find

1249
01:00:55,080 --> 01:00:59,120
Speaker 5: the best version. Is takes experience, It takes trust with

1250
01:00:59,200 --> 01:01:00,480
Speaker 5: each other, within you yourself.

1251
01:01:00,800 --> 01:01:03,280
Speaker 8: But that's my favorite part is that you just don't know.

1252
01:01:03,880 --> 01:01:06,360
Speaker 2: Yeah, And one thing you're saying that it applies to

1253
01:01:06,400 --> 01:01:09,640
Speaker 2: all filmmakers who are listening, whether you're about to direct

1254
01:01:09,640 --> 01:01:12,480
Speaker 2: a several hundred million dollar movie or you're going to

1255
01:01:12,520 --> 01:01:16,040
Speaker 2: direct your first short film. And you've spoken a lot

1256
01:01:16,080 --> 01:01:19,080
Speaker 2: about this, John, is reliance on your collaborators and trust

1257
01:01:19,160 --> 01:01:21,320
Speaker 2: in your collaborators and not needing to be the one

1258
01:01:21,360 --> 01:01:24,400
Speaker 2: who has the best idea. That's something I really had

1259
01:01:24,400 --> 01:01:26,200
Speaker 2: to grow into when I made Garden State. I was like,

1260
01:01:26,200 --> 01:01:27,680
Speaker 2: I have to be the one. This is my movie,

1261
01:01:27,720 --> 01:01:29,000
Speaker 2: I wrote it. I have to be the one who

1262
01:01:29,000 --> 01:01:32,240
Speaker 2: has the best idea. And little by little, you know,

1263
01:01:32,360 --> 01:01:35,520
Speaker 2: Larry Sure, the legendary DP would be like, you know,

1264
01:01:35,600 --> 01:01:37,080
Speaker 2: I know you want to put the camera here, but

1265
01:01:37,440 --> 01:01:39,320
Speaker 2: look at it over here, and I'd be like, wow,

1266
01:01:39,400 --> 01:01:42,240
Speaker 2: that is cool. Or Myron would cut some sequence and

1267
01:01:42,240 --> 01:01:44,400
Speaker 2: I'd be like, holy shit, that's not how I didn't

1268
01:01:44,400 --> 01:01:46,080
Speaker 2: think you were going to put I didn't I wanted

1269
01:01:46,120 --> 01:01:47,640
Speaker 2: to put the Simon and Garf Fogus song on the movie.

1270
01:01:47,640 --> 01:01:49,120
Speaker 2: I didn't think it was going to go here. That's

1271
01:01:49,160 --> 01:01:52,000
Speaker 2: I've got goosebumps all over my whole body. And what

1272
01:01:52,040 --> 01:01:54,439
Speaker 2: you're saying with all your collaborators on set, that's that's

1273
01:01:54,440 --> 01:01:57,560
Speaker 2: something I'm still I'm still doing. We were improving a

1274
01:01:57,600 --> 01:01:59,959
Speaker 2: scene and shrinking the other day and we had cut

1275
01:02:00,200 --> 01:02:02,640
Speaker 2: and as we were moving on to change the setup,

1276
01:02:02,720 --> 01:02:07,840
Speaker 2: the DP riffed a punchline to a joke and I went,

1277
01:02:08,120 --> 01:02:10,160
Speaker 2: that's the why didn't you fucking see that earlier? That's

1278
01:02:10,160 --> 01:02:12,720
Speaker 2: the funniest joke we've come up with. And and he

1279
01:02:12,760 --> 01:02:14,160
Speaker 2: was like, ah, it's too late. I go, no, no, no,

1280
01:02:14,280 --> 01:02:15,680
Speaker 2: roll it again. We're gonna go again and do the

1281
01:02:15,720 --> 01:02:19,360
Speaker 2: dp's joke. And that does take a lot of time

1282
01:02:19,400 --> 01:02:21,280
Speaker 2: for you to get to a place where I can

1283
01:02:21,720 --> 01:02:25,840
Speaker 2: where I can have my ego be relaxed and be

1284
01:02:25,920 --> 01:02:28,680
Speaker 2: open to like whoever has the best idea wins, you know.

1285
01:02:28,800 --> 01:02:30,960
Speaker 5: And it's a balance too, because you know, you do

1286
01:02:31,080 --> 01:02:34,160
Speaker 5: have to lead the group of course a horizon, and

1287
01:02:34,240 --> 01:02:37,800
Speaker 5: yet you have to be open enough to discover the

1288
01:02:37,840 --> 01:02:39,880
Speaker 5: better things that come about and that's that is a

1289
01:02:39,920 --> 01:02:43,440
Speaker 5: difficult thing, and I you know, you struggle with it

1290
01:02:43,440 --> 01:02:45,640
Speaker 5: the whole time, no matter what, like even when score

1291
01:02:45,720 --> 01:02:48,520
Speaker 5: comes in and the score isn't exactly what you've lived

1292
01:02:48,520 --> 01:02:50,800
Speaker 5: with in the temp and then you start to feel like,

1293
01:02:50,840 --> 01:02:53,640
Speaker 5: well I really wanted that be. But then they're offering

1294
01:02:53,680 --> 01:02:55,640
Speaker 5: you something and if you're not listening to it, and

1295
01:02:55,680 --> 01:02:57,480
Speaker 5: maybe they're wrong, and you have to be aware when

1296
01:02:57,520 --> 01:02:59,960
Speaker 5: they're wrong and get you back on course.

1297
01:03:00,360 --> 01:03:02,280
Speaker 8: But there are but there are plenty of moments.

1298
01:03:02,040 --> 01:03:05,480
Speaker 5: Where where they're actually itching at something that or a

1299
01:03:05,520 --> 01:03:07,200
Speaker 5: symptom of something that you need to address.

1300
01:03:08,240 --> 01:03:10,200
Speaker 1: I'm gonna say too that are probably going to get

1301
01:03:10,200 --> 01:03:11,200
Speaker 1: me in a lot of trouble too.

1302
01:03:11,280 --> 01:03:14,600
Speaker 2: Oh god, see he's gotten comfortable. Wait you need Daniel. Wait, Daniel,

1303
01:03:14,640 --> 01:03:18,400
Speaker 2: come back on when when Donald, when Donald says something inappropriate,

1304
01:03:18,480 --> 01:03:21,320
Speaker 2: U Daniel shakes his head and he knows the stop

1305
01:03:21,360 --> 01:03:22,040
Speaker 2: with one.

1306
01:03:22,680 --> 01:03:28,360
Speaker 3: Thank goodness for digital chip in the camera now instead

1307
01:03:28,360 --> 01:03:30,760
Speaker 3: of film because all of these things that you guys,

1308
01:03:31,080 --> 01:03:31,800
Speaker 3: Daniel don't do.

1309
01:03:31,800 --> 01:03:33,960
Speaker 2: That that's not controversial.

1310
01:03:33,480 --> 01:03:35,520
Speaker 1: Because all of these things that you guys are I thought.

1311
01:03:35,320 --> 01:03:37,439
Speaker 2: You're going to be like, can I get Cynthia's number?

1312
01:03:42,920 --> 01:03:45,040
Speaker 3: No, but thank goodness for that because now you can

1313
01:03:45,160 --> 01:03:47,680
Speaker 3: afford to go back and do things that you couldn't

1314
01:03:47,680 --> 01:03:50,080
Speaker 3: do before, back in the day when it was film

1315
01:03:50,440 --> 01:03:52,280
Speaker 3: and you had this is the amount of film we

1316
01:03:52,320 --> 01:03:54,400
Speaker 3: have for the for the for the movie, yo, So

1317
01:03:55,360 --> 01:03:58,160
Speaker 3: we can't just go back to the other setup and shoot.

1318
01:03:58,440 --> 01:04:01,080
Speaker 1: That's one, Zach, you told me a story once.

1319
01:04:01,160 --> 01:04:03,560
Speaker 3: This is the other thing that I thought was amazing

1320
01:04:03,800 --> 01:04:06,120
Speaker 3: and is when you were filming Going in Style and

1321
01:04:06,320 --> 01:04:10,640
Speaker 3: Alan Arkin Arkin was called Alan Aldo, that's the dude

1322
01:04:10,640 --> 01:04:15,360
Speaker 3: from ash Alan Arkin. He was on the bench and

1323
01:04:15,400 --> 01:04:18,760
Speaker 3: they with the love interest in the show, and they were, uh,

1324
01:04:19,280 --> 01:04:21,840
Speaker 3: you know, going back and forth. They had a line

1325
01:04:22,360 --> 01:04:25,000
Speaker 3: and you didn't know if you got it or anything

1326
01:04:25,080 --> 01:04:25,400
Speaker 3: like that.

1327
01:04:25,480 --> 01:04:27,480
Speaker 1: And some of the.

1328
01:04:26,880 --> 01:04:31,280
Speaker 3: Magic was actually in the in between takes where they're

1329
01:04:31,320 --> 01:04:35,040
Speaker 3: just talking as the camera is you know, settling and

1330
01:04:35,040 --> 01:04:37,720
Speaker 3: they're getting shots and everything like that, and he's looking

1331
01:04:37,760 --> 01:04:40,080
Speaker 3: at her and he's giving her looks and she's giving

1332
01:04:40,160 --> 01:04:43,480
Speaker 3: him looks. And a lot of that information wasn't present

1333
01:04:43,960 --> 01:04:47,600
Speaker 3: while you were shooting the thing, but actually came after

1334
01:04:47,800 --> 01:04:50,400
Speaker 3: it was shot, and those things wound up in the movie.

1335
01:04:50,680 --> 01:04:53,320
Speaker 2: Well, that was that was that scene you're talking about

1336
01:04:53,320 --> 01:04:55,640
Speaker 2: it was an example where I when it was over,

1337
01:04:55,720 --> 01:04:58,720
Speaker 2: I was like, oh Jesus, I didn't I didn't crack

1338
01:04:58,800 --> 01:05:00,600
Speaker 2: the scene and were out of time, and I was

1339
01:05:00,640 --> 01:05:03,400
Speaker 2: not operating on a Wicked like budget where it was like, well,

1340
01:05:03,400 --> 01:05:05,560
Speaker 2: we're going to reshoot that next week and figure it out.

1341
01:05:06,720 --> 01:05:08,560
Speaker 2: So I handed it off to Myron and was like,

1342
01:05:09,000 --> 01:05:11,000
Speaker 2: I don't know, can you make something out of this?

1343
01:05:13,000 --> 01:05:16,520
Speaker 2: And Myron did. Myron found those moments, And I think

1344
01:05:16,520 --> 01:05:19,400
Speaker 2: that there's so much there's so much to be found

1345
01:05:19,600 --> 01:05:23,600
Speaker 2: in the unexpected and just letting the camera roll and

1346
01:05:23,960 --> 01:05:28,480
Speaker 2: letting people continue to talk and riff. And that example

1347
01:05:28,520 --> 01:05:31,000
Speaker 2: you're giving is is that they had such a nice

1348
01:05:31,040 --> 01:05:33,440
Speaker 2: banter and friendship those two actors on set that there

1349
01:05:33,480 --> 01:05:37,960
Speaker 2: were little magical moments in just watching them interact that

1350
01:05:38,000 --> 01:05:40,360
Speaker 2: we actually ended up using in a cut of that scene.

1351
01:05:41,400 --> 01:05:43,480
Speaker 5: I'm interested to know, Like for you, Zach too, is

1352
01:05:44,120 --> 01:05:46,800
Speaker 5: because you're you've been on both sides, Like when you

1353
01:05:46,800 --> 01:05:51,120
Speaker 5: started directing, did that change the way you saw acting,

1354
01:05:52,040 --> 01:05:54,520
Speaker 5: what your role was as an actor on set of

1355
01:05:54,600 --> 01:05:57,480
Speaker 5: being present and what you are trying to control, or

1356
01:05:57,920 --> 01:05:59,600
Speaker 5: did that make you more aware of like, oh shit,

1357
01:06:00,120 --> 01:06:02,440
Speaker 5: my performance could be changed very dramatically.

1358
01:06:03,240 --> 01:06:07,000
Speaker 2: That's a great question. Uh. What I felt was, you know,

1359
01:06:07,680 --> 01:06:09,800
Speaker 2: sometimes I just need a shot of you looking out

1360
01:06:09,800 --> 01:06:14,240
Speaker 2: the window, like like, you don't need to do all

1361
01:06:14,320 --> 01:06:17,400
Speaker 2: this thinking you're doing and overthinking and get tears in

1362
01:06:17,400 --> 01:06:19,720
Speaker 2: your eyes because your dad screamed at you, just like

1363
01:06:19,760 --> 01:06:21,200
Speaker 2: I just need a shot of you looking out the

1364
01:06:21,200 --> 01:06:25,280
Speaker 2: window and I and that really helped me as an

1365
01:06:25,320 --> 01:06:33,120
Speaker 2: actor because it is such a collaborative collage on the on.

1366
01:06:33,120 --> 01:06:35,360
Speaker 2: On the other side of things, there's times where I

1367
01:06:35,520 --> 01:06:37,560
Speaker 2: thought I really brought it, and I see a cut

1368
01:06:37,600 --> 01:06:41,640
Speaker 2: of my performance and I think, oh, you you you

1369
01:06:41,680 --> 01:06:44,200
Speaker 2: didn't make me. I remember the pilot of Scrubs, Bill

1370
01:06:44,320 --> 01:06:46,520
Speaker 2: was cutting the Lawrence was cutting out air from a

1371
01:06:46,600 --> 01:06:48,480
Speaker 2: dramatic moment to make the show so tight, And I

1372
01:06:48,520 --> 01:06:51,240
Speaker 2: was like I even had the audacity at that, at

1373
01:06:51,240 --> 01:06:53,600
Speaker 2: that young of an age to be like you, you

1374
01:06:53,680 --> 01:06:55,720
Speaker 2: made me look like not as good of an actor,

1375
01:06:55,880 --> 01:06:58,600
Speaker 2: because the right thing to do there is to take

1376
01:06:58,600 --> 01:07:01,440
Speaker 2: a pause and digest that information and not just speak

1377
01:07:01,520 --> 01:07:06,720
Speaker 2: right away. So there are moments where where you're like,

1378
01:07:06,760 --> 01:07:09,440
Speaker 2: why did you You know? It does make me as

1379
01:07:09,440 --> 01:07:12,600
Speaker 2: an actor when I'm sometimes feel like there's a better

1380
01:07:12,600 --> 01:07:14,480
Speaker 2: performance than the one you cut of me, and I

1381
01:07:14,800 --> 01:07:16,840
Speaker 2: can sometimes I'm in a position where I can say, hey,

1382
01:07:16,880 --> 01:07:19,400
Speaker 2: why didn't you use that take? Or hey, when you

1383
01:07:19,440 --> 01:07:21,280
Speaker 2: play that on my back, I think it's weird or

1384
01:07:21,480 --> 01:07:23,320
Speaker 2: a lot of times with comedy, because I do think

1385
01:07:23,320 --> 01:07:25,720
Speaker 2: that's the thing I have the most experience on. I

1386
01:07:25,760 --> 01:07:28,480
Speaker 2: promise you that joke will play better better if you

1387
01:07:28,560 --> 01:07:31,320
Speaker 2: cut to me for the reaction or cut to the

1388
01:07:31,360 --> 01:07:33,920
Speaker 2: other person. The joke doesn't land on the person saying,

1389
01:07:34,000 --> 01:07:36,320
Speaker 2: it's going to land on the reaction for the other person.

1390
01:07:36,680 --> 01:07:39,360
Speaker 2: That kind of thing just has become natural in my body.

1391
01:07:39,760 --> 01:07:41,840
Speaker 5: Yeah, I mean that also has so much of like

1392
01:07:41,960 --> 01:07:44,240
Speaker 5: what if myron doesn't know how to cut a joke,

1393
01:07:44,320 --> 01:07:46,280
Speaker 5: then the joke will not work. It doesn't matter how

1394
01:07:46,320 --> 01:07:49,440
Speaker 5: good the performance is. Or you set back and you

1395
01:07:49,560 --> 01:07:52,560
Speaker 5: let the actor play the joke out and then you know.

1396
01:07:52,760 --> 01:07:53,840
Speaker 8: So it's always like.

1397
01:07:54,320 --> 01:07:56,000
Speaker 2: It's funny when you go down and you test somebody

1398
01:07:56,080 --> 01:07:58,320
Speaker 2: test a comedy and you go, why isn't that joke working?

1399
01:07:58,320 --> 01:08:00,440
Speaker 2: It was so funny on set. And then it can

1400
01:08:00,520 --> 01:08:05,240
Speaker 2: literally be removing some frames or it can be literally

1401
01:08:05,720 --> 01:08:07,840
Speaker 2: what I'm saying, where you're trying to play the joke

1402
01:08:07,880 --> 01:08:09,880
Speaker 2: on the person who said the funny thing, whereas then

1403
01:08:09,920 --> 01:08:12,320
Speaker 2: you discover the audience laps way harder when you cut

1404
01:08:12,320 --> 01:08:15,040
Speaker 2: to the dead pan reaction of the person listening and

1405
01:08:15,080 --> 01:08:18,080
Speaker 2: you just didn't see it that way. By the way,

1406
01:08:18,080 --> 01:08:19,840
Speaker 2: were you able to test this movie or because it

1407
01:08:19,880 --> 01:08:22,160
Speaker 2: was so high profile? Was that helpful to you? The

1408
01:08:22,200 --> 01:08:23,000
Speaker 2: testing process?

1409
01:08:23,280 --> 01:08:28,800
Speaker 6: It was? It was, It was really helpful because you know, well,

1410
01:08:28,800 --> 01:08:31,520
Speaker 6: first of all, we do a series of smaller screenings,

1411
01:08:31,560 --> 01:08:34,240
Speaker 6: like almost like any other film, you know, where you're

1412
01:08:34,240 --> 01:08:36,559
Speaker 6: testing it on your friends and like groups of like

1413
01:08:36,640 --> 01:08:39,680
Speaker 6: five and ten and fifteen, and then you're you get

1414
01:08:39,760 --> 01:08:42,640
Speaker 6: more confident over time, and then you're testing on like

1415
01:08:43,240 --> 01:08:49,000
Speaker 6: two hundred really close friends. Yeah, close friends. But and

1416
01:08:49,040 --> 01:08:51,519
Speaker 6: then and then you go out to like we went

1417
01:08:51,520 --> 01:08:55,680
Speaker 6: out to Arizona and Vegas and San Diego and you

1418
01:08:55,680 --> 01:08:58,280
Speaker 6: know they had to you know, sign in DA's and

1419
01:08:58,320 --> 01:09:00,360
Speaker 6: all that stuff. But uh, you know, we wanted to

1420
01:09:00,360 --> 01:09:03,240
Speaker 6: make sure that the film was going to work for

1421
01:09:03,360 --> 01:09:06,200
Speaker 6: a general audience. And I think that was really brave

1422
01:09:06,320 --> 01:09:09,240
Speaker 6: of Mark Platt and Universal to allow us to do that.

1423
01:09:09,400 --> 01:09:11,880
Speaker 2: And yeah, it's so helpful, and you know, I know

1424
01:09:11,880 --> 01:09:14,479
Speaker 2: a lot of times are these huge movies, these huge ips.

1425
01:09:14,520 --> 01:09:15,920
Speaker 2: They don't want to do it just because they don't

1426
01:09:15,920 --> 01:09:19,519
Speaker 2: even want to risk anything anyone going online and saying

1427
01:09:19,520 --> 01:09:21,800
Speaker 2: I saw an early cut and all that stuff. But

1428
01:09:21,880 --> 01:09:24,400
Speaker 2: I think I think it would be so helpful for

1429
01:09:24,720 --> 01:09:27,240
Speaker 2: you guys to get the feedback, especially with a musical comedy.

1430
01:09:27,520 --> 01:09:27,720
Speaker 1: Yeah.

1431
01:09:27,800 --> 01:09:31,720
Speaker 5: I think some directors don't like to share because they

1432
01:09:31,720 --> 01:09:33,920
Speaker 5: want their work and that's what it is. And and

1433
01:09:33,960 --> 01:09:36,640
Speaker 5: I just think for us, I think it's it's not

1434
01:09:36,680 --> 01:09:40,160
Speaker 5: necessarily what the audience says back because most of their.

1435
01:09:40,080 --> 01:09:41,960
Speaker 8: Solutions are not good.

1436
01:09:42,000 --> 01:09:44,439
Speaker 5: They don't know the architectures, they don't have solutions, but

1437
01:09:44,840 --> 01:09:48,280
Speaker 5: the consistency of the symptoms of something, whether they don't,

1438
01:09:48,600 --> 01:09:50,519
Speaker 5: oh they don't, they're not rooting for this character. So

1439
01:09:50,560 --> 01:09:53,439
Speaker 5: it's not necessarily in that scene that's the problem. It's yeah,

1440
01:09:53,439 --> 01:09:56,000
Speaker 5: well we need to like empathize with that character way earlier.

1441
01:09:56,040 --> 01:09:59,200
Speaker 5: So I think we need that data in order to

1442
01:09:59,200 --> 01:09:59,960
Speaker 5: find solutions.

1443
01:10:00,160 --> 01:10:03,160
Speaker 2: I think it's the most valuable thing is just sitting

1444
01:10:03,200 --> 01:10:05,599
Speaker 2: with the audience. I mean, you can feel when they're lost,

1445
01:10:05,640 --> 01:10:07,320
Speaker 2: you can feel when they're bored, you can feel the

1446
01:10:07,360 --> 01:10:11,240
Speaker 2: jokes that aren't playing, And that's more valuable than anything

1447
01:10:11,280 --> 01:10:12,479
Speaker 2: they write on the cards.

1448
01:10:12,720 --> 01:10:16,519
Speaker 3: Yes, that's part of my question. When do you know

1449
01:10:16,600 --> 01:10:19,160
Speaker 3: you did it? You know, when do you know? So

1450
01:10:19,360 --> 01:10:20,400
Speaker 3: you completed the.

1451
01:10:20,320 --> 01:10:23,080
Speaker 2: Movie Friday night of opening weekend? Probably right?

1452
01:10:23,200 --> 01:10:26,040
Speaker 3: Really is that when it happens? Okay, So here's an example.

1453
01:10:26,080 --> 01:10:28,160
Speaker 3: I remember when I saw I Remember the Titans for

1454
01:10:28,200 --> 01:10:30,040
Speaker 3: the first time. I got to show were you in that?

1455
01:10:30,160 --> 01:10:30,519
Speaker 2: Donald?

1456
01:10:30,760 --> 01:10:32,720
Speaker 1: I was. It's a little movie by the day.

1457
01:10:32,760 --> 01:10:34,240
Speaker 2: It is Denzel Washington in that.

1458
01:10:34,400 --> 01:10:37,200
Speaker 3: Denzel Washington is the star of it. I'm in it

1459
01:10:37,280 --> 01:10:39,360
Speaker 3: also with Denzil I have quite a few scenes with them.

1460
01:10:39,360 --> 01:10:40,400
Speaker 2: By the Yeah, I've heard about that.

1461
01:10:40,640 --> 01:10:43,200
Speaker 1: I hold my own, John, I hold my own Anyway.

1462
01:10:43,320 --> 01:10:43,920
Speaker 1: The point is.

1463
01:10:45,400 --> 01:10:51,120
Speaker 3: I remember holding a small group of people in a theater.

1464
01:10:51,200 --> 01:10:53,920
Speaker 3: Jerry Bruckheimer and then were nice enough to allow me

1465
01:10:54,000 --> 01:10:56,160
Speaker 3: to have my family come and see the movie. Some

1466
01:10:56,200 --> 01:10:58,639
Speaker 3: of my cousins and my parents were in a big

1467
01:10:59,320 --> 01:11:02,280
Speaker 3: musical theater. They were in a theater growing up for

1468
01:11:02,360 --> 01:11:04,480
Speaker 3: me growing up, So I watched my parents.

1469
01:11:04,160 --> 01:11:05,920
Speaker 1: Do musical theater. That's what I should say.

1470
01:11:05,920 --> 01:11:08,120
Speaker 3: So a lot of the repertory company came, or a

1471
01:11:08,160 --> 01:11:11,960
Speaker 3: lot of the company came, and we're watching it and

1472
01:11:11,960 --> 01:11:14,320
Speaker 3: they're so into it, and there was that moment where

1473
01:11:14,320 --> 01:11:16,720
Speaker 3: it was like, holy shit, I did it. I did

1474
01:11:16,760 --> 01:11:18,519
Speaker 3: exactly what I told my mom I was gonna do.

1475
01:11:18,560 --> 01:11:21,479
Speaker 3: I left the house and I fucking became an actor,

1476
01:11:21,680 --> 01:11:24,400
Speaker 3: and I'm in a movie that everybody's gonna fucking go see.

1477
01:11:24,520 --> 01:11:25,439
Speaker 1: I know it for a fact.

1478
01:11:25,479 --> 01:11:28,280
Speaker 3: I could feel it right now as just by the

1479
01:11:28,320 --> 01:11:31,080
Speaker 3: way everyone in the room is behaving. Some people look

1480
01:11:31,120 --> 01:11:33,439
Speaker 3: at when you you know, artists, when musical artists go

1481
01:11:33,479 --> 01:11:36,960
Speaker 3: into the studio and they're making a song and there's

1482
01:11:36,960 --> 01:11:38,680
Speaker 3: that moment where it's like, oh shit, we made a

1483
01:11:38,760 --> 01:11:41,200
Speaker 3: hit before it even hits the radio. They just know

1484
01:11:41,760 --> 01:11:47,759
Speaker 3: when at I'm asking all three of you, at what point, Myron, John,

1485
01:11:48,080 --> 01:11:50,640
Speaker 3: Zach are you Myron where you're like, Okay, this is

1486
01:11:50,760 --> 01:11:52,920
Speaker 3: all I can do. I think this is it. John,

1487
01:11:52,960 --> 01:11:55,720
Speaker 3: where you're like, holy fuck, we made it. Zach, where

1488
01:11:55,760 --> 01:11:58,720
Speaker 3: you're like there was a point where you saw a

1489
01:11:58,720 --> 01:12:02,040
Speaker 3: garden state and you were like, holy shit, everybody's gonna

1490
01:12:02,040 --> 01:12:04,680
Speaker 3: love this shit. There's gotta be a moment.

1491
01:12:04,680 --> 01:12:06,760
Speaker 2: Well, there's started. That's a great question, and I want

1492
01:12:06,840 --> 01:12:08,960
Speaker 2: John to go first, but I'll just say that there's

1493
01:12:09,000 --> 01:12:12,679
Speaker 2: two different moments. Really, there's holy shit I made something

1494
01:12:12,720 --> 01:12:18,519
Speaker 2: I'm proud of and be holy shit, the audience likes this.

1495
01:12:20,280 --> 01:12:21,599
Speaker 2: So John, what was that for you?

1496
01:12:23,080 --> 01:12:23,360
Speaker 8: Well?

1497
01:12:24,240 --> 01:12:27,840
Speaker 5: I remember it more clearly for crazy rich Asians because

1498
01:12:27,840 --> 01:12:30,120
Speaker 5: I did not have any big expectations for that.

1499
01:12:30,200 --> 01:12:31,160
Speaker 8: And I love that movie.

1500
01:12:31,160 --> 01:12:33,000
Speaker 5: I loved making that movie. When we were there, it

1501
01:12:33,040 --> 01:12:35,360
Speaker 5: felt like something special was happening. But I still held

1502
01:12:35,400 --> 01:12:37,439
Speaker 5: onto the idea that no one's ever seen this movie,

1503
01:12:38,040 --> 01:12:40,240
Speaker 5: but what we were doing was the right thing to do.

1504
01:12:40,760 --> 01:12:41,439
Speaker 8: I when we.

1505
01:12:41,439 --> 01:12:45,439
Speaker 5: Showed it to our first when we showed that movie

1506
01:12:46,080 --> 01:12:50,280
Speaker 5: to our first audience, and watching them fall in love

1507
01:12:50,360 --> 01:12:53,679
Speaker 5: with those characters who did not look traditionally like their

1508
01:12:53,880 --> 01:12:57,719
Speaker 5: romantic leads, and they were crying and doing and and

1509
01:12:57,920 --> 01:12:59,120
Speaker 5: following along.

1510
01:12:58,920 --> 01:13:01,479
Speaker 8: These things that felt so specifically to me and my family.

1511
01:13:01,960 --> 01:13:04,639
Speaker 5: And then they stayed in the lobby for like an

1512
01:13:04,680 --> 01:13:09,439
Speaker 5: hour afterwards just talking about it. To me, that meant

1513
01:13:09,520 --> 01:13:12,760
Speaker 5: everything we hadn't you know, we hadn't opened yet, but

1514
01:13:12,840 --> 01:13:16,080
Speaker 5: it felt like, Okay, we did our thing I think

1515
01:13:16,120 --> 01:13:18,680
Speaker 5: for and then in the Heights when we did in

1516
01:13:18,720 --> 01:13:20,400
Speaker 5: the Heights, I felt when we were making it, I

1517
01:13:20,439 --> 01:13:22,880
Speaker 5: literally said like this is the best I can do,

1518
01:13:22,960 --> 01:13:26,800
Speaker 5: Like I don't something is really working in this and

1519
01:13:26,840 --> 01:13:28,960
Speaker 5: I don't know what it is. And then movie came

1520
01:13:28,960 --> 01:13:31,200
Speaker 5: out and nobody went to see it, and so I

1521
01:13:31,320 --> 01:13:33,920
Speaker 5: have had and then the critics loved it, and then

1522
01:13:33,960 --> 01:13:34,800
Speaker 5: nobody went to go see it.

1523
01:13:34,840 --> 01:13:36,960
Speaker 8: So I had this like mental whiplash.

1524
01:13:37,000 --> 01:13:40,479
Speaker 5: And so for Wicked, I made myself very prepared that

1525
01:13:40,560 --> 01:13:43,760
Speaker 5: it didn't matter how I felt about after it, that

1526
01:13:43,800 --> 01:13:46,759
Speaker 5: I was only focusing on process. I was only focusing

1527
01:13:46,840 --> 01:13:49,600
Speaker 5: on getting it to as best as we could. And

1528
01:13:49,640 --> 01:13:51,680
Speaker 5: then I had to like shield everything out. It was

1529
01:13:51,720 --> 01:13:54,840
Speaker 5: too painful in the heights, to be honest, and so

1530
01:13:55,640 --> 01:14:00,120
Speaker 5: I've kept it actually pretty far from me and have

1531
01:14:00,160 --> 01:14:00,679
Speaker 5: a second half.

1532
01:14:00,720 --> 01:14:02,880
Speaker 8: So it's also like it's not done yet. So I'm

1533
01:14:03,360 --> 01:14:04,200
Speaker 8: thinking a little bit ahead.

1534
01:14:04,240 --> 01:14:07,400
Speaker 5: I think at the AFI luncheon, when they showed the

1535
01:14:07,400 --> 01:14:09,479
Speaker 5: clip from they showed the clips from all the Oscar

1536
01:14:09,520 --> 01:14:13,519
Speaker 5: nominated movies or whatever, and they showed the end of Wicked,

1537
01:14:14,080 --> 01:14:16,720
Speaker 5: and all those scenes were amazing that from all the

1538
01:14:16,760 --> 01:14:18,240
Speaker 5: other movies. I was like, Oh, no, they're going to

1539
01:14:18,280 --> 01:14:20,240
Speaker 5: show a musical scene from our movie and it's going

1540
01:14:20,320 --> 01:14:22,840
Speaker 5: to be like, oh, just a musical number whatever. But

1541
01:14:22,920 --> 01:14:25,839
Speaker 5: when they showed the end of Defying Gravity, that audience

1542
01:14:25,880 --> 01:14:28,160
Speaker 5: in that room connected so hard, and these are people

1543
01:14:28,160 --> 01:14:31,120
Speaker 5: who are jaded, and they clapped so loud and stood

1544
01:14:31,200 --> 01:14:33,760
Speaker 5: up what they hadn't done for anyone. And it just

1545
01:14:33,920 --> 01:14:37,519
Speaker 5: felt like, no matter what you give us or not

1546
01:14:37,600 --> 01:14:41,200
Speaker 5: give us or acknowledge, it makes you feel this. It

1547
01:14:41,240 --> 01:14:43,479
Speaker 5: makes you feel And remember the Titans. I remember being

1548
01:14:43,520 --> 01:14:45,920
Speaker 5: in that audience, with that audience when they scored a touchdown,

1549
01:14:45,960 --> 01:14:47,679
Speaker 5: everybody was standing in the theater.

1550
01:14:47,760 --> 01:14:48,439
Speaker 8: I'd never felt that.

1551
01:14:48,479 --> 01:14:50,120
Speaker 5: I was like, we have that with defin if we

1552
01:14:50,160 --> 01:14:51,719
Speaker 5: can do that, and I think I said that to you, Myron,

1553
01:14:51,960 --> 01:14:54,160
Speaker 5: remember the Titans. There's a moment. If we can get

1554
01:14:54,200 --> 01:14:56,200
Speaker 5: people to stand up in that theater, that's like our goal.

1555
01:14:56,240 --> 01:14:58,439
Speaker 5: We get this beautiful gift to define Gravis. So I

1556
01:14:58,479 --> 01:15:00,920
Speaker 5: haven't fully let it in, but I've I left pieces,

1557
01:15:01,120 --> 01:15:02,639
Speaker 5: left pieces in yet so far.

1558
01:15:02,560 --> 01:15:04,240
Speaker 1: I love it. I love it. Thank you.

1559
01:15:04,560 --> 01:15:08,519
Speaker 6: I mean, it's well, certainly you know this is gonna

1560
01:15:08,560 --> 01:15:14,120
Speaker 6: sound silly, but in both Garden State, crazy Rich Asians

1561
01:15:14,160 --> 01:15:17,040
Speaker 6: in the Heights and Wicked, it's the same feeling I

1562
01:15:17,080 --> 01:15:20,160
Speaker 6: have when I finished the assembly. If I'm crying and

1563
01:15:20,200 --> 01:15:23,880
Speaker 6: feeling emotional and I'm feeling the same way on the

1564
01:15:23,880 --> 01:15:27,679
Speaker 6: mixing stage and in the theater, like I know, it's

1565
01:15:27,720 --> 01:15:31,800
Speaker 6: working and consistently with all those movies. I felt that

1566
01:15:32,000 --> 01:15:35,280
Speaker 6: over and over again. You know, of course it's nice

1567
01:15:35,360 --> 01:15:37,479
Speaker 6: when they're applauding at AFI, I mean that was an

1568
01:15:37,520 --> 01:15:40,400
Speaker 6: incredible experience. Or even at the Oscars, you're.

1569
01:15:40,240 --> 01:15:42,600
Speaker 2: Like sitularly like, oh my god, they playing a clip.

1570
01:15:42,400 --> 01:15:45,240
Speaker 6: At the Oscars, you know, but it really is that

1571
01:15:45,479 --> 01:15:48,240
Speaker 6: very pure moment of like what it feels like when

1572
01:15:48,280 --> 01:15:51,200
Speaker 6: you see the first movie for the first time and

1573
01:15:51,240 --> 01:15:54,080
Speaker 6: you're like, oh my god, I'm just feeling deeply for

1574
01:15:54,160 --> 01:15:57,320
Speaker 6: these characters. This seems so special. I remember that first

1575
01:15:57,640 --> 01:16:00,559
Speaker 6: my first cup at Guarden State, are going to Sundance

1576
01:16:00,600 --> 01:16:03,400
Speaker 6: for the first time. It all felt like the same feeling.

1577
01:16:03,520 --> 01:16:06,400
Speaker 6: It just was like it just was on repeat. And

1578
01:16:06,479 --> 01:16:09,519
Speaker 6: so when that, you know, the first kind of Wicked

1579
01:16:09,800 --> 01:16:12,640
Speaker 6: was before John saw. It was on my birthday like

1580
01:16:12,720 --> 01:16:17,040
Speaker 6: two years ago, and I just my assistants were in

1581
01:16:17,040 --> 01:16:19,599
Speaker 6: the room with me and we're just like just crying,

1582
01:16:19,640 --> 01:16:23,280
Speaker 6: and it was like just you know, card saying, you know,

1583
01:16:23,400 --> 01:16:26,519
Speaker 6: shot of monkeys missing here. But still it was just

1584
01:16:26,560 --> 01:16:30,200
Speaker 6: like this really ultimately just beautiful emotional experience.

1585
01:16:33,120 --> 01:16:37,639
Speaker 2: Zachart Well for me, it was you know in Garden State,

1586
01:16:37,680 --> 01:16:39,280
Speaker 2: it was you know, Meyern and I cut that in

1587
01:16:39,280 --> 01:16:44,040
Speaker 2: my living room and so we were sitting there thinking,

1588
01:16:44,040 --> 01:16:46,599
Speaker 2: I think we made something really good, but we had

1589
01:16:46,600 --> 01:16:48,839
Speaker 2: no idea. And then I remember it got into Sundance

1590
01:16:48,880 --> 01:16:51,040
Speaker 2: and it played at the Eccles Theater and I introduced

1591
01:16:51,080 --> 01:16:52,400
Speaker 2: it and I went to the back of the theater

1592
01:16:52,520 --> 01:16:54,680
Speaker 2: and I just started sobbing. I just felt like, I

1593
01:16:54,720 --> 01:16:58,519
Speaker 2: can't believe this happened. I can't believe we're here. I

1594
01:16:58,560 --> 01:17:02,519
Speaker 2: can't believe my first movie premiering at Sundance, and then

1595
01:17:02,520 --> 01:17:06,840
Speaker 2: it had such a reaction. It was really one of

1596
01:17:06,840 --> 01:17:09,880
Speaker 2: the greatest moments of my life. And you know, with

1597
01:17:10,200 --> 01:17:13,280
Speaker 2: my last film, A Good Person, I was so happy

1598
01:17:13,320 --> 01:17:16,320
Speaker 2: with it and so proud of it, and then you know,

1599
01:17:16,360 --> 01:17:19,640
Speaker 2: it didn't really have the theatrical reaction I wanted, and

1600
01:17:19,680 --> 01:17:22,439
Speaker 2: that was a really disappointing and similar to what John

1601
01:17:22,479 --> 01:17:26,080
Speaker 2: is saying about in the Heights, I really was felt

1602
01:17:26,120 --> 01:17:30,240
Speaker 2: really sad that it didn't have the theatrical reaction. And

1603
01:17:30,280 --> 01:17:34,320
Speaker 2: then when it finally was free on Prime at Christmas,

1604
01:17:35,640 --> 01:17:38,800
Speaker 2: it was number one on Prime, and then all of

1605
01:17:38,800 --> 01:17:41,080
Speaker 2: these Christmas movies started coming in and I was like, oh,

1606
01:17:41,120 --> 01:17:42,840
Speaker 2: this is definitely gonna get kicked out of the top

1607
01:17:42,880 --> 01:17:45,080
Speaker 2: ten on Prime because of all these Christmas And it

1608
01:17:45,240 --> 01:17:48,640
Speaker 2: stayed in the top ten on Prime with just a

1609
01:17:48,680 --> 01:17:52,559
Speaker 2: Good Person and Christmas movies for like two weeks, and

1610
01:17:52,600 --> 01:17:54,760
Speaker 2: the well, the executive at Amazon called me. She's like,

1611
01:17:54,760 --> 01:17:56,800
Speaker 2: do you know how many people are watching this movie

1612
01:17:56,840 --> 01:17:59,759
Speaker 2: when you're in the top five on Amazon Prime across

1613
01:17:59,800 --> 01:18:03,400
Speaker 2: the So then I finally felt like some vindication for

1614
01:18:03,439 --> 01:18:08,280
Speaker 2: it not performing well theatrically. But it's it's it's I

1615
01:18:08,280 --> 01:18:10,040
Speaker 2: had two more questions because I know you guys got

1616
01:18:10,160 --> 01:18:13,880
Speaker 2: to go, but I just wanted to say, Myron, I

1617
01:18:13,920 --> 01:18:16,320
Speaker 2: read that you it was your idea or John it

1618
01:18:16,360 --> 01:18:19,639
Speaker 2: was a collaboration. But what was the decision process behind

1619
01:18:20,280 --> 01:18:23,439
Speaker 2: not just going hard cut to black after the big note,

1620
01:18:23,479 --> 01:18:29,760
Speaker 2: but having that boom boom boom boom, which I loved. Yeah,

1621
01:18:29,800 --> 01:18:32,240
Speaker 2: I thought that was rad And I know there's a.

1622
01:18:32,160 --> 01:18:40,360
Speaker 3: Little story how she takes off don't don't don't don't dun.

1623
01:18:40,439 --> 01:18:43,559
Speaker 2: I thought that was brilliant. What was the process of that?

1624
01:18:45,080 --> 01:18:49,479
Speaker 6: Well? I uh so, okay, so of course you get

1625
01:18:49,600 --> 01:18:52,280
Speaker 6: ended on the war cry. I sometimes I.

1626
01:18:52,240 --> 01:18:53,960
Speaker 1: Don't know it. I love that you called it a

1627
01:18:53,960 --> 01:18:54,519
Speaker 1: war cry.

1628
01:18:54,880 --> 01:18:56,240
Speaker 2: Well that's what we got.

1629
01:18:58,000 --> 01:18:59,840
Speaker 1: I'm gonna tell you. That's what you're saying.

1630
01:19:01,920 --> 01:19:09,280
Speaker 2: Oh god, Donalds are not the note Sorry everybody not everybody? Yeah, well,

1631
01:19:09,320 --> 01:19:13,920
Speaker 2: at least listener. I think they already shot those part

1632
01:19:13,960 --> 01:19:19,639
Speaker 2: two donald.

1633
01:19:16,960 --> 01:19:20,040
Speaker 6: Yeah, so that you know that. Of course, that's where

1634
01:19:20,040 --> 01:19:23,960
Speaker 6: you're supposed to end. I think when I was sometimes

1635
01:19:24,000 --> 01:19:27,040
Speaker 6: I so John oftentimes would say, you know, do you

1636
01:19:27,080 --> 01:19:29,519
Speaker 6: want to know my plan with a film, like how

1637
01:19:29,560 --> 01:19:32,040
Speaker 6: to cut a scene together? And I say, no, I

1638
01:19:32,040 --> 01:19:35,120
Speaker 6: don't want to know your plan because I want to

1639
01:19:35,400 --> 01:19:38,240
Speaker 6: play with the footage and just see, you know what

1640
01:19:38,280 --> 01:19:40,680
Speaker 6: do I come up with just that way? If I

1641
01:19:40,720 --> 01:19:43,200
Speaker 6: make mistakes or I just discover something from the course

1642
01:19:43,240 --> 01:19:45,920
Speaker 6: of editing, then that's great. And one of those things

1643
01:19:46,120 --> 01:19:49,360
Speaker 6: was how to end the movie. And I had basically

1644
01:19:49,439 --> 01:19:52,439
Speaker 6: had a lot of you know, previews of like you know,

1645
01:19:52,600 --> 01:19:55,800
Speaker 6: Alfa but flying and and I was like, I want

1646
01:19:55,800 --> 01:20:00,160
Speaker 6: to use some of this footage. And so I during

1647
01:20:00,280 --> 01:20:02,960
Speaker 6: my first assembly, I actually went to my music editors

1648
01:20:02,960 --> 01:20:07,639
Speaker 6: and said, can we extend the music after the war Cry?

1649
01:20:07,800 --> 01:20:09,479
Speaker 6: And the music editors, of course, we are looking at

1650
01:20:09,479 --> 01:20:11,000
Speaker 6: me like I don't know if we should do that,

1651
01:20:11,080 --> 01:20:13,000
Speaker 6: and we're like no, no, no, just it's just me and you.

1652
01:20:13,080 --> 01:20:15,840
Speaker 6: We're just we're just messing around a little bit. And

1653
01:20:15,880 --> 01:20:18,840
Speaker 6: it was like, yeah, okay, well are amazing editor music

1654
01:20:18,960 --> 01:20:22,040
Speaker 6: editors Jack Dolman and Katherine Wilson, they said, okay, we'll

1655
01:20:22,040 --> 01:20:25,960
Speaker 6: try to extend that, and then, of course, you know,

1656
01:20:26,200 --> 01:20:28,559
Speaker 6: kind of worked. And then I said, I literally said

1657
01:20:28,560 --> 01:20:31,120
Speaker 6: to Jack's like, can we try the two thousand and

1658
01:20:31,120 --> 01:20:36,040
Speaker 6: one you know tippany hits to like help? And then

1659
01:20:36,080 --> 01:20:38,960
Speaker 6: I said to him, can we can we repeat the

1660
01:20:38,960 --> 01:20:41,519
Speaker 6: word down And it's just like no, no, no, we can't

1661
01:20:41,560 --> 01:20:44,400
Speaker 6: do any of this, Steven Schwartz, John, Everyone's gonna kill us.

1662
01:20:44,840 --> 01:20:47,280
Speaker 6: And I was like, just just try it, and so

1663
01:20:47,800 --> 01:20:51,400
Speaker 6: we did it. We workshopped the idea at my assembly stage,

1664
01:20:51,800 --> 01:20:54,800
Speaker 6: and then I presented it to John. Little did I know, like,

1665
01:20:55,680 --> 01:20:58,400
Speaker 6: you know, eight months later, I'm watching the end of

1666
01:21:00,080 --> 01:21:04,559
Speaker 6: Tea at like vidiots, uh, and I'm watching and literally

1667
01:21:04,640 --> 01:21:08,240
Speaker 6: John Williams is doing these same Tippany hits like and

1668
01:21:08,560 --> 01:21:11,880
Speaker 6: so I think that something just in my my d

1669
01:21:12,120 --> 01:21:16,200
Speaker 6: NNA had told me to extend this moment, make it

1670
01:21:16,360 --> 01:21:19,679
Speaker 6: feel like this back to the Future Empire strikes Back,

1671
01:21:19,760 --> 01:21:23,080
Speaker 6: Cliffhanger ending, and then I presented John and you know,

1672
01:21:23,120 --> 01:21:25,200
Speaker 6: there's a lot of debate after you do these things,

1673
01:21:25,240 --> 01:21:27,960
Speaker 6: you know whether it's the right idea, but you know,

1674
01:21:28,280 --> 01:21:29,160
Speaker 6: it ended up sticking.

1675
01:21:30,160 --> 01:21:30,760
Speaker 2: I loved it.

1676
01:21:31,000 --> 01:21:33,080
Speaker 5: He also was not in the room when I when

1677
01:21:33,200 --> 01:21:35,759
Speaker 5: I showed the movie to Steven Spielberg and I'm sitting

1678
01:21:35,760 --> 01:21:38,000
Speaker 5: there after in the dark with him and he turns

1679
01:21:38,000 --> 01:21:40,840
Speaker 5: to me and he says, I heard those e t TV.

1680
01:21:45,040 --> 01:21:47,800
Speaker 1: I'm gonna say. Steven Spielberg was like, took that from me?

1681
01:21:48,680 --> 01:21:51,240
Speaker 8: I was like, mine, where's mine?

1682
01:21:52,320 --> 01:21:54,320
Speaker 2: I've never heard you? Did he actually say that?

1683
01:21:54,439 --> 01:21:55,280
Speaker 6: Are you making that out?

1684
01:21:58,600 --> 01:21:59,360
Speaker 1: That's the first time.

1685
01:21:59,439 --> 01:22:02,639
Speaker 2: That's so wait but wait, John, did you re record

1686
01:22:02,760 --> 01:22:05,800
Speaker 2: the orchestra? Are those literally the timpany from No.

1687
01:22:05,800 --> 01:22:06,320
Speaker 8: They're not there.

1688
01:22:06,400 --> 01:22:06,640
Speaker 1: We were.

1689
01:22:06,640 --> 01:22:10,160
Speaker 7: They were our own orchestra for Suresh Bilboard watching all

1690
01:22:10,200 --> 01:22:13,040
Speaker 7: the week and goes, oh, you took that from you?

1691
01:22:13,400 --> 01:22:17,639
Speaker 2: So that ship. Oh god, But that's the highest compliment.

1692
01:22:17,720 --> 01:22:19,960
Speaker 2: That's the highest compliment when they when they actually know

1693
01:22:20,120 --> 01:22:24,400
Speaker 2: what you're doing. It's like, it's all right, last question.

1694
01:22:25,800 --> 01:22:26,760
Speaker 1: That was a great moment.

1695
01:22:26,840 --> 01:22:28,479
Speaker 3: That is one of my look there are so many

1696
01:22:28,560 --> 01:22:32,040
Speaker 3: moments in this movie that are my favorite moments. I

1697
01:22:32,240 --> 01:22:34,680
Speaker 3: was really worried about Popular. I didn't know how you

1698
01:22:34,720 --> 01:22:36,879
Speaker 3: were going to be able to do that define gravity.

1699
01:22:37,280 --> 01:22:42,160
Speaker 3: I you know, you have an imagination that succeeded that

1700
01:22:43,080 --> 01:22:45,880
Speaker 3: my imagination, but Popular. I was so worried about, how

1701
01:22:45,920 --> 01:22:47,400
Speaker 3: are they going to make this part funny?

1702
01:22:47,680 --> 01:22:48,960
Speaker 1: How are they going hard?

1703
01:22:49,040 --> 01:22:49,200
Speaker 5: Good?

1704
01:22:49,640 --> 01:22:53,320
Speaker 3: That's funny, But that's the that's the piece in the

1705
01:22:53,400 --> 01:22:55,959
Speaker 3: play where if you missed that one, guess.

1706
01:22:55,760 --> 01:23:01,439
Speaker 5: What, well, and you're in it and you're stuck in

1707
01:23:01,479 --> 01:23:04,080
Speaker 5: a dorm room and now you're really late in this movie.

1708
01:23:04,439 --> 01:23:06,400
Speaker 5: If you actually look at the architecture, do you really

1709
01:23:06,560 --> 01:23:07,400
Speaker 5: need Popular?

1710
01:23:07,560 --> 01:23:07,920
Speaker 2: The song?

1711
01:23:08,160 --> 01:23:09,920
Speaker 8: I'm not sure it moves anything for it. So we

1712
01:23:10,040 --> 01:23:11,240
Speaker 8: had to give reasons for it to be.

1713
01:23:11,720 --> 01:23:14,800
Speaker 5: She had to be fucking on it on every thing

1714
01:23:15,000 --> 01:23:20,200
Speaker 5: and not again copying anything of Kristin, and the dorm

1715
01:23:20,320 --> 01:23:22,519
Speaker 5: had to have space and room for them to do it.

1716
01:23:22,640 --> 01:23:23,000
Speaker 1: Was a lot.

1717
01:23:25,840 --> 01:23:27,920
Speaker 2: When I was watching it, I was in the theater going,

1718
01:23:28,080 --> 01:23:30,320
Speaker 2: she's fucking hilarious, She's amazing.

1719
01:23:30,640 --> 01:23:34,599
Speaker 3: I was watching this going, holy shit, Ariana Grande's doing

1720
01:23:34,720 --> 01:23:39,320
Speaker 3: exactly Look okay, so look, my kids love Victorious which

1721
01:23:39,360 --> 01:23:41,280
Speaker 3: is a television show that she was on back in

1722
01:23:41,320 --> 01:23:41,559
Speaker 3: the day.

1723
01:23:41,560 --> 01:23:43,559
Speaker 1: And if you watch that show now, it's great.

1724
01:23:43,600 --> 01:23:45,960
Speaker 3: It's a bunch of great performances from young actors and

1725
01:23:46,040 --> 01:23:48,840
Speaker 3: actresses and stuff like that. But the person that really

1726
01:23:48,920 --> 01:23:51,439
Speaker 3: stands out is Ariana, you know what I mean. She's

1727
01:23:51,479 --> 01:23:53,720
Speaker 3: the comic relief in it. She's the voice in it.

1728
01:23:53,840 --> 01:23:56,200
Speaker 3: So she's an actual person who's carrying it with her

1729
01:23:56,240 --> 01:23:59,479
Speaker 3: singing and everything. Everybody else is kind of dancing and

1730
01:23:59,520 --> 01:24:02,040
Speaker 3: singing too, but she's the star and you don't really

1731
01:24:02,200 --> 01:24:04,479
Speaker 3: notice it until you go back.

1732
01:24:04,320 --> 01:24:04,760
Speaker 1: And watch it.

1733
01:24:05,240 --> 01:24:07,080
Speaker 3: When I saw that she got this part, I was like,

1734
01:24:07,200 --> 01:24:10,200
Speaker 3: she's getting nominated for an Oscar. I was saying that before.

1735
01:24:10,560 --> 01:24:12,759
Speaker 3: I was saying that from the gate. Once the trailer

1736
01:24:12,800 --> 01:24:14,920
Speaker 3: came out, I was like, she's getting nominated. It's a rap.

1737
01:24:15,960 --> 01:24:18,639
Speaker 1: When that part came up and I was like, all right, now,

1738
01:24:19,200 --> 01:24:19,840
Speaker 1: here's the thing.

1739
01:24:20,200 --> 01:24:23,320
Speaker 3: Do you Ariana Grande's situation and you sing it with

1740
01:24:23,520 --> 01:24:25,599
Speaker 3: all of his soul and stuff, or do you stick

1741
01:24:25,640 --> 01:24:27,840
Speaker 3: to what the way it was? And the fact that

1742
01:24:27,960 --> 01:24:31,240
Speaker 3: she was able to find that middle and hit you

1743
01:24:31,360 --> 01:24:35,639
Speaker 3: still with the little riff here and there, you can't

1744
01:24:35,640 --> 01:24:37,519
Speaker 3: beat it, like I saw somebody say, I don't know

1745
01:24:37,560 --> 01:24:39,439
Speaker 3: where I'm going with this. I saw somebody on the

1746
01:24:39,520 --> 01:24:44,120
Speaker 3: internet say, look, ladies and gentlemen of the Wicked community,

1747
01:24:44,240 --> 01:24:45,600
Speaker 3: those of you who are going to go on and

1748
01:24:45,720 --> 01:24:48,880
Speaker 3: do Wicked on Broadway or off Broadway, please stick to

1749
01:24:48,960 --> 01:24:51,680
Speaker 3: the way it is originally written. You don't have what

1750
01:24:51,800 --> 01:24:54,600
Speaker 3: it takes to do what Arianna and Sydneya did, like

1751
01:24:55,200 --> 01:24:55,800
Speaker 3: sickly like.

1752
01:24:57,600 --> 01:24:59,920
Speaker 1: It's just it was so refreshing because we could have

1753
01:25:00,680 --> 01:25:02,360
Speaker 1: and I'm and I'm, and I'm and I'm and I'm

1754
01:25:02,800 --> 01:25:06,080
Speaker 1: you know, I'm. I just love the movie so much.

1755
01:25:06,160 --> 01:25:08,479
Speaker 1: But you can't.

1756
01:25:08,920 --> 01:25:11,040
Speaker 3: You can't do the same movie as the play and

1757
01:25:11,120 --> 01:25:14,040
Speaker 3: expect everybody to be like, absolutely, you know that you

1758
01:25:14,200 --> 01:25:14,439
Speaker 3: did it.

1759
01:25:15,160 --> 01:25:17,720
Speaker 1: It has to be something different. It has to be innovative.

1760
01:25:17,920 --> 01:25:18,560
Speaker 1: There has to, you know.

1761
01:25:19,040 --> 01:25:21,400
Speaker 3: George Lucas is the king of saying this. If you're

1762
01:25:21,400 --> 01:25:23,200
Speaker 3: doing the same thing over and over again, you're not

1763
01:25:23,280 --> 01:25:26,519
Speaker 3: really making good movies. You're just making a movie. You

1764
01:25:26,600 --> 01:25:29,000
Speaker 3: gotta make it different in some way, and you found ways,

1765
01:25:29,080 --> 01:25:29,360
Speaker 3: thank you.

1766
01:25:29,400 --> 01:25:31,960
Speaker 5: And and and. The theater experience is completely different than

1767
01:25:32,000 --> 01:25:34,400
Speaker 5: the cinematic experience in terms of the perspective of the

1768
01:25:34,479 --> 01:25:38,720
Speaker 5: audience like we had to uncover very early. Uh that

1769
01:25:38,960 --> 01:25:42,280
Speaker 5: when the audience sits in a theater, you're in with

1770
01:25:43,320 --> 01:25:44,280
Speaker 5: the world that's in front of you.

1771
01:25:44,360 --> 01:25:45,559
Speaker 8: You're expecting a musical.

1772
01:25:45,920 --> 01:25:48,800
Speaker 5: She comes into the bubble, she's like, Glinda is the

1773
01:25:48,880 --> 01:25:51,280
Speaker 5: host for the night, and then this and and then

1774
01:25:51,320 --> 01:25:54,320
Speaker 5: the odd girl drops in, the green girl, and then

1775
01:25:54,400 --> 01:25:56,280
Speaker 5: you laugh at the green girl, and then and then

1776
01:25:56,320 --> 01:25:58,600
Speaker 5: she has to win you over throughout through throughout, but

1777
01:25:58,640 --> 01:25:59,160
Speaker 5: you still.

1778
01:25:59,000 --> 01:26:02,920
Speaker 8: Have Glinda as the host. In the movie. The audience

1779
01:26:03,000 --> 01:26:05,320
Speaker 8: is skeptical from the beginning, like, show me why I

1780
01:26:05,400 --> 01:26:07,120
Speaker 8: need to believe in a musical world. I don't even

1781
01:26:07,200 --> 01:26:10,679
Speaker 8: like musicals. And so you have this wall already.

1782
01:26:10,960 --> 01:26:13,080
Speaker 5: And then the green girl drops in and everyone's singing

1783
01:26:13,120 --> 01:26:15,960
Speaker 5: around her, and she's looking around and she's the audience

1784
01:26:16,080 --> 01:26:18,000
Speaker 5: being like, what the fuck have I just dropped into?

1785
01:26:18,280 --> 01:26:21,400
Speaker 5: And why are all these people singing? And so her

1786
01:26:21,479 --> 01:26:24,160
Speaker 5: first words, uh in wizard and I did that really

1787
01:26:24,280 --> 01:26:26,960
Speaker 5: just happen? And she starts to sing. You're like, oh

1788
01:26:27,040 --> 01:26:30,840
Speaker 5: my gosh, she has a better singing like power than

1789
01:26:30,920 --> 01:26:32,120
Speaker 5: anybody in this movie.

1790
01:26:32,520 --> 01:26:35,880
Speaker 8: And you're like, then you root for her, And it's through.

1791
01:26:35,800 --> 01:26:38,360
Speaker 5: The medium of the actual way you're telling this story,

1792
01:26:38,439 --> 01:26:40,920
Speaker 5: and I think all those things. And then the brilliance

1793
01:26:40,960 --> 01:26:44,240
Speaker 5: of Ariana Grande is that, you know, you laugh at

1794
01:26:44,320 --> 01:26:45,839
Speaker 5: her in this movie because.

1795
01:26:45,640 --> 01:26:48,479
Speaker 8: She's silly and crazy whatever. She's fully committed.

1796
01:26:48,680 --> 01:26:50,679
Speaker 5: But by the time you get to the os Dust

1797
01:26:50,960 --> 01:26:54,960
Speaker 5: and she she sacrifices her own sort of what she

1798
01:26:55,040 --> 01:26:57,960
Speaker 5: thinks is important to be there just with her friend

1799
01:26:58,120 --> 01:26:59,920
Speaker 5: or this new friend. Then by the time you get

1800
01:26:59,920 --> 01:27:02,759
Speaker 5: to Popular, you're not laughing at her anymore. You're laughing

1801
01:27:02,880 --> 01:27:05,880
Speaker 5: with her. And that transition because right before she says,

1802
01:27:05,960 --> 01:27:08,960
Speaker 5: it's not your fault, and you can see and in

1803
01:27:09,040 --> 01:27:11,280
Speaker 5: Cynthia's and this Myron's brilliance is that you see in

1804
01:27:11,600 --> 01:27:15,360
Speaker 5: Cynthia's eyes her like falling for this girl, like wow,

1805
01:27:15,600 --> 01:27:17,960
Speaker 5: she sees the world so simply and it has value.

1806
01:27:18,280 --> 01:27:22,439
Speaker 5: And then Glinda says, oh, look, it's tomorrow, like hope

1807
01:27:22,640 --> 01:27:25,080
Speaker 5: in a bottle. And then she gets to sing popular,

1808
01:27:25,120 --> 01:27:27,240
Speaker 5: and now you're in love with them. You're in love

1809
01:27:27,280 --> 01:27:29,920
Speaker 5: with her, and now popular comes across as like just

1810
01:27:30,120 --> 01:27:34,240
Speaker 5: fun and it's driving your their relationship closer. So we

1811
01:27:34,320 --> 01:27:37,839
Speaker 5: had to recognize the different medium in order to uncover

1812
01:27:37,920 --> 01:27:39,559
Speaker 5: the things we need to do in in this media,

1813
01:27:39,640 --> 01:27:41,679
Speaker 5: in this, in this movie, to make it work.

1814
01:27:41,720 --> 01:27:44,200
Speaker 2: Actually, when you were such the perfect person for the job.

1815
01:27:44,920 --> 01:27:45,680
Speaker 8: I'm so thank you.

1816
01:27:45,840 --> 01:27:48,360
Speaker 2: I'm so glad that you I'm so glad you both

1817
01:27:48,720 --> 01:27:52,280
Speaker 2: got the assignment. I can't wait to watch the next part.

1818
01:27:52,360 --> 01:27:55,600
Speaker 2: I love for good. That song is just one of

1819
01:27:55,640 --> 01:27:57,280
Speaker 2: the most beautiful songs ever written.

1820
01:27:57,640 --> 01:28:00,479
Speaker 3: I'm excited. Essay these motherfuck is it going to be

1821
01:28:00,560 --> 01:28:01,759
Speaker 3: fighting each other and everything?

1822
01:28:03,400 --> 01:28:03,599
Speaker 1: John?

1823
01:28:03,640 --> 01:28:05,680
Speaker 2: Did you ever did you ever see the video of

1824
01:28:05,920 --> 01:28:10,160
Speaker 2: Kristin Chenowith at the Hollywood Bowl calling up a school

1825
01:28:10,240 --> 01:28:11,680
Speaker 2: teacher to sing for good with her?

1826
01:28:12,560 --> 01:28:14,240
Speaker 5: No, I've seen some of those kind of videos, but

1827
01:28:14,280 --> 01:28:15,719
Speaker 5: I haven't seen that one in particular.

1828
01:28:15,840 --> 01:28:18,280
Speaker 2: Well, I think I think it's safe to assume it

1829
01:28:18,439 --> 01:28:24,439
Speaker 2: was a plant and she knew because just go the audience,

1830
01:28:24,520 --> 01:28:27,240
Speaker 2: go watch this, and John, please admire and watch it.

1831
01:28:27,320 --> 01:28:30,320
Speaker 2: It's it's Cynthia Revea at the Hollywood Bowl and she says,

1832
01:28:30,880 --> 01:28:32,600
Speaker 2: I need someone to sing for good with me, and

1833
01:28:32,720 --> 01:28:34,880
Speaker 2: she calls up a woman from the audience, and the

1834
01:28:35,000 --> 01:28:37,840
Speaker 2: woman says, she says, what do you do? She says,

1835
01:28:37,840 --> 01:28:40,920
Speaker 2: I actually teach singing. I'm a school teacher. And everyone

1836
01:28:40,960 --> 01:28:45,000
Speaker 2: applauds and The woman proceeds to give the most breathtaking

1837
01:28:45,320 --> 01:28:52,040
Speaker 2: rendition of the song with Kristen Cynthia Rebo with Kristin Chenniwan.

1838
01:28:52,160 --> 01:28:55,400
Speaker 2: Yeah did I say Cynthia. I meant Kristin. Anyway, it's

1839
01:28:55,479 --> 01:28:57,439
Speaker 2: just a little thing I wanted to share with you because.

1840
01:28:57,280 --> 01:29:00,880
Speaker 5: I will say about the Hollywood bull Is, you did

1841
01:29:00,920 --> 01:29:05,000
Speaker 5: a video there for Joshua Raiden and I love that video.

1842
01:29:05,320 --> 01:29:06,400
Speaker 2: Oh, John, thank you.

1843
01:29:06,640 --> 01:29:09,200
Speaker 8: And there's a simplicity with the light that you did

1844
01:29:09,280 --> 01:29:10,639
Speaker 8: with it. I was just so beautiful.

1845
01:29:11,560 --> 01:29:13,760
Speaker 5: And I you know in our end credits when we

1846
01:29:13,840 --> 01:29:16,240
Speaker 5: talk about the lights, that was part of the inspiration.

1847
01:29:16,320 --> 01:29:18,760
Speaker 5: I was like, oh yeah, that like that video, like

1848
01:29:18,880 --> 01:29:22,439
Speaker 5: that Zach did. And so anyway that that video stays

1849
01:29:22,520 --> 01:29:24,760
Speaker 5: very is in my brain a lot, and you.

1850
01:29:24,800 --> 01:29:28,160
Speaker 3: Don't have a lot of them, John, But if you

1851
01:29:28,360 --> 01:29:32,320
Speaker 3: want to come to the Garden State concert, I'm sure

1852
01:29:32,439 --> 01:29:33,280
Speaker 3: my boy can hook it on.

1853
01:29:33,400 --> 01:29:33,639
Speaker 6: Myron.

1854
01:29:33,920 --> 01:29:36,439
Speaker 2: Yes, that's I don't know if you're I don't know

1855
01:29:36,479 --> 01:29:39,080
Speaker 2: if you're in La on March twenty ninth, John Chew,

1856
01:29:39,240 --> 01:29:41,840
Speaker 2: But Myron's going to be there, and uh, I know

1857
01:29:41,960 --> 01:29:42,960
Speaker 2: a fellow that can get you in.

1858
01:29:43,400 --> 01:29:43,800
Speaker 1: Let's see.

1859
01:29:44,200 --> 01:29:45,880
Speaker 8: Yeah, I'll make my I'll make my stage.

1860
01:29:45,920 --> 01:29:47,880
Speaker 2: And so I know you like both Garden State and

1861
01:29:48,720 --> 01:29:55,120
Speaker 2: things shot and things shot, an outdoor amphitheaters. Last question, Donald,

1862
01:29:55,200 --> 01:29:57,840
Speaker 2: and I heard you're doing Joseph, and I know that

1863
01:29:58,280 --> 01:30:01,400
Speaker 2: fifty year old men might be too, but listen, Jesus

1864
01:30:01,880 --> 01:30:06,479
Speaker 2: no is not in Joseph. She's fucking ruining my pitch already.

1865
01:30:07,240 --> 01:30:11,479
Speaker 2: She's a superstar. My bad, My bad, All right now,

1866
01:30:11,560 --> 01:30:15,320
Speaker 2: now we're down to forty five seconds. Okay, do you

1867
01:30:15,439 --> 01:30:18,680
Speaker 2: want Donald to night audition? Even though we're fifty and

1868
01:30:18,960 --> 01:30:21,760
Speaker 2: most of the characters probably aren't fifty, we we would

1869
01:30:21,800 --> 01:30:24,040
Speaker 2: love to. I had to pitch that Donald and I

1870
01:30:24,120 --> 01:30:27,160
Speaker 2: were going to do Joseph on Broadway and we were

1871
01:30:27,200 --> 01:30:31,200
Speaker 2: going to alternate all of the principal roles, and.

1872
01:30:31,600 --> 01:30:33,920
Speaker 1: That is not going to work. He's nodding like he's

1873
01:30:34,000 --> 01:30:37,840
Speaker 1: nodding like, oh, did you really interesting?

1874
01:30:38,960 --> 01:30:39,320
Speaker 2: Anyway?

1875
01:30:39,400 --> 01:30:42,400
Speaker 5: I love I love Joseph so much, and I want

1876
01:30:42,439 --> 01:30:44,519
Speaker 5: to do I I wanted I want to do something

1877
01:30:44,600 --> 01:30:51,439
Speaker 5: that is just ridiculous and crazy and and it's south

1878
01:30:51,520 --> 01:30:54,000
Speaker 5: and for some reason, I don't know, Joseph has always

1879
01:30:54,000 --> 01:30:55,880
Speaker 5: been that for me, but also about a dreamer or

1880
01:30:55,920 --> 01:30:58,120
Speaker 5: someone who's dreaming of something for them.

1881
01:30:58,160 --> 01:30:59,920
Speaker 2: I also feel like the show is so much better

1882
01:31:00,320 --> 01:31:03,360
Speaker 2: than the treatment it gets. It's always been treated like

1883
01:31:04,280 --> 01:31:06,800
Speaker 2: it's always been treated like a Vegas act, and and

1884
01:31:06,920 --> 01:31:09,000
Speaker 2: I think that the show is so much better and

1885
01:31:09,120 --> 01:31:11,519
Speaker 2: smarter than that. So I'm glad it's in your hands.

1886
01:31:11,680 --> 01:31:13,360
Speaker 1: I'm gonna say this, and then we're gonna let you go.

1887
01:31:13,520 --> 01:31:14,040
Speaker 2: He's gotta go.

1888
01:31:14,240 --> 01:31:17,240
Speaker 3: I say this is Zach all the time. You guys

1889
01:31:17,280 --> 01:31:20,960
Speaker 3: both should be directing Star Wars and or Marble. I'm

1890
01:31:20,960 --> 01:31:21,840
Speaker 3: just gonna put it out there.

1891
01:31:22,080 --> 01:31:23,240
Speaker 1: I'm just gonna put it out there.

1892
01:31:23,520 --> 01:31:25,880
Speaker 2: What if I told you that they're onto things that

1893
01:31:25,920 --> 01:31:29,559
Speaker 2: are more important to us than that. All right, guys,

1894
01:31:29,600 --> 01:31:31,160
Speaker 2: thank you for your time. We know you're so busy.

1895
01:31:31,280 --> 01:31:33,160
Speaker 2: Thank you so much, thank you.

1896
01:31:33,240 --> 01:31:33,439
Speaker 8: Thank you.

1897
01:31:33,520 --> 01:31:33,720
Speaker 1: Guys.

1898
01:31:40,320 --> 01:31:42,120
Speaker 2: Well, we were almost in Joseph and you had to

1899
01:31:42,240 --> 01:31:42,519
Speaker 2: ruin it.

1900
01:31:42,840 --> 01:31:43,920
Speaker 1: I didn't ruin anything.

1901
01:31:45,080 --> 01:31:46,920
Speaker 2: You had to make a Jesus joke, and then you

1902
01:31:47,720 --> 01:31:49,240
Speaker 2: allowed him to pivot off of us.

1903
01:31:50,640 --> 01:31:54,000
Speaker 1: Look, my point is this this back.

1904
01:31:57,200 --> 01:31:59,080
Speaker 3: We have to be persistent like the ice If we

1905
01:31:59,160 --> 01:32:00,680
Speaker 3: want to be a part of his world, you have

1906
01:32:00,760 --> 01:32:03,040
Speaker 3: to be persistent like the fucking ice cream truck and

1907
01:32:03,160 --> 01:32:04,679
Speaker 3: consistently be outside his window.

1908
01:32:06,560 --> 01:32:08,839
Speaker 2: I want y'all to know that it's fucking March eighteenth

1909
01:32:08,920 --> 01:32:13,479
Speaker 2: in New York and the fucking ice cream truck is back. Anyway,

1910
01:32:13,560 --> 01:32:17,519
Speaker 2: that was amazing. Huh. That was one of my favorite

1911
01:32:17,520 --> 01:32:20,960
Speaker 2: episodes we've ever done. But two people at the top

1912
01:32:21,120 --> 01:32:21,800
Speaker 2: of their game.

1913
01:32:22,160 --> 01:32:24,200
Speaker 3: I was about to say this, this will go down

1914
01:32:24,240 --> 01:32:27,240
Speaker 3: in history ten years from now. Hopefully this age is

1915
01:32:27,360 --> 01:32:29,559
Speaker 3: like fine wine and you and I both keep our

1916
01:32:29,640 --> 01:32:32,120
Speaker 3: nose clean. But we just had, in my opinion, the

1917
01:32:32,240 --> 01:32:37,200
Speaker 3: next big blockbuster director on this podcast, and I think

1918
01:32:37,400 --> 01:32:40,120
Speaker 3: in ten years he will do. I look at him

1919
01:32:40,200 --> 01:32:42,760
Speaker 3: like Spielberg, and I look at him like, uh, like

1920
01:32:43,120 --> 01:32:46,360
Speaker 3: Lucas in a lot of ways, because he's very innovative

1921
01:32:46,600 --> 01:32:50,080
Speaker 3: and he's doing something different with musical and fantasy. I

1922
01:32:50,160 --> 01:32:52,760
Speaker 3: imagine Joseph in the Technicolored dream Coat is gonna be

1923
01:32:52,840 --> 01:32:54,320
Speaker 3: freaking outrageous.

1924
01:32:54,439 --> 01:32:56,439
Speaker 2: Bro, He's so smart. I love what he was saying

1925
01:32:56,479 --> 01:32:59,040
Speaker 2: when he was talking about how like OZ, everything in

1926
01:32:59,160 --> 01:33:01,719
Speaker 2: OZ is meant to be a distraction and it's perfect,

1927
01:33:01,840 --> 01:33:05,080
Speaker 2: and then the Z is alphabe it cuts through the

1928
01:33:05,200 --> 01:33:06,240
Speaker 2: perfection of OZ.

1929
01:33:06,400 --> 01:33:10,080
Speaker 3: I was like, oh shit, it's refreshing to see someone.

1930
01:33:10,160 --> 01:33:12,280
Speaker 3: I mean, you're very much like this too. The way

1931
01:33:12,320 --> 01:33:14,920
Speaker 3: you talk about directing and everything like that and telling stories,

1932
01:33:15,200 --> 01:33:17,280
Speaker 3: you could tell he's a fan of the stories that

1933
01:33:17,360 --> 01:33:17,880
Speaker 3: he's telling.

1934
01:33:18,200 --> 01:33:21,240
Speaker 2: Let's go back to the fact that my Josh Raiden

1935
01:33:21,320 --> 01:33:23,280
Speaker 2: video at the Hollywood Ball inspired him.

1936
01:33:24,000 --> 01:33:28,760
Speaker 3: Not only that, dude Wicked being so good, I would

1937
01:33:29,240 --> 01:33:31,840
Speaker 3: remember the Titans, bro always remember that.

1938
01:33:32,040 --> 01:33:35,360
Speaker 1: He remember the Titans. If we could have that feeling

1939
01:33:35,600 --> 01:33:35,960
Speaker 1: like that.

1940
01:33:36,360 --> 01:33:42,720
Speaker 2: I don't know, did no, no, no? He basically my

1941
01:33:43,000 --> 01:33:46,639
Speaker 2: Josh Raiden music video is the reason Wicked was so good.

1942
01:33:49,080 --> 01:33:51,000
Speaker 3: I'm going to go and say the reason to remember

1943
01:33:51,080 --> 01:33:53,840
Speaker 3: the Titans. Remember the Titans is the reason why Wicked

1944
01:33:53,920 --> 01:33:55,920
Speaker 3: was so good because he wanted to get that feeling

1945
01:33:56,320 --> 01:33:59,200
Speaker 3: that you got when they scored a touchdown and remember

1946
01:33:59,280 --> 01:34:02,439
Speaker 3: the Titans, how the audience stood up in a movie theater.

1947
01:34:02,720 --> 01:34:03,840
Speaker 1: He wanted that for Wicket.

1948
01:34:04,760 --> 01:34:06,120
Speaker 2: You know what I think about what you just said?

1949
01:34:06,680 --> 01:34:08,439
Speaker 1: What eat these bowls?

1950
01:34:10,960 --> 01:34:14,400
Speaker 2: All right? What a show? Joelle? Thank you for coordinating

1951
01:34:14,439 --> 01:34:16,439
Speaker 2: all that. I know it was a tricky to get

1952
01:34:16,479 --> 01:34:17,720
Speaker 2: it all scheduled.

1953
01:34:18,320 --> 01:34:20,559
Speaker 3: That was most impressive. And the fact that he stayed

1954
01:34:20,600 --> 01:34:22,960
Speaker 3: on for as long as he stayed on too. He

1955
01:34:23,040 --> 01:34:24,160
Speaker 3: stayed on for over an hour.

1956
01:34:24,520 --> 01:34:31,000
Speaker 2: So thank you to Marin Christine and John Chew and audience.

1957
01:34:31,040 --> 01:34:32,760
Speaker 2: If you're listening and you're gonna be in La March

1958
01:34:32,800 --> 01:34:35,559
Speaker 2: twenty ninth, come check out my benefit for the midnight

1959
01:34:35,600 --> 01:34:38,800
Speaker 2: mission the Garden State twentieth Anniversary Concert. And if you

1960
01:34:38,920 --> 01:34:42,680
Speaker 2: can't make it, buy a ticket about to stream it

1961
01:34:42,800 --> 01:34:45,080
Speaker 2: on starting April sixth, You can buy the tickets right

1962
01:34:45,120 --> 01:34:48,840
Speaker 2: now at veeps dot com. Every single cent of your

1963
01:34:48,880 --> 01:34:52,360
Speaker 2: streaming ticket purchase goes to the charity. And also you

1964
01:34:52,360 --> 01:34:54,479
Speaker 2: can buy merch there. The merchant is even available. This

1965
01:34:54,600 --> 01:34:58,599
Speaker 2: is a little podcast insider scoop. The Merchant isn't even

1966
01:34:58,600 --> 01:35:01,200
Speaker 2: available to buy yet. If you go to the veep site,

1967
01:35:01,880 --> 01:35:04,240
Speaker 2: they've they've they've got it up there, so you can

1968
01:35:04,439 --> 01:35:10,320
Speaker 2: buy it already, all right inside scool, I love you guys.

1969
01:35:12,560 --> 01:35:15,080
Speaker 1: What a great show. Eight stories.

1970
01:35:16,080 --> 01:35:20,240
Speaker 7: That show we made about a bunch of talks and

1971
01:35:20,360 --> 01:35:25,600
Speaker 7: nurses and janitor. I said, here's the stories net you

1972
01:35:25,680 --> 01:35:31,720
Speaker 7: all should know. So Ganda round here up, Yander, round

1973
01:35:32,040 --> 01:35:32,519
Speaker 7: here up.

1974
01:35:32,840 --> 01:35:34,360
Speaker 1: Seat show wis