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Speaker 1: And now part two of Corey Felman on One Dad Movie,

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Speaker 1: Guilty Lass, This Sun.

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Speaker 2: So Bad Ass, Goonies, Last Tangle.

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Speaker 1: With X Ray Movies. Lost Boys is true Swiss. There

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Speaker 1: was three of those which Lost three Laws, which was

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Speaker 1: the first three of them. Lost Boys was Lost Boys.

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Speaker 1: I have a mind blowing story to tell you about

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Speaker 1: Lost Boys. Who starred in Lost Boys? Well, according to

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Speaker 1: the credit role I did, wasn't there also other actors?

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Speaker 1: And know it was just me. It was one man show.

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Speaker 1: I don't know if you noticed. It was great. I

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Speaker 1: had wigs all this stuff. It was amazing. No, it

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Speaker 1: was a huge cast. Diane West, Bernard Hughes, Edward Herman,

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Speaker 1: Jason Patrick, Corey Haim, Keefer, Sutherland, hold on, I'm not done,

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Speaker 1: Alex Winter, Jamie Gertz. I mean it was a giant.

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Speaker 2: Cats Jason Patrick. Was he just an actor? Did he develop?

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Speaker 2: Was he a producer on it?

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Speaker 1: Jason Patrick? Yes, Oh, he was just a starting out

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Speaker 1: he was. No, he was just an actor, right, Jason Patrick. Yeah,

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Speaker 1: I mean he was a kid then, but yeah, the actor? Right?

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Speaker 1: Why why do you why don't you know who your

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Speaker 1: grandfather is? Yeah? Yeah, yeah, yeah, that doesn't suck. Okay,

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Speaker 1: but who is it? We can't rest on our laurels.

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Speaker 1: You know that you gotta be good for being good.

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Speaker 1: They gotta be good for Nepotism gets you nowhere. Oh wait,

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Speaker 1: I'm talking to Stephen Bow. What am I talking about?

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Speaker 1: I'm sorry, I'm sorry, No, no, no, But seriously, though,

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Speaker 1: you've got to be good for being good. You know

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Speaker 1: that if you sucked, you wouldn't have gotten a hundred movie.

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Speaker 1: Doesn't matter what your last name is. Pretty well kind

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Speaker 1: of no, it's true, but true Jason Patrick. Yeah, and

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Speaker 1: I'm not saying Jason Patrick's first, he doesn't.

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Speaker 2: The movie I ever did was called The Beast, okay,

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Speaker 2: about the Soviet invasion of Afghanistan.

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Speaker 1: I'll look at Corey doesn't care. No, I'm letting me guy,

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Speaker 1: Guys going look at Corey, look at I'm curious.

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Speaker 2: So I do this movie called The Beast about the

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Speaker 2: Soviet invasion of Afghanistan. The film was produced and developed,

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Speaker 2: and the whole thing was created by Jason Patrick. Oh really,

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Speaker 2: it was directed by Kevin Reynolds, who did water World okay, right.

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Speaker 1: And kind of really didn't direct too much after that

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Speaker 1: anyone directed water World. Because I thought I thought Cosner

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Speaker 1: directed water World. No Costner was in it. Oh, I

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Speaker 1: thought he'd write.

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Speaker 2: Kevin Reynolds directed it. No Costner did not direct it.

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Speaker 2: So I go to Israel to do this movie that

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Speaker 2: Jason Patrick is one of the stars of, with George

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Speaker 2: Zunza and and and and a wonderful cast. And I

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Speaker 2: come to find out this isn't just weird rabbit hole,

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Speaker 2: but it's it's an interesting one. I come to find

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Speaker 2: out that Jason Patrick developed the screenplay from a play,

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Speaker 2: a staged play called Nanawate and if it was about

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Speaker 2: the Soviet invasion in Afghanistan that in Afghani language, nanawate

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Speaker 2: means you know, run away from So the movie was

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Speaker 2: about a Russian tank that gets lost during the war

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Speaker 2: and these Muju Hydien guys you know, go after them

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Speaker 2: and they're trapped and they can't escape.

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Speaker 1: That's the movie.

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Speaker 2: But it's based on a freaking play of the same thing,

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Speaker 2: where you have these Russian soldiers on stage like fighting

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Speaker 2: a battle against guys, like shooting them with like slingshots

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Speaker 2: and shit.

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Speaker 1: It's like crazy. It's a So.

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Speaker 2: I always was kind of fascinated about Jason Patrick in

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Speaker 2: his career because I'll bet you he had something to

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Speaker 2: do maybe with the development of the film.

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Speaker 1: No, No, not at all, Okay, Jason, So I was

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Speaker 1: involved with him before he was, So that's why I know. Oh, okay,

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Speaker 1: he wasn't involved. Okay, it was It was actually Richard

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Speaker 1: Donner's project to me right on. Donner was originally set

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Speaker 1: as the director of the film right and it was

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Speaker 1: written by Janice Fisher, and I forget the other part

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Speaker 1: of it was two people Joel Joel something in Janie Fisher,

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Speaker 1: but it was the two people who wrote it together.

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Speaker 1: And what happened was I was, actually, you know, I'd

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Speaker 1: just done Goonies with Richard Donner as the director, kind

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Speaker 1: of the same situation with Gremlins and e T where

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Speaker 1: I was. You know, Stephen invited me to Ambulance several

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Speaker 1: times that I want you to do this new picture

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Speaker 1: with me. It's like Indiana Jones for kids and it's Goonies.

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Speaker 1: And he told me all about it, and it was like, yes,

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Speaker 1: I'd love to let's do it. And he was supposed

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Speaker 1: to be the director, and then he ended up sidestepping

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Speaker 1: it and gave it to Richard Donner. So even though

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Speaker 1: I already had the role. I had to go in

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Speaker 1: audition for Richard Donner to get the confirmed role. Right.

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Speaker 1: The same thing happened with Lost Boys, because Richard Donner

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Speaker 1: brought me in and said, this is going to be

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Speaker 1: the move. We're going to do this together. It's it's

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Speaker 1: like Goonies but it's vampires and its older kids, and

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Speaker 1: it's like, oh okay, great, sounds good. And then and

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Speaker 1: then he ended up saying, oh, you know, I'm gonna

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Speaker 1: go direct Lethal Weapon, so I'm actually gonna hand this

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Speaker 1: over to this great up and coming guy named Joel Schumacher,

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Speaker 1: who you know, at the time had only directed Flat

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Speaker 1: Liners and had written scripts for Woody Allen and The Wiz.

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Speaker 1: Actually he helped write The Wiz with Michael Jackson and

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Speaker 1: Diane Uh. Flat Liners propped a little bit. Yeah, flat

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Speaker 1: Liners was successful. Oh yeah, it was successful.

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Speaker 3: Yeah.

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Speaker 1: Yeah. But anyway, and then I think there was one

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Speaker 1: other move, so I mean, no, he was on the

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Speaker 1: he was on the come up. He ran like the

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Speaker 1: hot young director, and so he said, I want you know,

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Speaker 1: I'm gonna have him do it, so you have to

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Speaker 1: go audition for him. So I did. I'd go all

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Speaker 1: over again and audition for Joel Schumacher. I know, but

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Speaker 1: that is the business. You know, you get the job

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Speaker 1: once and then you got to go get it all

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Speaker 1: over again. So that's is sometimes the way it is.

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Speaker 1: But anyway, so I did, I went, and I got

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Speaker 1: it again. I got it through Joel and uh and

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Speaker 1: Richard Donner was the director. So I know the whole

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Speaker 1: process from the beginning of the film until where we

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Speaker 1: got because the entire script changed actually because it was

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Speaker 1: supposed to be young kids looking for vampires and then

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Speaker 1: then it turned into older teenagers. And that's how Jason

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Speaker 1: got cast as the older brother because when they made

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Speaker 1: it older and they skewed everything older, then he began.

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Speaker 1: But he was just starting out at that time. He

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Speaker 1: had only done Solar Babies. That was the only other

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Speaker 1: movie that he had done. I love having the six

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Speaker 1: Degrees with Corey Feldman. He's like, you know, he had

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Speaker 1: to go directly for a weapon, and.

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Speaker 2: You know what, I wonder what the six degrees of

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Speaker 2: Corey Feldman's box offices?

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Speaker 1: I bet you's devastating.

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Speaker 3: Well, so actually that brings up I'm really curious. You know,

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Speaker 3: a lot of actors get asked, oh, when you were

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Speaker 3: filming this, Did you have any idea it was going

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Speaker 3: to be so big? But I'm curious, like, because you

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Speaker 3: were in these monumental films as a child, as a child,

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Speaker 3: did you have any sense of like you think this will.

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Speaker 1: Do well or not? Or were you just having Oh?

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Speaker 1: Absolutely no. I knew Gremlins was going to be the

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Speaker 1: hugest thing ever. I knew Goonies was going to be

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Speaker 1: the hugest thing ever. I knew Friday the thirteenth would

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Speaker 1: be the biggest one in the series. I have an

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Speaker 1: innate gift that I've always had, which is that when

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Speaker 1: I get a script. I don't know if you do

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Speaker 1: this or not, but when I get a script and

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Speaker 1: I read the script, I visualize the whole movie as

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Speaker 1: if it's real. Like so when I'm reading each page,

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Speaker 1: I'm seeing the scenes. I'm seeing the actors who are

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Speaker 1: going to play the other characters. I'm seeing my character

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Speaker 1: come to life. I see it all as a movie, right,

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Speaker 1: do you do that? I see them I visualized the film, yes, right,

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Speaker 1: and you can see kind of who the other actors

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Speaker 1: would be. I can do it, right, Yeah, I can

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Speaker 1: mirror that exactly. So that's what I do so a

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Speaker 1: lot of times and i'd get it right. I'd be like, oh,

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Speaker 1: I can see this actor playing this part, and then

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Speaker 1: all of a sudden, it would be that actor. I'd like, well,

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Speaker 1: that's cool, you know, but I can't do that. And

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Speaker 1: I could visualize like certain sets or certain set decoration

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Speaker 1: or things like, you know, I could just get it right.

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Speaker 1: And then there'd be times where i'd be very often

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Speaker 1: get it wrong. But I do have a gift in that.

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Speaker 1: So because of that, I would be able to get

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Speaker 1: a sense and go, this is going to be a

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Speaker 1: huge movie. I know this is going to be number one.

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Speaker 1: I know it's going to be so yes. I felt

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Speaker 1: that way all the way up until Dream a Little Dream.

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Speaker 1: Dream a Little Dream was the first time I thought,

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Speaker 1: it's a great movie, but it's a little bit too

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Speaker 1: artistic to be number one, you know. It's it's an

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Speaker 1: art house well for that kind of box office success, right, Yeah,

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Speaker 1: It's just it's not designed for that. It's not a

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Speaker 1: big summer movie. It's not a big explosive CGIV movie. Yeah, yeah,

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Speaker 1: it's it's it's a real movie about characters and about

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Speaker 1: people in a love story. And you know, and this

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Speaker 1: great cast of amazing actors again, Jason Robards and Harry

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Speaker 1: Dean Stanton and Piper Laurie and Corey Hame and gosh,

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Speaker 1: I forget all of the people in it, but Billy

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Speaker 1: uh macnamara, thank you very much, William McNamara and he

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Speaker 1: goes by it right and Matt the kid oh Man. Anyway,

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Speaker 1: there was a lot of a lot of famous people

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Speaker 1: in that movie. To Mickey Thomas from Starship the title

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Speaker 1: track dream a Little Dream and we actually did a

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Speaker 1: remake of that for the thirtieth anniversary. Was exciting. After that,

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Speaker 1: what when was a film you just named now Your

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Speaker 1: Little Dream when? Nineteen eighty seven and eighty eight, But

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Speaker 1: that was after Licensed to Drive, which Licensed to Drive

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Speaker 1: was also a huge box office success. Uh so we

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Speaker 1: did Lost Boys then after Lost Boys? Wait, we had

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Speaker 1: Goodies stand by me? Lost Boys. Did you ever see Drive?

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Speaker 1: I have seen it. Licensed to Drive a fucking awesome movie. Yeah,

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Speaker 1: that's fun. I date you if you weren't dating anyone. Well, thanks, Steven,

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Speaker 1: I appreciate that. Thank you for that offer. I mean,

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Speaker 1: you do have beautiful eyes. I will tell you. Yeah,

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Speaker 1: your girlfriend's a very lucky woman. I mean your wife. Yeah,

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Speaker 1: my significant father. What I'm going to stop. So after that,

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Speaker 1: what were you can tell me too, Brandy? What were

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Speaker 1: the but I would to hear? I wanted, I want

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Speaker 1: to walk with.

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Speaker 2: You more through this little garden of your career, so

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Speaker 2: to speak. After that, what were some of the acting gigs.

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Speaker 1: That stuck with you? Dream Little Dream? Okay? So after

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Speaker 1: Dreamal Dream, by the way, was my proudest achievement. Oh wow.

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Speaker 1: To that point, even though it was the lowest income

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Speaker 1: making film whatever, it opened at number three the box office.

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Speaker 1: I was so used to getting films that opened at

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Speaker 1: number one. It was a little strange. Actually, wait, I

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Speaker 1: got that wrong. Licensed to Drive opened at number three.

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Speaker 1: Dreamal Little Dream opened at number five, right Death Death

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Speaker 1: by Stereo. That was it. I was like, I'm done done.

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Speaker 1: Luckily we saved. It came back with The Burbs, which

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Speaker 1: also opened number one, and then of course Ninja Turtles,

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Speaker 1: which also opened number one, and then Ninja Turtles three,

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Speaker 1: which also open number one. So I didn't stop there,

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Speaker 1: but I thought maybe it was going to stop there,

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Speaker 1: and I was very worried. All the ones yeah yeah, yeah,

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Speaker 1: but then you know, and I got a few more,

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Speaker 1: but they all ended up kind of being smaller and

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Speaker 1: smaller parts of the of the mix. You know. It's like,

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Speaker 1: as the years went on, it was like, yeah, it's

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Speaker 1: a number one film, but I'm only in it for

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Speaker 1: five minutes. So sorry, not my fault, no, but anyway,

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Speaker 1: so there was you know, there was a lot. There

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Speaker 1: was a lot. It was one after another after another another.

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Speaker 1: I performed the Academy Awards in nineteen eighty nine. Uh,

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Speaker 1: you know, I don't know if you remember this. I

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Speaker 1: don't know why you weren't in it. Actually you should

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Speaker 1: have been. But there was the Oscar Winners of the

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Speaker 1: Future in nineteen eighty nine, and it was all these

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Speaker 1: people from Patrick Dempsey and Ricky Lake and a seveyng

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Speaker 1: Glover and and by the way, none of us have

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Speaker 1: been nominated for an Academy Award Christian Slater, I mean,

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Speaker 1: like literally, like the whole damn squad, Rob Loow. I

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Speaker 1: don't know. There was like fifty people out there. We

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Speaker 1: were all gonna be the Oscar Winner of the Future.

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Speaker 1: Not why of us has gotten a nomination. Thanks guys,

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Speaker 1: it was a curse, not a blessing, Thank you very much. No,

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Speaker 1: it's okay. I don't care about a word, don't need it.

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Speaker 2: So you're saying you were even kind of miscast for

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Speaker 2: the but a little bit, a little bit so there,

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Speaker 2: so kind of app there was a certain kind of

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Speaker 2: arc of number ones.

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Speaker 1: But I'm bump and then and then not. No, we

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Speaker 1: were simultaneously. You must have been segueing into music anyway.

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Speaker 1: Well I was, but but yeah, I started music in

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Speaker 1: eighty seven. So my first contribution to music in film

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Speaker 1: was dream a Little Dream. Oh wow, so the very

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Speaker 1: that's when the bug started, right, Okay? Cool. So basically

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Speaker 1: Michael Damien ended up creating the number one song for

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Speaker 1: the film's soundtrack, Dreaming Little Dream. So even though it

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Speaker 1: opened number five, the soundtrack went through the roof, it

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Speaker 1: was number one. Now, the weird thing is every soundtrack

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Speaker 1: we did for every movie I was a part of,

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Speaker 1: had a number one hit as well. So like Cooney's

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Speaker 1: had the Cyndi Lauppers song, Lost Boys had Cry Little Scissor,

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Speaker 1: and it had an inaccess song, and it had like

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Speaker 1: a bunch of hits. And that's big man, I want

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Speaker 1: to just ram from Foreigner. I mean, it was just

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Speaker 1: it was a huge Roger Daltrey, everybody was on that.

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Speaker 2: How many movies that did pretty good had sound tricks

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Speaker 2: tracks that were way bigger than the movie. Right, that's

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Speaker 2: meaningful because even those songs bro drew the the the

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Speaker 2: loyalty of that film fan to that movie.

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Speaker 1: Right, the songs could do it right, And so licensed drive,

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Speaker 1: we had Billy Ocean Get Out of My Car. We

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Speaker 1: also had the remake. We had the remake of the

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Speaker 1: Beatles Drive My Car by the Breakfast Club. We did

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Speaker 1: a music video for it. Uh. And then of course

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Speaker 1: it got to Dream a Little Dream, and with Dream

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Speaker 1: Little Dream rock on by Michael Damien was like the

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Speaker 1: biggest song ever. And so Michael and I did another

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Speaker 1: song together called something in Your Eyes and we wrote

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Speaker 1: it and produced it together, and that was for the

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Speaker 1: Dream Little Dream soundtrack, But unfortunately I got to record

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Speaker 1: it by the time they budgeted it and set the

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Speaker 1: studio time and blah blah blah blah blah. We delivered

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Speaker 1: the song like one day late after they had already

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Speaker 1: pressed the album. Oh wow, and they had already like

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Speaker 1: locked picture on the film and we had this great

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Speaker 1: song where like what the they said, well, we're gonna

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Speaker 1: get it released, don't worry. What do you mean you're

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Speaker 1: gonna get it released? You just told me everything locked? Well, no,

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Speaker 1: we're gonna put it as a B side on the

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Speaker 1: first single. So the first single, so literally, my first

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Speaker 1: single came out on vinyl in nineteen eighty nine and

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Speaker 1: as a B side side on the biggest song from

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Speaker 1: that soundtrack. Correct. So I just want to do a

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Speaker 1: documentary about that. Yeah. So, so after that first single

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Speaker 1: came out, which you know, that's when I performed at

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Speaker 1: the Academy Awards and all that stuff. But then I

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Speaker 1: started getting into My little drug problem went down. It

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Speaker 1: was a little drug problem. It was a big drug problem,

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Speaker 1: but it was for a little period of time. So

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Speaker 1: from like eighty nine to ninety one ish, ninety eighty eight, No,

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Speaker 1: eighty seven to ninety that was it. Eighty seven to

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Speaker 1: ninety I was a mess. By ninety I got sober.

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Speaker 1: Never looked back. But from those three years, I got

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Speaker 1: sober one year before you Is that true? Yeah? Oh wow,

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Speaker 1: old timer? Whatsob brother? Yep? Nice? I like it. Congratulations

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Speaker 1: Are you still sober? Yeah? But I'm CALLI sober? Is

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Speaker 1: the expression? Yeah? I got and serious? Serious. The bottom

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Speaker 1: line is this, do you currently do drugs or alcohol

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Speaker 1: that will ruin your life. No, here's what I do.

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Speaker 1: I do not do any synthetic drugs, and I do

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Speaker 1: not chew any alcohol. But I do utilize or herbs,

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Speaker 1: medicinal herbs. But it's quite medicinal actually. And I'm you know,

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Speaker 1: like right now, if I air this on the show,

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Speaker 1: it's like it's one of those things where people are like, dude, whatever,

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Speaker 1: Dude like and I want to just say, I'm fifty nine.

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Speaker 1: You have the right, but you have the right man

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Speaker 1: to do what you want to do. I have the

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Speaker 1: right to feel good. Yeah, but not in a destructive way.

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Speaker 1: You're not destructive. Listen, you can't. I've never heard of

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Speaker 1: Is it done? Corey? Is it done? Don't overcook it.

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Speaker 1: You overcook it defeats its own purpose. Here what I said,

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Speaker 1: don't overcook it. Remember of Raging Bull when he's Jake Lamontist.

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Speaker 1: It's a great scene Robert de Niro and Raging Bull.

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Speaker 1: But here's the point.

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Speaker 2: Why would I want to do something for wellness that

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Speaker 2: it's so like my friend over there, that guy, he

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Speaker 2: he would prefer I didn't use cannabis, but the science

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Speaker 2: clearly shows and the effects are very real that in

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Speaker 2: the wellness aspect of it, it can be very beneficial.

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Speaker 2: So I'm I'm wellness sober. It's fine, Listen. I don't

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Speaker 2: think we could start something.

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Speaker 1: Listen. I don't think anybody needs to be ashamed as

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Speaker 1: a grown as man of any choice we make. As

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Speaker 1: long as we're not hurting anybody and we're not hurting ourselves,

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Speaker 1: that's the key to life. But what works for you

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Speaker 1: is being sober. You don't drink alcohol anymore. I haven't

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Speaker 1: had alcohol in thirty five years. But that's my point

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Speaker 1: is thirty five years. That's the one you won't allow.

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Speaker 1: Oh I won't not one me too. Oh no, no, no,

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Speaker 1: I won't. As you said, no chemicals, right, no chemicals.

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Speaker 1: So unless it's something I have to take by my doctor, Okay,

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Speaker 1: I don't put it in my body. Amen. Yeah, I

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Speaker 1: just don't wish some things like that. There's no point

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Speaker 1: in it. You know, anything that's addictive, anything that can

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Speaker 1: kill you, anything that can ruin your life, it's not

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Speaker 1: worth it. And it doesn't even have to be addictive.

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Speaker 1: I mean, look at GHB for God's sakes, you know,

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Speaker 1: they sell that stuff in health food stores and it

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Speaker 1: can kill you, right, So it's just why mess with it?

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Speaker 1: Why take the risk of putting these things in your

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Speaker 1: body that can destroy you, or it can destroy your

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Speaker 1: family or destroy you. Look amazing. You look good too, buddy. No,

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Speaker 1: but even your skin looks nice. Thank you, she whizz.

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Speaker 1: I appreciate it, Thank you, Brandy. What else do we

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Speaker 1: need to ask this? Oh? That show? Right? Oh? God?

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Speaker 1: Jared fired Corey Feldman. What's my one bad movie? Precisely?

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Speaker 1: How did I know you were gonna ask that? I'm psycho?

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Speaker 1: I mean psychic. Yeah, listen, let me tell you. I've

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Speaker 1: got a fun list. I got a hundred movies, right,

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Speaker 1: It can't all be good, right because I say there

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Speaker 1: probably like ten, I've got ten bad movies. Give me one.

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Speaker 1: Lay it on me, the worst of the worst. It's

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Speaker 1: a tough call. I would say, it's a toss up.

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Speaker 1: He's such a geese. It might be three, okay, But

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Speaker 1: I would say, if I had to guess, my guess

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Speaker 1: would always be National Lampoon's Last Resort. God would be awful.

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Speaker 1: It's just shocking. It's so bad. He had the kahone

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Speaker 1: is to name a National Lampoon title. It's terrible. I

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Speaker 1: love it. You tell me why because it had a

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Speaker 1: European director who had no idea about American comedy and

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Speaker 1: he was trying to make some You're about to do

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Speaker 1: a European tour suit. No, no, I don't even remember

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Speaker 1: where he was from. Perfect, but this is thirty years

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Speaker 1: ago or something. I don't know, twenty eight years ago,

365
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Speaker 1: but it was. The guy's name was Roman's and here

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Speaker 1: you are delivering the comedy lines in the script. It

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Speaker 1: was way worse than that. So I rewrote the whole script. Okay,

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Speaker 1: So what happened was they gave us the script. It

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Speaker 1: was funny, cute, but it wasn't there. It just wasn't there.

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Speaker 1: It needed to be punched up a lot. And one

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Speaker 1: of the things that I do is I kind of

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Speaker 1: ghost write comedy. A lot of people don't know that,

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Speaker 1: but I've been doing it.

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Speaker 3: You know.

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Speaker 1: I started writing my own improv lines in scenes all

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Speaker 1: the way back in Goonies, Goonies and Lost Boys, like

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Speaker 1: you know, there's a couple famous lines and Lost Boys

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Speaker 1: stand by Me Goonies that are like my lines that

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Speaker 1: I wrote. People don't realize so I do that, you know.

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Speaker 1: I always did that with my own stuff, and then

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Speaker 1: as I got older, people would ask me to kind

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Speaker 1: of do it for the other scenes too, so I

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Speaker 1: started doing everybody's write ups, right, So so they asked

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Speaker 1: me to do a punch up on the script. So

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Speaker 1: I actually originally cast in that movie, by the way,

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Speaker 1: was Charles Fleischer. Charles Fleischer was the main bad guy.

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Speaker 1: It was going to be me and Corey and Charles Fleischer.

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Speaker 1: And we did a read through and it was so funny.

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Speaker 1: Oh my god, it was good. So we did the rewrite.

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Speaker 1: Me and the executive CEO of National Lampoon at the

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Speaker 1: time was a lovely lady named Diane, and her and

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Speaker 1: I would go at my house. We'd do it in offices,

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Speaker 1: but we did the whole rewrite. We brought it in.

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Speaker 1: We had Albert Brooks read I mean, not Albert Brooks,

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Speaker 1: I'm sorry, Charles Fleischer read it same here, and and

396
00:21:21,640 --> 00:21:23,480
Speaker 1: it was funny, it was hysterical. We had a great

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Speaker 1: that we were all excited, and then the producers got

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Speaker 1: it and they said, Okay, we can't afford this, we

399
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Speaker 1: can't afford that, we can't afford this, and they just

400
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Speaker 1: cut the shit out of it. And by the time

401
00:21:34,880 --> 00:21:40,760
Speaker 1: we got to the set Charles quit and literally it

402
00:21:40,920 --> 00:21:42,320
Speaker 1: was like they told me it was like a two

403
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Speaker 1: million dollar two and a half million dollar budget movie.

404
00:21:44,880 --> 00:21:47,280
Speaker 1: Corey and I watked on this set, were like, wow,

405
00:21:47,760 --> 00:21:51,000
Speaker 1: uh did they rent that from like the school next door?

406
00:21:51,359 --> 00:21:53,280
Speaker 1: Like where did they get this equipment? Because it looks

407
00:21:53,320 --> 00:21:55,560
Speaker 1: like it was maybe stored in somebody's garage for the

408
00:21:55,640 --> 00:21:58,440
Speaker 1: last thirty years. Like it just was terrible. It was

409
00:21:58,520 --> 00:22:01,359
Speaker 1: a sham, like it was a National Lampoon nightmare. It

410
00:22:01,480 --> 00:22:03,080
Speaker 1: was not even It was like it was like they

411
00:22:03,720 --> 00:22:07,119
Speaker 1: leased the National Lampoon title, right, you know what I mean,

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Speaker 1: and had none of the production glory of like a

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Speaker 1: vacation or animal house or anything like. It was so

414
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Speaker 1: ghetto and it was like a half a million dollar

415
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Speaker 1: I would say half a million dollar worth a budget production,

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Speaker 1: which they were calling two million dollars and you could

417
00:22:24,480 --> 00:22:27,960
Speaker 1: see very clearly was not two million dollars. And Corey

418
00:22:27,960 --> 00:22:30,119
Speaker 1: and I were so pissed and it was so awful.

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Speaker 1: And then to make things even worse, not only did

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Speaker 1: they cut all the great stuff that we just sat

421
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Speaker 1: there writing, because a lot of it involved expensive set

422
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Speaker 1: deck or expensive prop pieces or you know, sight gags,

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Speaker 1: a lot of it was very airplane style humor, so

424
00:22:42,800 --> 00:22:44,480
Speaker 1: there's a lot of sight gags and stuff like that.

425
00:22:45,560 --> 00:22:47,159
Speaker 1: And so now only did they cut all that out,

426
00:22:47,200 --> 00:22:50,399
Speaker 1: but they brought in this European director and he barely

427
00:22:50,520 --> 00:22:54,160
Speaker 1: understood English. Yeah I think he was German, but little alone.

428
00:22:54,560 --> 00:22:56,760
Speaker 1: And he's like, oh, it's really funny. We must have

429
00:22:56,960 --> 00:23:00,840
Speaker 1: his fish everywhere every scene, beas the fish or like

430
00:23:00,920 --> 00:23:03,000
Speaker 1: what is with this fish? And he thought this, like

431
00:23:03,119 --> 00:23:07,639
Speaker 1: clownfish was just the funniest thing. And then he wanted

432
00:23:07,720 --> 00:23:12,680
Speaker 1: cardboard cutouts for trees and cardboard cutouts for background things,

433
00:23:12,920 --> 00:23:16,800
Speaker 1: which was like obvious cardboard cutouts, and I'm like, I

434
00:23:16,960 --> 00:23:21,199
Speaker 1: don't get it, Like what are you doing right now?

435
00:23:21,320 --> 00:23:24,400
Speaker 1: So he's taking like a black American comedy and trying

436
00:23:24,440 --> 00:23:27,399
Speaker 1: to turn it into like this art similar situation, and

437
00:23:27,480 --> 00:23:33,359
Speaker 1: You're just like everything is wrong. It was so bad.

438
00:23:34,200 --> 00:23:38,680
Speaker 1: Were the accommodations even reason? Don't I about that? That's

439
00:23:38,960 --> 00:23:41,080
Speaker 1: listen to me. It's about the work. I want to

440
00:23:41,080 --> 00:23:42,600
Speaker 1: be able to go to the bathroom. Though. Did you

441
00:23:42,640 --> 00:23:44,680
Speaker 1: have a trailer? I don't know. I'm sure that was

442
00:23:44,680 --> 00:23:47,119
Speaker 1: all fine. It was about the work. If I'm not

443
00:23:47,200 --> 00:23:49,680
Speaker 1: getting the value out of the work. What is the

444
00:23:49,720 --> 00:23:52,960
Speaker 1: point of being there? That's me. I mean, I'm an artist.

445
00:23:53,040 --> 00:23:55,439
Speaker 1: I that used to be me. I used to care

446
00:23:55,480 --> 00:23:58,920
Speaker 1: about the art. Now I just need a nice toilet. Well,

447
00:23:59,080 --> 00:24:01,879
Speaker 1: there your guss, there you go. This is why you

448
00:24:01,960 --> 00:24:04,159
Speaker 1: know we make less movies these days. But you know,

449
00:24:04,640 --> 00:24:06,680
Speaker 1: you don't find a nice toilet. I don't find a

450
00:24:06,800 --> 00:24:09,879
Speaker 1: nice you know, setup set story life. No, it's just

451
00:24:10,080 --> 00:24:12,119
Speaker 1: it's got to work. So the bottom line is the

452
00:24:12,200 --> 00:24:16,879
Speaker 1: movie was a disaster and still a cult hit. I mean,

453
00:24:16,920 --> 00:24:19,880
Speaker 1: I guess people still watch it, but it's it's not great.

454
00:24:20,320 --> 00:24:22,040
Speaker 1: So there's that one and then the other one on

455
00:24:22,119 --> 00:24:25,600
Speaker 1: the toss up would have been my the directing debut

456
00:24:25,720 --> 00:24:28,879
Speaker 1: that I did also with Corey Haim unfortunately, but and

457
00:24:29,000 --> 00:24:31,320
Speaker 1: I say unfortunately because he wasn't in it much. We

458
00:24:31,480 --> 00:24:33,920
Speaker 1: just kept a few scenes with him because they made

459
00:24:34,000 --> 00:24:37,280
Speaker 1: me because he basically, you know, he had to not

460
00:24:37,640 --> 00:24:40,680
Speaker 1: do the movie because he was having problems, you know,

461
00:24:40,880 --> 00:24:42,840
Speaker 1: dealing with life at the time and he didn't want

462
00:24:42,880 --> 00:24:45,520
Speaker 1: to work. And not only that, but you know, we

463
00:24:45,760 --> 00:24:48,200
Speaker 1: kind of decided together to put a certain individual in

464
00:24:48,280 --> 00:24:51,159
Speaker 1: it that he had second thoughts later about putting in it,

465
00:24:51,640 --> 00:24:53,800
Speaker 1: So he kind of regretted his decision, and then it

466
00:24:54,000 --> 00:24:55,439
Speaker 1: was like, well, why is he here? And it was like, well,

467
00:24:55,480 --> 00:24:56,840
Speaker 1: because he told me to bring him here, and then

468
00:24:57,080 --> 00:24:58,840
Speaker 1: that was just bad, and so he didn't want to

469
00:24:58,880 --> 00:25:00,720
Speaker 1: come to work. And after he didn't come to work,

470
00:25:00,720 --> 00:25:02,240
Speaker 1: I had to fire him and it was really ugly.

471
00:25:02,600 --> 00:25:06,040
Speaker 1: So it was a whole bad situation. It's called busted.

472
00:25:06,920 --> 00:25:10,359
Speaker 1: And I directed the movie. But then like it was

473
00:25:10,480 --> 00:25:12,320
Speaker 1: the whole point again, they gave me a script. It

474
00:25:12,440 --> 00:25:14,280
Speaker 1: was really terrible. They said, we're gonna shoot it on

475
00:25:14,359 --> 00:25:16,720
Speaker 1: a quarter a million dollar budget. We need it shot

476
00:25:16,760 --> 00:25:19,200
Speaker 1: in eleven days. And I was like what They're like,

477
00:25:19,240 --> 00:25:21,240
Speaker 1: but we have all the sets, so we provide all

478
00:25:21,280 --> 00:25:23,560
Speaker 1: the sets, all the costumes, We've got everything in house.

479
00:25:24,000 --> 00:25:25,800
Speaker 1: We just need you to come make a movie because

480
00:25:25,840 --> 00:25:28,960
Speaker 1: basically we wrote a script for the sets. Oh, like,

481
00:25:29,040 --> 00:25:30,840
Speaker 1: we have the sets here, we got a script to

482
00:25:30,880 --> 00:25:33,639
Speaker 1: fit in the sets. And I'm like, I can make

483
00:25:33,680 --> 00:25:35,080
Speaker 1: that work. So I went and pulled all these fips.

484
00:25:35,119 --> 00:25:37,800
Speaker 1: They said, like, here's the deal. Though, if you can

485
00:25:37,880 --> 00:25:39,520
Speaker 1: get an all sart guess I said. I said, I

486
00:25:39,560 --> 00:25:41,680
Speaker 1: can get everybody in this. I can write a brilliant

487
00:25:41,760 --> 00:25:44,440
Speaker 1: broad comedy. I'll get everybody to kind of like you

488
00:25:44,560 --> 00:25:47,240
Speaker 1: with the big ideas, you know, IMAX. So it was

489
00:25:48,000 --> 00:25:50,440
Speaker 1: it was IMAX, but it was you know, we're gonna

490
00:25:50,480 --> 00:25:52,200
Speaker 1: do this. We're gonna get all the big stars. I'm

491
00:25:52,200 --> 00:25:54,880
Speaker 1: gonna get Adam Sandler and what Be Goldberg and all

492
00:25:54,960 --> 00:25:57,119
Speaker 1: my friends. I'm gonna get everybody in on this. And

493
00:25:57,200 --> 00:25:59,000
Speaker 1: they were like, you can really do that. I'm like, yeah,

494
00:25:59,080 --> 00:26:00,639
Speaker 1: I can really do that. They're like, all right, you

495
00:26:00,760 --> 00:26:02,800
Speaker 1: go do it. And based on who you bring to

496
00:26:02,920 --> 00:26:06,320
Speaker 1: the table, we'll increase the budget for each celebrity you

497
00:26:06,400 --> 00:26:09,119
Speaker 1: bring in. So you bring in Adam Sandler one hundred thousand,

498
00:26:09,280 --> 00:26:11,200
Speaker 1: you bring in another one one hundred thousand, We'll just

499
00:26:11,280 --> 00:26:13,200
Speaker 1: keep adding one hundred thousand for every big name you

500
00:26:13,280 --> 00:26:15,679
Speaker 1: bring to the table. I was like great, And then

501
00:26:15,760 --> 00:26:17,680
Speaker 1: they're like, but I said, but to do this, we're

502
00:26:17,680 --> 00:26:19,280
Speaker 1: probably not gonna be able to shoot it right away,

503
00:26:19,920 --> 00:26:22,600
Speaker 1: like you know, based on celebrity schedules, we might have

504
00:26:22,720 --> 00:26:24,280
Speaker 1: to push back a little bit because we're like ten

505
00:26:24,400 --> 00:26:27,000
Speaker 1: days away from shooting right And so I'm calling around.

506
00:26:27,080 --> 00:26:30,080
Speaker 1: Adam Sandler says, yes, I'll do it. I'll do the cameo,

507
00:26:30,560 --> 00:26:34,080
Speaker 1: but I'm not available till September, we'll be Goldberg. You know, yeah,

508
00:26:34,080 --> 00:26:36,960
Speaker 1: I do, but I'm not available to October. Yeah. You know.

509
00:26:37,000 --> 00:26:39,240
Speaker 1: I got all these different people saying yes, but they're

510
00:26:39,240 --> 00:26:43,280
Speaker 1: saying yes based on, you know, whenever their schedule allows.

511
00:26:43,600 --> 00:26:46,119
Speaker 1: So I'm like, guys, here's the deal. I got all

512
00:26:46,200 --> 00:26:48,600
Speaker 1: the yes is, but we have to do it now.

513
00:26:49,160 --> 00:26:51,720
Speaker 1: I mean, can we just push things back, add to

514
00:26:51,800 --> 00:26:54,440
Speaker 1: the budget, make it a bigger movie, and really deliver

515
00:26:54,560 --> 00:26:56,879
Speaker 1: something that's gonna make you guys proud, Like we can

516
00:26:56,960 --> 00:26:59,240
Speaker 1: really make this funny? And it was. It was like

517
00:26:59,560 --> 00:27:02,680
Speaker 1: a naked gun kind of vibe, Like it was a dirtier,

518
00:27:02,920 --> 00:27:06,960
Speaker 1: raunchier naked gun with TNA and I was making fun

519
00:27:07,040 --> 00:27:09,000
Speaker 1: of B movies. The whole thing was like I took

520
00:27:09,040 --> 00:27:11,680
Speaker 1: this script and I made it really funny, making fun

521
00:27:11,720 --> 00:27:14,200
Speaker 1: of these movies that we hate so much, you know,

522
00:27:14,320 --> 00:27:17,320
Speaker 1: with the gratuitous nudity and the gratuita's sex, humor and

523
00:27:17,359 --> 00:27:20,200
Speaker 1: all this stuff. And it was really landing on its

524
00:27:20,240 --> 00:27:23,679
Speaker 1: face and it was so funny. The script was so funny.

525
00:27:23,680 --> 00:27:25,040
Speaker 1: I was so proud of it. I'm like, just give

526
00:27:25,119 --> 00:27:27,399
Speaker 1: me a month to shoot this. Let's do it in

527
00:27:27,480 --> 00:27:30,119
Speaker 1: three months. Let's do it right, I'll get all these people.

528
00:27:30,400 --> 00:27:33,960
Speaker 1: And the company was like, no, sorry, I told you

529
00:27:34,040 --> 00:27:36,240
Speaker 1: you had to have these names by Friday or whatever.

530
00:27:36,640 --> 00:27:39,040
Speaker 1: You don't have it by Friday. So who've you got,

531
00:27:39,359 --> 00:27:42,280
Speaker 1: you know right now that's ready to shoot, like Corey Ham,

532
00:27:42,359 --> 00:27:49,000
Speaker 1: Elliott Gould, Todd Bridges, Rant Howard. I mean, I had

533
00:27:49,040 --> 00:27:52,600
Speaker 1: some good people attached, and Nicole Smith was supposed to

534
00:27:52,640 --> 00:27:54,800
Speaker 1: be in it all. So I had a pretty good

535
00:27:54,880 --> 00:27:56,439
Speaker 1: cast as it was. But I'm like, if you can

536
00:27:56,520 --> 00:27:59,119
Speaker 1: give me another couple, you know, I can get through it. No,

537
00:27:59,480 --> 00:28:01,199
Speaker 1: that's it. We're cutting you off right there. And by

538
00:28:01,240 --> 00:28:03,200
Speaker 1: the way, even though you've got all those names, we're

539
00:28:03,240 --> 00:28:07,520
Speaker 1: sticking to the original budget. And I'm like, wait a minute, now,

540
00:28:07,560 --> 00:28:09,119
Speaker 1: you just state up on my budget with all these

541
00:28:09,200 --> 00:28:12,639
Speaker 1: big names and what so. Yeah, that was that, and

542
00:28:12,680 --> 00:28:15,560
Speaker 1: then I was movie bro. Yeah, and oh wait, it

543
00:28:15,560 --> 00:28:16,960
Speaker 1: gets better because we had to shoot the whole thing

544
00:28:17,000 --> 00:28:20,040
Speaker 1: in twelve days, so we shoot all the footage. I

545
00:28:20,119 --> 00:28:22,119
Speaker 1: somehow pull it off and it's still gonna be funny.

546
00:28:22,280 --> 00:28:24,520
Speaker 1: And I'm into the editing room and there's still salvation

547
00:28:24,680 --> 00:28:26,840
Speaker 1: for this movie. I can make it work. It's gonna

548
00:28:26,880 --> 00:28:29,359
Speaker 1: be funny, but I need to do graphics. I need

549
00:28:29,400 --> 00:28:31,119
Speaker 1: to do titles, I need to do sound effects, I

550
00:28:31,160 --> 00:28:32,879
Speaker 1: need to do colorization, I need to do all the

551
00:28:33,000 --> 00:28:35,680
Speaker 1: post production stuff. And so we're sitting there and post

552
00:28:35,760 --> 00:28:37,800
Speaker 1: and I'm telling the editor I'm like cutting the cuts

553
00:28:37,840 --> 00:28:39,280
Speaker 1: and I'm like, this is gonna be really funny. And

554
00:28:39,360 --> 00:28:41,920
Speaker 1: the first cut's really funny. And then all of a sudden,

555
00:28:41,920 --> 00:28:43,920
Speaker 1: the editor calls me when he goes, hey, I'm going

556
00:28:43,960 --> 00:28:46,760
Speaker 1: on vacation for two weeks to Waii. I'll be back

557
00:28:46,840 --> 00:28:49,600
Speaker 1: in two weeks. I'll hit you up when i'm back. Okay, cool,

558
00:28:49,680 --> 00:28:52,960
Speaker 1: no problem. I don't hear from him. Three weeks later,

559
00:28:53,440 --> 00:28:56,800
Speaker 1: I get a call from the executive producer who says, hey,

560
00:28:56,840 --> 00:28:59,520
Speaker 1: we need you to come in for ADR. I said,

561
00:28:59,520 --> 00:29:02,160
Speaker 1: for what? For your movie? We need to come in

562
00:29:02,200 --> 00:29:05,080
Speaker 1: for ADR. What are you talking about. We're halfway through

563
00:29:05,120 --> 00:29:09,520
Speaker 1: the edit. Oh no, no, no, we finished that. But yeah,

564
00:29:09,560 --> 00:29:12,400
Speaker 1: we finished it, and you're the director. Yeah, okay. So

565
00:29:12,520 --> 00:29:16,080
Speaker 1: the executive producer came down to the cutting room and

566
00:29:16,200 --> 00:29:19,800
Speaker 1: he saw that the movie was making fun of himself.

567
00:29:20,440 --> 00:29:23,240
Speaker 1: Oh wow, because we're making fun of those kinds of movies.

568
00:29:23,280 --> 00:29:25,360
Speaker 1: But they didn't get it, because those are the kind

569
00:29:25,400 --> 00:29:29,920
Speaker 1: of movies they make. So they were very insulted, very

570
00:29:30,120 --> 00:29:32,320
Speaker 1: kind of offended by what I was doing because it

571
00:29:32,400 --> 00:29:36,600
Speaker 1: was way too highbrow for what they were thinking. And

572
00:29:36,720 --> 00:29:40,480
Speaker 1: they said, no, you're out. Let's add in some fart noises.

573
00:29:40,880 --> 00:29:43,280
Speaker 1: Let's add in all that extra TNA that was supposed

574
00:29:43,280 --> 00:29:45,040
Speaker 1: to be shot for comedy, but let's make it as

575
00:29:45,080 --> 00:29:47,600
Speaker 1: if it wasn't shot for comedy and play it real.

576
00:29:48,560 --> 00:29:51,160
Speaker 1: So they took all the gratuitous stuff and they added

577
00:29:51,280 --> 00:29:53,720
Speaker 1: like it was any one of their normal TNA movies,

578
00:29:54,200 --> 00:29:56,440
Speaker 1: and they took out all the really funny, witty stuff,

579
00:29:57,040 --> 00:30:02,560
Speaker 1: and they just made it this schlocky terror, disgusting. I

580
00:30:02,720 --> 00:30:06,840
Speaker 1: wanted my name off, it's so bad. Did you try

581
00:30:06,880 --> 00:30:09,959
Speaker 1: to get it off? Of course? I tried to Allen

582
00:30:10,040 --> 00:30:15,440
Speaker 1: what's it called, Alan Ritchie or Alan Smithy Smithy Smithy Yeah, Alan,

583
00:30:15,640 --> 00:30:19,120
Speaker 1: I tried Alan Smithee, Alan Smithy correct, Yeah, and they

584
00:30:19,120 --> 00:30:21,840
Speaker 1: wouldn't let me do it. So your one bad movie

585
00:30:21,920 --> 00:30:26,800
Speaker 1: Corey film and is actually your Alan Smithe. That's it. Wow?

586
00:30:30,440 --> 00:30:33,520
Speaker 1: So have you directed since? Yes, yes, but only music

587
00:30:33,600 --> 00:30:37,680
Speaker 1: videos not a movie. Well I kind of co directed

588
00:30:37,720 --> 00:30:40,640
Speaker 1: The Birthday, right, uh? And I say that with very

589
00:30:40,720 --> 00:30:43,840
Speaker 1: loose terms, because the director is a genius, complete genius.

590
00:30:44,240 --> 00:30:47,200
Speaker 1: Wrote directed the film, did all the art, direction and everything.

591
00:30:47,200 --> 00:30:49,880
Speaker 1: He did all the music himself. Brilliant man. But he's

592
00:30:49,880 --> 00:30:52,320
Speaker 1: Spanish and we shot it with an entirely Spanish crew,

593
00:30:52,480 --> 00:30:55,760
Speaker 1: entirely Spanish cast. Nobody else there spoke English, so I

594
00:30:55,840 --> 00:30:59,760
Speaker 1: had to help rewrite the script, talk people through deliveries

595
00:30:59,800 --> 00:31:00,400
Speaker 1: and things like that.

596
00:31:00,560 --> 00:31:04,040
Speaker 2: So yeah, he don't take this the wrong way, But

597
00:31:04,160 --> 00:31:09,960
Speaker 2: I think your directorial comeback is a remake. Don't take

598
00:31:10,000 --> 00:31:14,960
Speaker 2: this the wrong way is a remake? A remake of

599
00:31:15,120 --> 00:31:16,360
Speaker 2: Last Tango in Paris.

600
00:31:16,400 --> 00:31:18,080
Speaker 1: Do you know the film? I do, But your co

601
00:31:18,280 --> 00:31:24,480
Speaker 1: star should be that there you go, Yeah, I don't

602
00:31:24,480 --> 00:31:26,280
Speaker 1: know if she'd be down for that kind of but

603
00:31:26,600 --> 00:31:29,200
Speaker 1: but you make it your own nauseerie. But maybe you

604
00:31:29,320 --> 00:31:32,240
Speaker 1: make it your own listen. I like that idea. I'm

605
00:31:32,240 --> 00:31:34,600
Speaker 1: going to tell you something I've always thought it would

606
00:31:34,600 --> 00:31:38,560
Speaker 1: be really fun to do, like a raunchy NC seventeen

607
00:31:39,160 --> 00:31:45,720
Speaker 1: kind of exploitive, but with such a deeply enriching, passionate

608
00:31:45,960 --> 00:31:50,480
Speaker 1: and painful script that these characters you just want to like,

609
00:31:50,680 --> 00:31:53,760
Speaker 1: Oh God, you're wincing, you can do. Oh it's good.

610
00:31:53,840 --> 00:31:56,560
Speaker 1: Party stuff. Yeah, So there's this script that I've been

611
00:31:56,600 --> 00:31:59,800
Speaker 1: developing forever. There's like two films that I really wanted

612
00:31:59,800 --> 00:32:02,040
Speaker 1: to make as a director, as a writer and as

613
00:32:02,080 --> 00:32:05,680
Speaker 1: a star. And one of them was called Prairie Dogs,

614
00:32:06,120 --> 00:32:09,080
Speaker 1: and it was like the best movie about this, Like this,

615
00:32:09,360 --> 00:32:11,480
Speaker 1: you wrote it. I didn't write it. It was written.

616
00:32:11,520 --> 00:32:12,720
Speaker 1: It was given to me, and then I helped you

617
00:32:12,800 --> 00:32:16,000
Speaker 1: the punch up and it was a I mean, without me,

618
00:32:16,160 --> 00:32:18,440
Speaker 1: it was amazing, just brilliant script. No matter what, that

619
00:32:18,520 --> 00:32:20,680
Speaker 1: one was great on its own. I never got to

620
00:32:20,760 --> 00:32:22,600
Speaker 1: make it. I was really depressed. I didn't get to

621
00:32:22,600 --> 00:32:24,040
Speaker 1: make it, and it was gonna be just me and

622
00:32:24,720 --> 00:32:28,040
Speaker 1: a beautiful woman. And it was a character piece about

623
00:32:28,080 --> 00:32:30,880
Speaker 1: these two people. And she's like a sex addict who

624
00:32:31,040 --> 00:32:36,480
Speaker 1: loves extreme everything and was in like like ex what

625
00:32:36,640 --> 00:32:39,720
Speaker 1: did you call it before UFC? Before UFC, Like what

626
00:32:39,840 --> 00:32:41,440
Speaker 1: did they call it when people just get in the

627
00:32:42,040 --> 00:32:44,400
Speaker 1: ring with with no gloves on and you know, raw

628
00:32:45,160 --> 00:32:47,640
Speaker 1: whatever anyway, extreme fighting, Right, So she was into this

629
00:32:47,800 --> 00:32:50,760
Speaker 1: extreme ring fighting that she would do and so she

630
00:32:50,920 --> 00:32:53,880
Speaker 1: was really like a big pain person. She loved s

631
00:32:53,960 --> 00:32:56,400
Speaker 1: and m and pain. So my character was like a

632
00:32:56,480 --> 00:33:00,600
Speaker 1: conservative businessman who you know, was like, oh, man, I

633
00:33:00,760 --> 00:33:03,240
Speaker 1: you know, I don't do anything out of the norm.

634
00:33:03,360 --> 00:33:06,960
Speaker 1: I'm very casual, very you know, front and center. And

635
00:33:07,120 --> 00:33:09,080
Speaker 1: she was like, oh, we gotta you know, I like

636
00:33:09,160 --> 00:33:11,440
Speaker 1: this pain stuff. You gotta try hitting me, you gotta try,

637
00:33:12,080 --> 00:33:14,600
Speaker 1: you know, stabbing me with little knives, and this and

638
00:33:14,720 --> 00:33:15,959
Speaker 1: that and this all the swort and it just got

639
00:33:16,040 --> 00:33:19,120
Speaker 1: darker and darker and darker, and it's really brutal but

640
00:33:19,280 --> 00:33:22,600
Speaker 1: beautiful and brutal all at the same time. And I

641
00:33:22,640 --> 00:33:24,960
Speaker 1: thought that's a movie worth doing. So I would like

642
00:33:25,040 --> 00:33:27,640
Speaker 1: to do something that explores that kind of painful size

643
00:33:27,680 --> 00:33:30,240
Speaker 1: of eroticism. I think that would be fun and I

644
00:33:30,280 --> 00:33:33,480
Speaker 1: would like to push those boundaries. But but there's still

645
00:33:33,600 --> 00:33:36,960
Speaker 1: beautiful and character driven right exactly. But the problem is

646
00:33:37,000 --> 00:33:40,160
Speaker 1: as a sex advocate, as somebody who's, you know, an

647
00:33:40,240 --> 00:33:43,800
Speaker 1: advocate for people who have had sexual abuse, it's kind

648
00:33:43,840 --> 00:33:47,560
Speaker 1: of a weird thing to be like, ohy movie, but

649
00:33:47,640 --> 00:33:50,080
Speaker 1: you don't know what can I can I say something? Yeah,

650
00:33:54,840 --> 00:33:59,760
Speaker 1: you're very young, Well no, you're very young. Thank you. Listen,

651
00:34:00,760 --> 00:34:05,200
Speaker 1: you have twenty five more years to make whatever you want.

652
00:34:05,480 --> 00:34:08,400
Speaker 1: I think fifty personally great. I planned to live to

653
00:34:08,400 --> 00:34:10,160
Speaker 1: one hundred and twenty two, Michael.

654
00:34:10,040 --> 00:34:15,080
Speaker 2: Even more to my pussy, you know, and that said,

655
00:34:17,320 --> 00:34:19,840
Speaker 2: I think you could take the very same creative idea

656
00:34:19,960 --> 00:34:24,839
Speaker 2: now and find ways to have it have that eroticism

657
00:34:25,680 --> 00:34:30,560
Speaker 2: without it being that thing that you think crosses the line.

658
00:34:31,760 --> 00:34:36,160
Speaker 2: I did a movie with a great director called George Schleiser.

659
00:34:39,160 --> 00:34:42,879
Speaker 2: He did the original Dutch version. He was the writer

660
00:34:43,000 --> 00:34:46,120
Speaker 2: director of a movie called The Vanishing. I Love It,

661
00:34:46,320 --> 00:34:47,279
Speaker 2: which then became of.

662
00:34:47,360 --> 00:34:51,080
Speaker 1: It, right, dude, The Vanishing is one of my favorite movies.

663
00:34:51,280 --> 00:34:52,800
Speaker 1: I've been trying to show it to her because it's like,

664
00:34:53,080 --> 00:34:55,279
Speaker 1: you can't find it the original Dutch version, but not

665
00:34:55,360 --> 00:35:00,400
Speaker 1: the Dutch version. The American version is Jeff Bridges, right, Oh, brilliant.

666
00:35:01,600 --> 00:35:05,840
Speaker 2: George Schleiser after he did his Homeland version of The

667
00:35:05,920 --> 00:35:08,080
Speaker 2: vantaged when the film came out.

668
00:35:08,200 --> 00:35:08,600
Speaker 1: Is it great?

669
00:35:08,640 --> 00:35:13,040
Speaker 2: By the way, If you like the American version, he

670
00:35:13,200 --> 00:35:16,800
Speaker 2: did a version in Dutch that was an international film

671
00:35:16,880 --> 00:35:18,560
Speaker 2: that was that story original.

672
00:35:18,640 --> 00:35:20,719
Speaker 1: I know about it. I just never seen it. But

673
00:35:20,800 --> 00:35:25,920
Speaker 1: it's dark, right, It's really dark, extremely violent in one's mind.

674
00:35:26,320 --> 00:35:29,160
Speaker 2: Okay, So I'm working with George Schliser on this other

675
00:35:29,280 --> 00:35:33,200
Speaker 2: movie in London and it's called crime Time and it's

676
00:35:33,600 --> 00:35:36,720
Speaker 2: this kind of TV movie that could have gotten theatrical.

677
00:35:36,760 --> 00:35:37,560
Speaker 1: It's an indie movie.

678
00:35:38,680 --> 00:35:41,160
Speaker 2: And I'm working with this guy Schleiser who did The Vanishing,

679
00:35:41,200 --> 00:35:42,400
Speaker 2: and I just wanted to do the movie because he

680
00:35:42,440 --> 00:35:43,040
Speaker 2: did the Vanishing.

681
00:35:43,760 --> 00:35:45,800
Speaker 1: We used to forget the American version.

682
00:35:46,920 --> 00:35:49,680
Speaker 2: It doesn't not even been out yet, but the new one,

683
00:35:49,960 --> 00:35:53,760
Speaker 2: I mean the original one, it was out, the original

684
00:35:53,800 --> 00:35:55,960
Speaker 2: one came out. Then they made the American version.

685
00:35:55,800 --> 00:35:58,200
Speaker 1: Based on that. So this was before the American one.

686
00:35:58,560 --> 00:36:01,800
Speaker 1: This was before the American it. He got a studio

687
00:36:02,040 --> 00:36:04,880
Speaker 1: deal from from making that. From making that, they said, hey,

688
00:36:04,960 --> 00:36:06,800
Speaker 1: let's do the Jeff Bridges version. We're gonna give you

689
00:36:06,800 --> 00:36:09,279
Speaker 1: twenty million dollars. Oh, so he did both. He did

690
00:36:09,400 --> 00:36:10,600
Speaker 1: both failed. Oh I didn't know that.

691
00:36:11,280 --> 00:36:14,040
Speaker 2: There's a movie that exists now called The Vanishing, the

692
00:36:14,080 --> 00:36:15,960
Speaker 2: original one from the American version.

693
00:36:16,360 --> 00:36:18,000
Speaker 1: No, I know that, but I'm saying I didn't know

694
00:36:18,080 --> 00:36:19,239
Speaker 1: he did both. I didn't know he did it with

695
00:36:19,320 --> 00:36:21,560
Speaker 1: the European and the American. Yes, sir, right, that's cool.

696
00:36:22,120 --> 00:36:24,120
Speaker 2: So I'm working with him in London and we're doing

697
00:36:24,160 --> 00:36:29,120
Speaker 2: this movie and it's about an actor in a crime

698
00:36:29,280 --> 00:36:34,160
Speaker 2: reenactment TV show. So let's say there was a murder

699
00:36:34,239 --> 00:36:38,520
Speaker 2: in downtown La So the next day from the police report,

700
00:36:38,880 --> 00:36:41,880
Speaker 2: this reality show would have an actor live play out

701
00:36:41,960 --> 00:36:45,080
Speaker 2: that crime. And it was a movie about an actor

702
00:36:46,920 --> 00:36:50,560
Speaker 2: playing the creation drama murderer that was out in the culture.

703
00:36:50,719 --> 00:36:54,200
Speaker 1: Right, like a dramatization, regular dramatization.

704
00:36:54,800 --> 00:36:59,080
Speaker 2: It's dramatizing what's really happening, right, right, So this movie

705
00:36:59,160 --> 00:37:03,480
Speaker 2: is about how the real killer contacts the actor. Oh wow,

706
00:37:03,520 --> 00:37:06,200
Speaker 2: and then the movie goes on for the story goes off.

707
00:37:06,800 --> 00:37:07,960
Speaker 2: So it's about, like, you know, if you want to

708
00:37:07,960 --> 00:37:10,279
Speaker 2: be authentic, it's how he challenges the guy demonically.

709
00:37:11,680 --> 00:37:15,480
Speaker 1: I want to see that. That's what's it called crime Time?

710
00:37:15,800 --> 00:37:17,920
Speaker 1: And it's out? Can I see it? Yeah, it's a

711
00:37:18,040 --> 00:37:21,640
Speaker 1: Stephen Baldwin fabulous title. I was brilliant. I am going

712
00:37:21,719 --> 00:37:24,360
Speaker 1: to see it, Steven so so So I'm working with

713
00:37:24,480 --> 00:37:25,520
Speaker 1: George Schleiser, and like.

714
00:37:25,520 --> 00:37:27,239
Speaker 2: You were saying, you know, you're talking with someone with

715
00:37:27,560 --> 00:37:31,160
Speaker 2: an accent that he was Dutch, and and and and

716
00:37:31,560 --> 00:37:36,279
Speaker 2: I have to reenact murdering these women. And in most

717
00:37:36,320 --> 00:37:39,120
Speaker 2: of the murders, he grabs a hold of him and

718
00:37:39,200 --> 00:37:41,960
Speaker 2: he puts an ice pick in their eye. Right, But

719
00:37:42,160 --> 00:37:47,480
Speaker 2: every time we film it. George never shows the ice

720
00:37:47,560 --> 00:37:50,279
Speaker 2: pick in the eye. He literally would be like if

721
00:37:50,320 --> 00:37:51,719
Speaker 2: you were the killer and I'm the woman, and you

722
00:37:51,800 --> 00:37:53,680
Speaker 2: take me by my throat, you lift the ice pick,

723
00:37:53,840 --> 00:37:55,480
Speaker 2: and all of a sudden, like you see the hand,

724
00:37:55,600 --> 00:37:56,359
Speaker 2: like Franken.

725
00:37:56,120 --> 00:37:57,799
Speaker 1: Said, the feet come off the floor and he's holding

726
00:37:57,800 --> 00:38:00,799
Speaker 1: her by your neck and the right towards the eye.

727
00:38:00,800 --> 00:38:01,520
Speaker 1: But you never see it.

728
00:38:01,800 --> 00:38:03,680
Speaker 2: So right as the ice pick comes towards the eye,

729
00:38:03,719 --> 00:38:06,480
Speaker 2: the camera would dolly down right and then as you.

730
00:38:06,560 --> 00:38:11,760
Speaker 1: Hear like I love it, I love it. Sorry, I'm spitting.

731
00:38:11,840 --> 00:38:15,080
Speaker 1: It's like the sex scene without the money shot right,

732
00:38:15,360 --> 00:38:17,320
Speaker 1: and he would go down to the feet and he

733
00:38:17,360 --> 00:38:19,400
Speaker 1: would left the camera road and he's like, yes, and

734
00:38:19,560 --> 00:38:24,040
Speaker 1: she's dying now she's quivering. Yes, you see your Fika.

735
00:38:26,000 --> 00:38:28,360
Speaker 1: But we did it like three times over, like you know,

736
00:38:28,480 --> 00:38:30,520
Speaker 1: six weeks, and we had these gilling scenes and I

737
00:38:30,600 --> 00:38:33,479
Speaker 1: turned him on the third one. And the scripture doesn't

738
00:38:33,520 --> 00:38:35,800
Speaker 1: say exactly how the director's gonna shoot it. But he

739
00:38:36,040 --> 00:38:38,800
Speaker 1: never showed the ice pick of the eye. Said to him, George,

740
00:38:38,840 --> 00:38:40,520
Speaker 1: what's up with the no ice pick in the eye, Like,

741
00:38:40,560 --> 00:38:42,520
Speaker 1: what's the deal with? Like, how come you never showed

742
00:38:42,600 --> 00:38:45,000
Speaker 1: the most gory thing. I'm from miracle. They show is

743
00:38:45,040 --> 00:38:47,440
Speaker 1: the gore. We want to see the goods. He was

744
00:38:47,560 --> 00:38:51,080
Speaker 1: just like this, well, you know, Stephen, the gore is

745
00:38:51,480 --> 00:38:56,640
Speaker 1: far more violent in the mind of the viewer. The

746
00:38:56,960 --> 00:39:00,439
Speaker 1: sound of the eye being scooped out by the ice.

747
00:39:01,800 --> 00:39:05,640
Speaker 1: He goes, he goes. But he said something brilliant. He said,

748
00:39:05,680 --> 00:39:09,440
Speaker 1: the violence in the mind of the person is greater

749
00:39:09,600 --> 00:39:15,239
Speaker 1: if they don't ouragation, our imagination. So Hitchcock, blah blah blah.

750
00:39:15,239 --> 00:39:18,719
Speaker 1: It's like it's a well known part of horror, and

751
00:39:18,920 --> 00:39:23,480
Speaker 1: that what makes it great. Right, It's this over exploitation,

752
00:39:23,719 --> 00:39:29,839
Speaker 1: over gratuitization of everything. That's why you have you love

753
00:39:29,960 --> 00:39:37,360
Speaker 1: that script. Yeah, so as the director make it, George

754
00:39:37,400 --> 00:39:43,279
Speaker 1: size ways to imply it without actually presenting it.

755
00:39:43,960 --> 00:39:47,520
Speaker 2: I think there's a way to make your point without

756
00:39:48,520 --> 00:39:50,240
Speaker 2: not being able to make your point.

757
00:39:51,000 --> 00:40:00,960
Speaker 1: Or not pointing it directly. It's it'll be done. I

758
00:40:01,040 --> 00:40:04,840
Speaker 1: think this has been unbelievable. This has been wonderful. Thank you.

759
00:40:05,520 --> 00:40:07,840
Speaker 2: And when do I start in your next movie or

760
00:40:08,000 --> 00:40:10,720
Speaker 2: video or play a tambourine.

761
00:40:10,640 --> 00:40:15,000
Speaker 1: While the above? Duh, okay, I mean, let's make a movie.

762
00:40:15,680 --> 00:40:17,960
Speaker 1: I want to come make a movie. Toe in Europe.

763
00:40:18,239 --> 00:40:21,440
Speaker 1: You gotta come. Are you playing Ireland fun? That's part

764
00:40:21,480 --> 00:40:23,520
Speaker 1: of the plan. I don't have the actual anything yet.

765
00:40:23,560 --> 00:40:26,000
Speaker 1: I can't announce anything officially yet. I am told in

766
00:40:26,160 --> 00:40:29,560
Speaker 1: two weeks. In two weeks, I will have a tentative routing.

767
00:40:30,000 --> 00:40:33,120
Speaker 1: So once I know the roll out the plan, I

768
00:40:33,160 --> 00:40:34,800
Speaker 1: will let you know. I would love for you to

769
00:40:34,880 --> 00:40:36,680
Speaker 1: come join. I don't know if we're going to do

770
00:40:36,719 --> 00:40:39,160
Speaker 1: any in American shows, so you probably have to come overseas,

771
00:40:39,239 --> 00:40:41,680
Speaker 1: but I think in the end we'll eventually come back

772
00:40:41,719 --> 00:40:42,640
Speaker 1: to America at some point.

773
00:40:42,800 --> 00:40:44,760
Speaker 2: I want to pick up just one little thought because

774
00:40:44,760 --> 00:40:46,920
Speaker 2: it's it's it's not going to make sense for her

775
00:40:47,000 --> 00:40:48,640
Speaker 2: to come in and sit and all this, but she's

776
00:40:48,680 --> 00:40:51,760
Speaker 2: here and it's more fun with voices if that's okay, okay,

777
00:40:52,719 --> 00:40:57,800
Speaker 2: But here's what I want to know. Thiskel's on your label?

778
00:40:58,040 --> 00:41:06,080
Speaker 1: H huh? Tell me that's Adrian Sky. Roll out for me. Listen,

779
00:41:06,280 --> 00:41:08,239
Speaker 1: don't I don't care if she throws her shoe at me.

780
00:41:09,000 --> 00:41:14,960
Speaker 1: Roll out for me? Why that part of your art?

781
00:41:16,160 --> 00:41:18,799
Speaker 2: Why owning the label and being a producer and all

782
00:41:18,840 --> 00:41:21,680
Speaker 2: your experience and music, Why it means something to you now?

783
00:41:22,000 --> 00:41:26,879
Speaker 1: In this distribution well, I'll tell you as somebody who

784
00:41:27,040 --> 00:41:29,600
Speaker 1: dreamed my whole life of being able to get my

785
00:41:29,719 --> 00:41:33,200
Speaker 1: music out to the masses, being able to write music

786
00:41:33,280 --> 00:41:36,440
Speaker 1: that mattered, saying something in a message that mattered, that

787
00:41:36,840 --> 00:41:40,879
Speaker 1: that motivated people, that that touched people, touch people, yeah,

788
00:41:41,120 --> 00:41:43,920
Speaker 1: or enlighten them in some way, because I believe that's

789
00:41:43,920 --> 00:41:45,520
Speaker 1: what music is supposed to be. I think music is

790
00:41:45,560 --> 00:41:48,879
Speaker 1: supposed to have a message. It's tell me about her, right.

791
00:41:49,080 --> 00:41:52,400
Speaker 1: So my point is is that that's what I feel

792
00:41:52,520 --> 00:41:55,360
Speaker 1: about music. So so to be able to do that

793
00:41:55,440 --> 00:41:57,040
Speaker 1: has been a dream come true for me. To be

794
00:41:57,080 --> 00:41:59,040
Speaker 1: able to get my words out, my lyrics out, have

795
00:41:59,160 --> 00:42:01,680
Speaker 1: people singing a lot. So when I see a young

796
00:42:01,880 --> 00:42:05,719
Speaker 1: talent and she's like, there's no way, there's no way,

797
00:42:06,560 --> 00:42:09,400
Speaker 1: like I've got she had nothing, She was not anywhere

798
00:42:09,480 --> 00:42:12,440
Speaker 1: near it, you know, the industry, Yeah, and had given up.

799
00:42:12,520 --> 00:42:14,520
Speaker 1: Kind of she moved here with the idea of like, oh,

800
00:42:14,560 --> 00:42:16,640
Speaker 1: I want to be, you know, a pop star, this

801
00:42:16,800 --> 00:42:19,279
Speaker 1: is my dream, but kind of fell aside from it,

802
00:42:19,400 --> 00:42:21,720
Speaker 1: fell as straight to it. And she'd recorded these demos.

803
00:42:22,280 --> 00:42:24,080
Speaker 1: So she played me the demos and I was like,

804
00:42:24,840 --> 00:42:30,759
Speaker 1: this voice is unbelievable. I mean unbelievable. That's cool, and

805
00:42:31,160 --> 00:42:36,920
Speaker 1: not just the voice, but the lyrical content, the mood,

806
00:42:37,400 --> 00:42:41,080
Speaker 1: the feelings behind the music, what she was expressing. I

807
00:42:41,400 --> 00:42:45,520
Speaker 1: immediately felt compassion for her. I immediately felt empathy for her,

808
00:42:45,960 --> 00:42:47,600
Speaker 1: and I thought, you know, if I can feel this

809
00:42:47,760 --> 00:42:51,440
Speaker 1: from a rough demo, imagine what we can do if

810
00:42:51,480 --> 00:42:53,840
Speaker 1: we put some real music behind it and really produce

811
00:42:53,920 --> 00:42:56,920
Speaker 1: it properly and give her the backing that she deserves.

812
00:42:57,239 --> 00:42:59,920
Speaker 1: So that was the first instinct. So I thought, you know,

813
00:43:00,160 --> 00:43:02,520
Speaker 1: let me try her with a little demo and see

814
00:43:02,520 --> 00:43:05,120
Speaker 1: how that goes. And we started one of the songs

815
00:43:05,560 --> 00:43:09,680
Speaker 1: and it was so amazing. It was so overwhelmingly joyful

816
00:43:09,800 --> 00:43:14,239
Speaker 1: for me to help another artist bring their vision to life.

817
00:43:15,160 --> 00:43:18,759
Speaker 1: It just gave me a tremendous feeling of pride, I guess,

818
00:43:19,239 --> 00:43:22,600
Speaker 1: and so you know, and connection, yeah, you know, and

819
00:43:22,800 --> 00:43:24,879
Speaker 1: and being able to produce another artist and be able

820
00:43:24,920 --> 00:43:31,640
Speaker 1: to put everything joyful into well the music is anyway. No,

821
00:43:31,800 --> 00:43:34,560
Speaker 1: I mean, she's lovely, but it's but it's about the process.

822
00:43:34,680 --> 00:43:37,600
Speaker 1: It's about the process as an artist of putting your

823
00:43:37,640 --> 00:43:42,440
Speaker 1: work out there and and making it real, making it powerful,

824
00:43:42,600 --> 00:43:45,160
Speaker 1: making something that people will actually remember that as you

825
00:43:45,239 --> 00:43:47,600
Speaker 1: say we'll connect with people, and I believe that's what

826
00:43:47,680 --> 00:43:51,560
Speaker 1: we helped her do. The music is beyond powerful. She's

827
00:43:51,600 --> 00:43:57,120
Speaker 1: an incredible songwriter. Her lyrics are incredible, very connecting, very touching.

828
00:43:57,320 --> 00:44:00,280
Speaker 1: It's only a matter of time, and everybody that here's

829
00:44:00,320 --> 00:44:02,760
Speaker 1: her is like, dude, she's like the late next Lady Gaga.

830
00:44:02,960 --> 00:44:06,000
Speaker 1: What's her name again, Adrian Sky. The album is called

831
00:44:06,080 --> 00:44:10,840
Speaker 1: The Gospel of Adrian skyt H. Which is kind of

832
00:44:10,880 --> 00:44:13,200
Speaker 1: like the darker side of spirituality. You have to go

833
00:44:13,280 --> 00:44:15,279
Speaker 1: through the darkness to get to the light, but it's

834
00:44:15,320 --> 00:44:18,920
Speaker 1: all very powerfully positive in the end, you know, kind

835
00:44:18,960 --> 00:44:20,760
Speaker 1: of like my music. And I guess that's also another

836
00:44:20,840 --> 00:44:24,120
Speaker 1: connection because my music I always have kind of like

837
00:44:24,560 --> 00:44:28,240
Speaker 1: darker pop, you know, but something with a positive message

838
00:44:28,320 --> 00:44:30,560
Speaker 1: that you're getting something spiritual out of it in the end.

839
00:44:31,160 --> 00:44:33,319
Speaker 1: And so that's what hers does. She grew up as

840
00:44:33,320 --> 00:44:36,120
Speaker 1: a choir girl, she grew up singing chorus, you know,

841
00:44:36,600 --> 00:44:39,239
Speaker 1: and uh, you know, and she's beautiful. So it's like

842
00:44:39,600 --> 00:44:42,120
Speaker 1: I wanted to bring all of that to the table,

843
00:44:42,160 --> 00:44:43,920
Speaker 1: and I think we did a good job. And the

844
00:44:44,040 --> 00:44:50,200
Speaker 1: artwork looks incredible, look joyful, It is overly well spiritually joyful. Yes,

845
00:44:50,440 --> 00:44:57,960
Speaker 1: that's beautiful. Yay, what else Corey Felman, Well, gosh, my

846
00:44:58,080 --> 00:45:01,960
Speaker 1: new EPs out. Yes, it's called Evolutions twenty two for

847
00:45:02,120 --> 00:45:08,200
Speaker 1: four and it's a tribute to the Beatles. Oh my gosh,

848
00:45:08,280 --> 00:45:10,319
Speaker 1: it's a completely different direction. So all the stuff I'm

849
00:45:10,360 --> 00:45:12,479
Speaker 1: doing musically is kind of in a completely different direction

850
00:45:12,560 --> 00:45:16,480
Speaker 1: than I've ever done before. But yeah, so basically, between

851
00:45:16,520 --> 00:45:18,480
Speaker 1: Herry p and my EP, that's a full album worth

852
00:45:18,520 --> 00:45:21,719
Speaker 1: of music, right. I love ten songs altogether, but it's

853
00:45:21,760 --> 00:45:25,840
Speaker 1: not Beatles' music. It's all original music done in the voice,

854
00:45:26,280 --> 00:45:28,560
Speaker 1: if you will, of the Beatles. I love them through

855
00:45:28,640 --> 00:45:31,120
Speaker 1: each of their eras. I think that's awesome. It starts

856
00:45:31,200 --> 00:45:34,880
Speaker 1: off with nineteen sixty four, nineteen sixty five sounding Beatles stuff,

857
00:45:35,320 --> 00:45:37,480
Speaker 1: and then the next song is, say, nineteen sixty six,

858
00:45:37,520 --> 00:45:39,080
Speaker 1: and the next song is sixty seven, and the next

859
00:45:39,120 --> 00:45:41,040
Speaker 1: song is sixty eight. So it kind of goes through

860
00:45:41,080 --> 00:45:45,840
Speaker 1: their entire catalog of sounds cool, but with original music

861
00:45:46,120 --> 00:45:48,439
Speaker 1: all the way through. So some of it I see

862
00:45:48,719 --> 00:45:50,759
Speaker 1: as John, some of it I sing as Paul, some

863
00:45:50,920 --> 00:45:53,399
Speaker 1: of it I sing as George, you know. And we've

864
00:45:53,440 --> 00:45:56,080
Speaker 1: got all the harmonies and we've got the great orchestration.

865
00:45:56,280 --> 00:45:59,280
Speaker 1: We recorded it in Dolby Atmos. We had a video

866
00:45:59,640 --> 00:46:02,359
Speaker 1: which is done all with AI, which you're gonna love.

867
00:46:02,440 --> 00:46:04,359
Speaker 1: You gotta see the video. You should run it as

868
00:46:04,400 --> 00:46:07,480
Speaker 1: part of the show. It's called Characters. It's the lead single.

869
00:46:08,480 --> 00:46:11,120
Speaker 1: It's lead single Characters, and what it is is an

870
00:46:11,200 --> 00:46:15,640
Speaker 1: AI little baby Corey comes onto an empty stage and

871
00:46:15,760 --> 00:46:18,719
Speaker 1: he sits on a stool and the spotlight hits him

872
00:46:18,760 --> 00:46:21,520
Speaker 1: and he's the little kid from the McDonald's commercial and

873
00:46:21,640 --> 00:46:25,560
Speaker 1: he starts singing the song. And as he sings and develops,

874
00:46:25,880 --> 00:46:28,680
Speaker 1: you see me transform through all of these characters that

875
00:46:28,800 --> 00:46:32,839
Speaker 1: we just spoke about in succession. So you watch him

876
00:46:32,880 --> 00:46:34,680
Speaker 1: turn into the kid from Gremlins, and then you watch

877
00:46:34,760 --> 00:46:36,480
Speaker 1: him turn into the kid from Goonies, and then you

878
00:46:36,520 --> 00:46:38,160
Speaker 1: watch him turn into the stand by Me kid, and

879
00:46:38,160 --> 00:46:40,200
Speaker 1: it's just boom boom boom boom boom all the way

880
00:46:40,280 --> 00:46:44,839
Speaker 1: up until today. Wow. Yeah, it's lots of fun. Thank you, Chris,

881
00:46:45,320 --> 00:46:48,040
Speaker 1: Thank you Stephen Baldwin. Thank you for coming and sharing

882
00:46:48,080 --> 00:46:49,880
Speaker 1: with us on one bad movie. Well, thank you for

883
00:46:49,960 --> 00:46:55,080
Speaker 1: having me share. I hope and I won't forget when

884
00:46:55,120 --> 00:46:56,200
Speaker 1: the Europe thing happens.

885
00:46:56,680 --> 00:46:58,680
Speaker 2: I'm coming in dude, I'm gonna invite you playing a

886
00:46:59,040 --> 00:47:00,560
Speaker 2: freaking tambour I'm gonna.

887
00:47:00,360 --> 00:47:03,839
Speaker 1: Have you out there. Everybody marked my words, and you're

888
00:47:03,880 --> 00:47:06,240
Speaker 1: at that. You remember when Roger Waters and David Gilmore

889
00:47:06,320 --> 00:47:08,759
Speaker 1: decided they were going to do one performance of The

890
00:47:08,840 --> 00:47:11,680
Speaker 1: Wall somewhere in the world together and everybody was waiting

891
00:47:11,760 --> 00:47:15,480
Speaker 1: for it. This is that on a much smaller scale.

892
00:47:15,840 --> 00:47:20,480
Speaker 1: But but somewhere along the way, Corey Feldman will have

893
00:47:20,560 --> 00:47:24,680
Speaker 1: Stephen Baldwin with a something in his hand. Maybe it's

894
00:47:24,680 --> 00:47:26,879
Speaker 1: a tambourine, maybe it's a shaker. I don't know. We'll see,

895
00:47:27,000 --> 00:47:30,879
Speaker 1: We'll see a shaker. Yeah, careful now, I don't want

896
00:47:30,880 --> 00:47:33,160
Speaker 1: to overload you, but you know we'll find we'll find

897
00:47:33,239 --> 00:47:44,160
Speaker 1: the groove. Thank you, brother as well. And the sass

898
00:47:44,520 --> 00:47:47,400
Speaker 1: grading dolls, bad clips, it's so bad.

899
00:47:47,560 --> 00:47:48,120
Speaker 3: It's good.

900
00:47:51,400 --> 00:47:52,640
Speaker 1: Place sets out.

901
00:47:53,920 --> 00:47:54,480
Speaker 3: Badness.

902
00:47:54,600 --> 00:48:00,640
Speaker 1: This sun it's so bad. It's good bad. Oh su