1 00:00:00,480 --> 00:00:04,240 Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic 2 00:00:04,280 --> 00:00:10,160 Speaker 1: episode was produced by the team at Pandora. Ladies and gentlemen, 3 00:00:10,200 --> 00:00:14,600 Speaker 1: Welcome to another episode of Quest Love Supreme QLs Classic Edition. 4 00:00:15,360 --> 00:00:19,760 Speaker 1: This episode is from August ninth, twenty seventeen, with Katherine Bigelow, 5 00:00:19,800 --> 00:00:24,400 Speaker 1: director Academy Award winning director Katherine Victim. We go through 6 00:00:24,440 --> 00:00:27,600 Speaker 1: our entire canon, especially her film Zerolay Dog thirty, The 7 00:00:27,680 --> 00:00:32,560 Speaker 1: hurt Locker Detroit, and an unintentional comedy called Point Breaking. 8 00:00:32,680 --> 00:00:34,760 Speaker 1: We hope you enjoy it. This. This is Quest Love 9 00:00:35,280 --> 00:00:44,000 Speaker 1: Supreme US Classic Edition. Bicky a World Premier. 10 00:00:45,560 --> 00:00:55,920 Speaker 2: Supreme, Sign Supreme, Supreme, Sun Sign Supreme, Supreme Sign Supremo, 11 00:00:56,120 --> 00:00:59,600 Speaker 2: Roll Supreme Sun. 12 00:00:59,160 --> 00:01:03,200 Speaker 1: Supreme to the entire world. Yeah, I grieve you with 13 00:01:03,360 --> 00:01:05,920 Speaker 1: Hello Yeah. Translation to Detroit. 14 00:01:06,240 --> 00:01:16,080 Speaker 3: Yeah, what up though, Supremo Supremo Role, Supremo Son Supremo Rod. 15 00:01:16,600 --> 00:01:20,319 Speaker 1: My name is Fante. Yeah, let's keep it dirty. Yeah. 16 00:01:20,600 --> 00:01:32,960 Speaker 1: My skin complexion yeah zero dark dirty Supremo Rodd. Name 17 00:01:33,040 --> 00:01:33,600 Speaker 1: is Sugar. 18 00:01:34,000 --> 00:01:35,479 Speaker 4: Yeah, I'm pretty big. 19 00:01:36,080 --> 00:01:36,319 Speaker 1: Yeah. 20 00:01:36,800 --> 00:01:37,639 Speaker 5: What's my point? 21 00:01:38,120 --> 00:01:39,360 Speaker 4: Yeah, Point. 22 00:01:43,080 --> 00:01:48,000 Speaker 3: Supremo Role, Sumo Son Supremo Role. 23 00:01:48,480 --> 00:01:49,440 Speaker 1: I'm on pay bill. 24 00:01:50,000 --> 00:01:50,200 Speaker 3: Yeah. 25 00:01:50,560 --> 00:01:53,200 Speaker 6: She y'all don't sue me. Yeah, I wanted to thank 26 00:01:53,280 --> 00:01:55,880 Speaker 6: Catherine Bigelow for Gary Busey. 27 00:01:58,040 --> 00:02:03,880 Speaker 3: Supremo Roll Supreme Supreme Roll. 28 00:02:04,640 --> 00:02:08,680 Speaker 7: I'm like em yeah, and I'm the ship. Yeah, sitting 29 00:02:08,720 --> 00:02:11,200 Speaker 7: next to an Oscar winner. Yeah, but I ain't gona trip. 30 00:02:11,760 --> 00:02:12,680 Speaker 7: Roll Come. 31 00:02:14,040 --> 00:02:20,079 Speaker 3: Supremo, Roll Call Supremo, Supremo. 32 00:02:19,680 --> 00:02:23,400 Speaker 4: Roll Bill don't care, Yeah about how you feel? 33 00:02:23,960 --> 00:02:31,600 Speaker 1: Yeah, but Ron Silver Yeah it was Ellen Blue Steel Supremo, 34 00:02:31,800 --> 00:02:36,320 Speaker 1: Roll Call Supreme, So Supreme, roll Come. 35 00:02:37,280 --> 00:02:39,480 Speaker 8: I'm Catherine yeah and peace. 36 00:02:39,800 --> 00:02:51,360 Speaker 3: Yeah yeah, roll Come, roll Call Supreme Supreme. 37 00:02:51,720 --> 00:02:52,680 Speaker 1: Roll call was. 38 00:02:54,919 --> 00:03:05,440 Speaker 9: Upre Rolland wow, that's a ball start, she said. 39 00:03:05,480 --> 00:03:09,360 Speaker 1: One word dropped it. You do what you want when 40 00:03:09,400 --> 00:03:14,639 Speaker 1: you pop. You're also mad at you? He was? 41 00:03:15,840 --> 00:03:16,160 Speaker 7: He was? 42 00:03:16,360 --> 00:03:18,760 Speaker 1: He was, Yeah, he was. He was a motherfucking yeah. 43 00:03:19,160 --> 00:03:20,200 Speaker 5: Wow you did Blue Steel? 44 00:03:20,560 --> 00:03:21,320 Speaker 4: I just wow. 45 00:03:21,680 --> 00:03:27,560 Speaker 1: Yes. Uh, ladies and gentlemen, welcome to another episode of 46 00:03:27,800 --> 00:03:30,840 Speaker 1: Course Love Supreme, only on Pandora. Uh. This is your 47 00:03:30,880 --> 00:03:33,400 Speaker 1: host Quest Love, and we have Team Supreme. We have 48 00:03:34,840 --> 00:03:36,840 Speaker 1: hy He Gordy as. 49 00:03:37,320 --> 00:03:45,680 Speaker 10: Organizer, and we have Bill DeBarge boss already light skin joke, 50 00:03:46,320 --> 00:03:52,680 Speaker 10: it could be we We we have Fante Robinson over here, yes. 51 00:03:54,960 --> 00:04:00,560 Speaker 1: And uh over here. We have uh, Bill Ruffin would 52 00:04:00,560 --> 00:04:04,960 Speaker 1: be not exactly and the smoothest the moment or the 53 00:04:05,040 --> 00:04:06,600 Speaker 1: morrow we have Steve Gay. 54 00:04:08,520 --> 00:04:11,040 Speaker 5: On on it's so good. 55 00:04:11,240 --> 00:04:12,760 Speaker 4: You heard it here on back? 56 00:04:13,440 --> 00:04:13,600 Speaker 6: Are you? 57 00:04:13,920 --> 00:04:16,680 Speaker 1: Are you okay, Steve? Yeah, okay, yeah. 58 00:04:16,760 --> 00:04:19,440 Speaker 5: If anybody hears me, grown, it's not that you're boring. 59 00:04:19,920 --> 00:04:22,760 Speaker 1: No pain. I was gonna say, you're not trying out 60 00:04:22,800 --> 00:04:25,040 Speaker 1: a new sexy voice. You're just no. No, this is it. 61 00:04:25,200 --> 00:04:32,000 Speaker 1: This is all I got right, that's exactly. Thank you. 62 00:04:32,080 --> 00:04:34,240 Speaker 5: I'm going to turn the micuick. But I'm not talking 63 00:04:34,279 --> 00:04:35,039 Speaker 5: because I'm growing. 64 00:04:36,680 --> 00:04:41,080 Speaker 1: Okay, So just just again, you're not having a sexy moment. 65 00:04:41,160 --> 00:04:43,520 Speaker 5: No, I'm Steve Gay but I'm not being sexy. 66 00:04:43,720 --> 00:04:44,440 Speaker 4: I'm just being. 67 00:04:45,839 --> 00:04:47,800 Speaker 1: Can anytime? Are you talking? I just put this on? 68 00:04:51,120 --> 00:04:53,800 Speaker 5: Can you make thing I've ever sounded with the. 69 00:04:56,680 --> 00:04:59,919 Speaker 1: List and gentlemen, our guest today is a groupping storyteller, 70 00:05:00,600 --> 00:05:02,919 Speaker 1: very intense and stark as a writer, and a director 71 00:05:04,000 --> 00:05:09,960 Speaker 1: is such a ashen I'm sorry director with such action 72 00:05:10,160 --> 00:05:14,600 Speaker 1: classics as a point Break, Strangers Days K nineteen and 73 00:05:14,760 --> 00:05:17,760 Speaker 1: Blue Steel. By the way, I too have never looked 74 00:05:17,760 --> 00:05:21,920 Speaker 1: at Ron Silver the same after that film came out. However, 75 00:05:22,040 --> 00:05:25,760 Speaker 1: in twenty ten, she made history as the first and 76 00:05:25,960 --> 00:05:31,240 Speaker 1: only female to win the Best Director Oscar Challenge Give 77 00:05:31,279 --> 00:05:36,400 Speaker 1: It Up Strong Challenge for her IRAQ Award drama classic 78 00:05:36,560 --> 00:05:39,400 Speaker 1: The hurt Locker and her follow up film, the equally 79 00:05:39,480 --> 00:05:44,599 Speaker 1: gripping twenty twelve zeror Dark thirty also garnered universal claim, 80 00:05:44,960 --> 00:05:48,680 Speaker 1: earning her New York Film's Critics Award for Best Director 81 00:05:48,720 --> 00:05:52,800 Speaker 1: as well, and in twenty seventeen, she follows that up 82 00:05:53,720 --> 00:05:57,560 Speaker 1: with her next film entitled Detroit. But you know, for 83 00:05:57,640 --> 00:06:00,400 Speaker 1: all my people of Detroit, I secretly call the D 84 00:06:01,240 --> 00:06:04,720 Speaker 1: the D in my head. And it's a film that's 85 00:06:04,720 --> 00:06:09,680 Speaker 1: centered around the Algiers Motel incident, one of the many 86 00:06:09,720 --> 00:06:14,120 Speaker 1: stories that I have occurred during the nineteen sixty seven 87 00:06:14,520 --> 00:06:20,320 Speaker 1: riots that really, you know, transform that city into what 88 00:06:20,480 --> 00:06:24,359 Speaker 1: it is today, kind of putting the long history conflict 89 00:06:24,440 --> 00:06:27,880 Speaker 1: relationship between the police and the inner city residents or 90 00:06:27,920 --> 00:06:31,320 Speaker 1: on full display for the world to see. And if 91 00:06:31,400 --> 00:06:36,400 Speaker 1: you think that she lets up on her intensity, think again, 92 00:06:37,120 --> 00:06:41,520 Speaker 1: because it's intense as hell. Ladies and gentlemen, please welcome 93 00:06:41,600 --> 00:06:44,800 Speaker 1: to Quest Love Supreme the one and only Catherine Bigelow. 94 00:06:47,880 --> 00:06:53,200 Speaker 1: Thank you, Wow, this is an honor to have you 95 00:06:53,279 --> 00:06:57,680 Speaker 1: on the show to be here. Normally, you know, we've 96 00:06:57,760 --> 00:07:02,760 Speaker 1: been in our comfort zone with with Grammy winners and 97 00:07:02,960 --> 00:07:09,680 Speaker 1: music icons. But because of the city of Detroit and 98 00:07:09,800 --> 00:07:14,280 Speaker 1: its relationship to music and the sixty seven riots, which 99 00:07:15,120 --> 00:07:18,200 Speaker 1: actually affected the outcome of a lot of the music 100 00:07:18,280 --> 00:07:22,240 Speaker 1: that came out to the city, most notably Motown migrating 101 00:07:22,360 --> 00:07:24,600 Speaker 1: to the West as a result of the end of 102 00:07:24,640 --> 00:07:29,800 Speaker 1: the Detroit And for those that don't know the central 103 00:07:29,880 --> 00:07:33,920 Speaker 1: role that the group the Dramatics plays in this film, 104 00:07:34,840 --> 00:07:37,240 Speaker 1: I thought it was only right to have you on 105 00:07:37,320 --> 00:07:41,240 Speaker 1: the show to speak of it. How are you? How 106 00:07:41,320 --> 00:07:41,920 Speaker 1: are you today? 107 00:07:43,000 --> 00:07:45,720 Speaker 8: I'm fine, I'm fine. I'm happy to be here, happy 108 00:07:45,800 --> 00:07:46,480 Speaker 8: to talk about it. 109 00:07:48,280 --> 00:07:56,960 Speaker 1: So I have to ask, because of okay, your film, magarey, 110 00:07:57,040 --> 00:08:00,520 Speaker 1: I'm so used to saying your discography or your cannon, 111 00:08:00,880 --> 00:08:08,800 Speaker 1: Yes you can, you know you're probably. I mean, when 112 00:08:08,920 --> 00:08:11,320 Speaker 1: when all is said and done and we look at 113 00:08:11,360 --> 00:08:17,600 Speaker 1: your your canon, Uh, the intense level of your storytelling 114 00:08:17,720 --> 00:08:24,800 Speaker 1: can't be denied. What what is your your goal? As 115 00:08:24,840 --> 00:08:26,520 Speaker 1: far as when you make a film, like what's your 116 00:08:26,560 --> 00:08:29,760 Speaker 1: mission statement? At least like when artists make a record, 117 00:08:29,840 --> 00:08:31,840 Speaker 1: there's the mission statement that's used like one or two 118 00:08:32,480 --> 00:08:34,960 Speaker 1: you know, phrase it this is my dadada statement or whatever. 119 00:08:35,400 --> 00:08:39,880 Speaker 1: But for you, is it just to rip the ribbons 120 00:08:39,880 --> 00:08:44,840 Speaker 1: and the bows off of the conventions of what Hollywood 121 00:08:44,880 --> 00:08:47,120 Speaker 1: expects and for you to just come. 122 00:08:47,040 --> 00:08:49,120 Speaker 4: At it raw off? 123 00:08:49,280 --> 00:08:49,480 Speaker 1: Yeah. 124 00:08:50,320 --> 00:08:50,840 Speaker 11: I think. 125 00:08:52,720 --> 00:08:55,040 Speaker 8: I think up until hurt Locker, it was you know, 126 00:08:55,200 --> 00:08:58,120 Speaker 8: kind of learning the craft. And then with hert Locker, 127 00:08:58,200 --> 00:09:01,160 Speaker 8: I sort of discovered that you could kind of look 128 00:09:01,200 --> 00:09:03,679 Speaker 8: at film like journalism. In other words, it could it 129 00:09:03,760 --> 00:09:07,120 Speaker 8: could be about something you don't already know. And I 130 00:09:07,240 --> 00:09:10,000 Speaker 8: thought that the Iraq wards of really contested engagement that 131 00:09:10,320 --> 00:09:12,559 Speaker 8: was very underreported at the time, and I didn't know 132 00:09:12,600 --> 00:09:15,240 Speaker 8: what an IED or an EOD tech was, and so 133 00:09:16,000 --> 00:09:21,000 Speaker 8: it gave the audience an opportunity to kind of perhaps 134 00:09:21,320 --> 00:09:23,920 Speaker 8: maybe a bit immersive, but to experience what it might 135 00:09:23,960 --> 00:09:25,520 Speaker 8: be like over there, so you could begin to have 136 00:09:26,480 --> 00:09:28,880 Speaker 8: make your own decision about it, you know, should and 137 00:09:29,000 --> 00:09:30,800 Speaker 8: so that was interesting to me. So that was what 138 00:09:32,000 --> 00:09:35,360 Speaker 8: I suppose informed zero Doarc thirty as well, like you know, 139 00:09:35,480 --> 00:09:38,559 Speaker 8: how do how does something that take ten years to 140 00:09:38,720 --> 00:09:40,760 Speaker 8: find this individual who was the most hunted man in 141 00:09:40,800 --> 00:09:46,400 Speaker 8: the world, and so trying to unpack these these I 142 00:09:46,480 --> 00:09:49,920 Speaker 8: don't know these stories and treat them almost like journalism. 143 00:09:50,120 --> 00:09:53,280 Speaker 8: In other words, it's it's kind of both at the 144 00:09:53,320 --> 00:09:53,679 Speaker 8: same time. 145 00:09:53,800 --> 00:09:56,760 Speaker 12: Yeah, it's interesting that you say that, because I particularly 146 00:09:56,880 --> 00:09:59,800 Speaker 12: those two movies. I always thought that they took a 147 00:10:00,000 --> 00:10:02,360 Speaker 12: every journalistic approaching, that they're very kind of just the 148 00:10:02,440 --> 00:10:04,599 Speaker 12: facts kind of way, versus, if you like, with The 149 00:10:04,679 --> 00:10:07,599 Speaker 12: hurt Locker in particular, if you look at someone like 150 00:10:07,640 --> 00:10:10,439 Speaker 12: a Spike Lee, who his movies are very overt, like 151 00:10:11,120 --> 00:10:13,719 Speaker 12: you know how he feels about everything in it. But 152 00:10:13,880 --> 00:10:16,240 Speaker 12: with The hurt Locker in particular, I love the movie, 153 00:10:16,280 --> 00:10:19,920 Speaker 12: but you don't really know your personal feelings on the war, 154 00:10:20,200 --> 00:10:22,319 Speaker 12: Like what were your personal feelings about it? 155 00:10:22,320 --> 00:10:24,600 Speaker 1: And how did you keep that bias out of the film? 156 00:10:25,600 --> 00:10:28,559 Speaker 8: It TWA's hard, but I sort of looked at it 157 00:10:28,679 --> 00:10:32,800 Speaker 8: like kind of threading a needle of being pro soldier 158 00:10:32,840 --> 00:10:34,880 Speaker 8: and anti war. You know, if you could somehow do 159 00:10:35,000 --> 00:10:40,400 Speaker 8: that and also giving an audience the opportunity to have 160 00:10:40,559 --> 00:10:42,880 Speaker 8: enough information to make their own decision. I don't think 161 00:10:42,920 --> 00:10:45,480 Speaker 8: it's up to me to judge, you know, it's I 162 00:10:46,000 --> 00:10:49,480 Speaker 8: feel like my role or responsibility is to present and 163 00:10:49,640 --> 00:10:53,520 Speaker 8: then you know, enable you to come away with enough information. 164 00:10:53,640 --> 00:10:55,640 Speaker 8: But it is very hard It's a good question because 165 00:10:56,040 --> 00:10:58,560 Speaker 8: you know you're constantly wanting to but wait a minute, 166 00:10:58,559 --> 00:11:00,599 Speaker 8: I'm really passionate about you know, I don't want to 167 00:11:00,640 --> 00:11:03,040 Speaker 8: go I don't want to be in this engagement. But anyway, 168 00:11:03,559 --> 00:11:05,800 Speaker 8: so it's it's tricky how. 169 00:11:05,720 --> 00:11:08,240 Speaker 1: Do you tackle I mean, especially with the hurt Locker 170 00:11:10,800 --> 00:11:13,719 Speaker 1: one of one of the factor factors that are on 171 00:11:13,800 --> 00:11:21,559 Speaker 1: full display sort of the the male toxic relationships that 172 00:11:21,640 --> 00:11:25,800 Speaker 1: are that are in that movie, you know, even when 173 00:11:25,800 --> 00:11:28,199 Speaker 1: they're not engaged in battle, just how they deal with 174 00:11:28,320 --> 00:11:33,280 Speaker 1: each other. I mean, how do you like Well, I 175 00:11:33,360 --> 00:11:36,480 Speaker 1: guess Fonte kind of asked, like, how do you even 176 00:11:36,600 --> 00:11:40,800 Speaker 1: present that without presenting your bias? Whereas a producer or 177 00:11:41,360 --> 00:11:44,880 Speaker 1: a studio head could say, well, you know, what are 178 00:11:44,880 --> 00:11:46,800 Speaker 1: you trying to say with your agenda that you know this, 179 00:11:48,280 --> 00:11:53,199 Speaker 1: that this particular demographic is is someonet messed up in 180 00:11:53,240 --> 00:11:54,800 Speaker 1: the head or that sort of thing, Like how do 181 00:11:54,920 --> 00:11:55,959 Speaker 1: I mean, how do you even. 182 00:11:58,000 --> 00:12:01,880 Speaker 8: Well, it's a good question. I mean, the writer was 183 00:12:01,960 --> 00:12:05,280 Speaker 8: embedded with the EUD texts Mark boll And, so he 184 00:12:05,440 --> 00:12:10,160 Speaker 8: came back with a tremendous amount of information and really 185 00:12:11,120 --> 00:12:13,000 Speaker 8: brought it to life on the page. And so that 186 00:12:13,800 --> 00:12:17,240 Speaker 8: helped inform me a lot, and then I went to Kuwait, 187 00:12:17,320 --> 00:12:20,760 Speaker 8: I went to Camp Era Jam. I spent time in 188 00:12:21,120 --> 00:12:23,520 Speaker 8: in you know, in stitute to the extent I can. 189 00:12:23,600 --> 00:12:26,040 Speaker 8: I mean, I couldn't go. I couldn't go the five 190 00:12:26,120 --> 00:12:28,199 Speaker 8: kilometers across the border to Iraq, but I could be. 191 00:12:28,600 --> 00:12:30,520 Speaker 8: I was in the staging areas, so I got a 192 00:12:30,640 --> 00:12:34,240 Speaker 8: sense of what I don't I don't suppose what the 193 00:12:34,679 --> 00:12:39,760 Speaker 8: psychology is of these individuals, and so spent a lot 194 00:12:39,800 --> 00:12:42,040 Speaker 8: of time with the EUD texts and just you know, 195 00:12:42,160 --> 00:12:46,240 Speaker 8: you're you're in a really heightened scenario. I mean, you're 196 00:12:46,440 --> 00:12:49,240 Speaker 8: trying to clear a three hundred meter perimeter around some 197 00:12:49,880 --> 00:12:52,280 Speaker 8: suspicious wires sticking up out of the ground. And as 198 00:12:52,320 --> 00:12:55,160 Speaker 8: you get closer in that three hundred meters walk, you 199 00:12:55,360 --> 00:12:57,600 Speaker 8: have to you know, at the beginning, you're thinking of, well, 200 00:12:57,640 --> 00:12:59,840 Speaker 8: it's you know, it's one hundred and two degrees outside. 201 00:13:00,000 --> 00:13:02,800 Speaker 8: I'm you know, my IQ is dropping because about how 202 00:13:02,880 --> 00:13:05,120 Speaker 8: it is inside the soup. But as you're closer and closer, 203 00:13:05,559 --> 00:13:08,080 Speaker 8: they always talked about there's a twenty five meter perimeter, 204 00:13:08,160 --> 00:13:10,599 Speaker 8: and that's when you start thinking about your family, and 205 00:13:11,440 --> 00:13:14,400 Speaker 8: it's just you know, do I have everything in order is, 206 00:13:14,760 --> 00:13:17,079 Speaker 8: you know, and so it's a very It was interesting 207 00:13:17,320 --> 00:13:22,160 Speaker 8: kind of understanding that degree of commitment and dedication, I guess, 208 00:13:22,440 --> 00:13:27,679 Speaker 8: and yet trying to also understand the methodology of the insurgents. 209 00:13:27,720 --> 00:13:30,400 Speaker 8: I mean, this, this is a different This isn't like 210 00:13:30,480 --> 00:13:34,040 Speaker 8: a ground war like you know where where people wear 211 00:13:34,080 --> 00:13:35,959 Speaker 8: different helmets and it's like, oh, they're the bad guy. 212 00:13:36,080 --> 00:13:38,160 Speaker 8: I mean, you don't, you know, it's a very you 213 00:13:38,240 --> 00:13:40,040 Speaker 8: don't know who's who. And also you have to be 214 00:13:40,200 --> 00:13:44,960 Speaker 8: very quick in terms of disarming this ied before your 215 00:13:45,000 --> 00:13:48,240 Speaker 8: coordinates are called in by a sniper in the areas, 216 00:13:48,280 --> 00:13:51,840 Speaker 8: you've got about maybe three minutes maximum to figure out 217 00:13:51,880 --> 00:13:55,880 Speaker 8: which one you know, how to unpack it. But but 218 00:13:56,040 --> 00:13:57,680 Speaker 8: so it's trying to I don't know if I'm answering 219 00:13:57,679 --> 00:14:00,400 Speaker 8: your question very well, but it was trying to unders stand. 220 00:14:00,520 --> 00:14:04,959 Speaker 8: I guess. What I try to do is is create 221 00:14:05,080 --> 00:14:09,199 Speaker 8: as experiential a situation environment as I can, so I 222 00:14:09,320 --> 00:14:13,000 Speaker 8: keep the camera very alive, keep the cast doing their job, 223 00:14:13,400 --> 00:14:15,599 Speaker 8: not thinking about camera. I did the same thing with 224 00:14:16,360 --> 00:14:20,040 Speaker 8: in the Algiers motel, where you're just you're doing what 225 00:14:20,440 --> 00:14:22,880 Speaker 8: you're you know, you're either against the wall or one 226 00:14:22,920 --> 00:14:25,480 Speaker 8: of the officers, So it's keeping you on task. 227 00:14:25,760 --> 00:14:27,880 Speaker 1: Okay, Well that leads me to my next question. Okay, 228 00:14:28,000 --> 00:14:34,640 Speaker 1: because because I always feel as though whatever camera number 229 00:14:34,680 --> 00:14:38,440 Speaker 1: one is also a character in the film, how do 230 00:14:38,560 --> 00:14:43,720 Speaker 1: you because a lot of the you do heart panning, 231 00:14:43,800 --> 00:14:45,640 Speaker 1: You do a lot of heart panting instead of cuts, 232 00:14:46,280 --> 00:14:48,400 Speaker 1: Whereas I really feel like, okay, I'm a character in 233 00:14:48,440 --> 00:14:51,840 Speaker 1: this and you know I'm inside of this world. How 234 00:14:51,920 --> 00:14:56,640 Speaker 1: do you even coordinate the choreography? I mean, I'm thinking 235 00:14:56,720 --> 00:15:02,200 Speaker 1: of like the founder almost where oh yeah, exactly, Like 236 00:15:03,280 --> 00:15:08,040 Speaker 1: as far as the technical preparation is concerned, how do 237 00:15:08,160 --> 00:15:13,600 Speaker 1: you do it so that you you maintain the the 238 00:15:14,760 --> 00:15:17,920 Speaker 1: the key elements of the scene without him being in 239 00:15:17,960 --> 00:15:20,160 Speaker 1: the way or the actor is being distracted like you know, 240 00:15:20,760 --> 00:15:24,120 Speaker 1: Like well, I mean, first. 241 00:15:23,920 --> 00:15:26,480 Speaker 8: Of all, you've got this story, this narrative beginning, and 242 00:15:26,560 --> 00:15:29,960 Speaker 8: that's somewhat linear. That's all that's linear. Everything else is 243 00:15:30,040 --> 00:15:32,520 Speaker 8: in motion. The act that cast is in motion, the 244 00:15:32,600 --> 00:15:36,480 Speaker 8: cameras are in motion. I light the entire area so 245 00:15:36,680 --> 00:15:40,440 Speaker 8: everything is live. And then I try to I try 246 00:15:40,520 --> 00:15:44,040 Speaker 8: to work in in situ as long as possible. In 247 00:15:44,160 --> 00:15:46,640 Speaker 8: other words, like you could do eight pages if you 248 00:15:46,720 --> 00:15:49,520 Speaker 8: want it to. In other words, it's very I try 249 00:15:49,560 --> 00:15:53,440 Speaker 8: to keep it as continuous as possible, but but I 250 00:15:53,560 --> 00:15:56,320 Speaker 8: keep I keep it very alive. And then eventually, usually 251 00:15:56,440 --> 00:15:59,320 Speaker 8: just when the first couple of days it cast just 252 00:15:59,680 --> 00:16:03,720 Speaker 8: the disappears for them and they're just they're kind of 253 00:16:03,800 --> 00:16:07,160 Speaker 8: on point. They're doing what they are who they are. 254 00:16:07,640 --> 00:16:10,080 Speaker 8: Like in terms of Jeremy Renner and Hurt Locker, he 255 00:16:10,320 --> 00:16:12,840 Speaker 8: was just walking down that three hundred meter perimeter, it 256 00:16:12,840 --> 00:16:15,280 Speaker 8: didn't matter, and the cameras were constantly switching up take 257 00:16:15,320 --> 00:16:19,840 Speaker 8: after takeout, four cameras working simultaneously, and you just I mean, 258 00:16:19,920 --> 00:16:21,560 Speaker 8: I think in a way it's kind of freeing. He 259 00:16:21,600 --> 00:16:24,240 Speaker 8: had never worked like that before, and and I think 260 00:16:24,240 --> 00:16:26,960 Speaker 8: it's kind of freeing. There's no blocking, there's no blocking 261 00:16:27,000 --> 00:16:30,320 Speaker 8: for camera, there's no there's no marks, there's no rehearsals. 262 00:16:29,960 --> 00:16:34,160 Speaker 1: No practice, no nothing, no. So are you are you 263 00:16:34,280 --> 00:16:39,360 Speaker 1: coordinating like a defensive coordinator? Because even then, like when 264 00:16:40,120 --> 00:16:43,400 Speaker 1: there are certain scenes where they'll there'll be a certain 265 00:16:43,480 --> 00:16:47,360 Speaker 1: shot and then suddenly on cue the camera will pan in, 266 00:16:48,280 --> 00:16:52,040 Speaker 1: like and I'm always wondering, like, are you in someone's headphones? 267 00:16:52,120 --> 00:16:54,480 Speaker 8: Like Okay, I wish I did, Like. 268 00:16:56,320 --> 00:16:57,920 Speaker 1: So they just do it on instinct and just you 269 00:16:58,040 --> 00:17:01,000 Speaker 1: trust them enough to know when to blur up a 270 00:17:01,080 --> 00:17:02,560 Speaker 1: shot and then focused and. 271 00:17:03,000 --> 00:17:07,200 Speaker 8: I need that technology. But no, Barry Ackroyd is he's 272 00:17:07,200 --> 00:17:09,720 Speaker 8: a genius. He's a cinematographer and both hurt Locker and 273 00:17:09,840 --> 00:17:14,600 Speaker 8: Zerrator and her Locker and Detroit right, and and he's 274 00:17:14,640 --> 00:17:17,720 Speaker 8: so uncanny, so intuitive, I mean he and so those 275 00:17:17,760 --> 00:17:20,520 Speaker 8: are you know, he'll snap zoom, like he just knows 276 00:17:20,520 --> 00:17:22,800 Speaker 8: what you want. He just knows. Yeah, we talk it 277 00:17:22,880 --> 00:17:26,440 Speaker 8: through and then and then he feels it. In fact, 278 00:17:26,480 --> 00:17:28,359 Speaker 8: he doesn't want to see a rehearsal. He wants to 279 00:17:28,480 --> 00:17:31,920 Speaker 8: find it in that first take and and he talks 280 00:17:31,920 --> 00:17:34,479 Speaker 8: about that. I mean, that's that's very important for him. 281 00:17:34,680 --> 00:17:35,760 Speaker 1: So you're like a jazz music. 282 00:17:35,920 --> 00:17:37,600 Speaker 8: I was just gonna say, it's like a jazz jazz 283 00:17:38,680 --> 00:17:41,240 Speaker 8: because it can't be rehearsed or mechanical. Then it then 284 00:17:41,280 --> 00:17:43,720 Speaker 8: it loses, it loses something. 285 00:17:44,680 --> 00:17:50,399 Speaker 1: Are you are you ever over the editor's shoulder or 286 00:17:50,520 --> 00:17:52,359 Speaker 1: do you just turn your tapes and you just trust 287 00:17:52,400 --> 00:17:55,040 Speaker 1: that they know what you want? Like, at what point 288 00:17:55,080 --> 00:17:57,880 Speaker 1: do you let your baby go and trust that they 289 00:17:57,920 --> 00:18:01,280 Speaker 1: will cut what was in your head at the time 290 00:18:01,320 --> 00:18:04,720 Speaker 1: when you're thinking of the shot and a certain scene. 291 00:18:05,359 --> 00:18:10,000 Speaker 8: Well, I also have I have the just in my opinion, 292 00:18:10,040 --> 00:18:13,360 Speaker 8: the world's greatest editor, Billy Goldenberg, who did Sero Dark 293 00:18:13,440 --> 00:18:18,119 Speaker 8: in Detroit. And what's this style of shooting? There's no 294 00:18:18,400 --> 00:18:21,040 Speaker 8: masters medium's close ups. It doesn't work like that. You're 295 00:18:21,119 --> 00:18:24,199 Speaker 8: just everything is constantly in motion, like the actor may 296 00:18:24,280 --> 00:18:26,600 Speaker 8: walk around the humby and then suddenly he is in 297 00:18:26,680 --> 00:18:29,919 Speaker 8: a close up. For in other words, it's it's very fluid. 298 00:18:30,040 --> 00:18:37,160 Speaker 8: So Billy takes this, which in a way is very chaotic, 299 00:18:37,320 --> 00:18:40,920 Speaker 8: can really seem very chaotic, but he creates the linearity 300 00:18:40,960 --> 00:18:43,280 Speaker 8: and I trust him completely and I am there. But 301 00:18:45,400 --> 00:18:46,560 Speaker 8: so you are there, I'm there. 302 00:18:48,440 --> 00:18:50,520 Speaker 1: I've heard well, I mean not that I know that 303 00:18:50,600 --> 00:18:54,000 Speaker 1: much about filmmaking, but I do know that like in 304 00:18:54,080 --> 00:18:57,720 Speaker 1: the case of Martin and Filma, he says that the 305 00:18:57,800 --> 00:19:01,680 Speaker 1: second he's done a film scores, just give Schoolmacher his 306 00:19:02,440 --> 00:19:05,119 Speaker 1: films and it's like, it's on you. You know what 307 00:19:05,200 --> 00:19:08,520 Speaker 1: I like, and I'll come back. Like there's always an 308 00:19:08,560 --> 00:19:11,399 Speaker 1: issue of micromanaging of that sort of thing, like not 309 00:19:11,560 --> 00:19:13,280 Speaker 1: letting go. And I didn't know if it was an 310 00:19:13,359 --> 00:19:18,840 Speaker 1: unwritten rule that once a director finishes shooting, then you 311 00:19:19,040 --> 00:19:20,800 Speaker 1: just give it to the editor and trust that they 312 00:19:20,880 --> 00:19:21,440 Speaker 1: know what they're doing. 313 00:19:21,680 --> 00:19:26,159 Speaker 8: Well, I trust completely and I love him to, you know, 314 00:19:26,359 --> 00:19:29,760 Speaker 8: find a certain autonomy. But I think he would agree. 315 00:19:30,200 --> 00:19:32,080 Speaker 8: Hopefully I'm speaking for him, but I think it's a 316 00:19:32,119 --> 00:19:35,240 Speaker 8: real collaboration with the crew, with the cast, with everybody. 317 00:19:35,359 --> 00:19:39,240 Speaker 8: It's a real it's a real collaborative medium, and I 318 00:19:39,320 --> 00:19:41,919 Speaker 8: think it's at its best when it's collaborative. 319 00:19:42,280 --> 00:19:42,840 Speaker 11: Can I ask you? 320 00:19:43,080 --> 00:19:45,600 Speaker 7: It seems like and I might be assuming, but it 321 00:19:45,680 --> 00:19:48,560 Speaker 7: feels like hurt Locker was the beginning of one hundred 322 00:19:48,600 --> 00:19:51,880 Speaker 7: percent passion project for you, like a toe chapter because 323 00:19:51,960 --> 00:19:55,560 Speaker 7: hurt Locker, of course an Nzel Dark thirty Detroit. I 324 00:19:55,640 --> 00:19:57,679 Speaker 7: wanted to know, is that the case or what does 325 00:19:57,720 --> 00:20:01,200 Speaker 7: the different? What happened in between to number one to 326 00:20:01,240 --> 00:20:03,000 Speaker 7: get to the point where you could do this? Are 327 00:20:03,040 --> 00:20:06,399 Speaker 7: these are one hundred percent passion projects? And yeah, what 328 00:20:06,560 --> 00:20:08,720 Speaker 7: was the transition to that point? Because of course you 329 00:20:08,800 --> 00:20:11,160 Speaker 7: did so many movies and projects before that, but these 330 00:20:11,320 --> 00:20:14,920 Speaker 7: last three seem like, yeah, and this is your heart. 331 00:20:15,200 --> 00:20:16,440 Speaker 1: And then you did My Zone. 332 00:20:19,840 --> 00:20:23,200 Speaker 8: Well, I feel like the ore the films before them, 333 00:20:23,920 --> 00:20:26,960 Speaker 8: and and of course you know you're kind of I 334 00:20:27,040 --> 00:20:30,040 Speaker 8: don't know you can't have favorites, you know. But but 335 00:20:30,160 --> 00:20:32,560 Speaker 8: I feel like they prepared me for those. And I 336 00:20:32,600 --> 00:20:36,320 Speaker 8: couldn't have done hurt Locker or Zero Dark or Detroit 337 00:20:36,600 --> 00:20:40,560 Speaker 8: if I hadn't done those. And one thing that was 338 00:20:40,600 --> 00:20:44,800 Speaker 8: a real departure was working with emerging talent or you know, 339 00:20:45,400 --> 00:20:49,439 Speaker 8: mainly unknown talent. And and I kind of made that, uh. 340 00:20:50,080 --> 00:20:53,760 Speaker 8: In other words, if you wanted to finance or produce 341 00:20:53,960 --> 00:20:56,280 Speaker 8: the hurt Locker, you had to work or that was 342 00:20:56,320 --> 00:21:00,800 Speaker 8: a prerogative creative control. And let me tell you that 343 00:21:01,040 --> 00:21:04,040 Speaker 8: winnowed out a lot of options out there, you know. 344 00:21:04,200 --> 00:21:08,280 Speaker 8: And and and then there was this one gentleman who 345 00:21:09,000 --> 00:21:12,600 Speaker 8: took the leap and and for very little relatively for 346 00:21:12,680 --> 00:21:16,080 Speaker 8: a movie like that, small amount of money, And I 347 00:21:16,240 --> 00:21:18,920 Speaker 8: was able to cast exactly who I want, cut it exactly, 348 00:21:19,760 --> 00:21:20,920 Speaker 8: cut it the way I shoot it, the way I 349 00:21:20,920 --> 00:21:23,199 Speaker 8: wanted to cut it, the way I want it done, and. 350 00:21:24,960 --> 00:21:26,840 Speaker 11: And so and this is the first time that you 351 00:21:27,000 --> 00:21:28,720 Speaker 11: were able to do that in your whole career. 352 00:21:28,840 --> 00:21:33,000 Speaker 1: Yeah, how hard is it to find a producer that's 353 00:21:33,080 --> 00:21:37,280 Speaker 1: not for lessons and verse? Is a pain in the 354 00:21:37,400 --> 00:21:41,639 Speaker 1: ass because you know, I, at least in my experiences 355 00:21:41,680 --> 00:21:46,920 Speaker 1: of witnessing. Usually the good cop is the director and 356 00:21:47,240 --> 00:21:51,000 Speaker 1: the bad cop is the producer, you know, and they 357 00:21:51,119 --> 00:21:54,399 Speaker 1: have to stay on the side. Let you know, the 358 00:21:54,440 --> 00:21:56,919 Speaker 1: budget that's running over and this this sort of thing. 359 00:21:57,520 --> 00:22:02,040 Speaker 1: I mean, how how easy is it to find or 360 00:22:02,119 --> 00:22:05,040 Speaker 1: how hard is it to find one that gives you 361 00:22:05,160 --> 00:22:08,240 Speaker 1: complete autonomy Because there were years before I think came 362 00:22:08,320 --> 00:22:14,200 Speaker 1: nineteen came out, uh six years before seven seven, not 363 00:22:14,359 --> 00:22:16,159 Speaker 1: knowing what the budget for the hurt Locker was. But 364 00:22:16,240 --> 00:22:21,840 Speaker 1: I can imagine that however, you pitched it obviously for 365 00:22:21,960 --> 00:22:25,360 Speaker 1: that end, for zero dark thirty, that it was pricey 366 00:22:26,560 --> 00:22:29,560 Speaker 1: and and you know, of course we're not mentioned the 367 00:22:29,680 --> 00:22:33,320 Speaker 1: elephant in the room about you know, are women given 368 00:22:33,359 --> 00:22:36,680 Speaker 1: the same amount of trust behind the wheel as a 369 00:22:36,760 --> 00:22:39,440 Speaker 1: mail director. We all know that answer is no. So 370 00:22:40,440 --> 00:22:42,960 Speaker 1: how did you how did you break how did you 371 00:22:43,040 --> 00:22:48,720 Speaker 1: break through to the other side to even this is 372 00:22:48,800 --> 00:22:49,640 Speaker 1: a lottery. 373 00:22:49,320 --> 00:22:57,720 Speaker 8: Ticket, it's a lottery ticket. Well, you know, just you 374 00:22:57,800 --> 00:23:02,000 Speaker 8: have to be very tenacious and well, the first budget 375 00:23:02,040 --> 00:23:05,359 Speaker 8: for hurt Lucker was thirty million, and I ended up 376 00:23:06,240 --> 00:23:07,200 Speaker 8: making it for ten. 377 00:23:08,080 --> 00:23:16,080 Speaker 1: So that happened. So don't. 378 00:23:19,600 --> 00:23:23,200 Speaker 8: Budget from thirty to well, that's I don't act and 379 00:23:23,320 --> 00:23:26,560 Speaker 8: didn't lose any set pieces either, so so that was 380 00:23:27,440 --> 00:23:31,680 Speaker 8: a little tricky but or a little challenging. But the 381 00:23:31,880 --> 00:23:36,600 Speaker 8: key there was and what I realized was that the 382 00:23:36,680 --> 00:23:40,720 Speaker 8: budget and your creative control are in direct proportion to 383 00:23:40,760 --> 00:23:41,240 Speaker 8: one another. 384 00:23:41,640 --> 00:23:43,680 Speaker 3: So that was for that. 385 00:23:43,880 --> 00:23:46,440 Speaker 8: So the lower the budget, more creative control you have 386 00:23:46,560 --> 00:23:49,280 Speaker 8: to you were going to sacrifice and compromise creative control 387 00:23:49,359 --> 00:23:51,840 Speaker 8: if you want more money. So that's just it's a 388 00:23:52,000 --> 00:23:54,800 Speaker 8: very simple calculus. I kind of wrapped my head around 389 00:23:54,840 --> 00:23:59,800 Speaker 8: that and went forward with it, and and obviously with 390 00:24:00,080 --> 00:24:03,520 Speaker 8: hurt Locker that was that turned out well. And Zero 391 00:24:03,640 --> 00:24:05,639 Speaker 8: Dark was a little bit more money, but not I mean, 392 00:24:05,840 --> 00:24:09,360 Speaker 8: it wasn't outrage it was but I would be considered 393 00:24:09,400 --> 00:24:14,560 Speaker 8: a kind of fairly robust budget, but nothing in terms 394 00:24:14,680 --> 00:24:17,720 Speaker 8: of I don't know, one of the more normal big 395 00:24:17,800 --> 00:24:18,440 Speaker 8: movies today. 396 00:24:18,800 --> 00:24:23,359 Speaker 1: Well okay, because I know that Zero Dark is also 397 00:24:24,720 --> 00:24:28,239 Speaker 1: intento on the drama and the dialogue that's just as 398 00:24:28,359 --> 00:24:32,600 Speaker 1: rich as an action scene or that sort of thing. Now, 399 00:24:32,640 --> 00:24:35,800 Speaker 1: I'm trying to imagine if you were given complete autonomy 400 00:24:35,920 --> 00:24:38,119 Speaker 1: to do, you know, say, if you were given a 401 00:24:38,240 --> 00:24:41,359 Speaker 1: seventy million dollar budget, or you know, some films of 402 00:24:41,440 --> 00:24:44,200 Speaker 1: this nature get one hundred and fifty million dollar budget, 403 00:24:44,320 --> 00:24:48,879 Speaker 1: Like what more could you done? Like is there a 404 00:24:48,920 --> 00:24:51,680 Speaker 1: sacrifice scene that we didn't know about? Then? Like, okay, 405 00:24:51,800 --> 00:24:54,639 Speaker 1: well we only got ten millions, so we'll just use 406 00:24:54,680 --> 00:24:55,439 Speaker 1: this firecracker. 407 00:24:58,520 --> 00:24:59,760 Speaker 8: I'll just blow up this town. 408 00:25:00,359 --> 00:25:00,439 Speaker 1: Now. 409 00:25:02,359 --> 00:25:05,960 Speaker 8: That's another thing I think, you know, I do when 410 00:25:06,000 --> 00:25:09,520 Speaker 8: I can. I work in elephant conservation or some kind 411 00:25:09,520 --> 00:25:12,360 Speaker 8: of philanthropy. And I think, you know, the bigger the budgets, 412 00:25:12,400 --> 00:25:14,800 Speaker 8: I think, wow, I should be using this money for that, 413 00:25:15,080 --> 00:25:17,720 Speaker 8: you know, saving these park rangers in Garamba and the 414 00:25:17,800 --> 00:25:20,280 Speaker 8: d r C or something like that. But so, but 415 00:25:20,760 --> 00:25:24,159 Speaker 8: but finding a producer that supports you and trusts you, 416 00:25:24,359 --> 00:25:27,119 Speaker 8: I mean, that's it's a process. It's a I mean, 417 00:25:27,160 --> 00:25:30,159 Speaker 8: I also produce. But in other words, I'm a producer 418 00:25:30,240 --> 00:25:33,520 Speaker 8: and director, so I see cost I'm a student and creative. 419 00:25:33,560 --> 00:25:37,240 Speaker 8: But but you know, I know, you know, I know, 420 00:25:37,520 --> 00:25:40,840 Speaker 8: I know who wins in my in my own personal right. 421 00:25:41,840 --> 00:25:45,720 Speaker 8: But but uh yeah, you just you know, but I 422 00:25:45,800 --> 00:25:49,840 Speaker 8: think working with as much trust, integrity and respect as 423 00:25:49,880 --> 00:25:54,600 Speaker 8: you possibly can, and then I mean with everybody, crew, casts, producers, 424 00:25:54,640 --> 00:25:59,840 Speaker 8: et cetera. And then you know, it's usually a you. 425 00:26:00,440 --> 00:26:02,960 Speaker 8: I mean, that's sort of what I learned prior to 426 00:26:03,119 --> 00:26:05,200 Speaker 8: the hurt Locker and then of course tried to execute 427 00:26:05,200 --> 00:26:06,720 Speaker 8: it from that point on. 428 00:26:07,000 --> 00:26:11,000 Speaker 1: So you're you're proven, You're you're you're you're reaffirming what 429 00:26:11,040 --> 00:26:16,840 Speaker 1: I've always thought about musicians, which is whenever they have 430 00:26:17,080 --> 00:26:22,120 Speaker 1: limited resources and limited budgets, they turn out their most 431 00:26:22,200 --> 00:26:26,160 Speaker 1: creative work. And whenever they're just given the entire world, 432 00:26:26,359 --> 00:26:30,080 Speaker 1: that's usually the uh, that's the jumping the shark moment 433 00:26:30,280 --> 00:26:33,120 Speaker 1: for a lot of our our musicians. 434 00:26:33,320 --> 00:26:35,320 Speaker 8: Well, there's a great quote by Entre Gate. I said, 435 00:26:35,400 --> 00:26:37,520 Speaker 8: artist born of restraint and dies of freedom. 436 00:26:39,160 --> 00:26:43,400 Speaker 1: Yeah, that's very true, is it? And that's quest love suprevium, 437 00:26:44,080 --> 00:26:44,840 Speaker 1: Thank you very much. 438 00:26:52,680 --> 00:27:01,119 Speaker 5: I have a question Steve, and then I really want 439 00:27:01,160 --> 00:27:02,640 Speaker 5: to hear about Detroit after. 440 00:27:02,840 --> 00:27:04,840 Speaker 1: Well, we're going to get to Detroit. I kind of 441 00:27:04,960 --> 00:27:05,920 Speaker 1: wanted I get. 442 00:27:06,000 --> 00:27:09,520 Speaker 5: My question is because you mentioned the journalistic nature of 443 00:27:09,760 --> 00:27:12,480 Speaker 5: making these movies, So do you have any kind of 444 00:27:12,520 --> 00:27:15,159 Speaker 5: background in journalism now? 445 00:27:15,280 --> 00:27:18,439 Speaker 8: But Mark, who wrote all three of them, comes from 446 00:27:18,560 --> 00:27:23,600 Speaker 8: investigative journalism, and so that allowed me to kind of 447 00:27:23,800 --> 00:27:27,440 Speaker 8: open up open up that idea of being a you know, 448 00:27:27,600 --> 00:27:30,600 Speaker 8: putting the viewer in an active relationship with the screen 449 00:27:30,640 --> 00:27:34,280 Speaker 8: as opposed to passive. You know that can't consequently again, 450 00:27:34,320 --> 00:27:38,320 Speaker 8: the camera's very active, but in other words, sort of 451 00:27:38,400 --> 00:27:40,160 Speaker 8: inviting the viewer to be a fly in the wall 452 00:27:40,520 --> 00:27:41,600 Speaker 8: in what you're experiencing. 453 00:27:45,359 --> 00:27:49,800 Speaker 1: I'll change you, Lad, you could be Stubbs, Steve Stubbs. 454 00:27:50,440 --> 00:27:53,200 Speaker 5: So I was watching the CNN thing the nineties and 455 00:27:53,280 --> 00:27:58,720 Speaker 5: I saw your name as a director on what was 456 00:27:58,800 --> 00:28:00,120 Speaker 5: it a long time ago. 457 00:28:01,440 --> 00:28:04,200 Speaker 1: Point? It was a show. 458 00:28:04,280 --> 00:28:04,520 Speaker 7: It was. 459 00:28:07,720 --> 00:28:15,399 Speaker 11: Stet Yeah, Baltimore. Yeah, yeah, that. 460 00:28:19,640 --> 00:28:22,000 Speaker 5: Was somewhat journalistic type thing too. 461 00:28:22,320 --> 00:28:24,639 Speaker 8: Well, well, I started that was sort of where I 462 00:28:24,840 --> 00:28:27,520 Speaker 8: began to get confident enough to move, you know, to 463 00:28:27,640 --> 00:28:30,760 Speaker 8: be I don't know, create a very I suppose sort 464 00:28:30,760 --> 00:28:35,440 Speaker 8: of active and fluid cinematic environment. And then I don't know, 465 00:28:35,520 --> 00:28:37,720 Speaker 8: you just kind of get your chops. I mean, it's 466 00:28:37,720 --> 00:28:41,120 Speaker 8: got to be like what all of you do? Wait, 467 00:28:42,560 --> 00:28:43,240 Speaker 8: what was your first? 468 00:28:43,360 --> 00:28:45,840 Speaker 7: What was your first gig in the film industry? Because Catherine, 469 00:28:45,880 --> 00:28:49,760 Speaker 7: you have like actors, producer, writer, director, all these things. 470 00:28:50,280 --> 00:28:50,920 Speaker 11: What was your first? 471 00:28:51,160 --> 00:28:56,920 Speaker 8: Yeah, I'm gonna add some more, you should do whatever. Well, 472 00:28:56,960 --> 00:29:01,480 Speaker 8: I started out as a painter, and I was an 473 00:29:01,640 --> 00:29:03,800 Speaker 8: artist and or thought of myself as an artist and 474 00:29:05,520 --> 00:29:09,680 Speaker 8: moved to New York. I was given this I don't 475 00:29:09,720 --> 00:29:12,680 Speaker 8: know this, I guess internship with a Whitney Independent study program. 476 00:29:12,760 --> 00:29:14,560 Speaker 8: They gave you a studio. I was living in a 477 00:29:15,200 --> 00:29:18,200 Speaker 8: bank vault and on the corner of Down and Read 478 00:29:18,280 --> 00:29:24,640 Speaker 8: and Chambers and many many years ago, no no very 479 00:29:24,680 --> 00:29:27,680 Speaker 8: pre gentrified off track betting building. And I was downstairs 480 00:29:27,760 --> 00:29:32,040 Speaker 8: in this bank fault and Susan Sontag was one of 481 00:29:32,120 --> 00:29:34,920 Speaker 8: my advisors. She'd come down and I'd put the work 482 00:29:34,960 --> 00:29:37,560 Speaker 8: up on the wall of these stainless and the door. 483 00:29:37,720 --> 00:29:38,840 Speaker 8: I mean, I had nowhere to stay. I had a 484 00:29:38,840 --> 00:29:40,640 Speaker 8: sleeping bag in the bank fault and i'd sleep in 485 00:29:40,720 --> 00:29:44,160 Speaker 8: there and people be gunshots above, and I was like, okay, 486 00:29:44,160 --> 00:29:46,200 Speaker 8: I'm safe down here. As long as the door doesn't shut. 487 00:29:48,400 --> 00:29:53,040 Speaker 8: The door shots, nobody's going to find me. But but 488 00:29:53,280 --> 00:29:56,680 Speaker 8: so she'd I would do these paintings. And then I 489 00:29:56,840 --> 00:30:00,400 Speaker 8: realized that art and I love it. Believe me, I still, 490 00:30:00,880 --> 00:30:05,640 Speaker 8: you know, I kind of no, no, no, no, no, no, 491 00:30:05,960 --> 00:30:07,120 Speaker 8: I mean I still look. 492 00:30:07,040 --> 00:30:07,440 Speaker 7: At it and. 493 00:30:08,960 --> 00:30:12,280 Speaker 8: No, no, it can't be a hobby. I wish it could. 494 00:30:12,360 --> 00:30:17,160 Speaker 8: But anyway, so no, it's not relaxing. But but I 495 00:30:17,280 --> 00:30:21,280 Speaker 8: realized there's something you know, kind of I don't know 496 00:30:21,360 --> 00:30:22,960 Speaker 8: how to put it, but maybe kind of rarefied. You 497 00:30:23,000 --> 00:30:24,920 Speaker 8: look at this white on white canvas, which is this 498 00:30:25,080 --> 00:30:28,160 Speaker 8: Russian guy, Casmir Malevich, who I love. But but the 499 00:30:28,240 --> 00:30:33,040 Speaker 8: point is it, it's, you know, requires or asks of 500 00:30:33,120 --> 00:30:35,520 Speaker 8: you a little bit of information to kind of appreciate 501 00:30:35,600 --> 00:30:39,120 Speaker 8: it and think this is extraordinary and breakthrough Ormonnai's to 502 00:30:39,160 --> 00:30:41,920 Speaker 8: Haystacks or whatever. And so I then I started moving 503 00:30:41,960 --> 00:30:45,000 Speaker 8: into film because I thought it crosses all class cultural lines, 504 00:30:45,640 --> 00:30:48,760 Speaker 8: like everybody can ex everybody can go to the movies, 505 00:30:49,160 --> 00:30:51,160 Speaker 8: and so how do you make how do you work 506 00:30:51,200 --> 00:30:55,360 Speaker 8: in a populist medium with an emphasis on content? And 507 00:30:55,480 --> 00:30:57,680 Speaker 8: so that's where it started. I did this piece Setup, 508 00:30:57,800 --> 00:30:59,680 Speaker 8: and then I ended up doing a graduate degree at 509 00:30:59,720 --> 00:31:02,800 Speaker 8: column being I was getting too long of an answer, 510 00:31:04,320 --> 00:31:08,160 Speaker 8: and I did this movie called Setup Movie. It was 511 00:31:08,200 --> 00:31:12,680 Speaker 8: a short, it was twenty minutes, and it was very violent. 512 00:31:13,560 --> 00:31:20,480 Speaker 8: I know there's a thematically, a real breakthrough, and but 513 00:31:20,840 --> 00:31:24,280 Speaker 8: what I was interesting to me was why we are 514 00:31:24,680 --> 00:31:30,680 Speaker 8: attracted to extreme situations? And and Susan Sontag wrote that 515 00:31:30,720 --> 00:31:34,960 Speaker 8: book on photography, and she talked about identifying with the 516 00:31:35,120 --> 00:31:38,880 Speaker 8: other or the id you know and your years, so 517 00:31:39,360 --> 00:31:43,600 Speaker 8: anyway I have. It's basically a piece that tries to 518 00:31:43,800 --> 00:31:47,560 Speaker 8: unpack our attraction to cinematic violence. And it's only twenty 519 00:31:47,600 --> 00:31:52,000 Speaker 8: minutes long, sort of non narrative, and then that kind 520 00:31:52,040 --> 00:31:54,600 Speaker 8: of propelled me into the motorcycle movie I did with 521 00:31:54,680 --> 00:31:57,320 Speaker 8: Willem Dafoe called The Loveless. 522 00:31:57,240 --> 00:32:00,160 Speaker 11: William dug he must be special to work with. Oh, 523 00:32:00,280 --> 00:32:01,760 Speaker 11: I mean, oh, he's fabulous. 524 00:32:03,800 --> 00:32:05,320 Speaker 8: In fact, he was doing you know, he used to 525 00:32:05,360 --> 00:32:07,640 Speaker 8: be with the Booster Group, and that was back in 526 00:32:07,680 --> 00:32:09,480 Speaker 8: the day when you can just go to a performance 527 00:32:09,520 --> 00:32:11,080 Speaker 8: and then you go up afterward and you say, hey, 528 00:32:11,080 --> 00:32:12,080 Speaker 8: do you want to be in a movie? I mean, 529 00:32:12,120 --> 00:32:14,520 Speaker 8: I had just you know, five pennies to make this 530 00:32:14,600 --> 00:32:16,560 Speaker 8: film and he's like sure. I said, can you ride 531 00:32:16,600 --> 00:32:22,680 Speaker 8: a motorcycle? He said, yes, Well I learned. I learned. 532 00:32:24,880 --> 00:32:29,320 Speaker 8: You know, it's good to kind of like research research question, 533 00:32:29,840 --> 00:32:33,800 Speaker 8: especially when we ended up No, he didn't fall, He 534 00:32:33,920 --> 00:32:37,680 Speaker 8: just ended up going through a hedge and up along 535 00:32:37,760 --> 00:32:40,440 Speaker 8: and into in the front door. We had these big 536 00:32:40,480 --> 00:32:44,280 Speaker 8: electric glides. Back in the day, there was ghost motorcycles 537 00:32:44,320 --> 00:32:45,600 Speaker 8: out on Long Island. I don't know if any of 538 00:32:45,640 --> 00:32:48,080 Speaker 8: you and if you were old enough. No, and they 539 00:32:48,120 --> 00:32:50,880 Speaker 8: had they had real they had vintage motorcycles. And this 540 00:32:51,040 --> 00:32:52,840 Speaker 8: was a film that took place in nineteen fifty nine, 541 00:32:52,880 --> 00:32:55,560 Speaker 8: and so I wanted all the motorcycles to be real, 542 00:32:56,360 --> 00:33:01,000 Speaker 8: and so they're heavy, and I mean I didn't I 543 00:33:01,080 --> 00:33:06,560 Speaker 8: can't drive one. But so that was how the switch happened, 544 00:33:07,120 --> 00:33:10,360 Speaker 8: and then I sort of then suddenly I was making film. 545 00:33:15,320 --> 00:33:19,840 Speaker 1: There's what is your attraction to? I mean, I don't 546 00:33:20,160 --> 00:33:22,480 Speaker 1: you know, I don't want to use violence, as you 547 00:33:22,600 --> 00:33:26,600 Speaker 1: know as the four letter word, but there's definitely that's 548 00:33:26,640 --> 00:33:29,880 Speaker 1: an element that's almost a common denominator in each film. 549 00:33:30,040 --> 00:33:34,479 Speaker 1: Like I've became aware of you through Blue Steel, as 550 00:33:34,560 --> 00:33:35,880 Speaker 1: we mentioned at the top of the show. 551 00:33:37,960 --> 00:33:38,560 Speaker 4: But what is. 552 00:33:40,840 --> 00:33:43,120 Speaker 1: What is it that you want to tell the world 553 00:33:43,240 --> 00:33:45,520 Speaker 1: or show the world through all of your films that 554 00:33:45,640 --> 00:33:50,440 Speaker 1: you you you direct or you write, like what is 555 00:33:50,520 --> 00:33:53,840 Speaker 1: your Because you wrote Blue Steel? Correct, you wrote in directly, 556 00:33:56,200 --> 00:33:59,680 Speaker 1: So what what is that? What is why is that 557 00:33:59,840 --> 00:34:03,800 Speaker 1: you or way to grip our collars or to get 558 00:34:03,840 --> 00:34:07,080 Speaker 1: our attention? Do you use it in a very unusual 559 00:34:07,200 --> 00:34:09,600 Speaker 1: You don't. It's not gratuitious as in like, hey, it's 560 00:34:09,640 --> 00:34:14,560 Speaker 1: gratu but it's it's almost psychological where you you go 561 00:34:14,760 --> 00:34:20,160 Speaker 1: deep into all these characters and you show this dark 562 00:34:20,239 --> 00:34:23,239 Speaker 1: place in their soul, which makes me wonder about you, 563 00:34:24,840 --> 00:34:26,080 Speaker 1: what's the dark place in your soul? 564 00:34:30,480 --> 00:34:34,840 Speaker 8: Well, we could turn this into a therapy, right, I know. 565 00:34:36,600 --> 00:34:38,600 Speaker 8: And I co wrote that with Eric red So and 566 00:34:38,719 --> 00:34:44,120 Speaker 8: we co wrote Near Dark together too, But I think 567 00:34:44,200 --> 00:34:49,359 Speaker 8: of well, I don't. I suppose it's it goes kind 568 00:34:49,400 --> 00:34:51,040 Speaker 8: of go back, goes back to the art days, where 569 00:34:51,080 --> 00:34:53,880 Speaker 8: the purpose of art is to agitate for change. And 570 00:34:54,200 --> 00:34:58,239 Speaker 8: so I think a film is very kinetic. It's a 571 00:34:58,320 --> 00:35:03,200 Speaker 8: very kinetic medium, and and I sort of enjoy the 572 00:35:03,640 --> 00:35:10,400 Speaker 8: mechanics of that kind of visceral identification with a story 573 00:35:10,520 --> 00:35:12,759 Speaker 8: on the screen. But it has to have content, It 574 00:35:12,800 --> 00:35:15,400 Speaker 8: has to have some purpose. There has to be some 575 00:35:17,600 --> 00:35:21,680 Speaker 8: you know, the same meaning as to self aggrandizing, I 576 00:35:21,719 --> 00:35:23,239 Speaker 8: don't mean it that way, but to have you know, 577 00:35:23,360 --> 00:35:26,319 Speaker 8: it has to have some substance. And I think what's 578 00:35:26,360 --> 00:35:28,960 Speaker 8: so great about film is it allows you and music 579 00:35:29,280 --> 00:35:31,720 Speaker 8: to be a part of something so much bigger than yourself. 580 00:35:32,480 --> 00:35:35,800 Speaker 8: And you know, maybe ever so slightly, you can perhaps 581 00:35:35,880 --> 00:35:36,520 Speaker 8: make a difference. 582 00:35:37,600 --> 00:35:40,799 Speaker 12: I want to ask you about when you cast your 583 00:35:40,880 --> 00:35:44,759 Speaker 12: films and the training that you put your actors through. 584 00:35:46,000 --> 00:35:48,279 Speaker 12: Obviously for the hurt Locker there was you know, it 585 00:35:48,400 --> 00:35:50,400 Speaker 12: had to be some kind of military training or what 586 00:35:50,640 --> 00:35:53,759 Speaker 12: was the regimen for that? And also for Detroit, because 587 00:35:53,840 --> 00:35:56,680 Speaker 12: the guys are playing a singing group, what did you 588 00:35:56,800 --> 00:36:00,279 Speaker 12: have them do to so that it looks real camera? 589 00:36:01,960 --> 00:36:02,120 Speaker 4: Well? 590 00:36:02,200 --> 00:36:02,440 Speaker 8: Thank you? 591 00:36:04,200 --> 00:36:07,560 Speaker 1: Any story camp Ord? Uh? 592 00:36:08,600 --> 00:36:11,200 Speaker 8: Yeah, there was Motown camp. No we didn't, oh love 593 00:36:11,600 --> 00:36:16,160 Speaker 8: no no no no. Well, in terms of hurt Locker, yeah, 594 00:36:16,160 --> 00:36:18,560 Speaker 8: they had. They went through a lot of military training, 595 00:36:18,640 --> 00:36:23,800 Speaker 8: I mean, and same with Sarah Dark. I had the 596 00:36:23,880 --> 00:36:26,160 Speaker 8: benefit of in the case of hurt Locker, there was 597 00:36:26,239 --> 00:36:30,640 Speaker 8: some Delta Delta Force individuals that were my tech advisors 598 00:36:31,120 --> 00:36:34,640 Speaker 8: and se s and then with zero Dark Navy Steel 599 00:36:36,160 --> 00:36:39,560 Speaker 8: Tech advisors and taught them how to you know, how 600 00:36:39,600 --> 00:36:42,759 Speaker 8: to move and how you know. The most important thing 601 00:36:42,800 --> 00:36:45,480 Speaker 8: I took away from that was don't run. Wait, don't 602 00:36:45,520 --> 00:36:48,560 Speaker 8: run to your death. You know how it's very methodical 603 00:36:48,640 --> 00:36:51,160 Speaker 8: how these people move. It's really interesting. Like you'll be 604 00:36:51,440 --> 00:36:54,520 Speaker 8: coming around a corner and you don't race around it. 605 00:36:54,600 --> 00:36:58,399 Speaker 8: You move very slowly and incessantly. It's like they talk 606 00:36:58,440 --> 00:37:00,439 Speaker 8: about it, like the trainers would talk about it like water, 607 00:37:00,600 --> 00:37:04,000 Speaker 8: you know, the way water moves. It's cadence, doesn't change. 608 00:37:04,440 --> 00:37:08,840 Speaker 8: It's just very consistent. It has nothing to do with motown. 609 00:37:08,960 --> 00:37:16,760 Speaker 8: But well, I'm I'm somebody, I think who's musically challenged. 610 00:37:16,800 --> 00:37:19,400 Speaker 8: In fact, I was. I think, I don't know how 611 00:37:19,400 --> 00:37:22,000 Speaker 8: old I was. I did a piano recital at like 612 00:37:22,280 --> 00:37:23,759 Speaker 8: one and a half. I don't know, I was very young, 613 00:37:24,200 --> 00:37:27,560 Speaker 8: and the teacher hit my hand with the realer I 614 00:37:27,640 --> 00:37:31,680 Speaker 8: was doing something wrong, and so I told my parents, 615 00:37:31,719 --> 00:37:34,040 Speaker 8: I'll never never do it, never doing that again. So 616 00:37:34,520 --> 00:37:39,440 Speaker 8: I started painting. But anyway, so I was extremely lucky 617 00:37:39,480 --> 00:37:44,920 Speaker 8: because I'm I'm not conversant in that world and finding 618 00:37:45,000 --> 00:37:47,040 Speaker 8: these actors, and I did a lot of improv. I 619 00:37:47,080 --> 00:37:49,880 Speaker 8: did never work from the script. I work basically in improv. 620 00:37:50,160 --> 00:37:52,520 Speaker 8: Created a situation like okay, you're up against the while 621 00:37:52,600 --> 00:37:57,000 Speaker 8: this guy's going to come in, and I needed to 622 00:37:57,080 --> 00:38:00,920 Speaker 8: see how they would react in a situation, and then 623 00:38:01,800 --> 00:38:07,440 Speaker 8: how they would work together, as you know, musically, and 624 00:38:09,000 --> 00:38:13,120 Speaker 8: I think, I you know, I think they just blended. 625 00:38:13,320 --> 00:38:15,400 Speaker 8: I don't know, there was just a natural blend and 626 00:38:15,520 --> 00:38:19,200 Speaker 8: they kind of and then I don't know, they got 627 00:38:19,280 --> 00:38:23,600 Speaker 8: together a lot during the shoot, and and prior in 628 00:38:23,680 --> 00:38:28,280 Speaker 8: the casting process, they would get together and really created 629 00:38:28,320 --> 00:38:33,320 Speaker 8: a sense of history, and that carried over into the 630 00:38:34,520 --> 00:38:37,080 Speaker 8: you know, onto the scene when you do it, do you. 631 00:38:37,200 --> 00:38:40,840 Speaker 12: Have someone in mind, like when you looking at the story, 632 00:38:40,920 --> 00:38:42,680 Speaker 12: do you have someone in mind saying, Hey, I think 633 00:38:42,800 --> 00:38:44,560 Speaker 12: this actor or this actress would be good for this 634 00:38:44,719 --> 00:38:47,959 Speaker 12: role or is that something that totally you let the casting. 635 00:38:47,960 --> 00:38:50,960 Speaker 8: No, Well, I had an amazing casting director, Vicky Thomas, 636 00:38:51,080 --> 00:38:58,399 Speaker 8: but I really wanted actors who, in a way didn't 637 00:38:58,440 --> 00:39:03,200 Speaker 8: have any provenance because that tele telegraphs to an audience, 638 00:39:03,239 --> 00:39:06,080 Speaker 8: even if it's consciously or subconsciously, Oh that person, you know, 639 00:39:06,200 --> 00:39:10,400 Speaker 8: you can't die, he's too famous, right, and so immediately 640 00:39:10,480 --> 00:39:12,560 Speaker 8: the game is over. You know, there's no tension. So 641 00:39:13,440 --> 00:39:16,440 Speaker 8: for that reason and many and and also just I 642 00:39:16,640 --> 00:39:20,399 Speaker 8: love the idea of kind of these discoveries. And these 643 00:39:20,880 --> 00:39:23,400 Speaker 8: young African American men were just I mean, they were 644 00:39:23,560 --> 00:39:28,640 Speaker 8: so giving and so I don't know, they're so talented. 645 00:39:28,719 --> 00:39:30,759 Speaker 8: I mean, it was an embarrassment of riches. It was very, 646 00:39:30,920 --> 00:39:33,040 Speaker 8: very very hard to cast because for any one part 647 00:39:33,120 --> 00:39:35,200 Speaker 8: there were quite a few options. 648 00:39:35,280 --> 00:39:37,960 Speaker 1: Well, you did a great job, because I didn't even 649 00:39:38,320 --> 00:39:43,480 Speaker 1: recognize uh John Krasinski, Oh yeah, five minutes. I was like, 650 00:39:43,600 --> 00:39:46,800 Speaker 1: oh him, and I was waiting for the office. 651 00:39:48,400 --> 00:39:50,560 Speaker 7: And then the young black actors that you picked are 652 00:39:50,719 --> 00:39:52,839 Speaker 7: like right now, the up and coming you. I mean, 653 00:39:53,320 --> 00:39:55,919 Speaker 7: just off a name you got like you got Ralph 654 00:39:56,000 --> 00:39:56,840 Speaker 7: treads Van, you know. 655 00:39:57,480 --> 00:40:00,640 Speaker 1: Like in the characters. 656 00:40:00,680 --> 00:40:03,080 Speaker 7: But I mean that they play but and it's dope 657 00:40:03,080 --> 00:40:04,600 Speaker 7: to I was. I was thinking, I said, you know, 658 00:40:04,680 --> 00:40:07,000 Speaker 7: they're used to being in these dope ensemble class cast 659 00:40:07,040 --> 00:40:08,840 Speaker 7: even John Boyega, I don't know if I say his 660 00:40:08,920 --> 00:40:12,520 Speaker 7: name Rye perfect Star Wars ensemble cast. So it kind 661 00:40:12,560 --> 00:40:14,480 Speaker 7: of worked dope for you because they are used to 662 00:40:15,080 --> 00:40:17,200 Speaker 7: making it work for one grid mission, right. 663 00:40:17,360 --> 00:40:20,400 Speaker 8: Yeah, I mean they work. Yeah, they're well first at 664 00:40:20,480 --> 00:40:22,960 Speaker 8: working as you know, as a group and as a 665 00:40:23,080 --> 00:40:26,120 Speaker 8: kind of an organic body that you know. I mean, 666 00:40:26,440 --> 00:40:29,120 Speaker 8: I was just so lucky in Altree Smith and Hayden 667 00:40:29,239 --> 00:40:32,040 Speaker 8: and Malcolm and and little Butler. 668 00:40:32,120 --> 00:40:33,640 Speaker 7: I'm glad I never knew his name, but I've been 669 00:40:33,640 --> 00:40:35,200 Speaker 7: watching him since he was a child actor. 670 00:40:35,280 --> 00:40:36,200 Speaker 11: He's amazing. 671 00:40:36,960 --> 00:40:40,640 Speaker 1: He's scary. He is even if I see him now 672 00:40:41,680 --> 00:40:43,919 Speaker 1: like he's in he's he's on the Goldbergs, right. 673 00:40:44,880 --> 00:40:47,400 Speaker 11: Is he not on the I don't know if he's 674 00:40:47,440 --> 00:40:49,160 Speaker 11: on their now. He was in the Revenant, he was 675 00:40:49,440 --> 00:40:50,840 Speaker 11: in the Chronicles of Narnia. 676 00:40:51,080 --> 00:40:56,680 Speaker 1: Yeah right, okay, I know that, but yeah he's Jesus Christ. 677 00:40:57,000 --> 00:40:58,160 Speaker 11: Can get it's an eyebrow thing. 678 00:41:01,320 --> 00:41:02,920 Speaker 1: Even if you mentioned it now, I'm like, all right, 679 00:41:03,040 --> 00:41:06,160 Speaker 1: change this ubject. I don't know how the feel when 680 00:41:06,160 --> 00:41:10,480 Speaker 1: I see him come on my show and play. I 681 00:41:10,600 --> 00:41:17,600 Speaker 1: want to know what is uh your personal creative process, uh, 682 00:41:18,600 --> 00:41:21,879 Speaker 1: from going project to project now? I mean the time 683 00:41:21,960 --> 00:41:27,960 Speaker 1: distance between zero Dark thirty and the hurt Locker was 684 00:41:28,040 --> 00:41:33,440 Speaker 1: two years almost now. I would imagine usually for anyone 685 00:41:33,520 --> 00:41:41,960 Speaker 1: else in any other medium, uh, when someone reaches that level, 686 00:41:42,239 --> 00:41:45,759 Speaker 1: that summer, that pinnacle of a career and you, of 687 00:41:45,840 --> 00:41:48,600 Speaker 1: course making history as the first female director to get 688 00:41:50,560 --> 00:41:57,799 Speaker 1: an Oscar, not usually for anyone else that would be like, okay, well, 689 00:41:57,960 --> 00:42:00,960 Speaker 1: a period of decompression and you take five years off 690 00:42:01,000 --> 00:42:04,239 Speaker 1: to think you're your next move. Like let's take limit 691 00:42:04,440 --> 00:42:08,440 Speaker 1: Manuel Miranda for example, Like, I'll be shocked if he 692 00:42:08,560 --> 00:42:12,040 Speaker 1: comes up with a follow up to Hamilton in the 693 00:42:12,280 --> 00:42:15,920 Speaker 1: next five years. Like, I'll be shocked. I'm doing Jefferson 694 00:42:16,239 --> 00:42:21,799 Speaker 1: right right, But yeah, you know you immediately I mean, 695 00:42:22,200 --> 00:42:24,960 Speaker 1: for me, that's that's almost lightning fast of how you 696 00:42:25,239 --> 00:42:27,839 Speaker 1: just went on to the next project like it was nothing. 697 00:42:27,920 --> 00:42:31,080 Speaker 1: You didn't let it freeze you up or anything. But 698 00:42:31,200 --> 00:42:34,000 Speaker 1: I want to know, you know, do you have a 699 00:42:36,239 --> 00:42:41,120 Speaker 1: kind of a decompression resting period that lets you back 700 00:42:41,239 --> 00:42:44,120 Speaker 1: at zero so that you can go to the next product? 701 00:42:44,320 --> 00:42:47,600 Speaker 1: And then what's your research into Like as far as 702 00:42:48,280 --> 00:42:51,399 Speaker 1: you deciding Okay, this is what I want to do next, 703 00:42:51,719 --> 00:42:53,960 Speaker 1: and then you know, making sure that you and your 704 00:42:54,000 --> 00:42:57,280 Speaker 1: screenwriter are on point with each other, and then mapping 705 00:42:57,360 --> 00:43:00,360 Speaker 1: out the direction and all the things that go with 706 00:43:00,560 --> 00:43:03,680 Speaker 1: creating a film, like what is your creative process and 707 00:43:03,920 --> 00:43:07,920 Speaker 1: in relationship, especially with Detroit, the research you had to 708 00:43:08,040 --> 00:43:10,600 Speaker 1: do and the books you had to read and all 709 00:43:10,640 --> 00:43:11,080 Speaker 1: those things. 710 00:43:11,440 --> 00:43:17,160 Speaker 8: Yeah, the research on Detroit was massive. What happened was 711 00:43:17,920 --> 00:43:20,440 Speaker 8: Mark came to me with this story. And this was 712 00:43:21,160 --> 00:43:26,719 Speaker 8: early twenty fifteen and right about the time of the 713 00:43:28,000 --> 00:43:34,640 Speaker 8: Michael Brown acquittal, and I it was, you know, kind 714 00:43:34,680 --> 00:43:37,799 Speaker 8: of obviously a politically emotionally charged time. And he told 715 00:43:37,800 --> 00:43:40,239 Speaker 8: me this story and I said, you know, this is 716 00:43:40,280 --> 00:43:43,000 Speaker 8: a story that needs to get out there. You know, 717 00:43:43,120 --> 00:43:48,640 Speaker 8: it's very important in my opinion, and and you know, 718 00:43:49,520 --> 00:43:52,680 Speaker 8: maybe in some small way it can contribute to a 719 00:43:52,800 --> 00:43:58,839 Speaker 8: conversation on a bigger scale. And then I started doing 720 00:43:59,239 --> 00:44:03,080 Speaker 8: homework on it and and and in fact, I sent 721 00:44:03,200 --> 00:44:06,759 Speaker 8: down I sat down with Congressman Conyers, who's in the movie, 722 00:44:07,440 --> 00:44:11,000 Speaker 8: but in Detroit, and he kind of looked at me 723 00:44:11,040 --> 00:44:12,600 Speaker 8: and said, okay, what are you What are you doing? 724 00:44:12,760 --> 00:44:14,759 Speaker 8: You know what kind of movie you're doing in Detroit? 725 00:44:14,840 --> 00:44:16,880 Speaker 8: Said well, I'm doing a story about the Algiers Motel. 726 00:44:17,760 --> 00:44:22,200 Speaker 8: And he said, that's an execution. And and so I 727 00:44:22,280 --> 00:44:27,240 Speaker 8: realized that there's you know, there's a lot of obviously 728 00:44:27,280 --> 00:44:30,040 Speaker 8: a lot of history, even though it's fifty years ago. 729 00:44:30,200 --> 00:44:34,600 Speaker 8: And then the you know what happened with Michael Brown 730 00:44:35,280 --> 00:44:37,920 Speaker 8: and on and on and this time and this time 731 00:44:38,160 --> 00:44:41,239 Speaker 8: it felt very timely, and it felt like this might be, 732 00:44:43,400 --> 00:44:48,080 Speaker 8: you know, I don't know, worth be incredibly moving to 733 00:44:50,040 --> 00:44:52,799 Speaker 8: to dig into. And at the more research I did, 734 00:44:52,880 --> 00:44:55,759 Speaker 8: the more homework we did, and trying to make it 735 00:44:56,640 --> 00:44:58,280 Speaker 8: as real and authentic as possible. 736 00:44:58,360 --> 00:44:58,799 Speaker 7: And and. 737 00:45:01,400 --> 00:45:05,400 Speaker 8: It was very emotional piece. It was very emotionally charged 738 00:45:05,520 --> 00:45:06,440 Speaker 8: shooting it as well. 739 00:45:06,719 --> 00:45:09,640 Speaker 11: Do you know, did you have any reservations about doing this? 740 00:45:09,680 --> 00:45:12,439 Speaker 7: Because I was reading the article that doctor Dyson wrote 741 00:45:12,480 --> 00:45:15,160 Speaker 7: on you, and I remember the part where he one 742 00:45:15,200 --> 00:45:16,960 Speaker 7: of the people in Detroit, because you guys are walking 743 00:45:16,960 --> 00:45:19,360 Speaker 7: around Detroit, and he says, like, what is this is? 744 00:45:19,440 --> 00:45:19,480 Speaker 10: This? 745 00:45:19,680 --> 00:45:21,640 Speaker 7: Is this white woman gonna know about us and this 746 00:45:21,760 --> 00:45:23,600 Speaker 7: story that we have? Like, did you personally have to 747 00:45:24,200 --> 00:45:25,960 Speaker 7: have a moment and say, can I do this? 748 00:45:26,080 --> 00:45:26,719 Speaker 11: Should I do this? 749 00:45:27,520 --> 00:45:32,239 Speaker 8: Absolutely? I mean I thought, and I think I still think. 750 00:45:32,320 --> 00:45:34,600 Speaker 8: You know, am I the perfect person to make this movie? 751 00:45:34,680 --> 00:45:38,040 Speaker 8: Absolutely not. On the other hand, you know, I have 752 00:45:38,239 --> 00:45:40,879 Speaker 8: this opportunity. I can get this. You know, I can't 753 00:45:40,880 --> 00:45:45,680 Speaker 8: get this story out there, and and you know, take 754 00:45:45,760 --> 00:45:49,439 Speaker 8: advantage of that in the hope that again it maybe 755 00:45:49,600 --> 00:45:52,799 Speaker 8: leads to a dialogue or more stories like this coming out. 756 00:45:53,640 --> 00:45:54,000 Speaker 1: And so. 757 00:45:56,200 --> 00:45:58,560 Speaker 8: That was that was the impetus behind. 758 00:45:58,239 --> 00:46:00,080 Speaker 12: It, when you say you're not the perfect person and 759 00:46:00,120 --> 00:46:02,800 Speaker 12: if not you, then who, like who would if you 760 00:46:02,840 --> 00:46:03,960 Speaker 12: were producing Detroit? 761 00:46:04,239 --> 00:46:08,839 Speaker 1: Who would you get to direct it? Yeah? 762 00:46:08,840 --> 00:46:15,200 Speaker 8: I mean she'd be amazing exactly so, but you know, 763 00:46:15,280 --> 00:46:17,239 Speaker 8: it kind of washed up on my beach and so 764 00:46:17,640 --> 00:46:21,120 Speaker 8: sort of like, all right, do I I don't know? 765 00:46:21,280 --> 00:46:24,560 Speaker 8: You know, that was that took a There was a 766 00:46:24,640 --> 00:46:27,880 Speaker 8: moment there when I was trying to kind of grapple 767 00:46:27,960 --> 00:46:28,160 Speaker 8: with that. 768 00:46:28,600 --> 00:46:34,120 Speaker 1: And it's weird because I even when I saw the 769 00:46:34,160 --> 00:46:37,760 Speaker 1: screening of it, I did not know that the story 770 00:46:39,280 --> 00:46:43,000 Speaker 1: even happened. And you know, I'd like to think that 771 00:46:43,640 --> 00:46:47,080 Speaker 1: anything musically related, like I'm on top of I mean, 772 00:46:47,120 --> 00:46:49,359 Speaker 1: I knew of Riots being in Detroit, and I knew 773 00:46:51,000 --> 00:46:55,840 Speaker 1: I've heard several interviews of why Motown had left. You know, 774 00:46:55,920 --> 00:46:58,160 Speaker 1: I simply thought it was because, Okay, well, Dinah Ross 775 00:46:58,160 --> 00:46:59,960 Speaker 1: wanted to meet movies and so let's go out there. 776 00:47:00,560 --> 00:47:04,759 Speaker 1: I had no idea that you know, Detroit was and 777 00:47:06,480 --> 00:47:11,359 Speaker 1: that intense of a disarray, and so the first thing 778 00:47:11,880 --> 00:47:15,440 Speaker 1: I thought was like, well, why wasn't this I think 779 00:47:15,480 --> 00:47:18,440 Speaker 1: Bill was the first person I called about this, and 780 00:47:18,680 --> 00:47:20,320 Speaker 1: he looked at up and it's like, yo, yeah, it 781 00:47:20,480 --> 00:47:23,880 Speaker 1: was real, And you know, he looked at he researched 782 00:47:23,920 --> 00:47:28,320 Speaker 1: it online, like I couldn't believe that, because the thing is, 783 00:47:28,480 --> 00:47:33,640 Speaker 1: it's not because you didn't do a biopic about the dramatics. 784 00:47:34,400 --> 00:47:37,239 Speaker 1: More or less, the dramatics just happened to be at 785 00:47:37,280 --> 00:47:40,880 Speaker 1: the wrong place at the wrong time, and you captured it. 786 00:47:41,280 --> 00:47:45,319 Speaker 1: And even then I was like, wow, Like the four 787 00:47:45,400 --> 00:47:48,799 Speaker 1: or five times that I've seen the Dramatics. I mean, 788 00:47:48,840 --> 00:47:50,920 Speaker 1: that would be like if I met Rodney King and 789 00:47:51,040 --> 00:48:02,359 Speaker 1: he never told me about April, you know what I mean? Right? 790 00:48:02,520 --> 00:48:04,440 Speaker 4: But anyway, Yeah, and. 791 00:48:07,120 --> 00:48:08,840 Speaker 1: I kept thinking, like on the way home, I was like, 792 00:48:08,880 --> 00:48:12,360 Speaker 1: wait a minute, man, I've been at least in the 793 00:48:12,560 --> 00:48:14,520 Speaker 1: four or five times I've been in the presence of 794 00:48:14,560 --> 00:48:17,000 Speaker 1: the Dramatics in my career, like, it's at least been 795 00:48:17,000 --> 00:48:21,320 Speaker 1: accumulated three to four hours. I'm like, man, they didn't 796 00:48:21,320 --> 00:48:22,200 Speaker 1: mentioned this once, like. 797 00:48:22,320 --> 00:48:24,480 Speaker 11: I maybe it wasn't the worst thing that happened to them. 798 00:48:25,200 --> 00:48:28,920 Speaker 1: Well, here's the funny thing. Yeah, here's the funny thing. 799 00:48:29,160 --> 00:48:33,400 Speaker 1: Because I've talked about violent situations that they've been in 800 00:48:35,560 --> 00:48:42,040 Speaker 1: in the Snoop's second source cover when his solo album 801 00:48:42,080 --> 00:48:45,520 Speaker 1: comes out in nineteen ninety three, and Dreamhampton's sort of 802 00:48:45,560 --> 00:48:50,800 Speaker 1: trailing them during the making of Doggie Style, there was 803 00:48:51,920 --> 00:48:55,480 Speaker 1: maybe an exchange of gunfire between the van that the 804 00:48:55,560 --> 00:49:01,000 Speaker 1: Dramatics were in and maybe the family of that Remember 805 00:49:01,440 --> 00:49:09,759 Speaker 1: Snoop had an incident. Yeah, Philip, I don't want to 806 00:49:09,840 --> 00:49:14,080 Speaker 1: just reduce him to Yeah, how did you remember that? 807 00:49:17,239 --> 00:49:17,439 Speaker 4: Well? 808 00:49:17,840 --> 00:49:20,200 Speaker 1: Yeah, I mean the article came out twenty five years ago. 809 00:49:20,239 --> 00:49:23,800 Speaker 1: But I remember the Dramatics being in that situation. And 810 00:49:23,920 --> 00:49:28,040 Speaker 1: then when Slim Village told me a story uh sort 811 00:49:28,080 --> 00:49:31,879 Speaker 1: of similar that, it was like a minor fender bender, 812 00:49:32,000 --> 00:49:33,880 Speaker 1: Like they were with some members of the Dramatics and 813 00:49:34,160 --> 00:49:36,400 Speaker 1: DJ Dees told me like, you know, like they were 814 00:49:36,400 --> 00:49:39,520 Speaker 1: about to get into a violent situation. I was thinking, like, man, 815 00:49:39,600 --> 00:49:42,600 Speaker 1: the Dramatics are the most unlucky group on earth. 816 00:49:42,920 --> 00:49:46,440 Speaker 5: And yeah, they're just like the Drama. 817 00:49:50,760 --> 00:50:03,000 Speaker 1: There. Yeah, but and talking to them about those situations, yeah, man, 818 00:50:03,080 --> 00:50:06,440 Speaker 1: well it was intense that day. But like they never said. 819 00:50:07,760 --> 00:50:09,840 Speaker 9: To me, they just. 820 00:50:11,440 --> 00:50:13,719 Speaker 1: I just That's the first thing. I was like, why 821 00:50:13,880 --> 00:50:16,600 Speaker 1: did they not tell me about nineteen sixty seven? Like 822 00:50:16,640 --> 00:50:19,040 Speaker 1: why did I not know this even in the film. 823 00:50:19,320 --> 00:50:21,800 Speaker 1: I kept asking Half the time. I was like I 824 00:50:21,880 --> 00:50:25,879 Speaker 1: am dbing, like wait a minute, is this Dramatics Dramatics that? Yeah, yeah, 825 00:50:26,480 --> 00:50:28,080 Speaker 1: the Dramatics. I know what she sees what you And 826 00:50:28,120 --> 00:50:32,520 Speaker 1: then when they started singing it, then whoever is running 827 00:50:32,640 --> 00:50:36,120 Speaker 1: the I don't know if you told them not to 828 00:50:36,239 --> 00:50:38,080 Speaker 1: tell me or whatever, that you just wanted me to 829 00:50:38,120 --> 00:50:40,279 Speaker 1: see it raw and that sort of thing. So I 830 00:50:40,320 --> 00:50:42,479 Speaker 1: went back to him, I'm like, yo, is this story real? 831 00:50:42,800 --> 00:50:46,279 Speaker 1: Or and he said just watch it, you know, So 832 00:50:46,560 --> 00:50:49,920 Speaker 1: half the time I was just like trying to follow effects, and. 833 00:50:52,320 --> 00:50:55,799 Speaker 5: Yeah, it's just a long story. They're probably so sick 834 00:50:55,840 --> 00:50:58,200 Speaker 5: of talent. It's like, probably takes two hours to tell 835 00:50:58,239 --> 00:50:58,840 Speaker 5: the story. 836 00:50:58,680 --> 00:51:02,480 Speaker 1: Yeah, of a movie rather, you know. And I don't 837 00:51:02,560 --> 00:51:07,719 Speaker 1: want to get into spoilers, so I'm trying to figure 838 00:51:07,760 --> 00:51:14,200 Speaker 1: out a way to talk about the film without getting 839 00:51:14,239 --> 00:51:18,160 Speaker 1: into specifics so as to not ruin it for the listener. 840 00:51:18,360 --> 00:51:22,479 Speaker 1: But I mean, I will say that in this film 841 00:51:22,560 --> 00:51:25,640 Speaker 1: is like what two hours and twenty yeah, yeah, two 842 00:51:25,680 --> 00:51:32,080 Speaker 1: hours and twenty minutes. I mean you spend a great 843 00:51:32,200 --> 00:51:37,080 Speaker 1: deal in the center of the film, thirty five to 844 00:51:37,120 --> 00:51:37,720 Speaker 1: forty minutes. 845 00:51:38,680 --> 00:51:40,600 Speaker 8: Oh, probably a little bit more maybe, yeah. 846 00:51:40,560 --> 00:51:44,680 Speaker 1: Yeah, fifty minutes, almost an hour on this one. It's 847 00:51:44,800 --> 00:51:48,120 Speaker 1: it's almost like it turns into a play because you're 848 00:51:48,239 --> 00:51:55,360 Speaker 1: literally in this room during the torture scene whatever you 849 00:51:55,400 --> 00:51:58,920 Speaker 1: want to the interrogation, torture, death game scene for an 850 00:51:59,040 --> 00:52:03,279 Speaker 1: hour with just one camera and. 851 00:52:06,680 --> 00:52:08,800 Speaker 11: And how many people in that room. 852 00:52:10,120 --> 00:52:13,319 Speaker 8: In the hallway, Yeah, in the hallway there were about. 853 00:52:13,120 --> 00:52:17,680 Speaker 1: Nine and and nine and four cops dependent on the 854 00:52:17,800 --> 00:52:18,520 Speaker 1: army guys, and. 855 00:52:18,880 --> 00:52:23,719 Speaker 8: Exactly like three three Detroit police and one National Guard. 856 00:52:25,000 --> 00:52:28,839 Speaker 1: It's us. It's this almost the movie stops and then 857 00:52:29,960 --> 00:52:33,400 Speaker 1: it goes into meta mood inside of itself and then 858 00:52:33,520 --> 00:52:36,440 Speaker 1: starts all over again with this torture scene. 859 00:52:36,640 --> 00:52:44,200 Speaker 11: And uh, sounds like another oscar for Catherine. 860 00:52:46,200 --> 00:52:50,400 Speaker 1: I just and it's weird because even when you and 861 00:52:50,520 --> 00:52:52,880 Speaker 1: I were talking, because I mean, it's no secret, like 862 00:52:53,080 --> 00:52:57,080 Speaker 1: you know, the roots worked on the song at the end. 863 00:52:58,239 --> 00:53:02,000 Speaker 1: I mean, there is two ways to go with the 864 00:53:02,200 --> 00:53:06,640 Speaker 1: direction of that song because with films that intense, and 865 00:53:06,719 --> 00:53:12,200 Speaker 1: when it's time for the credits, you need you need 866 00:53:13,040 --> 00:53:15,480 Speaker 1: a moment to breathe the process what you just saw. 867 00:53:16,680 --> 00:53:18,600 Speaker 7: That's what Catherine was saying about the song earlier, right 868 00:53:18,600 --> 00:53:19,319 Speaker 7: you were breaking down. 869 00:53:19,440 --> 00:53:22,760 Speaker 8: Is not just a song, yeah, I mean it also 870 00:53:23,040 --> 00:53:25,759 Speaker 8: there's you know, it's so emotional that song. I think 871 00:53:25,800 --> 00:53:30,160 Speaker 8: it's phenomenal, and it also shifts time periods, you know, 872 00:53:30,360 --> 00:53:33,920 Speaker 8: takes you from the sixties to now back to the sixties, 873 00:53:34,480 --> 00:53:36,879 Speaker 8: and I think it's a good release for the kind 874 00:53:36,920 --> 00:53:38,879 Speaker 8: of anger that that one might feel. 875 00:53:39,280 --> 00:53:42,400 Speaker 1: We wrote the song it ain't fair, and I wanted 876 00:53:42,760 --> 00:53:51,120 Speaker 1: to give the listener release at the end, but I 877 00:53:51,239 --> 00:53:56,320 Speaker 1: also remembered that I was mad as fuck at just 878 00:53:58,400 --> 00:54:01,799 Speaker 1: angry as shit, and I want it to convey all 879 00:54:01,880 --> 00:54:05,759 Speaker 1: those things in that song, the. 880 00:54:05,840 --> 00:54:10,080 Speaker 11: Movie or just period, you know what I I felt. 881 00:54:11,040 --> 00:54:14,640 Speaker 1: I had a long conversation, uh with the and seeing 882 00:54:14,680 --> 00:54:18,520 Speaker 1: the film twice. Uh, I kind of had a post 883 00:54:18,640 --> 00:54:22,200 Speaker 1: viewing conversation, uh with the people I was with and 884 00:54:23,719 --> 00:54:25,920 Speaker 1: kind of here on both sides because you know, it's 885 00:54:25,960 --> 00:54:30,120 Speaker 1: with white and black people and it's weird. The white 886 00:54:30,160 --> 00:54:33,120 Speaker 1: people that saw the film with me were like, Okay, 887 00:54:33,960 --> 00:54:37,239 Speaker 1: you know, I have to admit that it took this 888 00:54:37,440 --> 00:54:42,959 Speaker 1: film for me to really truly understand black lives matter. 889 00:54:43,160 --> 00:54:44,200 Speaker 11: Jesus, and this. 890 00:54:44,280 --> 00:54:48,320 Speaker 1: Person is a liberal Jesus but the worst. Sorry, but 891 00:54:48,440 --> 00:54:52,560 Speaker 1: that's it's this person's a liberal. But it's it's sort 892 00:54:52,560 --> 00:54:54,920 Speaker 1: of like, well, I hear what you're saying, but it's 893 00:54:54,960 --> 00:54:59,480 Speaker 1: almost as if this film really allows you. Yeah, this 894 00:54:59,560 --> 00:55:02,840 Speaker 1: film really allows you to put yourself in that person's shoes, 895 00:55:02,840 --> 00:55:04,560 Speaker 1: because this is one thing to just watch the news 896 00:55:04,640 --> 00:55:06,520 Speaker 1: thing and there's always the thing in the back of 897 00:55:06,600 --> 00:55:13,520 Speaker 1: your mind like okay, uh the brother, the brother in Minnesota, Uh, 898 00:55:16,320 --> 00:55:19,719 Speaker 1: where you know I still you know liberals that might say, okay, okay, 899 00:55:19,880 --> 00:55:25,719 Speaker 1: what really happened, Okay, did you you right exactly on 900 00:55:25,800 --> 00:55:27,960 Speaker 1: the facts that comings means that you're giving the benefit 901 00:55:27,960 --> 00:55:30,880 Speaker 1: of the doubt, that that we never fucking get right. 902 00:55:31,280 --> 00:55:35,880 Speaker 1: And it was like, as we were watching the film, 903 00:55:36,680 --> 00:55:39,560 Speaker 1: I kept watching the energy of the room and the 904 00:55:39,600 --> 00:55:41,719 Speaker 1: white side was sort of like, what's going on here? 905 00:55:43,080 --> 00:55:44,480 Speaker 1: This is what we've been trying to tell you. 906 00:55:46,880 --> 00:55:48,320 Speaker 11: And awakening. 907 00:55:50,719 --> 00:55:53,400 Speaker 1: I mean, it's it's it's real, and it's you know. 908 00:55:53,520 --> 00:55:55,839 Speaker 1: I kind of explained to them that yeah, like none 909 00:55:55,880 --> 00:55:58,320 Speaker 1: of us, none of us. And the thing that it 910 00:55:58,400 --> 00:56:00,560 Speaker 1: hit home to me was that again and with with 911 00:56:00,760 --> 00:56:04,400 Speaker 1: the dramatics and what they went through. Not trying to 912 00:56:04,440 --> 00:56:08,359 Speaker 1: spoil it, but I was even like, wow, like how 913 00:56:08,480 --> 00:56:12,520 Speaker 1: do you even go on continue as a group or 914 00:56:12,600 --> 00:56:14,640 Speaker 1: function with your life after this? 915 00:56:15,200 --> 00:56:16,439 Speaker 11: What was the album they made after? 916 00:56:18,920 --> 00:56:18,960 Speaker 5: What? 917 00:56:20,960 --> 00:56:22,640 Speaker 1: Yeah? But it's like how do you go on? 918 00:56:22,880 --> 00:56:23,840 Speaker 3: And so it was. 919 00:56:26,320 --> 00:56:28,719 Speaker 1: You know, I mean, tears were shed and there were 920 00:56:28,760 --> 00:56:31,640 Speaker 1: all sides of it, because even even on the black 921 00:56:31,719 --> 00:56:39,040 Speaker 1: side of things, they were just like yo, man, that's no, 922 00:56:41,000 --> 00:56:45,360 Speaker 1: they're they're there. I Mean I've had arguments of intense 923 00:56:45,560 --> 00:56:49,719 Speaker 1: levels with you know, well you know why they stand 924 00:56:49,800 --> 00:56:51,520 Speaker 1: up for themselves and be like yo, fuck y'all. And 925 00:56:51,800 --> 00:56:55,719 Speaker 1: you know, and I'm just like, dude, when you're I 926 00:56:55,800 --> 00:56:58,040 Speaker 1: always call this the price is right syndrome. The prices 927 00:56:58,160 --> 00:57:00,720 Speaker 1: right syndrome is that when you're why ching the prices 928 00:57:00,800 --> 00:57:03,239 Speaker 1: right in the comfort of your home, you know, you 929 00:57:03,360 --> 00:57:08,920 Speaker 1: know that, yeah, you know that Turtle wat Turtle is 930 00:57:08,960 --> 00:57:11,879 Speaker 1: eight ninety nine, you know. But when you're when you're 931 00:57:11,920 --> 00:57:16,400 Speaker 1: on the prices right, it's like a thousand. It's like 932 00:57:16,520 --> 00:57:20,040 Speaker 1: you always know the answers when it's not when you're 933 00:57:20,120 --> 00:57:26,200 Speaker 1: not there. And I've been, okay, I've been in situations 934 00:57:26,320 --> 00:57:31,400 Speaker 1: and this is the thing, because I'm sure that you 935 00:57:31,640 --> 00:57:35,080 Speaker 1: you've definitely been in a situation frontal Bill Bill come 936 00:57:35,120 --> 00:57:38,040 Speaker 1: from Indiana's probably definitely lie. He has been in a 937 00:57:38,040 --> 00:57:41,640 Speaker 1: situation where I mean, even today, I mean I'll stay 938 00:57:41,720 --> 00:57:44,200 Speaker 1: with all casual iness that you know, maybe my my 939 00:57:44,600 --> 00:57:48,640 Speaker 1: average of getting stopped, you know, six times of years, 940 00:57:48,800 --> 00:57:52,120 Speaker 1: like I expect every January, okay, and I think about 941 00:57:52,120 --> 00:57:55,720 Speaker 1: it a lot, like, wow, I'm gonna have six six 942 00:57:55,840 --> 00:58:00,600 Speaker 1: runnings with and still the point where I gotta prepared, 943 00:58:01,120 --> 00:58:04,720 Speaker 1: like I keep extra lego hearts in the car what 944 00:58:05,440 --> 00:58:08,120 Speaker 1: you give them out to cor No three times like, 945 00:58:08,440 --> 00:58:10,160 Speaker 1: you know, because if I want to go out and 946 00:58:10,240 --> 00:58:13,800 Speaker 1: be comfortable and not have to take selfies, I wear 947 00:58:13,840 --> 00:58:16,600 Speaker 1: a hood, I break my hair, I wear dark glasses. 948 00:58:17,240 --> 00:58:19,880 Speaker 1: It buys me ten seconds of Yeah, I know you're 949 00:58:19,880 --> 00:58:22,240 Speaker 1: looking like a mirror. You're not ever you, But yes 950 00:58:22,320 --> 00:58:25,360 Speaker 1: it works. Sometimes I can sneak in movies and I'm cool. 951 00:58:25,880 --> 00:58:30,480 Speaker 1: But when that shit happens, put on jazz music. 952 00:58:30,960 --> 00:58:35,600 Speaker 11: Yeah, no, for real, do not turn your head to 953 00:58:35,680 --> 00:58:36,080 Speaker 11: look back. 954 00:58:36,200 --> 00:58:38,400 Speaker 1: You're you're programmed. I mean you can even be like, 955 00:58:38,440 --> 00:58:40,000 Speaker 1: all right, fuck it, I'm down for the cars and 956 00:58:40,120 --> 00:58:43,640 Speaker 1: Queen Latifa, your way out that car. But then it'll 957 00:58:43,680 --> 00:58:46,360 Speaker 1: just be like in Supreme, I set it off, was 958 00:58:46,760 --> 00:58:51,160 Speaker 1: set off? I got it? Or it's like, you know, 959 00:58:51,400 --> 00:58:54,439 Speaker 1: the second they see, wait a minute, I gotta stop 960 00:58:54,480 --> 00:58:58,600 Speaker 1: by ic ic e, I gotta stop by ice ice. Yeah, 961 00:58:59,360 --> 00:59:04,120 Speaker 1: this summer in California, what is that immigration? 962 00:59:04,720 --> 00:59:05,360 Speaker 11: Why they stop? 963 00:59:06,640 --> 00:59:12,360 Speaker 1: I was? I was, we were, we were driving hudriving. 964 00:59:14,360 --> 00:59:18,200 Speaker 1: I was being driven from my gig in uh San Diego, 965 00:59:18,880 --> 00:59:21,600 Speaker 1: which has a lot of activity of fence jump and whatnot, 966 00:59:21,800 --> 00:59:25,120 Speaker 1: Like they have the little signs of families like running 967 00:59:25,160 --> 00:59:26,800 Speaker 1: the border, like be whare the you know, like you 968 00:59:26,880 --> 00:59:30,400 Speaker 1: see deer warning. Well they have signs of like up 969 00:59:31,120 --> 00:59:34,080 Speaker 1: like a shadow. It's like a shadow, a shadow of 970 00:59:34,160 --> 00:59:36,919 Speaker 1: four family members running. And the baby got a little 971 00:59:36,960 --> 00:59:38,760 Speaker 1: teddy bear. I'm like, why they have a blanket and 972 00:59:38,840 --> 00:59:39,280 Speaker 1: teddy bear? 973 00:59:39,400 --> 00:59:41,560 Speaker 7: Like they think you're stashing the family Mexicans in your 974 00:59:41,560 --> 00:59:42,200 Speaker 7: black suburban. 975 00:59:42,400 --> 00:59:47,480 Speaker 1: Well they stopped. They stopped my driver, and you know, 976 00:59:48,080 --> 00:59:49,760 Speaker 1: I was asleep, but she told me like, you know, 977 00:59:50,040 --> 00:59:52,720 Speaker 1: well they stopped us, and I said, what happened. She's like, well, 978 00:59:53,040 --> 00:59:54,800 Speaker 1: you know, I'm driving my client from his concert. And 979 00:59:55,600 --> 00:59:57,640 Speaker 1: they said, well who's your client? So a question with 980 00:59:57,880 --> 00:59:59,920 Speaker 1: love from the roots. And they were kind of like 981 01:00:00,080 --> 01:00:05,920 Speaker 1: like okay, likely story, female driver, blonde, and so they 982 01:00:06,000 --> 01:00:09,680 Speaker 1: made her roll down. Now you sleep. You know, yeah 983 01:00:09,800 --> 01:00:15,560 Speaker 1: I was, but no, I'm saying that when he saw 984 01:00:16,240 --> 01:00:19,760 Speaker 1: he's like, oh yeah, that is him. She's like, oh yeah, 985 01:00:19,800 --> 01:00:22,120 Speaker 1: they looked at your your your lego was like oh 986 01:00:22,240 --> 01:00:25,960 Speaker 1: that is him and rolled it up. I mean, I'm 987 01:00:26,000 --> 01:00:29,240 Speaker 1: not that happens a lot. I just don't tweet about 988 01:00:29,280 --> 01:00:31,960 Speaker 1: our Instagram about it every time I get stopped. But 989 01:00:32,640 --> 01:00:45,600 Speaker 1: my whole point, what was my point was that the 990 01:00:45,720 --> 01:00:53,280 Speaker 1: conversation of my whole the conversation that this movie brought 991 01:00:53,360 --> 01:00:57,480 Speaker 1: on after we saw it was me having explained that, yes, 992 01:00:57,640 --> 01:01:01,840 Speaker 1: even in my privilege, since you wait, that even I'm 993 01:01:03,000 --> 01:01:10,439 Speaker 1: susceptible to to that sort of treatment, and it still happens. Yeah, 994 01:01:10,440 --> 01:01:12,840 Speaker 1: but sometimes you still got to convince people of that 995 01:01:12,920 --> 01:01:15,480 Speaker 1: because they just think because you're on television or that 996 01:01:15,600 --> 01:01:19,200 Speaker 1: you got some dollars, that you're amused, and you're not. 997 01:01:19,680 --> 01:01:23,440 Speaker 1: You're so not. And so you know, I wanted to 998 01:01:25,760 --> 01:01:28,360 Speaker 1: My whole point of the song was I wanted to 999 01:01:28,480 --> 01:01:39,360 Speaker 1: make a song that really speaks to liberals who in 1000 01:01:39,440 --> 01:01:41,680 Speaker 1: the back of their mind always have that conversation of 1001 01:01:41,800 --> 01:01:46,320 Speaker 1: a little tinge of doubt. Uh, and for people that 1002 01:01:46,520 --> 01:01:48,600 Speaker 1: just sort of sit on the sidelines, because even when 1003 01:01:48,920 --> 01:01:52,000 Speaker 1: like you know, I have parents that made you watch 1004 01:01:52,160 --> 01:02:00,520 Speaker 1: Eyes on the Prize, you know, sit down, yes, And 1005 01:02:03,320 --> 01:02:07,880 Speaker 1: the thing and the thing is is that, Uh, whenever 1006 01:02:07,920 --> 01:02:10,880 Speaker 1: I watch these documentaries, the people that I always question 1007 01:02:11,000 --> 01:02:16,440 Speaker 1: the most aren't those that are are committing the injustice, 1008 01:02:16,760 --> 01:02:18,920 Speaker 1: is those that are on the sidelines just watching. 1009 01:02:19,720 --> 01:02:22,000 Speaker 12: It's like that, James Boldencourt, is a thin line between 1010 01:02:22,720 --> 01:02:24,440 Speaker 12: what is it a witness and a participant? 1011 01:02:25,000 --> 01:02:28,360 Speaker 1: Yes, you know, it's very thin. It's like I almost 1012 01:02:28,400 --> 01:02:32,120 Speaker 1: have more hate for the witness that knows and won't 1013 01:02:32,720 --> 01:02:36,280 Speaker 1: at least acknowledge it at least and that's what we're 1014 01:02:36,280 --> 01:02:38,680 Speaker 1: going through now. It's like, oh God, please acknowledge it. 1015 01:02:39,400 --> 01:02:43,000 Speaker 1: And so uh In getting BELOWD to sing the song, 1016 01:02:45,080 --> 01:02:47,320 Speaker 1: yes you know that already because I played it for you, 1017 01:02:55,360 --> 01:03:00,600 Speaker 1: and getting BLOWD to sing the song, blows really the 1018 01:03:00,720 --> 01:03:06,680 Speaker 1: only singer that I could think of today that just 1019 01:03:06,960 --> 01:03:12,840 Speaker 1: encompasses everything that this ending was supposed to be. Gentle 1020 01:03:12,920 --> 01:03:17,320 Speaker 1: as a lamb, but ferocious as a lion. And it's 1021 01:03:17,360 --> 01:03:19,920 Speaker 1: a seven minute song which I let him go back 1022 01:03:19,960 --> 01:03:28,040 Speaker 1: shit crazy sometimes. Yeah, absolutely everything. There's even a point 1023 01:03:28,040 --> 01:03:30,080 Speaker 1: where he threw down the microphone. 1024 01:03:32,200 --> 01:03:33,200 Speaker 11: Yeah, what did you feel? 1025 01:03:33,240 --> 01:03:33,520 Speaker 7: The friend? 1026 01:03:33,600 --> 01:03:36,760 Speaker 8: Phenomenal? Phenomenal And you. 1027 01:03:36,800 --> 01:03:38,440 Speaker 1: Know, it was kind of weird at the time because 1028 01:03:39,160 --> 01:03:44,040 Speaker 1: usually when you get quote the credits song, that usually 1029 01:03:44,160 --> 01:03:46,400 Speaker 1: means that there might be a chance that you could 1030 01:03:47,160 --> 01:03:51,400 Speaker 1: get an oscar, usually for films of this nature glory. Yes, 1031 01:03:51,600 --> 01:03:53,919 Speaker 1: if this song is in the credits, then that means 1032 01:03:54,080 --> 01:03:59,000 Speaker 1: it's different Oscar. Yeah, And usually it's like, man, okay, 1033 01:03:59,120 --> 01:04:02,320 Speaker 1: let's get that big name and let's you know, let's 1034 01:04:02,920 --> 01:04:04,520 Speaker 1: let's go for it. But I mean, at the end 1035 01:04:04,560 --> 01:04:07,240 Speaker 1: of the day, it's like I had to go with 1036 01:04:07,360 --> 01:04:10,919 Speaker 1: my conviction and go with be right. 1037 01:04:17,160 --> 01:04:19,960 Speaker 4: Sorry but not really. 1038 01:04:23,720 --> 01:04:27,280 Speaker 1: Yeah, you just you. I had to go with what 1039 01:04:27,440 --> 01:04:30,640 Speaker 1: I felt was the right person that would really grasp 1040 01:04:30,760 --> 01:04:31,760 Speaker 1: your attention. 1041 01:04:32,400 --> 01:04:34,960 Speaker 5: He would do it, and uh, this was that. 1042 01:04:35,160 --> 01:04:38,000 Speaker 1: And I'm realizing that I've just spoken for the last. 1043 01:04:42,240 --> 01:04:43,400 Speaker 11: I just wanted to ask Catherine. 1044 01:04:43,480 --> 01:04:46,640 Speaker 7: So in the process of figuring out this song, this 1045 01:04:46,800 --> 01:04:48,560 Speaker 7: has to be huge, just has to emote, has to 1046 01:04:48,600 --> 01:04:48,760 Speaker 7: do this. 1047 01:04:49,640 --> 01:04:52,680 Speaker 11: Why a mirror or the roots are how was that called? 1048 01:04:53,160 --> 01:04:53,320 Speaker 3: Well? 1049 01:04:53,360 --> 01:04:56,360 Speaker 8: I just I love everything that he does, so and 1050 01:04:56,440 --> 01:04:58,520 Speaker 8: I just thought it had to it had the right 1051 01:04:59,840 --> 01:05:04,000 Speaker 8: I I don't know, the right emotional grabby toss and 1052 01:05:06,080 --> 01:05:08,320 Speaker 8: for this piece. I mean, and when he saw the 1053 01:05:08,400 --> 01:05:10,160 Speaker 8: movie and then we talked, it was just like I 1054 01:05:10,360 --> 01:05:11,760 Speaker 8: was perfect. 1055 01:05:12,560 --> 01:05:14,480 Speaker 12: Before though You've done that, like you did that with 1056 01:05:14,600 --> 01:05:17,200 Speaker 12: in Strange Days, with skunkan Nazi, with the last Like 1057 01:05:17,320 --> 01:05:19,160 Speaker 12: so you I've seen you do it. You know, you 1058 01:05:19,280 --> 01:05:21,280 Speaker 12: take like a kind of an unusual band or an 1059 01:05:21,360 --> 01:05:24,080 Speaker 12: unlikely choice and you know do it. At the end, 1060 01:05:24,120 --> 01:05:25,080 Speaker 12: I thought that was dope. 1061 01:05:24,920 --> 01:05:27,520 Speaker 8: Too, oh good. I just yeah, it just seemed like 1062 01:05:27,560 --> 01:05:29,280 Speaker 8: a perfect a perfect fit. 1063 01:05:29,600 --> 01:05:32,840 Speaker 11: Strange Days was my movie, Juliette. 1064 01:05:33,200 --> 01:05:35,880 Speaker 1: Oh my god, yeah, you're the good for that reference. 1065 01:05:37,960 --> 01:05:46,760 Speaker 1: I forgot about skunking all right, Well it just hit 1066 01:05:46,840 --> 01:05:51,520 Speaker 1: me before I went on that fifteen minute. I remember 1067 01:05:51,600 --> 01:05:54,960 Speaker 1: what My initial question was, why did you want to 1068 01:05:55,000 --> 01:05:59,760 Speaker 1: do the joy? Now I'm like, but you're you're you're 1069 01:06:00,000 --> 01:06:05,440 Speaker 1: operation level. The way you shot the film, did you 1070 01:06:05,560 --> 01:06:08,720 Speaker 1: use stock film? Like I don't know how to describe it. 1071 01:06:08,960 --> 01:06:12,200 Speaker 1: It almost feels like she that king died it. Oh yeah, 1072 01:06:14,000 --> 01:06:17,360 Speaker 1: she made it look vintage, like shooting get down. 1073 01:06:17,960 --> 01:06:18,520 Speaker 11: They did it first. 1074 01:06:20,400 --> 01:06:27,960 Speaker 1: Everybody, you just thing to bring up here. 1075 01:06:28,920 --> 01:06:29,560 Speaker 4: Even I know that. 1076 01:06:30,440 --> 01:06:34,680 Speaker 11: Okay, so when the breaks, I don't know, to. 1077 01:06:34,760 --> 01:06:40,240 Speaker 1: Get that Detroit in fact, just get that in Detroit. 1078 01:06:40,720 --> 01:06:45,160 Speaker 1: Yeah it was I mean, what was I guess my 1079 01:06:45,400 --> 01:06:47,840 Speaker 1: correcting that you use like certain we. 1080 01:06:47,960 --> 01:06:52,400 Speaker 8: Use lenses from the period and and yet digital cameras 1081 01:06:52,480 --> 01:06:55,240 Speaker 8: and it was like maybe two weeks before we were 1082 01:06:55,280 --> 01:06:57,320 Speaker 8: going to start shooting. They made it. They made it 1083 01:06:57,440 --> 01:07:00,920 Speaker 8: possible to adapt those lenses to these new digital cameras, 1084 01:07:00,920 --> 01:07:04,160 Speaker 8: which are actually a pretty small and fairly light, which 1085 01:07:04,200 --> 01:07:07,960 Speaker 8: gives you that sort of more nimble approach. But the 1086 01:07:08,120 --> 01:07:12,720 Speaker 8: vintage just gives the patina of of it gives a 1087 01:07:12,800 --> 01:07:15,520 Speaker 8: patina period. And then I also intercut it with some 1088 01:07:15,640 --> 01:07:20,040 Speaker 8: documentary footage that you know, so it kind of I 1089 01:07:20,080 --> 01:07:23,720 Speaker 8: don't know it co existed, or I thought it co 1090 01:07:23,880 --> 01:07:26,120 Speaker 8: existed fairly well to kind of give you this scope 1091 01:07:26,240 --> 01:07:30,640 Speaker 8: and feel and authenticity of the time, and that was 1092 01:07:31,360 --> 01:07:32,520 Speaker 8: that was kind of critical to me. 1093 01:07:32,760 --> 01:07:35,439 Speaker 1: Now I want to ask you about Will Poulter. Yeah, 1094 01:07:38,760 --> 01:07:41,400 Speaker 1: I'll go out there right now. I'll say that he'll 1095 01:07:42,560 --> 01:07:47,640 Speaker 1: I'll be shocked if he doesn't get nominated for Best 1096 01:07:47,800 --> 01:07:50,280 Speaker 1: I don't know if he's supporting. Would he be supporting 1097 01:07:50,400 --> 01:07:53,800 Speaker 1: or would he is he Maine? Wouldn't you submit those 1098 01:07:53,880 --> 01:07:56,280 Speaker 1: names or does the company submit those names? 1099 01:07:56,320 --> 01:07:57,920 Speaker 8: Oh well, we haven't even talked about it. 1100 01:07:58,480 --> 01:08:01,440 Speaker 1: I feel like if you submit him for Best Supporting Actor, 1101 01:08:01,560 --> 01:08:11,440 Speaker 1: he will win. But his level of evil is and 1102 01:08:11,520 --> 01:08:13,320 Speaker 1: the thing is, I know he's the opposite of that 1103 01:08:13,440 --> 01:08:17,600 Speaker 1: because I had to the person that I saw the 1104 01:08:17,800 --> 01:08:21,719 Speaker 1: movie with the first time. She was all disheveled because 1105 01:08:21,800 --> 01:08:24,120 Speaker 1: you know of what he represented in his other films, 1106 01:08:24,120 --> 01:08:28,760 Speaker 1: and he's such a gentle voice those things. So when 1107 01:08:30,120 --> 01:08:36,639 Speaker 1: you are portraying something that intense, when you yelled cut. 1108 01:08:38,920 --> 01:08:41,719 Speaker 1: Is it like okay, where's my iPhone at? And you know, okay, 1109 01:08:42,200 --> 01:08:45,479 Speaker 1: what's on on television in the game, and okay, order 1110 01:08:45,520 --> 01:08:53,439 Speaker 1: me a pizza? Okay, it's I know that one of 1111 01:08:53,520 --> 01:08:56,400 Speaker 1: them had to go through some sort of therapy or 1112 01:08:59,000 --> 01:09:01,439 Speaker 1: some sort of process to get rid of that character. 1113 01:09:03,160 --> 01:09:06,800 Speaker 8: Well, I mean when when I would say cut, First 1114 01:09:06,840 --> 01:09:08,840 Speaker 8: of all, he never lost his accent. He was in 1115 01:09:09,439 --> 01:09:12,080 Speaker 8: that accent for the movie twenty four to seven during 1116 01:09:12,120 --> 01:09:15,519 Speaker 8: the shoot, and in fact I prove off and on yes. 1117 01:09:16,320 --> 01:09:19,120 Speaker 8: And but when I would say cut, I would sometimes 1118 01:09:19,360 --> 01:09:21,280 Speaker 8: look whereas Will and I'd see him out on the 1119 01:09:21,400 --> 01:09:23,960 Speaker 8: porch and his head would be in his hands. I mean, 1120 01:09:24,040 --> 01:09:27,320 Speaker 8: it was really really hard for him, and as it 1121 01:09:27,479 --> 01:09:31,679 Speaker 8: was for everybody, but I mean it was extremely difficult 1122 01:09:31,720 --> 01:09:32,000 Speaker 8: for him. 1123 01:09:32,080 --> 01:09:34,000 Speaker 1: Like were they able to interact with each other? 1124 01:09:34,240 --> 01:09:40,080 Speaker 7: Oh yeah, camera, Oh yeah, yeah, because even like Tarantino 1125 01:09:40,120 --> 01:09:41,760 Speaker 7: said for Jango that like he had to do some 1126 01:09:41,880 --> 01:09:44,280 Speaker 7: special things with the cast, you know, in between and 1127 01:09:44,320 --> 01:09:46,320 Speaker 7: make sure everybody was cool because it was soultent. 1128 01:09:46,520 --> 01:09:48,479 Speaker 8: Yeah, you know, yeah, you have to. I mean I 1129 01:09:48,680 --> 01:09:51,320 Speaker 8: just and I had a conversation with everybody going into 1130 01:09:51,400 --> 01:09:54,360 Speaker 8: this film. I said, you know, trying to give them, 1131 01:09:54,680 --> 01:09:56,200 Speaker 8: you know, a sense of what the lay of the 1132 01:09:56,280 --> 01:09:59,360 Speaker 8: land might be and how you know how at the 1133 01:09:59,479 --> 01:10:01,280 Speaker 8: end of the day, they're going to be asked to 1134 01:10:01,360 --> 01:10:03,840 Speaker 8: talk about this movie and are they comfortable talking about this? 1135 01:10:03,920 --> 01:10:07,040 Speaker 8: Are you comfortable performing this? You know, yes, this really happened, 1136 01:10:07,040 --> 01:10:10,320 Speaker 8: but that doesn't necessarily make it any easier. And so 1137 01:10:10,920 --> 01:10:16,639 Speaker 8: having that conversation, they were very prepared, or I felt 1138 01:10:16,640 --> 01:10:18,080 Speaker 8: that they were pretty prepared going in. 1139 01:10:18,920 --> 01:10:21,639 Speaker 12: Did you have to do anything in terms of making 1140 01:10:21,640 --> 01:10:23,879 Speaker 12: sure you talk about things that do to make them comfortable? 1141 01:10:24,240 --> 01:10:26,200 Speaker 12: Did you have to do things to make them uncomfortable? 1142 01:10:26,640 --> 01:10:30,479 Speaker 1: At times? I was. It reminded me of Spike Lee 1143 01:10:30,600 --> 01:10:33,640 Speaker 1: in the school days. Yeah, Spike Lee school days. He 1144 01:10:33,680 --> 01:10:36,280 Speaker 1: would say in private Ryan where he would. 1145 01:10:38,720 --> 01:10:40,920 Speaker 12: Yeah, Stephen. He made all the guys that were going 1146 01:10:40,960 --> 01:10:42,560 Speaker 12: to get private Ryan, they all had to do like 1147 01:10:42,680 --> 01:10:45,880 Speaker 12: pt and all this crazy physical stuff. But Matt Damon 1148 01:10:46,120 --> 01:10:49,679 Speaker 12: didn't do any of it. So like they they really 1149 01:10:49,800 --> 01:10:52,360 Speaker 12: had that contempt for him, right we risk and I 1150 01:10:52,439 --> 01:10:54,000 Speaker 12: ask or say, this, motherfucker, you know what I mean? 1151 01:10:54,040 --> 01:10:55,960 Speaker 1: Like they've really had that. So did you have to 1152 01:10:56,000 --> 01:10:56,840 Speaker 1: do anything stuff like that? 1153 01:10:57,560 --> 01:11:00,479 Speaker 8: Early early in the shoot, they kind of kept each 1154 01:11:00,680 --> 01:11:03,680 Speaker 8: group kept to themselves just for that reason because if 1155 01:11:03,720 --> 01:11:06,400 Speaker 8: they were too friendly, it might be too difficult. And 1156 01:11:06,680 --> 01:11:10,200 Speaker 8: then when they became more comfortable and more relaxed with it, 1157 01:11:10,280 --> 01:11:12,320 Speaker 8: and I felt, I think felt more confident that they 1158 01:11:12,360 --> 01:11:14,840 Speaker 8: were in their character and they really understood their character 1159 01:11:16,400 --> 01:11:20,400 Speaker 8: than they were very close with each other. But it's 1160 01:11:20,400 --> 01:11:22,240 Speaker 8: a full on commitment. I mean something like this. 1161 01:11:22,760 --> 01:11:27,200 Speaker 7: Obviously, who's the technical advisor for the nuances of like 1162 01:11:27,640 --> 01:11:30,080 Speaker 7: the time how you know this is Detroit? Were talking 1163 01:11:30,080 --> 01:11:34,200 Speaker 7: about black folks, the slang, just the just make it 1164 01:11:34,360 --> 01:11:35,160 Speaker 7: making it authentic. 1165 01:11:35,400 --> 01:11:37,400 Speaker 1: Did you shoot it on location or yeah? 1166 01:11:37,479 --> 01:11:37,880 Speaker 11: Or that too? 1167 01:11:38,400 --> 01:11:41,320 Speaker 8: Well, we shot some of it in Detroit. Unfortunately, about 1168 01:11:41,360 --> 01:11:43,760 Speaker 8: a year before we started we went there where we 1169 01:11:43,840 --> 01:11:48,040 Speaker 8: wanted to shoot, they had disbanded their incentives program, so 1170 01:11:48,520 --> 01:11:51,400 Speaker 8: I needed to go to Boston to save money. Okay, 1171 01:11:51,400 --> 01:11:53,720 Speaker 8: because they give they have a rebate of you know, 1172 01:11:53,920 --> 01:11:56,599 Speaker 8: twenty five percent above and below the line. And Detroit, 1173 01:11:56,760 --> 01:12:00,000 Speaker 8: or rather Michigan used to but in their infinite wisdom, 1174 01:12:00,040 --> 01:12:02,040 Speaker 8: they disbanded it. 1175 01:12:03,160 --> 01:12:07,400 Speaker 12: Detroit Detroit, Yeah, us, they did that too. North Carolina 1176 01:12:07,479 --> 01:12:09,320 Speaker 12: did that too. Like we shot iron Man three and 1177 01:12:09,400 --> 01:12:11,240 Speaker 12: then was like nah, we ain't doing that no more. 1178 01:12:11,400 --> 01:12:14,479 Speaker 8: Yeah, and and you know it's crazy because if there 1179 01:12:14,560 --> 01:12:18,200 Speaker 8: was ever a city that could use this tremendous amount 1180 01:12:18,240 --> 01:12:23,559 Speaker 8: of revenue anyway that Yeah, So no, but we shot 1181 01:12:24,600 --> 01:12:26,759 Speaker 8: so we shot a lot of it in Boston. 1182 01:12:27,400 --> 01:12:31,599 Speaker 1: How many because there are a lot of exterior scenes. Yeah, 1183 01:12:32,400 --> 01:12:38,840 Speaker 1: how many blocks would you have to you know, transform 1184 01:12:39,400 --> 01:12:43,519 Speaker 1: to just to get it to look like that at least? 1185 01:12:43,560 --> 01:12:43,880 Speaker 1: How many? 1186 01:12:44,520 --> 01:12:47,960 Speaker 8: Actually not as much as you would think. I mean, 1187 01:12:48,000 --> 01:12:51,519 Speaker 8: it's fairly contained. I had an amazing production designer, Jeremy Hindle, 1188 01:12:51,560 --> 01:12:55,680 Speaker 8: who also did Sarah Dark and and yeah, I mean 1189 01:12:56,320 --> 01:12:59,519 Speaker 8: keeping it somewhat contained. And that's another benefit of a 1190 01:12:59,600 --> 01:13:03,439 Speaker 8: sort of documentary style. It's it you know, there isn't 1191 01:13:03,479 --> 01:13:05,640 Speaker 8: these big wide crane shots. I don't use cranes, you know, 1192 01:13:05,760 --> 01:13:09,920 Speaker 8: so you don't you know, you're just right here, you're 1193 01:13:10,000 --> 01:13:12,400 Speaker 8: in the car, or you're you know, over the back 1194 01:13:12,479 --> 01:13:16,920 Speaker 8: of somebody. So it's very it's intimate. And that actually 1195 01:13:17,880 --> 01:13:20,560 Speaker 8: is a benefit if you you know, don't have like 1196 01:13:21,200 --> 01:13:23,680 Speaker 8: giant or real estate in which to work with. 1197 01:13:24,000 --> 01:13:26,320 Speaker 11: So is that so did the same thing go for 1198 01:13:26,840 --> 01:13:28,400 Speaker 11: the costume and wardrobe? 1199 01:13:28,479 --> 01:13:28,880 Speaker 3: Is it? The say? 1200 01:13:29,000 --> 01:13:31,160 Speaker 11: Is it the same people from the other movies or 1201 01:13:31,200 --> 01:13:32,519 Speaker 11: did you have a little special for that. 1202 01:13:32,760 --> 01:13:35,880 Speaker 8: No, I used this wonderful woman fran scene for wardrobe, 1203 01:13:35,920 --> 01:13:40,519 Speaker 8: and she was just really I don't know, she's just 1204 01:13:40,840 --> 01:13:44,000 Speaker 8: extraordinary with I mean she got fabric from the period. 1205 01:13:44,360 --> 01:13:46,719 Speaker 8: She would like travel all over the country for fabric 1206 01:13:46,760 --> 01:13:49,200 Speaker 8: and then create these and then build these suits, and 1207 01:13:49,600 --> 01:13:56,760 Speaker 8: I mean everything was just meticulous, just meticulous, And so 1208 01:13:56,920 --> 01:13:59,240 Speaker 8: that was you We're really lucky to find those kind 1209 01:13:59,240 --> 01:14:04,599 Speaker 8: of artisans who who did that. But yeah, we were 1210 01:14:05,120 --> 01:14:07,280 Speaker 8: a lot of research and try the language. I mean 1211 01:14:07,640 --> 01:14:10,519 Speaker 8: there's a lot. I spent time with Melvin Dysmus, who 1212 01:14:10,760 --> 01:14:13,920 Speaker 8: John Boyega played, and a little bit of time with 1213 01:14:14,080 --> 01:14:18,120 Speaker 8: Larry the Dramatics, the man from the Dramatics, and he's 1214 01:14:19,640 --> 01:14:21,439 Speaker 8: it's hard for me to talk about this even to 1215 01:14:21,520 --> 01:14:26,000 Speaker 8: this day. You know, he's really I would think so 1216 01:14:26,479 --> 01:14:29,720 Speaker 8: and yeah, and then spend time with Julie, who was 1217 01:14:29,800 --> 01:14:33,200 Speaker 8: on the set every day with me, who the real 1218 01:14:35,320 --> 01:14:38,960 Speaker 8: that Julie played by Hannah Murray in the film, and 1219 01:14:39,960 --> 01:14:43,840 Speaker 8: and and she you know, she had to relive it 1220 01:14:44,000 --> 01:14:51,519 Speaker 8: and and and she just you know, I mean sometimes 1221 01:14:51,560 --> 01:14:53,000 Speaker 8: I would do a take and I'd be I look 1222 01:14:53,040 --> 01:14:55,880 Speaker 8: over my shoulder, and you know, would just be awful 1223 01:14:55,920 --> 01:14:58,640 Speaker 8: and I think, you know, it can't have been like that, 1224 01:14:59,080 --> 01:15:00,519 Speaker 8: and she'd say was worse. 1225 01:15:01,040 --> 01:15:07,040 Speaker 1: Dang, we we know. Well in the book in history 1226 01:15:07,080 --> 01:15:11,640 Speaker 1: is shown what the end result of the court case was. Uh, 1227 01:15:12,080 --> 01:15:17,960 Speaker 1: nobody in the various of course, in the various in 1228 01:15:18,040 --> 01:15:21,040 Speaker 1: the various lawsuits that that have occurred throughout the years 1229 01:15:21,080 --> 01:15:23,280 Speaker 1: of it, or the attempts to reopen the case. But 1230 01:15:24,600 --> 01:15:28,840 Speaker 1: always wondered if those two characters, in particular, the two 1231 01:15:28,880 --> 01:15:32,680 Speaker 1: white women that were caught up, did they ever have 1232 01:15:32,880 --> 01:15:35,559 Speaker 1: their own lawsuit or their own civil suit? 1233 01:15:35,640 --> 01:15:40,240 Speaker 8: And you know, not that I'm aware of, not that 1234 01:15:40,280 --> 01:15:43,240 Speaker 8: I'm aware of, But no, I don't think so. 1235 01:15:43,439 --> 01:15:45,720 Speaker 1: Yeah, because I looked all over the internet to see 1236 01:15:46,160 --> 01:15:47,640 Speaker 1: could they at least get justice and. 1237 01:15:48,880 --> 01:15:58,280 Speaker 11: Not they were they in the hotel with the guys? 1238 01:15:58,400 --> 01:16:03,120 Speaker 1: Yes, yeah, the real crime, The real crime was that 1239 01:16:03,400 --> 01:16:06,360 Speaker 1: they were in Yeah. 1240 01:16:06,720 --> 01:16:08,880 Speaker 12: Yeah, but that's the test, like even if white women 1241 01:16:08,960 --> 01:16:14,479 Speaker 12: can't get it's like yeah lost calls, bro, yeah if yeah, isn't. 1242 01:16:14,240 --> 01:16:17,200 Speaker 7: There a display about this in the New Smithsonian. I 1243 01:16:17,240 --> 01:16:19,240 Speaker 7: don't know if you if you heard about the Detroit 1244 01:16:19,320 --> 01:16:21,200 Speaker 7: riots or did you guys you have to go no. 1245 01:16:21,439 --> 01:16:24,880 Speaker 1: No, no other one in d C. Yeah, yeah, there 1246 01:16:25,040 --> 01:16:33,280 Speaker 1: there's uh, you know there there's a riot section every decade. 1247 01:16:36,160 --> 01:16:38,559 Speaker 1: It's a very it's a very lovely and beautiful display 1248 01:16:38,640 --> 01:16:41,400 Speaker 1: of all the riots that America that is so sad, 1249 01:16:41,680 --> 01:16:46,160 Speaker 1: it's so hilarious. Yeah, god, I mean it goes from uh, 1250 01:16:47,080 --> 01:16:50,200 Speaker 1: Black Wall Street in Oklahoma and right, here's you know, 1251 01:16:50,760 --> 01:16:56,240 Speaker 1: in Memphis, and here's Detroit and here's Los Angeles. Yeah, 1252 01:16:56,439 --> 01:16:59,680 Speaker 1: it's like they have extra room for the future one that. 1253 01:17:02,920 --> 01:17:03,280 Speaker 8: I don't know. 1254 01:17:04,439 --> 01:17:06,240 Speaker 11: But it's funny because it brings a question. 1255 01:17:07,040 --> 01:17:09,400 Speaker 7: It brings a question about riots and what do you 1256 01:17:09,479 --> 01:17:12,800 Speaker 7: think made the Detroit riots stand out from what else? 1257 01:17:12,880 --> 01:17:13,439 Speaker 11: What had happened? 1258 01:17:13,600 --> 01:17:17,040 Speaker 1: Why could they recover? Like what do you in your research? 1259 01:17:17,960 --> 01:17:22,679 Speaker 1: I feel as though this riot currently has Detroit where 1260 01:17:22,760 --> 01:17:24,760 Speaker 1: they are now? Like when I think of Detroit, I 1261 01:17:24,840 --> 01:17:29,880 Speaker 1: think of a CPS owned black and write desolate. Yeah, 1262 01:17:30,040 --> 01:17:38,120 Speaker 1: it's the American London. Yeah, and it's why do you 1263 01:17:38,200 --> 01:17:41,080 Speaker 1: think that they have yet to recover? And the importance 1264 01:17:41,120 --> 01:17:44,800 Speaker 1: of you releasing this film on the fiftieth anniversary of 1265 01:17:44,960 --> 01:17:48,640 Speaker 1: those riots on August fourth, twenty seventeen. 1266 01:17:49,840 --> 01:17:52,400 Speaker 8: Well, I think that's you know, that's a that's a 1267 01:17:52,479 --> 01:17:57,439 Speaker 8: really good question. I mean, I I don't know. I 1268 01:17:57,479 --> 01:18:01,240 Speaker 8: mean I think of the city as both equal parts resilient, 1269 01:18:01,439 --> 01:18:04,200 Speaker 8: and certainly the people I see I meet, they're really resilient. 1270 01:18:04,840 --> 01:18:08,639 Speaker 8: But at the same time, it's still a city that's 1271 01:18:09,640 --> 01:18:12,920 Speaker 8: that's been a war zone and it hasn't really recovered 1272 01:18:12,960 --> 01:18:15,400 Speaker 8: from the war zone, and that's you know, so it's 1273 01:18:15,479 --> 01:18:21,080 Speaker 8: kind of this weird dichotomy. And and I don't know. 1274 01:18:22,880 --> 01:18:25,439 Speaker 1: Yeah, I guess sometimes. 1275 01:18:27,720 --> 01:18:29,240 Speaker 8: I wish, I know, not. 1276 01:18:31,479 --> 01:18:33,599 Speaker 11: To put you on the spot, but I just I'm curious. 1277 01:18:33,840 --> 01:18:36,400 Speaker 7: I got to ask, do you feel like, because of 1278 01:18:36,479 --> 01:18:38,640 Speaker 7: this movie and the subject matter and everything else, that 1279 01:18:38,840 --> 01:18:41,640 Speaker 7: there should be is there a relationship with Detroit? I mean, 1280 01:18:41,640 --> 01:18:43,160 Speaker 7: I know you said you didn't you didn't shoot there, 1281 01:18:43,479 --> 01:18:45,680 Speaker 7: but a relationship in a way of like, you know 1282 01:18:45,760 --> 01:18:47,680 Speaker 7: that since they have the water issue, they have so 1283 01:18:47,800 --> 01:18:49,080 Speaker 7: many issues. 1284 01:18:48,760 --> 01:18:52,320 Speaker 11: Like it's not meant like, is there like a charitable relationship? 1285 01:18:52,760 --> 01:18:53,560 Speaker 11: Do you ever think about it? 1286 01:18:54,000 --> 01:18:56,320 Speaker 8: I think so, yes, they have seen it. We did 1287 01:18:56,360 --> 01:18:57,960 Speaker 8: a few screens and now we're going there for a 1288 01:18:58,000 --> 01:19:02,720 Speaker 8: premiere and we did shoot therefore, you know, maybe five 1289 01:19:02,840 --> 01:19:04,960 Speaker 8: six days, so we did shoot something there. 1290 01:19:05,080 --> 01:19:06,640 Speaker 11: So they got a little bit of the money from the. 1291 01:19:06,880 --> 01:19:12,320 Speaker 8: Absolutely absolutely, and I think you know, I mean, I mean, 1292 01:19:12,400 --> 01:19:16,000 Speaker 8: this is definitely a part of their past and and 1293 01:19:18,040 --> 01:19:20,479 Speaker 8: and so you know, but I think, I don't know. 1294 01:19:20,720 --> 01:19:23,840 Speaker 8: It speaks both to a kind of strength in that 1295 01:19:25,000 --> 01:19:26,680 Speaker 8: I mean, there's a lot of there's a lot of 1296 01:19:26,720 --> 01:19:30,160 Speaker 8: there's a huge art artist community there now and then 1297 01:19:30,200 --> 01:19:33,120 Speaker 8: that's kind of exciting and thriving. And yet at the 1298 01:19:33,200 --> 01:19:38,200 Speaker 8: same time, I mean, this tragedy is is imprinted, you know, 1299 01:19:38,280 --> 01:19:42,760 Speaker 8: in the DNA of the city. And and yet I 1300 01:19:42,840 --> 01:19:47,200 Speaker 8: mean again there's a tremendous amount of anger that precipitated it. 1301 01:19:47,320 --> 01:19:49,960 Speaker 8: But unlike let's say the Rodney King, right, I mean 1302 01:19:50,000 --> 01:19:54,120 Speaker 8: that that had a very specific flash point, the La riots, 1303 01:19:54,120 --> 01:19:55,440 Speaker 8: whereas this was attritional. 1304 01:19:55,479 --> 01:19:57,439 Speaker 7: I mean, this was right because it wasn't one bit 1305 01:19:57,920 --> 01:20:01,599 Speaker 7: off the riot just like Instice and people were fed up, exactly. 1306 01:20:01,920 --> 01:20:08,200 Speaker 8: And so you know, justice is the the conversation, you know, Jacob, Yeah, exactly. 1307 01:20:08,280 --> 01:20:10,599 Speaker 8: And you know, you can't heal until this you're hurt, 1308 01:20:10,880 --> 01:20:15,599 Speaker 8: you know, So maybe there's a a dialogue that can 1309 01:20:16,479 --> 01:20:17,280 Speaker 8: start in Detroit. 1310 01:20:17,439 --> 01:20:21,920 Speaker 1: And how many screens have you done in Detroit? 1311 01:20:22,120 --> 01:20:26,880 Speaker 8: And what's the general how many screenings we did well, 1312 01:20:27,160 --> 01:20:30,040 Speaker 8: we did a screening for the chief of police there. 1313 01:20:30,600 --> 01:20:32,960 Speaker 1: Oh wow, oh boy, how did that go? 1314 01:20:36,439 --> 01:20:39,320 Speaker 8: He wants it to be required viewing for every member 1315 01:20:39,320 --> 01:20:44,719 Speaker 8: of law enforcement. Seriously, yes, yes, yes. 1316 01:20:46,040 --> 01:20:46,799 Speaker 1: I got a response. 1317 01:20:56,400 --> 01:20:57,920 Speaker 4: That's great time. 1318 01:20:59,520 --> 01:21:02,960 Speaker 1: That's crazy to me. That was the last thing I 1319 01:21:03,080 --> 01:21:04,760 Speaker 1: was going to expect. Detroit is about to be the 1320 01:21:04,800 --> 01:21:09,080 Speaker 1: police eyes on the price. It's like required. 1321 01:21:09,240 --> 01:21:11,880 Speaker 12: It's like the video to make you watch exactly pizza 1322 01:21:12,080 --> 01:21:14,560 Speaker 12: or something your train and enjoy it. 1323 01:21:15,400 --> 01:21:19,000 Speaker 11: Wow, just clean the water, I know, right, just clean. 1324 01:21:21,880 --> 01:21:24,240 Speaker 8: So I think it's you know, is there is there 1325 01:21:24,240 --> 01:21:27,120 Speaker 8: a way forward? I mean certainly, And we've screened it 1326 01:21:27,200 --> 01:21:30,000 Speaker 8: for some faith based groups, and you know, we're trying 1327 01:21:30,080 --> 01:21:32,519 Speaker 8: to get it out there, and of course it comes 1328 01:21:32,560 --> 01:21:40,640 Speaker 8: out nationwide, so you know, maybe maybe you know it 1329 01:21:40,760 --> 01:21:45,679 Speaker 8: can be of some help open dialogue, dialogue exactly. 1330 01:21:46,000 --> 01:21:51,000 Speaker 1: So once this is like when you put your baby 1331 01:21:51,040 --> 01:21:54,519 Speaker 1: away and you go to the premiere and you do 1332 01:21:54,680 --> 01:21:58,880 Speaker 1: the last press junket and I'm sure that movie season 1333 01:21:59,000 --> 01:22:05,200 Speaker 1: is over after February Oscar time, At what point do 1334 01:22:05,360 --> 01:22:08,760 Speaker 1: you start researching your next project? Like do you overlap 1335 01:22:08,920 --> 01:22:12,639 Speaker 1: or are you going to swim in Hawaii for two 1336 01:22:12,680 --> 01:22:17,799 Speaker 1: weeks and just like you know, do you watch friends 1337 01:22:17,880 --> 01:22:19,040 Speaker 1: on TBS. 1338 01:22:18,800 --> 01:22:24,080 Speaker 4: Like watches Fred the TBS. 1339 01:22:25,320 --> 01:22:29,960 Speaker 1: Change the channel, dude, It's like I've fallen down many 1340 01:22:30,000 --> 01:22:31,280 Speaker 1: a friend's rabbit hole, Like. 1341 01:22:32,160 --> 01:22:36,160 Speaker 12: My rabbit hole is American Ninja Warrior's supposed to be 1342 01:22:36,240 --> 01:22:36,800 Speaker 12: family guy. 1343 01:22:38,960 --> 01:22:44,439 Speaker 1: So for you, like, are you thinking about the next project? 1344 01:22:44,520 --> 01:22:44,560 Speaker 7: No? 1345 01:22:44,800 --> 01:22:45,200 Speaker 8: I can't. 1346 01:22:47,320 --> 01:22:50,760 Speaker 1: Yeah, but we're not acting like you. I mean, you've 1347 01:22:50,880 --> 01:22:56,040 Speaker 1: done you Your average is a year and a half 1348 01:22:56,160 --> 01:22:59,360 Speaker 1: to two years between films, So it's like I imagine 1349 01:22:59,360 --> 01:23:03,200 Speaker 1: that you least have to research six to seven months 1350 01:23:03,240 --> 01:23:04,920 Speaker 1: before you're like, all right, let's green like this. 1351 01:23:05,560 --> 01:23:07,479 Speaker 11: But just got to be exhausted though right now. But 1352 01:23:08,080 --> 01:23:08,880 Speaker 11: even had the energy. 1353 01:23:09,120 --> 01:23:11,720 Speaker 1: But this is also your production company, correct, Like is this? 1354 01:23:12,760 --> 01:23:12,880 Speaker 2: Oh? 1355 01:23:12,920 --> 01:23:15,760 Speaker 8: I worked with them with Anna Perna, who are fabulous 1356 01:23:16,320 --> 01:23:20,880 Speaker 8: on zero Dark thirty and so so that was a 1357 01:23:20,920 --> 01:23:24,439 Speaker 8: good kind of you know, continuity there. But yeah, I 1358 01:23:24,479 --> 01:23:26,840 Speaker 8: don't know, this was a few years actually, kind of 1359 01:23:26,920 --> 01:23:30,559 Speaker 8: five years from release to release, so it's been. 1360 01:23:30,479 --> 01:23:31,040 Speaker 11: A little while. 1361 01:23:31,400 --> 01:23:37,160 Speaker 1: So you're saying that maybe twenty twenty two. Can you 1362 01:23:37,320 --> 01:23:41,880 Speaker 1: go that long? Because again, if you're not popcorn budget, 1363 01:23:42,960 --> 01:23:45,920 Speaker 1: you know, yeah, two hundred and fifty million, I mean 1364 01:23:46,160 --> 01:23:49,600 Speaker 1: I can imagine that the light bill has to be 1365 01:23:49,720 --> 01:23:55,360 Speaker 1: paid and stuff like that, So it would be whoviy 1366 01:23:55,400 --> 01:23:58,120 Speaker 1: you at least know what the plan is for twenty nineteen. 1367 01:23:58,439 --> 01:24:01,960 Speaker 8: It would if you have any story, I'm open. 1368 01:24:02,680 --> 01:24:04,479 Speaker 1: Would you would you go out of wait? Let me 1369 01:24:04,600 --> 01:24:07,560 Speaker 1: just ask, would you ever go off type and just 1370 01:24:07,720 --> 01:24:19,639 Speaker 1: do romantic? Yeah? Like a Froffy Yeah you've got mail 1371 01:24:19,680 --> 01:24:20,040 Speaker 1: part two? 1372 01:24:21,240 --> 01:24:23,000 Speaker 8: Wow, John. 1373 01:24:25,720 --> 01:24:30,920 Speaker 1: Version of a romantic A man and his dog? 1374 01:24:32,920 --> 01:24:37,440 Speaker 12: How do you you know when you're between projects? Like financially? 1375 01:24:37,479 --> 01:24:38,880 Speaker 12: I mean, how do you make that work? 1376 01:24:38,960 --> 01:24:40,880 Speaker 8: In terms of I do commercials? 1377 01:24:41,400 --> 01:24:41,559 Speaker 1: Wait? 1378 01:24:41,600 --> 01:24:43,599 Speaker 11: Are y'all saying that Catherine go broke in between projects? 1379 01:24:43,600 --> 01:24:45,519 Speaker 5: Because I'm real. 1380 01:24:45,600 --> 01:24:50,479 Speaker 1: Artists, Real artists have to keep jobs. I have nineteen Yes, 1381 01:24:50,760 --> 01:24:54,920 Speaker 1: this is I have nineteen jobs. Yeah, I got one job. 1382 01:24:55,280 --> 01:25:00,400 Speaker 1: One job does not pay me to pay you. One 1383 01:25:00,400 --> 01:25:02,559 Speaker 1: of the job does not baby enough to pay you, guys. 1384 01:25:03,120 --> 01:25:06,080 Speaker 1: I got it. I gotta paid this fascinating. So commercials, 1385 01:25:06,120 --> 01:25:07,800 Speaker 1: that's like you do you do those kind of in 1386 01:25:07,880 --> 01:25:11,640 Speaker 1: your I do? And are you uh? 1387 01:25:12,439 --> 01:25:13,840 Speaker 11: Do you uh a different name? 1388 01:25:14,120 --> 01:25:14,679 Speaker 1: Alan Smith? 1389 01:25:16,840 --> 01:25:16,880 Speaker 7: No? 1390 01:25:17,600 --> 01:25:19,760 Speaker 1: No, but so you don't do like the hinds kept up? 1391 01:25:19,800 --> 01:25:22,360 Speaker 1: Catchup commercial Japanese commercials like. 1392 01:25:22,880 --> 01:25:26,760 Speaker 8: I haven't done those, but it's I don't know, it's 1393 01:25:26,800 --> 01:25:30,639 Speaker 8: interesting because that's where I can kind of maybe check 1394 01:25:30,680 --> 01:25:32,519 Speaker 8: out of content a little bit and just look at 1395 01:25:32,560 --> 01:25:36,519 Speaker 8: it from an equipment and tech technical standpoint, you know, 1396 01:25:36,680 --> 01:25:37,800 Speaker 8: just the mechanics of film. 1397 01:25:38,520 --> 01:25:40,720 Speaker 1: I figured that's harder though, because you have to tell 1398 01:25:40,760 --> 01:25:46,439 Speaker 1: a story in thirty seconds, which you specifically I don't 1399 01:25:46,479 --> 01:25:48,880 Speaker 1: know if it's like the level of your commercials, are 1400 01:25:50,320 --> 01:25:55,000 Speaker 1: you know, Mercedes or classy Curl like would you says 1401 01:25:56,040 --> 01:25:58,320 Speaker 1: I'm sorry. I was watching the Soul Train episode before 1402 01:25:58,320 --> 01:26:06,439 Speaker 1: I got here, so in my head, I'm sorry. I Uh. 1403 01:26:07,479 --> 01:26:09,640 Speaker 1: What I'm saying is when you do commercials, is it 1404 01:26:10,600 --> 01:26:17,400 Speaker 1: harder to make an impact or or tell the story 1405 01:26:17,439 --> 01:26:20,600 Speaker 1: in thirty seconds to a minute however long the commercial is, 1406 01:26:21,200 --> 01:26:23,640 Speaker 1: than it is to tell a story in which you 1407 01:26:23,680 --> 01:26:26,800 Speaker 1: have complete control of I don't know. 1408 01:26:26,920 --> 01:26:27,760 Speaker 2: I like the. 1409 01:26:29,360 --> 01:26:31,479 Speaker 8: I kind of like the challenge of you know, like 1410 01:26:32,120 --> 01:26:35,080 Speaker 8: thirty seconds or a minute. You know you're just I mean, 1411 01:26:35,160 --> 01:26:37,080 Speaker 8: it's a it's it's a deep dive. 1412 01:26:37,520 --> 01:26:39,479 Speaker 1: You give an example of a commercial that you've done 1413 01:26:39,520 --> 01:26:41,280 Speaker 1: that we've all seen, but it's a different part of 1414 01:26:41,320 --> 01:26:41,800 Speaker 1: your brain, right. 1415 01:26:41,880 --> 01:26:42,800 Speaker 8: It's a different part of your brain. 1416 01:26:43,080 --> 01:26:43,599 Speaker 1: I look at them. 1417 01:26:43,640 --> 01:26:45,880 Speaker 4: When I do commercials, it's like one thing, and when 1418 01:26:45,920 --> 01:26:47,360 Speaker 4: you do creative things, totally different things. 1419 01:26:47,439 --> 01:26:51,760 Speaker 1: Yeah, ladies and gentlemen, but it's hard. He is who 1420 01:26:52,080 --> 01:26:56,800 Speaker 1: it's it's but it's it's hard. It's not my version 1421 01:26:56,840 --> 01:27:00,200 Speaker 1: of the commercial the sandwiches. Yeah, when they ask to 1422 01:27:00,240 --> 01:27:03,920 Speaker 1: do seven second stingers. So if there's a new bit, 1423 01:27:05,080 --> 01:27:11,360 Speaker 1: you know, sidewalk movies, and they need usually like Mark Elliott. 1424 01:27:11,600 --> 01:27:14,280 Speaker 11: Yeah, but that's not because that's where you come from. 1425 01:27:14,400 --> 01:27:16,599 Speaker 11: You do come from long form, but people come from. 1426 01:27:16,720 --> 01:27:18,799 Speaker 1: The song I submitted to her film is seven minutes 1427 01:27:21,840 --> 01:27:24,840 Speaker 1: like three minutes, because I knew he has to simmer 1428 01:27:24,920 --> 01:27:28,360 Speaker 1: and cook. He's not microwave, you know, but at fallon, 1429 01:27:29,280 --> 01:27:33,599 Speaker 1: you got to have a catchy ass jingle in seven seconds. 1430 01:27:33,800 --> 01:27:37,679 Speaker 7: In radio, you're supposed to talk for thirty seconds, sometimes 1431 01:27:37,760 --> 01:27:38,680 Speaker 7: in a minute, and. 1432 01:27:39,320 --> 01:27:41,800 Speaker 1: But sometimes you have a script and you know, you 1433 01:27:41,920 --> 01:27:44,519 Speaker 1: get into a rhythm of how's your day or fifty 1434 01:27:46,360 --> 01:27:50,040 Speaker 1: and this is Yeah. 1435 01:27:50,080 --> 01:27:53,240 Speaker 12: The guy who did it was similar what Catherine was saying. 1436 01:27:53,280 --> 01:27:55,320 Speaker 12: The guy that did the I was in an interview. 1437 01:27:55,080 --> 01:27:58,919 Speaker 1: With the guy that did the Windows startup music. 1438 01:28:00,880 --> 01:28:04,400 Speaker 12: Right, and he was saying how that was like once 1439 01:28:04,479 --> 01:28:06,599 Speaker 12: he got into that, like he had to do God, 1440 01:28:06,680 --> 01:28:09,479 Speaker 12: have a many revisions until they finally got it. But 1441 01:28:09,560 --> 01:28:11,679 Speaker 12: he said, like once he was so used to working 1442 01:28:11,760 --> 01:28:14,240 Speaker 12: in like that little five or six seconds. Once he 1443 01:28:14,360 --> 01:28:17,920 Speaker 12: sat down to write a song that felt like that universe. 1444 01:28:17,640 --> 01:28:18,280 Speaker 4: That's my life. 1445 01:28:18,360 --> 01:28:19,840 Speaker 6: Like I can't write a three and a half minute 1446 01:28:19,880 --> 01:28:21,720 Speaker 6: song anymore. I can write, I can write, I can 1447 01:28:21,800 --> 01:28:25,160 Speaker 6: crush a minute. But yeah, that's right because this street 1448 01:28:25,280 --> 01:28:26,880 Speaker 6: your songs are like ninety seconds. 1449 01:28:26,920 --> 01:28:27,879 Speaker 4: Yeah, at the most. 1450 01:28:29,960 --> 01:28:31,439 Speaker 1: Street, I'm the firse chorus. 1451 01:28:32,520 --> 01:28:34,080 Speaker 4: Cat like, I don't do bridges anymore. 1452 01:28:35,400 --> 01:28:36,479 Speaker 11: Electric company, get. 1453 01:28:36,479 --> 01:28:37,080 Speaker 4: Right to the point. 1454 01:28:37,520 --> 01:28:38,800 Speaker 1: I see, I see. 1455 01:28:39,040 --> 01:28:41,880 Speaker 4: Anyway, that's not what we're talking about, Cat biglow. 1456 01:28:43,120 --> 01:28:43,280 Speaker 1: Question. 1457 01:28:43,800 --> 01:28:45,439 Speaker 4: Interesting since I'm talking uh. 1458 01:28:47,160 --> 01:28:49,080 Speaker 6: My fifteen year old we would be super pissed if 1459 01:28:49,120 --> 01:28:54,000 Speaker 6: you didn't bring up Point Break conversation. Uh part of 1460 01:28:54,040 --> 01:28:55,599 Speaker 6: me once like remember when you made a point break 1461 01:28:55,600 --> 01:28:58,599 Speaker 6: because it's awesome, but like like did you have any 1462 01:28:58,720 --> 01:29:01,120 Speaker 6: concept of the impact that movie would have? And like 1463 01:29:01,439 --> 01:29:05,400 Speaker 6: that we were talking about, like uh think like TBS friends, 1464 01:29:05,400 --> 01:29:08,479 Speaker 6: like if comes on the television, I can't sat like wait, 1465 01:29:08,600 --> 01:29:09,840 Speaker 6: I'm done for the next hour and a half. 1466 01:29:10,439 --> 01:29:11,479 Speaker 1: Can I add on to that? 1467 01:29:11,600 --> 01:29:12,760 Speaker 4: Yes? Please, you're the boss? 1468 01:29:12,880 --> 01:29:18,040 Speaker 1: Are you even Catherine? Are you even aware of this 1469 01:29:18,439 --> 01:29:23,040 Speaker 1: new uh embracing of point break from millennials? Like for 1470 01:29:23,160 --> 01:29:26,160 Speaker 1: some reason, usually on weekends I will go to a 1471 01:29:26,240 --> 01:29:28,720 Speaker 1: movie theater and see a throwback film, like there'll some 1472 01:29:29,000 --> 01:29:32,519 Speaker 1: art house film, will you know? So like, and what's 1473 01:29:32,560 --> 01:29:37,200 Speaker 1: weird is that there's a new culture of this generation 1474 01:29:38,000 --> 01:29:43,680 Speaker 1: that looks at intense drama films as comedies. And when 1475 01:29:43,760 --> 01:29:47,280 Speaker 1: I saw a point Break at the Nighthawk, like three 1476 01:29:47,360 --> 01:29:50,599 Speaker 1: months ago, any line that Keanu Reeves said. 1477 01:29:53,880 --> 01:29:56,320 Speaker 4: Reeves, I mean, there's so many, like the whole thing 1478 01:29:56,560 --> 01:29:57,520 Speaker 4: is amazing. 1479 01:29:57,160 --> 01:30:00,320 Speaker 1: But I realized he was this most Keanu in point 1480 01:30:00,400 --> 01:30:01,920 Speaker 1: where he could be. 1481 01:30:02,000 --> 01:30:04,720 Speaker 11: He was free. It was like I could be mean. 1482 01:30:05,040 --> 01:30:07,240 Speaker 1: So what was it like in your head? Did you 1483 01:30:08,040 --> 01:30:11,400 Speaker 1: have any idea that twenty five years from now? Like, dude, 1484 01:30:11,600 --> 01:30:17,400 Speaker 1: that voice like it's the best I'd like, whoa, Like 1485 01:30:17,560 --> 01:30:19,240 Speaker 1: how do you? How do you direct that film? 1486 01:30:19,320 --> 01:30:19,519 Speaker 13: Where? 1487 01:30:20,439 --> 01:30:22,840 Speaker 1: But he's Californian because I know a lot of dudes 1488 01:30:22,880 --> 01:30:25,120 Speaker 1: that talk like that in California. So it's almost like, 1489 01:30:25,520 --> 01:30:27,439 Speaker 1: like what's going on in your head as he's acting, 1490 01:30:27,560 --> 01:30:33,560 Speaker 1: Like you're just like that's Ted from Excellent. Well that 1491 01:30:33,800 --> 01:30:36,080 Speaker 1: was you know that you could be honest? No, no, 1492 01:30:36,280 --> 01:30:39,200 Speaker 1: it was because I see you trying to the words. 1493 01:30:40,320 --> 01:30:43,760 Speaker 8: It was actually a real challenge to get the movie 1494 01:30:43,840 --> 01:30:48,240 Speaker 8: made with with somebody who had hadn't didn't have that kind. 1495 01:30:48,120 --> 01:30:51,759 Speaker 1: Of you know, action spirit, no actions. 1496 01:30:52,479 --> 01:30:53,839 Speaker 4: Well wrong word. 1497 01:30:58,960 --> 01:31:02,040 Speaker 8: And coming from Phil and Ted's you know, you're like, okay, 1498 01:31:02,080 --> 01:31:04,080 Speaker 8: well now how can he You know, I was just 1499 01:31:04,240 --> 01:31:07,439 Speaker 8: trying to process that and I I don't know, I 1500 01:31:07,600 --> 01:31:08,320 Speaker 8: just I thought. 1501 01:31:08,160 --> 01:31:10,360 Speaker 1: He was was it salt? No? 1502 01:31:10,439 --> 01:31:10,479 Speaker 8: No? 1503 01:31:10,600 --> 01:31:10,640 Speaker 7: No? 1504 01:31:10,800 --> 01:31:12,040 Speaker 1: Did you say I want that guy? 1505 01:31:12,200 --> 01:31:12,920 Speaker 8: I want that guy? 1506 01:31:13,920 --> 01:31:14,519 Speaker 9: And what did they? 1507 01:31:14,680 --> 01:31:17,880 Speaker 1: What did Hollywood say? What did the producers say? Well? 1508 01:31:18,160 --> 01:31:24,880 Speaker 8: No, because because I know, it's just it's just the 1509 01:31:25,000 --> 01:31:27,720 Speaker 8: way that how can I say it? I mean, I 1510 01:31:27,920 --> 01:31:29,920 Speaker 8: was just convinced that he'd be perfect for this part. 1511 01:31:30,040 --> 01:31:31,680 Speaker 8: He was Johnny Utah, that was the name of the 1512 01:31:31,760 --> 01:31:38,560 Speaker 8: piece originally. And and and then I finally found a 1513 01:31:38,680 --> 01:31:42,600 Speaker 8: producer who, again just like hurt Locker, I was like okay, like, 1514 01:31:43,120 --> 01:31:47,240 Speaker 8: well we'll take a flyer and I said yes. So 1515 01:31:48,040 --> 01:31:48,800 Speaker 8: I was really lucky. 1516 01:31:48,920 --> 01:31:50,560 Speaker 1: We are you surprised that the sus of it? 1517 01:31:51,439 --> 01:32:07,240 Speaker 13: Yeah, and when you saw the remake I did see it, Okayan, But. 1518 01:32:07,320 --> 01:32:09,160 Speaker 8: Did you see Point Break Live? Any of you? 1519 01:32:09,840 --> 01:32:11,120 Speaker 1: There's a live break. 1520 01:32:11,200 --> 01:32:15,840 Speaker 8: Oh, it's been for years. It's a performance. I don't 1521 01:32:15,840 --> 01:32:17,160 Speaker 8: have anything to do with it. All I know it's 1522 01:32:17,160 --> 01:32:21,280 Speaker 8: called point Break Live. It's probably here somewhere, certainly it's 1523 01:32:22,479 --> 01:32:25,960 Speaker 8: It was in Los Angeles and I went with Edgar 1524 01:32:26,000 --> 01:32:27,839 Speaker 8: Wright one because he wanted to see it and he wanted. 1525 01:32:27,640 --> 01:32:32,120 Speaker 4: To Yeah, I know, yeah, and different one. 1526 01:32:33,960 --> 01:32:37,200 Speaker 8: The other one, yeah, the one that didn't do show 1527 01:32:37,880 --> 01:32:44,680 Speaker 8: right right, that one. And anyway, there's a character in 1528 01:32:44,760 --> 01:32:46,920 Speaker 8: it that plays me. It's very funny and she's like 1529 01:32:47,080 --> 01:32:50,360 Speaker 8: got a megaphone and you know half the time. Oh, 1530 01:32:50,479 --> 01:32:53,439 Speaker 8: it's really I mean, you have you buy your ticket 1531 01:32:53,520 --> 01:32:57,040 Speaker 8: and they give you like a clear poncho because for 1532 01:32:57,160 --> 01:32:59,040 Speaker 8: the wave sequences they throw water all off. 1533 01:33:01,479 --> 01:33:04,200 Speaker 1: I want to I want to go there. 1534 01:33:05,920 --> 01:33:08,360 Speaker 8: And they picked somebody from the audience for Keanu each 1535 01:33:08,520 --> 01:33:12,240 Speaker 8: night with and they give them a card that you know, yeah, 1536 01:33:12,280 --> 01:33:19,559 Speaker 8: so it could be still it's going on for years. 1537 01:33:20,240 --> 01:33:22,240 Speaker 1: You or did you just show ambushing one night? 1538 01:33:22,400 --> 01:33:24,880 Speaker 8: No, we just ambushed. But then they realized it was 1539 01:33:25,520 --> 01:33:28,120 Speaker 8: that I was there, and then you know, when they 1540 01:33:28,200 --> 01:33:32,120 Speaker 8: robbed the banks, they came and robbed both Edgar and everything. 1541 01:33:32,520 --> 01:33:36,880 Speaker 8: Everything that we had they took and it was it 1542 01:33:37,000 --> 01:33:40,280 Speaker 8: was fabulous. I don't know. 1543 01:33:40,960 --> 01:33:44,040 Speaker 1: I'm looking on Google right now, Catherine. 1544 01:33:44,040 --> 01:33:46,080 Speaker 7: Have you ever had an issue with someone taking direction 1545 01:33:46,240 --> 01:33:48,439 Speaker 7: from you because they've never worked with the female director? 1546 01:33:50,760 --> 01:33:54,560 Speaker 1: Well, I don't, unless you'd like to. 1547 01:34:01,800 --> 01:34:05,000 Speaker 8: I think I don't know. I've I think either I've 1548 01:34:05,040 --> 01:34:09,679 Speaker 8: been lucky or you know, I kind of I steer 1549 01:34:09,840 --> 01:34:17,519 Speaker 8: clear of assholes. Assholes exactly, you know, but I mean, 1550 01:34:17,560 --> 01:34:21,800 Speaker 8: you know, you can you can sense a sort of 1551 01:34:21,960 --> 01:34:26,760 Speaker 8: attitude and I move away, I move I'm moving the 1552 01:34:26,800 --> 01:34:30,760 Speaker 8: opposite direction. But no, I've been really lucky, you know, 1553 01:34:30,960 --> 01:34:31,799 Speaker 8: Crewe and cast. 1554 01:34:33,240 --> 01:34:35,519 Speaker 12: One thing I was always curious about, for the time 1555 01:34:35,560 --> 01:34:38,680 Speaker 12: that you were with James Cameron, what was it like 1556 01:34:38,840 --> 01:34:43,120 Speaker 12: to be, you know, for two creative people in one household. 1557 01:34:44,560 --> 01:34:45,280 Speaker 5: What was that like? 1558 01:34:47,560 --> 01:34:54,800 Speaker 4: Well, yeah, seconism and now who you used to be married? 1559 01:34:56,240 --> 01:35:02,640 Speaker 4: Let's that was that was? 1560 01:35:02,800 --> 01:35:06,280 Speaker 8: I mean, we're actually great friends, so I mean it 1561 01:35:06,439 --> 01:35:11,200 Speaker 8: was it was kind of fabulous for the time that 1562 01:35:11,320 --> 01:35:13,840 Speaker 8: it was fabulous, until it was no longer fabulous. But 1563 01:35:16,600 --> 01:35:18,400 Speaker 8: I mean we talk a lot about film, as you 1564 01:35:18,479 --> 01:35:21,840 Speaker 8: can imagine, you know, like like, you know. 1565 01:35:22,240 --> 01:35:24,719 Speaker 11: Just did you steer each other away from projects? 1566 01:35:24,800 --> 01:35:28,160 Speaker 1: Like two film nerds in the same household a lot 1567 01:35:28,240 --> 01:35:29,720 Speaker 1: of that, Like, you know, why are you using so 1568 01:35:29,760 --> 01:35:30,360 Speaker 1: many close ups? 1569 01:35:30,360 --> 01:35:31,800 Speaker 8: Why are you using so many what are you using 1570 01:35:31,840 --> 01:35:33,599 Speaker 8: white angle? Why are you using it twenty four when 1571 01:35:33,600 --> 01:35:35,320 Speaker 8: you could use this three hundred? You know, it's that 1572 01:35:35,439 --> 01:35:36,200 Speaker 8: kind of conversation. 1573 01:35:36,720 --> 01:35:41,160 Speaker 5: So over you. 1574 01:35:43,960 --> 01:35:44,800 Speaker 1: Let your petty flag. 1575 01:35:46,840 --> 01:35:50,240 Speaker 8: I completely was I was surprised. I mean I thought 1576 01:35:50,280 --> 01:35:51,639 Speaker 8: one hundred percent it was Avatar. 1577 01:35:52,280 --> 01:35:55,320 Speaker 1: It was not in any way, so not any endpoint. 1578 01:35:55,400 --> 01:35:57,040 Speaker 1: Did you give him a side eye as you walked 1579 01:35:57,120 --> 01:35:57,679 Speaker 1: up to the podio? 1580 01:35:57,760 --> 01:36:03,520 Speaker 4: No, no, no, definitely. 1581 01:36:10,520 --> 01:36:11,519 Speaker 11: Looking at the oscar. 1582 01:36:15,439 --> 01:36:20,720 Speaker 1: Well, we're silly like that. We're just trying to be 1583 01:36:20,880 --> 01:36:23,280 Speaker 1: very respectful and use the good China. 1584 01:36:25,760 --> 01:36:26,479 Speaker 4: In China. 1585 01:36:27,000 --> 01:36:31,600 Speaker 1: Yeah, exactly know, we had a paper plays out we 1586 01:36:33,680 --> 01:36:36,760 Speaker 1: bring well. No, you know, I figure at some point 1587 01:36:36,840 --> 01:36:41,639 Speaker 1: you might get tired of of having to represent what's 1588 01:36:41,640 --> 01:36:43,559 Speaker 1: it like to be at the mountaintop and the boys club, 1589 01:36:43,600 --> 01:36:46,519 Speaker 1: and I know it gets tired of something that you 1590 01:36:46,600 --> 01:36:50,160 Speaker 1: would want to just be a director, not the first 1591 01:36:50,200 --> 01:36:51,400 Speaker 1: female or history making. 1592 01:36:51,760 --> 01:36:54,360 Speaker 11: So isn't there is there a female director collective? 1593 01:36:55,000 --> 01:36:59,519 Speaker 8: Like, well, there's there's a kind of a kind of 1594 01:36:59,600 --> 01:37:02,439 Speaker 8: like that DTA Director Skilled of America is the steering committee, 1595 01:37:02,560 --> 01:37:08,000 Speaker 8: And I mean, you you know, I suppose my feeling 1596 01:37:08,160 --> 01:37:12,320 Speaker 8: is I've always resisted a conversation about your woman doing. 1597 01:37:12,400 --> 01:37:14,880 Speaker 8: You know, I think that kind of ghettoizes women, you know, 1598 01:37:14,960 --> 01:37:19,840 Speaker 8: in other words, that actually prevents a perceptual in other words, 1599 01:37:19,880 --> 01:37:23,559 Speaker 8: it it siloizes them. And so you know, I think 1600 01:37:23,560 --> 01:37:25,719 Speaker 8: of myself as a filmmaker. I don't think of myself 1601 01:37:25,760 --> 01:37:26,679 Speaker 8: as a woman director. 1602 01:37:27,280 --> 01:37:29,040 Speaker 1: So there's no Sundays with Sophia and. 1603 01:37:32,040 --> 01:37:33,920 Speaker 8: I just I just don't think of that only because 1604 01:37:33,920 --> 01:37:35,920 Speaker 8: I think it, well, I don't think like that because 1605 01:37:35,920 --> 01:37:38,960 Speaker 8: I think it perpetuates that inequity. 1606 01:37:39,120 --> 01:37:42,240 Speaker 7: But what about from a mentorship standpoint, because it is 1607 01:37:42,360 --> 01:37:44,600 Speaker 7: and I'm guessing that there is an inequity in the 1608 01:37:44,720 --> 01:37:47,600 Speaker 7: numbers of the female directors. 1609 01:37:47,280 --> 01:37:51,000 Speaker 8: And seven percent you mean that that kind of inequity. 1610 01:37:51,760 --> 01:37:53,479 Speaker 7: I mean, I don't know, it's that like sixty cents 1611 01:37:53,479 --> 01:37:57,400 Speaker 7: to a dollar to me, but the facts facts. But yeah, 1612 01:37:57,479 --> 01:37:59,840 Speaker 7: so what about on that note, because there is a 1613 01:38:00,080 --> 01:38:02,320 Speaker 7: economy of Okay, I don't want to be the female director, 1614 01:38:02,400 --> 01:38:03,320 Speaker 7: but hey, it's not. 1615 01:38:03,400 --> 01:38:03,920 Speaker 11: A lot of us. 1616 01:38:04,000 --> 01:38:06,920 Speaker 1: So how do I is the game where you become 1617 01:38:07,479 --> 01:38:11,240 Speaker 1: moreau like do you run? Do you imagine like maybe 1618 01:38:12,439 --> 01:38:16,160 Speaker 1: fifteen years from now you will have your own paramount 1619 01:38:16,360 --> 01:38:16,680 Speaker 1: where you. 1620 01:38:19,240 --> 01:38:19,479 Speaker 3: Wow. 1621 01:38:19,680 --> 01:38:23,080 Speaker 1: Make sure that again like again, you said that, you 1622 01:38:23,120 --> 01:38:25,160 Speaker 1: already said that you don't want to focus on the 1623 01:38:25,200 --> 01:38:28,080 Speaker 1: sex of it, but at least from what you know. 1624 01:38:28,320 --> 01:38:32,000 Speaker 1: And I know that you've had a lot of mansplanning 1625 01:38:32,520 --> 01:38:35,599 Speaker 1: done in your life and a bunch of no's told 1626 01:38:35,680 --> 01:38:41,280 Speaker 1: to you, and you've saw injustice where your male counterparts 1627 01:38:41,320 --> 01:38:44,559 Speaker 1: would have gotten that and sure petty shit like, well, 1628 01:38:44,600 --> 01:38:46,559 Speaker 1: I think it should be done this way and that whatever. 1629 01:38:48,320 --> 01:38:50,880 Speaker 1: So is there any desire to I would like to 1630 01:38:50,960 --> 01:38:54,519 Speaker 1: open my own production company and give fellow means out 1631 01:38:54,560 --> 01:38:57,880 Speaker 1: there a voice or that sort of thing. 1632 01:38:58,280 --> 01:39:03,479 Speaker 8: Well, I'm well, I'm working with I do you know, 1633 01:39:03,560 --> 01:39:07,760 Speaker 8: I'm producing a couple of things, and I try to 1634 01:39:08,400 --> 01:39:10,800 Speaker 8: you know, I try to give back in that way. 1635 01:39:10,880 --> 01:39:15,920 Speaker 8: And I suppose also in the world of philanthropy, as 1636 01:39:15,960 --> 01:39:21,600 Speaker 8: I said, elephant conservation or any wildlife trafficking conservation, So 1637 01:39:21,760 --> 01:39:26,040 Speaker 8: you try to give back in a way that's meaningful. 1638 01:39:26,720 --> 01:39:28,960 Speaker 8: But I also am a creative advisor at Sundance, and 1639 01:39:29,080 --> 01:39:32,280 Speaker 8: that's where I sort of spend most of my energy 1640 01:39:32,360 --> 01:39:33,160 Speaker 8: of trying. 1641 01:39:32,880 --> 01:39:34,559 Speaker 1: To even at the score. 1642 01:39:35,160 --> 01:39:37,559 Speaker 8: Well, yeah, to a certain extent. On the other hand, 1643 01:39:37,600 --> 01:39:40,160 Speaker 8: I sort of always walk away from that feeling like 1644 01:39:40,200 --> 01:39:42,280 Speaker 8: I get way more than anybody else. You know, It's 1645 01:39:42,400 --> 01:39:45,560 Speaker 8: just I don't know. Do you know the kind of 1646 01:39:46,720 --> 01:39:51,600 Speaker 8: I don't presume to be able to. I mean, I 1647 01:39:51,720 --> 01:39:53,800 Speaker 8: never want to tell somebody what to do. I just 1648 01:39:53,920 --> 01:39:57,040 Speaker 8: want to do what I do and hope that inspires 1649 01:39:57,120 --> 01:40:02,320 Speaker 8: others to carry on. I always tell them, don't take 1650 01:40:02,360 --> 01:40:05,360 Speaker 8: no for an answer. No, it doesn't exist in your world, 1651 01:40:05,479 --> 01:40:07,000 Speaker 8: in your universe. No doesn't exist. 1652 01:40:07,680 --> 01:40:13,599 Speaker 1: Well said, I know that. I know this much. Thank 1653 01:40:13,600 --> 01:40:16,080 Speaker 1: you very much, Kavin Bigelo for coming on Quest Love Supreme. 1654 01:40:16,120 --> 01:40:18,600 Speaker 8: I appreciate, thank you, thank you, thank you, all of you. 1655 01:40:19,040 --> 01:40:24,679 Speaker 1: All of you and on behalf of Boss Bill, Unpaid 1656 01:40:24,720 --> 01:40:29,560 Speaker 1: Bill Sugar, Steve Fon Ticcolo and Laiya aka Margaret. We 1657 01:40:29,720 --> 01:40:32,839 Speaker 1: thank you Kavin Bigelow for coming on the show, reminding 1658 01:40:32,920 --> 01:40:35,200 Speaker 1: all VPU out there because you enjoyed to have a 1659 01:40:35,240 --> 01:40:39,160 Speaker 1: conversation about what's going on. Get involved. Just don't be 1660 01:40:39,800 --> 01:40:42,840 Speaker 1: a couch critic and criticize. You're telling me you'll do 1661 01:40:43,000 --> 01:40:46,439 Speaker 1: something about it. This Quest Love Supreme. Thank you very much. 1662 01:40:46,479 --> 01:40:48,400 Speaker 1: I will see you the next go round. I wish 1663 01:40:48,479 --> 01:41:01,440 Speaker 1: you love peace. Quest Love Supreme is a production of iHeartRadio. 1664 01:41:01,960 --> 01:41:05,320 Speaker 1: This classic episode was produced by the team at Pandora. 1665 01:41:08,200 --> 01:41:12,560 Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1666 01:41:13,040 --> 01:41:14,719 Speaker 1: or wherever you listen to your favorite shows.