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Speaker 1: Hi, everyone, it's Sophia. Welcome to Work in Progress. Friends.

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Speaker 1: We're back with our favorite, Austin Nichols talking about his

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Speaker 1: wonderful movie The Long Shot. If you've been living under

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Speaker 1: a rop this week, crawl out catch up the movies

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Speaker 1: available on Amazon, Apple, and Fandango now. Austin, I'm really curious,

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Speaker 1: and you know you talked about this a little bit,

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Speaker 1: but you've spent so long on set. You know, it's

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Speaker 1: decades of work, training and doing all sorts of crazy

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Speaker 1: shit as an actor. But this is the first feature

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Speaker 1: that you've directed. Obviously, you know you've directed on television before.

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Speaker 1: But I'm curious the difference, because I know the chasm

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Speaker 1: between directing an episode of TV and directing a whole

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Speaker 1: feature is a wide one. So on the other side

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Speaker 1: of it, when you reflect, what's something you thought you

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Speaker 1: knew about directing films that either turned out to be

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Speaker 1: completely wrong or something that surprised you.

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Speaker 2: That's a great question. I was led to believe that,

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Speaker 2: you know, making TV and film was really different, and

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Speaker 2: when you're when your boots on the ground on the

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Speaker 2: day shooting, it doesn't feel that different to me. There

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Speaker 2: might be if you're making a feature film that's a

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Speaker 2: drama that's you know, really heavy or really big subject

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Speaker 2: subject matter, there's probably it's probably going to be slower.

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Speaker 2: You're probably going to look for more moments of silence.

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Speaker 2: You know, TV is pretty quick it most shows. You know,

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Speaker 2: there's a few shows out there that are more cinematic,

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Speaker 2: but most shows are pretty quick. The dialogue's snappy, and

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Speaker 2: and you have to shoot quickly. But other than the

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Speaker 2: day after tomorrow and maybe you know, Wimbledon and Glory Road,

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Speaker 2: I've i haven't worked on too many movies that move slow.

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Speaker 2: I mean every job, every job I've really ever been on,

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Speaker 2: you know, everyone's fighting the clock and let's go, go, go,

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Speaker 2: go go. It's always I don't care if you have

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Speaker 2: a two million dollar, two hundred million dollar Avengers movie.

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Speaker 2: I mean, time is money, yeah, and you know, things

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Speaker 2: need to move. So that was one thing that I always,

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Speaker 2: you know, I found to be curious about. People would

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Speaker 2: always talk about the difference between TV and film, and well,

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Speaker 2: I'm like, when when we're shooting it, it's not that different.

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Speaker 1: That's yeah. It's really interesting you write because at the

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Speaker 1: end of the day, no matter what, every day you've

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Speaker 1: got a shot list, you have a call sheet, those

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Speaker 1: are the scenes you're going to shoot. I guess one

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Speaker 1: of the things I'm curious about having directed some television

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Speaker 1: but not a feature, is do you find it harder

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Speaker 1: to track the arc? Because essentially the rollercoaster tracks twice

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Speaker 1: as long. You know, it's forty two minutes or it's

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Speaker 1: like an hour twenty or because you spend so much

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Speaker 1: more time prepping a feature, does tracking the arc of

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Speaker 1: it actually feel easier?

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Speaker 2: Yeah, I would say the ladder because I've just had

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Speaker 2: more time for the feature. That script was in my

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Speaker 2: head for longer. It was just in me, and I

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Speaker 2: had way way longer to prep. And I mean soft prep,

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Speaker 2: Like hard prep is when everybody the whole cruise in

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Speaker 2: and everybody's working. But soft prep just me alone, you know,

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Speaker 2: at my computer, at my desk, at a piece of

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Speaker 2: paper with a pencil, sketching storyboards or writing down ideas,

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Speaker 2: you know, writing down my shot list. But you know,

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Speaker 2: I just had more time. So when I got to

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Speaker 2: set for the movie, I just felt so prepared. I

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Speaker 2: just it was just there, it was there. I didn't

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Speaker 2: really have to look at my notes as much. In TV, God,

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Speaker 2: I need my notes like I need, I need, like

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Speaker 2: you had the best binder. I need my binder, Yeah,

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Speaker 2: my notes, And I need to look at it a

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Speaker 2: lot because it just hasn't been in my head for

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Speaker 2: very long.

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Speaker 1: Yeah. Well, because especially in TV, you know something our

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Speaker 1: friends at home might not know. You typically get your

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Speaker 1: script the week before you're shooting it. It's crazy you

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Speaker 1: get a week to prep a whole episode. Thank god

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Speaker 1: we started directing on a show we knew so well.

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Speaker 2: It was that made it so much easier. Like we

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Speaker 2: knew that show inside and out. The crew knew knew

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Speaker 2: it inside and out. Yeah, that definitely it makes a difference.

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Speaker 2: But you're right, like to give a director a script

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Speaker 2: a week or two weeks in advance seems like lunacy.

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Speaker 2: It just seems crazy. Yeah, it kind of is, and

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Speaker 2: they we do it all the time. But it works.

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Speaker 1: That's the interesting thing. And I think I think you

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Speaker 1: know you you touched on some thing in our last

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Speaker 1: chat about how when you really understand how a whole

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Speaker 1: film set, a whole television set functions, it makes you

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Speaker 1: a better leader, right, Like you know what every department does,

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Speaker 1: you really understand how the whole puzzle comes together. I'm

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Speaker 1: really curious, you know how all of that experience, As

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Speaker 1: you said, you're glad you didn't direct a feature until

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Speaker 1: this point in your career, how do you think that

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Speaker 1: impacted the kind of set that you had on this

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Speaker 1: adventure for yourself but also for the whole cast and

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Speaker 1: crew that you put together.

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Speaker 2: Oh, it's it's immeasurable. I mean, the one thing that

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Speaker 2: I don't really understand how I do it, But I

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Speaker 2: know how to keep a set moving. I know how

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Speaker 2: to keep everyone energized and headed towards a common goal,

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Speaker 2: and I don't. That's probably just because I've watched a

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Speaker 2: lot of great directors do it and I just let it,

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Speaker 2: you know, sync in by osmosis. A lot of it

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Speaker 2: is most of it is communication. A lot of it

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Speaker 2: is just excitement and energy, a lot of it is compliments.

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Speaker 2: A lot of it is really actually caring that all

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Speaker 2: these people are busting their buff for you. Yeah, And

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Speaker 2: if they're feeling that, and they're feeling appreciated and they

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Speaker 2: feel like they're also in on the creative and they're

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Speaker 2: not just like being told what to do, that they

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Speaker 2: will do anything for you totally. So I want I

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Speaker 2: want to set where everybody feels like they're making, they're

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Speaker 2: creating something and their input is valuable. Yes, because one

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Speaker 2: thing we learned from Greg Prange on One Tree Hill

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Speaker 2: was best idea wins.

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Speaker 1: Best idea wins.

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Speaker 2: And like, no ego, Like that guy there who's like

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Speaker 2: running cable has the best idea, We're doing that idea. Yeah,

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Speaker 2: it doesn't matter where it comes from. And Yeah, the

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Speaker 2: other thing that I actually wanted to mention it might

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Speaker 2: be an answer to your earlier question, was I was

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Speaker 2: always taught that a direct needs to really have this

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Speaker 2: vision and execute it. But I find, especially on the

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Speaker 2: Long Shot, that we showed up and we started rehearsing

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Speaker 2: and shooting and it's a living, breathing organism that actually changed. Yeah,

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Speaker 2: it'sn't exactly what we thought it was going to be,

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Speaker 2: and we decided to lean into that instead of go

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Speaker 2: oh no, no, no. We thought we were gonna shoot

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Speaker 2: everything handheld. We actually were on more dollies and on sticks,

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Speaker 2: and we were more stationary than we thought we were

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Speaker 2: going to be. And Peter the DP looks at me

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Speaker 2: and he goes, this feels right, and I was like yeah,

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Speaker 2: And we kind of switched gears on day one and

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Speaker 2: we were like, Okay, it's not all handheld, but like

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Speaker 2: I said, it is. It's a living, breathing organism, and

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Speaker 2: you have to listen to it because it change. It's

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Speaker 2: going to change. It's not going to be it's not

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Speaker 2: going to be this thing that you like muscle into existence.

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Speaker 2: You have to kind of like finesse it.

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Speaker 1: Yeah, I totally agree with that, you know, and I

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Speaker 1: think I think that takes a wisdom as a creative

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Speaker 1: person to do the work and then when you get

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Speaker 1: to work, kind of let it go and see what happens.

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Speaker 1: That's where that I think is where the magic is.

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Speaker 1: If you hold it too tight, you kind of crush it.

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Speaker 1: And I really learned that lesson years ago. I worked

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Speaker 1: with a phenomenal actor on you know, similarly like an

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Speaker 1: indie movie that took forever to put together. And you know,

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Speaker 1: I think we had twenty one days and I'll be

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Speaker 1: very careful to you know, protect everybody because people are

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Speaker 1: allowed to have their moments. But the director like kind

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Speaker 1: of had a melt down on the third day.

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Speaker 2: Sure, and.

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Speaker 1: It was alarming to me and this that my co

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Speaker 1: star was so incredible and he pulled the guy aside,

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Speaker 1: and I think part of the reason he'd been alarmed

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Speaker 1: is because the director blew up, like specifically at a

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Speaker 1: couple of women, and it was like none of us

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Speaker 1: knew each other well enough to know what was going on.

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Speaker 1: And my co star pulled him aside and was like, man,

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Speaker 1: you have to remember, like, this is your ship, but

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Speaker 1: you filled it with a crew. You chose all these

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Speaker 1: people because they're brilliant. Let them be brilliant, and when

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Speaker 1: you give them room to do what they're good at,

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Speaker 1: all they're going to do is make you look more brilliant. Absolutely,

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Speaker 1: And it was this incredibly generous moment where I saw,

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Speaker 1: you know, a guy be the kind of guy that

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Speaker 1: you have always been on set that Peter Kowalski is

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Speaker 1: on set that you know, so many wonderful men I've

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Speaker 1: worked with over the years know how to be, which

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Speaker 1: is like a good champion. And I watched it kind

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Speaker 1: of dawn on this guy because it was his first feature,

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Speaker 1: and I was like, whoa, you know, it was such

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Speaker 1: a cool thing to observe. And so I love hearing

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Speaker 1: you say that because I actually think that takes like

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Speaker 1: a kind of self confidence and a willingness to not

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Speaker 1: let your love of something turn in into ego.

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Speaker 2: Absolutely, you know, does that make sense what I'm saying? Yes? Yes,

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Speaker 2: And like as men, as young boys, we are taught

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Speaker 2: to like have the answer and to be the shoulders

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Speaker 2: that carry and like and not buckle, you know. And

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Speaker 2: it's look, I understand why we teach boys that, but

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Speaker 2: also let's teach them the other side too, Let's teach

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Speaker 2: them that, like, we need people, we need help, we

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Speaker 2: need community. We like, let's bring in everybody, and we

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Speaker 2: can't do this alone. Not one person can make a movie.

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Speaker 2: It's impossible.

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Speaker 1: Yes, I mean, could you imagine?

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Speaker 2: No?

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Speaker 1: And now a word from our sponsors who make the

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Speaker 1: show possible. I think reminding people over and over again,

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Speaker 1: whether it's filmmaking or living on Earth, or as we

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Speaker 1: talked about in the other one, like taking care of

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Speaker 1: your community, your neighborhood, your green spaces, like everything really

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Speaker 1: is a community project, yes, and filmmaking certainly is. And

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Speaker 1: I think indie filmmaking is the biggest kind of community

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Speaker 1: project because nobody has enough time, nobody has enough money.

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Speaker 1: Everybody's showing up because they love it, not because it's easy.

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Speaker 1: You know, how did your community, your relationships make this

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Speaker 1: film possible. Obviously, you've worked with Peter now for twenty years,

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Speaker 1: but like, how else did your world help you get

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Speaker 1: this thing over the finish line?

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Speaker 2: I could not have made this the way we did

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Speaker 2: without directing Walker. I came the Walker was the TV

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Speaker 2: show with Jared Pedeluky that was the reboot of Walker,

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Speaker 2: Texas Stranger and I moved back to Austin and they

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Speaker 2: asked me to play the villain of season one. And

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Speaker 2: I'm playing the villain and I go to the bosses

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Speaker 2: and I kind of go like, hey, can I shadow?

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Speaker 2: Can I shadow one of the directors? And that led

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Speaker 2: to me directing the show and I did two episodes

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Speaker 2: and we you know, it turned out great. And when

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Speaker 2: that show ended and my movie was starting to ramp up,

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Speaker 2: I started call called Peter. He started calling camera people

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Speaker 2: from Walker. I got Vince Palmo, who's the first ad

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Speaker 2: for Richard Linkletter. He came to do my movie. I mean,

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Speaker 2: I don't know how many people we had from that

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Speaker 2: TV show, but they'd been working together for four years.

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Speaker 2: So I had this team that was so dialed and

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Speaker 2: so comfortable with each other that the second we started

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Speaker 2: on day one there were no weird get the rust

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Speaker 2: out moments were just we were going you.

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Speaker 1: Started day one, where most movies get to at the

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Speaker 1: top of week two if they're lucky.

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Speaker 2: Absolutely, that's really cool. That was Oh my god, just

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Speaker 2: luck having done the TV show having and lucky enough

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Speaker 2: to have these people come work for no money and

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Speaker 2: you know, because they love the script or you know whatever.

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Speaker 2: And you know, we've all made indies, you know, in

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Speaker 2: fifteen days or twenty days or whatever. They were kind

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Speaker 2: of didn't turn out great because it's hard. It's hard

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Speaker 2: to make a movie that fast with no money and

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Speaker 2: with favors. It's really hard. So we were so blessed

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Speaker 2: in that realm to have you know, just a really

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Speaker 2: really talented crew.

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Speaker 1: That's so cool. Yeah.

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Speaker 2: I can't even imagine what it would have been like

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Speaker 2: without them.

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Speaker 1: Yeah. Well, and I would also imagine the fact that

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Speaker 1: so many people were either local or had worked locally,

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Speaker 1: and people you can't you can't hang out in Austin,

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Speaker 1: Texas and not love it. I mean the way I

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Speaker 1: tackled when I saw that you guys put Chicken Sha

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Speaker 1: Bingo in the movie, because I remember making my first

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Speaker 1: movie there even before you and I knew each other

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Speaker 1: and going with the crew to that bar and being like,

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Speaker 1: this is a jail thing. I love it.

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Speaker 2: Here went to Jenny's little Longhorn. Yeah, oh my god.

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Speaker 1: Yeah.

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Speaker 2: Was that that was for the Hitcher? Yeah? Amazing.

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Speaker 1: I mean you think about like how weird Austin still

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Speaker 1: was in two thousand and five. Man, it was.

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Speaker 2: It was way weirder.

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Speaker 1: Oh, it was so dreamy. I loved it so much.

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Speaker 1: It was so weird.

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Speaker 2: It's less weird now, but it's still weird.

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Speaker 1: The weird is holding on, don't you think it?

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Speaker 2: It's still there.

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Speaker 1: I think because I've been lucky enough to, like, you know,

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Speaker 1: have so much interaction there, whether I've been shooting there

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Speaker 1: or you know, my godbrother's restaurants there. Like I know

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Speaker 1: a little bit about the local Austin music scene. You

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Speaker 1: got some major artists in this movie, to the point

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Speaker 1: that as I was watching it and listening to their music,

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Speaker 1: I was like remembering from our winfree Hill days, the

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Speaker 1: music licensing, and I'm going, how did you guys afford

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Speaker 1: all of this music? Or was that also a labor

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Speaker 1: of love for the Austin music scene to show.

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Speaker 2: Up to help out. It's one of the hardest things,

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Speaker 2: I think to figure out when you have very little

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Speaker 2: money and you're a little movie you know, because big

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Speaker 2: songs have a big price tag and there's no getting

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Speaker 2: around it. Luckily, I know Gary Clarke Junior from when

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Speaker 2: we were super young in Austin, and to have him

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Speaker 2: give us a song was magic. And there's you know,

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Speaker 2: there's a couple of hacks and people know this. It's

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Speaker 2: not like I'm saying anything new. But I wanted a

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Speaker 2: song that had some universal recognition to open the movie.

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Speaker 2: And I started looking on Spotify and I found Take

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Speaker 2: on Me by Aha, but it was a Mariachis and

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Speaker 2: I just fell in love with it, and I go,

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Speaker 2: oh my god, is there a way is this gonna fit?

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Speaker 2: Like is this gonna go with the cut? And I

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Speaker 2: started playing it against the cut and I was like,

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Speaker 2: oh my god, I think this is gonna work. And

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Speaker 2: I remember my editor goes, you're never gonna get that

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Speaker 2: that Take on Me that's like so expensive, you're never

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Speaker 2: gonna get it. I'm like, yeah, but when you do

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Speaker 2: a cover, it's almost half price. Yeah, because you pay

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Speaker 2: Aha the publishing, but then you pay Mariachi Entertainment System

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Speaker 2: much less because they're not a big, famous, huge band. Yeah,

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Speaker 2: and stuff like that, like how do you how do

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Speaker 2: you hack this thing? How do you put the pieces

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Speaker 2: together and find ways to find great songs? I mean,

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Speaker 2: we were so lucky to get a t Rex song

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Speaker 2: simply because I don't know why they Maybe they gave

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Speaker 2: us a deal because we're an indie, but like, I

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Speaker 2: never thought we could get a t Rex song. Wow,

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Speaker 2: we got a Charlie Crockett song, which is amazing, so cool.

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Speaker 2: The coolest story of all is Gary p Nunn. So.

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Speaker 2: Gary p Nunn is an old Texas country guy. He

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Speaker 2: wrote a very famous song called London Homesick Blues and

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Speaker 2: I had to have it. So my music supervisor reached

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Speaker 2: out to Gary and we wanted like three of his songs. Yeah,

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Speaker 2: and he gave us three songs for such bargain basement price.

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Speaker 2: I am forever grateful to this man. He came to

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Speaker 2: one of our film festivals. Oh. The cool thing about

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Speaker 2: Gary is that London Homesick Blues was the opening theme

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Speaker 2: song to the Austin City Limits TV show for twenty seasons.

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Speaker 1: Oh my god, of course.

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Speaker 2: So every time Austin City Limits came on TV. They

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Speaker 2: played his song to open the Yes, and it is

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Speaker 2: just it's one of those songs that not everybody knows it,

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Speaker 2: but when you hear it in the movie, I still

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Speaker 2: get like the tingles. That's so cool. We just had

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Speaker 2: we had I guess, you know, we had people who

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Speaker 2: really kind of got the movie. Yeah, maybe we're down to, like,

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Speaker 2: you know, give us a good deal. But it's so hard.

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Speaker 2: I mean, it's one of those things you really have

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Speaker 2: to dig in, ycause you could easily just go, oh yeah,

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Speaker 2: go get some music to your music supervisor, and they

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Speaker 2: do and they stay in budget. But if you really

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Speaker 2: dig in, you know you can it can change. It

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Speaker 2: can take your movie from here to hear Yeah.

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Speaker 1: Yeah, I mean that's the thing. I will never forget

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Speaker 1: doing my first director's cut on One Tree Hill and

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Speaker 1: you do it before the music goes in. Yeah, and

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Speaker 1: I was like, this is horrible.

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Speaker 2: Yeah, yeah, what's happening? Okay?

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Speaker 1: And music is it's the subconscious emotional language of your

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Speaker 1: whole project. And because as viewers were so accustomed to

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Speaker 1: watching film and television with a soundtrack, when you don't

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Speaker 1: have it, it feels like half of the soul is

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Speaker 1: gone and so I just I love that you had

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Speaker 1: such a great experience getting the music for this.

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Speaker 2: It's really cool, thank you. It's also scary because you

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Speaker 2: hear directors and composers sometimes talk about, well, when we

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Speaker 2: were reading the script or when we were writing the script,

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Speaker 2: we had this idea of these instruments, and I kind

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Speaker 2: of want to call bullshit, because, look, you can have

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Speaker 2: as many ideas of what instruments are, what it sounds

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Speaker 2: like before, and it's probably really good to like have

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Speaker 2: those conversations with your composer and that's where you start.

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Speaker 2: But man, it is such a scary blind process. And

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Speaker 2: I'm telling you you don't always know what music, what

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Speaker 2: the music's going to be, and the best accident happened

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Speaker 2: and then somebody plays you something or the composer sends

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Speaker 2: you something and you go, oh my god. I never

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Speaker 2: would have been able to tell you that's what I wanted,

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Speaker 2: but that's what I wanted. That's it. Yeah, And it's

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Speaker 2: the composer too, like they live in such a separate

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Speaker 2: part of movie world, but one of the most important

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Speaker 2: jobs on a movie. Yeah, and that I had more

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Speaker 2: meetings with composers than anyone, because that really scared me,

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Speaker 2: and I didn't know. I didn't really know what the

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Speaker 2: music was yet. Everybody was kind of going, look acoustic

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Speaker 2: text his guitar, and I'm like, that's so obvious, Like

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Speaker 2: you're like, what does that even mean? Like I want

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Speaker 2: to have when Samantha wakes up in the airstream. I

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Speaker 2: want to have an accordion and I want to feel

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Speaker 2: like she's in Paris, like you know. I want it

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Speaker 2: to be weird and have different instruments. And that's why

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Speaker 2: Sam Lippman, my composer, was he got it right away

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Speaker 2: and he just.

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Speaker 1: Oh, it's so cool that I think of anything on

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Speaker 1: a on a film, the music is it has to

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Speaker 1: be like falling in love, like you can't explain it

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Speaker 1: and then you just go that's it.

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Speaker 2: It clicks. You just hear it and you go, oh

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Speaker 2: my god.

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Speaker 1: Yeah.

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Speaker 2: One more thing about Sam. I had said, like, can

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Speaker 2: we put some accordion somewhere or maybe on that scene? Yeah?

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Speaker 2: And he goes he's a professor at UT and he goes, yeah, sure,

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Speaker 2: there's an accordion over at the music room. I'll go

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Speaker 2: like rent it or borrow it. And I go, you

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Speaker 2: can play the accordion and he goes kind of what

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Speaker 2: a legend. He was literally in his office at UT

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Speaker 2: playing all the instruments by himself, recording them in his

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Speaker 2: offer for this movie, and he gave me such a

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Speaker 2: diversity of sounds and instruments that I mean, he's a genius.

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Speaker 2: I don't understand how a human being can do that

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Speaker 2: and be so musically brilliant.

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Speaker 1: It's really incredible. We'll be back in just a minute,

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Speaker 1: but here's a word from our sponsors. We touched on

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Speaker 1: this a little bit in our last conversation, you know,

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Speaker 1: talking about how this was inspired by the real life

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Speaker 1: clamoring to keep Muni, and you know, not to be

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00:21:49,359 --> 00:21:51,920
Speaker 1: like a bummer, but when you think about those things,

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Speaker 1: when you think about how as cities grow, some of

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Speaker 1: our green spaces are under threat, you know, not to

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Speaker 1: mention like all the cziness with the fact that we're

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00:22:01,680 --> 00:22:04,520
Speaker 1: just boiling the planet and it's like floods and storms

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00:22:04,520 --> 00:22:10,399
Speaker 1: and droughts and wildfires. Oh my, like everything feels I

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00:22:10,440 --> 00:22:13,520
Speaker 1: think more precious than ever. You know, these spaces that

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Speaker 1: are the backdrop to our joy and our experiences. What's

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Speaker 1: what's the status of Muni now? Like is it safe?

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Speaker 1: Are we good? Do the do the people listening to

395
00:22:25,960 --> 00:22:29,560
Speaker 1: this need to sign a petition or like share, share

396
00:22:29,600 --> 00:22:31,760
Speaker 1: a gofund me, what's the what's the deal here?

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Speaker 2: I think it's safe for now, okay, And you know,

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Speaker 2: they had some big wins and they have a lot

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Speaker 2: of support from Austinites and people are behind it, so

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Speaker 2: I don't think it's gonna go away anytime soon. But

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00:22:46,720 --> 00:22:49,680
Speaker 2: there's always this weird feels like there's it's a threat

402
00:22:49,720 --> 00:22:52,439
Speaker 2: and it could happen, and yeah, you know, I know,

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Speaker 2: I don't know if there's any silver bullet to you know,

404
00:22:55,640 --> 00:22:59,399
Speaker 2: fix it forever, but I do. This is one thing

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Speaker 2: I always go back too. There was a costume rental

406
00:23:02,200 --> 00:23:06,639
Speaker 2: shop on South Congress called Lucian Disguise, Yeah from the

407
00:23:06,640 --> 00:23:10,640
Speaker 2: Beatles song Lucian Yeah, Diskuy with diamonds and Lucian Disguise

408
00:23:10,720 --> 00:23:12,879
Speaker 2: was in Austin for I don't even know thirty plus years,

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00:23:13,600 --> 00:23:16,119
Speaker 2: and they had to close their doors because they couldn't

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Speaker 2: afford the rent because you know, South Congress is really

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00:23:19,800 --> 00:23:23,199
Speaker 2: valuable real estate. Yeah, And I always say, if you

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Speaker 2: helped build this community for thirty forty years.

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Speaker 1: You should be grandfathered in.

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Speaker 2: There's got to be a way that you can survive.

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Speaker 2: And yeah, you know, it wasn't that they weren't doing business,

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Speaker 2: it was that their rent had quadrupled in the last

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Speaker 2: ten years. So that's one thing I always talk about

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Speaker 2: with people. I'm like, you know, why don't we take

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Speaker 2: care of the institutions that helped build the community?

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Speaker 1: Yeah? I think about that a lot, you know. I mean,

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Speaker 1: you know this about me, and I would imagine the

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00:23:55,240 --> 00:23:58,480
Speaker 1: folks at home probably do. Like, you know how much

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Speaker 1: I love architecture design and when I look at city

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00:24:03,840 --> 00:24:07,040
Speaker 1: planning and I've kind of nerded out on, you know,

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Speaker 1: how cities can plan really well for the people and

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00:24:10,600 --> 00:24:13,400
Speaker 1: the planet, like what Copenhagen does with its water. There's

427
00:24:13,440 --> 00:24:17,240
Speaker 1: podcasts on it, should you be interested, Like, I love

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Speaker 1: to follow those trails, right. And one of the things

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Speaker 1: I've realized is you've got city planners, You've got you know,

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Speaker 1: civil and technical engineers. Where's the engineer a vibe for

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Speaker 1: a city, because that's a role I think is missing.

432
00:24:33,760 --> 00:24:37,160
Speaker 1: It's like it's like a cultural engineer. So for example,

433
00:24:37,200 --> 00:24:39,680
Speaker 1: we think about South Congress and the way that it's developed,

434
00:24:39,760 --> 00:24:43,560
Speaker 1: like some of the new developments on that street that

435
00:24:43,680 --> 00:24:47,920
Speaker 1: are wildly different, you know, since we were all hoodling

436
00:24:47,960 --> 00:24:50,760
Speaker 1: around there in our twenties. Like, I think, if they're

437
00:24:50,760 --> 00:24:54,119
Speaker 1: going to build the great big new hotel with the

438
00:24:54,160 --> 00:24:57,720
Speaker 1: great big restaurants and you know, the big box athletics stores,

439
00:24:58,160 --> 00:25:02,000
Speaker 1: I think those places should have to contribute to pay

440
00:25:02,040 --> 00:25:06,560
Speaker 1: into a permanent location for a Lucian disguise or what like,

441
00:25:07,040 --> 00:25:11,040
Speaker 1: Because what people don't realize is sometimes the evolution of

442
00:25:11,080 --> 00:25:13,320
Speaker 1: a neighborhood Like, oh, the people here are going to

443
00:25:13,359 --> 00:25:17,000
Speaker 1: make all this money on their property whatever. Great, but

444
00:25:17,040 --> 00:25:19,479
Speaker 1: then you're going to lose the magic and like, what

445
00:25:19,520 --> 00:25:21,719
Speaker 1: do you want everything to be the pottery barn for

446
00:25:21,880 --> 00:25:23,960
Speaker 1: no shade to the pottery barn. You're lovely, but you know.

447
00:25:23,880 --> 00:25:28,639
Speaker 2: What I'm saying, No, you lose anything that's unique and

448
00:25:28,840 --> 00:25:30,639
Speaker 2: that made it a special place in the first place.

449
00:25:30,760 --> 00:25:33,600
Speaker 1: Yeah, Like, we got to maintain our places. And that's

450
00:25:33,600 --> 00:25:35,240
Speaker 1: one of the things I think I find so touching

451
00:25:35,280 --> 00:25:38,840
Speaker 1: about your movie is that it's a love letter to

452
00:25:38,960 --> 00:25:44,000
Speaker 1: a city and its weirdness and why parts of it

453
00:25:44,040 --> 00:25:47,080
Speaker 1: are important even if they're not profitable, because they're important

454
00:25:47,080 --> 00:25:50,000
Speaker 1: to people. Yea, And I would love for us to

455
00:25:50,840 --> 00:25:54,960
Speaker 1: all kind of carry that torch after the credits roll,

456
00:25:56,119 --> 00:26:00,639
Speaker 1: if the film does, you know, become a It already

457
00:26:00,680 --> 00:26:02,320
Speaker 1: is a love letter at Austin, but if it kind

458
00:26:02,359 --> 00:26:07,679
Speaker 1: of becomes a time capsule to what Austin is right now,

459
00:26:07,040 --> 00:26:10,919
Speaker 1: what do you hope people feel when they're watching it

460
00:26:10,960 --> 00:26:13,840
Speaker 1: twenty years from now talking about Austin twenty years ago,

461
00:26:13,920 --> 00:26:14,320
Speaker 1: like we.

462
00:26:14,240 --> 00:26:19,440
Speaker 2: Are, Oh my god, it would be such a dream. Honestly,

463
00:26:19,480 --> 00:26:24,520
Speaker 2: I would hope that people would kind of let that

464
00:26:24,680 --> 00:26:26,919
Speaker 2: sink in what you and I just spoke about. You know,

465
00:26:27,440 --> 00:26:29,879
Speaker 2: if a friend of mine just sent me a picture

466
00:26:29,960 --> 00:26:33,440
Speaker 2: yesterday of Walk and Roll, which was a very famous

467
00:26:33,760 --> 00:26:38,080
Speaker 2: Asian little eatery in Austin, and it was legendary, you know,

468
00:26:38,119 --> 00:26:40,760
Speaker 2: because it's a it's a music town. The name walk

469
00:26:40,840 --> 00:26:43,960
Speaker 2: and Roll is clever. You know. Everybody loved it. The

470
00:26:43,960 --> 00:26:47,160
Speaker 2: food was great, and it couldn't it couldn't make it,

471
00:26:47,520 --> 00:26:50,720
Speaker 2: you know. And it really shows like we get a

472
00:26:50,800 --> 00:26:53,679
Speaker 2: little bit out of whack with our priorities with money

473
00:26:54,480 --> 00:26:58,399
Speaker 2: and land and how valuable it is in developing the

474
00:26:58,520 --> 00:27:01,800
Speaker 2: land and then making sure that you know, there's an

475
00:27:01,840 --> 00:27:04,720
Speaker 2: air mez store that can pay the rent, and it's

476
00:27:04,800 --> 00:27:10,439
Speaker 2: like nobody's going to amez and I'm sorry, Like, like

477
00:27:10,440 --> 00:27:13,919
Speaker 2: you said, amazing company that makes amazing things, but no

478
00:27:13,960 --> 00:27:16,680
Speaker 2: one in Austin on South Congress is going in there,

479
00:27:17,359 --> 00:27:21,720
Speaker 2: and that's a misstep. I'm sorry. But like, yeah, all

480
00:27:21,840 --> 00:27:25,440
Speaker 2: these things that we love that we grew up with,

481
00:27:25,600 --> 00:27:30,760
Speaker 2: that helped build an interesting community, we could do better

482
00:27:31,320 --> 00:27:35,159
Speaker 2: to take care of those places, take care of those people,

483
00:27:37,040 --> 00:27:39,480
Speaker 2: you know. Otherwise what we do is we simply just

484
00:27:39,520 --> 00:27:44,480
Speaker 2: whitewash our history and what do we have. We we

485
00:27:44,920 --> 00:27:47,159
Speaker 2: just worship money. I mean, there's more to life.

486
00:27:47,200 --> 00:27:51,600
Speaker 1: There's just more, well obviously, I mean I think the

487
00:27:51,640 --> 00:27:54,840
Speaker 1: most shining example of that is like look at Elon.

488
00:27:55,280 --> 00:27:57,840
Speaker 1: He's on the verge of becoming the world's first trillionaire,

489
00:27:57,880 --> 00:28:01,960
Speaker 1: and he's fucking miserable and insatiable for more. And it's like, bro,

490
00:28:02,800 --> 00:28:07,680
Speaker 1: like at this point, you you don't even live on earth, Like, yeah,

491
00:28:07,760 --> 00:28:10,119
Speaker 1: I'd rather go to Barton Springs and like have a

492
00:28:10,160 --> 00:28:12,840
Speaker 1: two dollars hot dog and spend the afternoon with my friends.

493
00:28:13,200 --> 00:28:16,560
Speaker 2: I'm telling you, I rode my bike there yesterday, I

494
00:28:16,680 --> 00:28:18,760
Speaker 2: laid in the sun, I jumped in the water, and

495
00:28:18,920 --> 00:28:22,679
Speaker 2: the rest of my day just felt like bliss. Yeah,

496
00:28:22,720 --> 00:28:26,560
Speaker 2: you know, those those moments. Yeah, those moments are more valuable.

497
00:28:26,640 --> 00:28:30,360
Speaker 2: You know. It's just you know, quality of life and yeah,

498
00:28:30,800 --> 00:28:32,680
Speaker 2: and friends and that's it.

499
00:28:33,119 --> 00:28:38,720
Speaker 1: Well, you made a really really funny movie that makes

500
00:28:38,760 --> 00:28:43,880
Speaker 1: that truth so obvious. And I'm as your friend, I'm

501
00:28:43,960 --> 00:28:46,600
Speaker 1: just I'm so amped and I'm so proud of you.

502
00:28:46,680 --> 00:28:47,440
Speaker 1: It's so cool.

503
00:28:47,880 --> 00:28:50,320
Speaker 2: Oh, thank you. I mean it's huge, thank you for

504
00:28:50,960 --> 00:28:54,080
Speaker 2: having me on to talk about it. It's it's so

505
00:28:54,080 --> 00:28:57,200
Speaker 2: so huge, you know, it's you know how hard it

506
00:28:57,280 --> 00:28:58,720
Speaker 2: is to have a little movie and to try to

507
00:28:58,760 --> 00:29:01,440
Speaker 2: get the world to find out about it totally. You know,

508
00:29:01,600 --> 00:29:04,480
Speaker 2: you hear these these numbers, like, you know, this giant,

509
00:29:04,560 --> 00:29:07,240
Speaker 2: hundred million dollar movie also spend one hundred million dollars

510
00:29:07,240 --> 00:29:10,920
Speaker 2: to market the movie around the world, and you go, what,

511
00:29:11,320 --> 00:29:12,520
Speaker 2: like that's crazy.

512
00:29:12,840 --> 00:29:14,840
Speaker 1: Well, and by the way, how crazy because you'll go

513
00:29:15,000 --> 00:29:17,640
Speaker 1: they did what, I never even heard of that. And

514
00:29:17,680 --> 00:29:19,840
Speaker 1: it's like if they spend one hundred million dollars to

515
00:29:19,880 --> 00:29:22,160
Speaker 1: market this thing that none of us even saw on

516
00:29:22,200 --> 00:29:24,680
Speaker 1: our FYP, like, are we all screwed?

517
00:29:25,360 --> 00:29:25,800
Speaker 2: Totally?

518
00:29:25,880 --> 00:29:29,080
Speaker 1: So this is kind of it. It's like, I mean,

519
00:29:29,120 --> 00:29:32,520
Speaker 1: we're so lucky to have, you know, twenty years in

520
00:29:32,560 --> 00:29:35,760
Speaker 1: the trunk already of course, Like I'll always show up

521
00:29:35,760 --> 00:29:37,440
Speaker 1: for you. I know you'll always show up for me.

522
00:29:37,640 --> 00:29:42,240
Speaker 1: Like our friend Crew is so solid on that note,

523
00:29:42,400 --> 00:29:47,160
Speaker 1: justin Chatwin in those in sunglasses. I can't he he

524
00:29:47,400 --> 00:29:50,640
Speaker 1: crushes so hard. And we will have a side conversation

525
00:29:50,680 --> 00:29:52,520
Speaker 1: about the people that you referenced for him, because I

526
00:29:52,520 --> 00:29:56,560
Speaker 1: think I have some hints, but like he's so great.

527
00:29:56,600 --> 00:29:59,480
Speaker 1: But it's like all when all your people are just

528
00:29:59,560 --> 00:30:01,960
Speaker 1: like right, they're with you, it's meaningful and I and

529
00:30:02,000 --> 00:30:05,080
Speaker 1: I do think it's you know, in the spirit of

530
00:30:05,120 --> 00:30:08,040
Speaker 1: Austin and like weirdness and punk rock, like that's how

531
00:30:08,080 --> 00:30:11,400
Speaker 1: we damn the man. You know, we show up and

532
00:30:11,400 --> 00:30:13,920
Speaker 1: and we and we put our butts and seats for

533
00:30:14,000 --> 00:30:17,040
Speaker 1: our people. And so you know, that's my little call

534
00:30:17,440 --> 00:30:21,600
Speaker 1: for all of our friends listening to this, Like if

535
00:30:21,680 --> 00:30:24,960
Speaker 1: you whether you were a fan of any show or

536
00:30:25,000 --> 00:30:27,960
Speaker 1: movie either of us has ever done, or you're like,

537
00:30:28,560 --> 00:30:33,080
Speaker 1: you know a brilliant is endgame Stan like open up Amazon,

538
00:30:33,200 --> 00:30:37,680
Speaker 1: Apple or Fandango right now, watch the long shot, and

539
00:30:38,600 --> 00:30:43,800
Speaker 1: let's really put our little family behind independent art, because

540
00:30:44,760 --> 00:30:47,120
Speaker 1: that's how that's how we keep it weird.

541
00:30:47,920 --> 00:30:50,320
Speaker 2: That's how we keep it weird. Oh my god, you're

542
00:30:50,360 --> 00:30:51,640
Speaker 2: the greatest. Thank you so much.

543
00:30:51,840 --> 00:30:54,880
Speaker 1: I'm so happy for you, Pal, I love you. Congratulations,

544
00:30:55,280 --> 00:30:55,640
Speaker 1: thank you