WEBVTT - Some Time with Juan Pablo part 2 airs 8-15 5p 0:00:18.920 --> 0:00:21.680 Hey there, Fanaritos, and welcome to part two of our 0:00:21.720 --> 0:00:24.920 interview with Juan Pablo de Pache who played my on 0:00:25.040 --> 0:00:29.040 screen husband in Fuller House, Fernando. If you fell in 0:00:29.040 --> 0:00:32.319 love with Fernando on Fuller House like Kimmy did, you're 0:00:32.400 --> 0:00:35.440 sure to be head over heels after this interview because 0:00:35.560 --> 0:00:37.560 JP is truly the best. 0:00:38.120 --> 0:00:39.479 So let's get into it. 0:00:39.600 --> 0:00:42.120 I didn't realize how personal it was, Like I just 0:00:42.159 --> 0:00:45.360 thought this was you know, you were enthusiastic about making 0:00:45.400 --> 0:00:47.360 your own film, But then we get there. 0:00:47.479 --> 0:00:50.239 It was your own film, it was your story. 0:00:50.720 --> 0:00:53.960 Yeah, and I didn't I didn't make that connection until until, 0:00:54.000 --> 0:00:56.640 you know, a few scenes into the film. But what 0:00:56.880 --> 0:01:03.520 an emotional experience. When did you start creating this writing it? 0:01:04.240 --> 0:01:06.039 I mean, I think I know what inspired it, your 0:01:06.080 --> 0:01:09.000 own life. But tell tell me how this all came about. 0:01:09.040 --> 0:01:10.520 How long had you been working on it? 0:01:11.360 --> 0:01:14.119 Well? Thank you first of all for all the beautiful 0:01:14.200 --> 0:01:18.120 wave of love that I just received. You're so amazing 0:01:18.160 --> 0:01:20.319 and sweet, and for me, it was really important to 0:01:20.319 --> 0:01:22.880 have you there because, like you say, you know we 0:01:22.920 --> 0:01:25.640 are family, and and I know that I've been banging 0:01:25.640 --> 0:01:28.200 on this. Ah, this movie, this movie, this movie, for years. 0:01:28.400 --> 0:01:30.920 I mean we're talking twenty twenty. Really we had we 0:01:30.959 --> 0:01:35.959 had it finished shooting in November nineteen, then the. 0:01:35.920 --> 0:01:39.280 World you know, and then and then twenty twenty game right, 0:01:39.600 --> 0:01:41.240 and all our very big plans went. 0:01:41.160 --> 0:01:45.000 To exactly and we can so well can's we finished 0:01:45.040 --> 0:01:47.600 the show and so and so then it was one 0:01:47.640 --> 0:01:52.000 of that year of it. But yeah, it was around 0:01:52.000 --> 0:01:54.480 that time that I mean, I'd always, like I said, 0:01:54.520 --> 0:01:59.840 I'd always always always wanted to be to direct, and 0:02:01.000 --> 0:02:03.600 since those days as a five year old watching the Oscars, 0:02:03.640 --> 0:02:07.720 you know, with my grandma. But but it's kind of 0:02:07.720 --> 0:02:12.040 became a need. It became like I have to do this. 0:02:13.840 --> 0:02:16.480 I don't know, sometimes in life you have those moments 0:02:16.480 --> 0:02:19.080 of us if I don't do this now, like like 0:02:19.120 --> 0:02:24.280 it's now or never kind of thing. And so yeah, yeah, 0:02:24.320 --> 0:02:26.680 it was it was out of a couple of things, 0:02:26.760 --> 0:02:30.120 like but mostly I wanted to make my first film 0:02:30.160 --> 0:02:32.240 so that I continue to do doing my second and 0:02:32.280 --> 0:02:37.760 third and fourth. Uh And And it wasn't that I like, 0:02:38.360 --> 0:02:40.399 I didn't want to take my own life. I didn't 0:02:40.440 --> 0:02:42.240 want to kind of say, oh I want to do 0:02:42.280 --> 0:02:46.400 a movie about me, But it was really I wanted 0:02:46.440 --> 0:02:50.960 to have every detail of what I was going to tell. 0:02:51.360 --> 0:02:55.120 I wanted to know, right, I want to know every character, 0:02:55.400 --> 0:03:00.520 every situation, the places, the feelings, the the moment mins them. 0:03:01.080 --> 0:03:04.120 So so yeah, I think it was a mixture of 0:03:04.160 --> 0:03:07.920 talking to a friend and her asking me about what 0:03:08.080 --> 0:03:13.520 my first love was, how that happened, and also going 0:03:13.560 --> 0:03:19.440 to my parents' home while we were all quarantining, and 0:03:19.600 --> 0:03:24.440 just as you do, watching albums and going through and 0:03:24.880 --> 0:03:31.720 finding this tape the VHS tape in their VCR and anyway, 0:03:31.760 --> 0:03:37.360 without spoiling anything, this tape was very well. It was 0:03:37.440 --> 0:03:39.680 very important because it was a time when I was 0:03:39.720 --> 0:03:42.240 in that school that I told you about the United 0:03:42.240 --> 0:03:47.880 World College, and something had just happened that broke a 0:03:47.920 --> 0:03:52.640 lot of this heart. One of the kids had to 0:03:52.720 --> 0:03:55.400 leave the school and you could see it in this tape. 0:03:55.440 --> 0:03:59.160 It was very You could see the pain of these teenagers, 0:03:59.480 --> 0:04:01.640 but also are all we are all trying to make 0:04:01.720 --> 0:04:08.640 him feel better. And I just thought there's something here, 0:04:09.160 --> 0:04:12.880 and so this idea of teenage longing and and also 0:04:12.920 --> 0:04:16.760 how you feel everything so much more when you were 0:04:17.880 --> 0:04:18.960 that age. 0:04:18.960 --> 0:04:21.760 Because it's all the first time, like I've never had 0:04:21.760 --> 0:04:24.000 a broken heart before. This is I think it's going 0:04:24.080 --> 0:04:26.839 to kill me. Yeah, like all those feelings are. 0:04:26.960 --> 0:04:30.040 Oh yeah, it's all amplified, and you don't like you say, 0:04:30.279 --> 0:04:34.159 you know, you haven't been there and you're not a 0:04:34.240 --> 0:04:37.599 child anymore, but you're not an adult yet. So it's 0:04:37.680 --> 0:04:41.280 the transitional moment, which which is why we have so 0:04:41.279 --> 0:04:46.080 many coming of age stories because it's an incredibly interesting time. Yeah, 0:04:46.880 --> 0:04:49.000 and in my case, I thought, okay, how can I 0:04:49.080 --> 0:04:51.600 make it so that it's actually the adult looking back? 0:04:53.279 --> 0:04:56.159 Add that memory of falling in love, and so the 0:04:56.240 --> 0:05:00.160 idea of a film director making a movie about his 0:05:00.800 --> 0:05:04.520 first love and being obsessed and frustrated with this movie 0:05:04.600 --> 0:05:10.040 that can't quite he can't quite finish. So then yeah, 0:05:10.080 --> 0:05:14.080 I created this meta meta movie which is a man 0:05:14.240 --> 0:05:17.840 making a movie about a memory and is sort of 0:05:17.880 --> 0:05:19.719 like a Russian doll. Straight. 0:05:19.920 --> 0:05:23.600 Oh yeah, that's a great description, a Russian doll. Yeah, 0:05:24.040 --> 0:05:27.960 it's it's just stunning. So explain for our listeners, just 0:05:28.000 --> 0:05:32.800 a very brief synopsis. You play the older version of Matthias, 0:05:33.400 --> 0:05:38.159 but most of the film is it revolves around young Matthias, 0:05:38.200 --> 0:05:41.800 who is you as a young boy going to this 0:05:41.920 --> 0:05:44.279 international college in Italy. 0:05:45.040 --> 0:05:51.600 Yeah. Yeah, so it's basically this film director who's struggling 0:05:51.640 --> 0:05:55.800 to finish a movie about his memory of his first love, 0:05:56.200 --> 0:06:00.080 of this kid, best friend he met when he was 0:06:00.760 --> 0:06:04.240 at a boarding school twenty five years earlier. And of 0:06:04.279 --> 0:06:07.719 course we go back into the past and we actually 0:06:07.920 --> 0:06:11.920 understand or at least get the crumbs of what happened. 0:06:13.800 --> 0:06:18.120 And what happened is that it was a very tumultuous, unsaid, 0:06:18.760 --> 0:06:23.800 unrequited thing, but at the same time very enigmatic because 0:06:24.200 --> 0:06:30.880 this boy, Alexander was incredibly loving and interesting and crazy 0:06:30.960 --> 0:06:36.839 and talented and so young. Matias was probably the opposite, 0:06:36.960 --> 0:06:41.200 you know, super shy, and so Alexander, this ball of energy, 0:06:41.720 --> 0:06:46.159 was obviously the you know, the one person that he 0:06:46.240 --> 0:06:53.320 felt seen by. And so so yeah, something happens in 0:06:53.360 --> 0:06:59.160 the school and Alexander has to leave and that kind 0:06:59.160 --> 0:07:08.280 of jump start really these feelings getting amplified, and and yeah, 0:07:08.360 --> 0:07:13.480 so so so really it's an exploration of the relationship 0:07:13.520 --> 0:07:19.840 between the adult and the teenager and and how sometimes 0:07:21.040 --> 0:07:27.360 when you can't quite give an ending to something love 0:07:28.480 --> 0:07:32.240 and and that relationship which just can't happen or or 0:07:32.280 --> 0:07:36.680 it doesn't or hasn't happened fully, now you can actually 0:07:36.720 --> 0:07:40.560 mess you up in the present. So it's it's like 0:07:40.960 --> 0:07:44.960 it's like dealing with the trauma you could see where 0:07:45.000 --> 0:07:50.640 this one thing can actually inform the rest of your life. 0:07:51.280 --> 0:07:55.520 So yeah, very psychological, very psychological, but it's true. 0:07:55.680 --> 0:07:57.360 It's you know, we sort of get hung up on 0:07:57.480 --> 0:08:02.880 like one thing and that becomes somehow it influences all 0:08:02.880 --> 0:08:05.440 of the rest of our choices about ourselves and the 0:08:05.480 --> 0:08:06.680 world that we create. 0:08:07.200 --> 0:08:07.440 You know. 0:08:08.720 --> 0:08:12.000 But it's such a visceral film, like you really feel 0:08:12.200 --> 0:08:16.239 all of these emotions that the characters are going through. 0:08:16.960 --> 0:08:20.040 It's just very powerful, like you just the audience was 0:08:20.080 --> 0:08:22.920 you could feel it, you know. And there's one particular 0:08:22.960 --> 0:08:25.320 scene I would love to talk about, the scene in 0:08:25.360 --> 0:08:28.720 the car with the parents, which I think is just 0:08:28.800 --> 0:08:30.760 the heart of the film. 0:08:30.960 --> 0:08:33.240 And it was your actual mom. 0:08:34.480 --> 0:08:37.680 No, not that she's playing well the older mom, you 0:08:37.840 --> 0:08:40.040 I know, playing the old Yeah, he's the older but 0:08:40.240 --> 0:08:42.560 like she does play a part in it, and like 0:08:42.720 --> 0:08:45.400 that was so incredible. She's not in this scene, but 0:08:45.640 --> 0:08:47.760 I just yeah, anyway. 0:08:47.440 --> 0:08:49.680 Sorry, no, no, that's okay, Yeah, yeah, you're you're actual. 0:08:49.720 --> 0:08:50.800 We'll get to those easterings, we. 0:08:50.840 --> 0:08:53.280 Get to those just so incredible because she's like in 0:08:53.280 --> 0:08:54.960 her art studio, creating in your health. 0:08:55.000 --> 0:08:56.400 It was just very cool, so cool. 0:08:56.679 --> 0:08:58.360 But the car scene, I don't want to I don't 0:08:58.400 --> 0:08:59.720 want to give it away, but it is such a 0:08:59.720 --> 0:09:00.800 power powerful scene. 0:09:01.920 --> 0:09:06.000 Rheumatias breaks down in tears and the. 0:09:05.040 --> 0:09:09.320 The mom essentially says we love you exactly the way 0:09:09.320 --> 0:09:14.680 you are. What was it like for you to film 0:09:14.679 --> 0:09:17.720 that scene and to watch the actors perform that scene? 0:09:19.679 --> 0:09:22.760 It was It was hard. It's kind of painful because 0:09:22.760 --> 0:09:25.160 I got there's some scenes in the movie that I 0:09:25.160 --> 0:09:31.560 would say are almost exactly as they happened in my 0:09:31.640 --> 0:09:35.680 memory anyway, and that one is one of them. Like, 0:09:35.760 --> 0:09:38.560 and it didn't work. I don't think the movie would work. 0:09:38.640 --> 0:09:41.240 So so it to be like, I put so much 0:09:41.280 --> 0:09:43.880 weight on this scene because yeah, you're right, it's in 0:09:43.920 --> 0:09:47.160 the middle of the film and it's the heart of film, pivotal, pivotal, 0:09:47.280 --> 0:09:52.080 and the world changes after this scene. Yeah so, and 0:09:52.120 --> 0:09:56.480 we don't see it coming either, no, like out of nowhere. Really, 0:09:57.200 --> 0:10:02.280 So I love playing with these shifts of direction when 0:10:02.280 --> 0:10:04.880 it comes to storytelling, that you think something's going this 0:10:04.960 --> 0:10:08.240 way and then oh no, you know, And I think 0:10:08.240 --> 0:10:12.120 the movie does that like three four times but this 0:10:12.160 --> 0:10:17.479 particular one, it was it was a scene that explains 0:10:17.520 --> 0:10:22.040 a lot of things that you've been sensing, don't know, 0:10:22.320 --> 0:10:25.760 and then this kind of just opens everything up. So yeah, 0:10:25.840 --> 0:10:28.000 I mean shooting it was uncomfortable. I was in the 0:10:28.000 --> 0:10:30.520 back of the car. It was a it was a 0:10:31.360 --> 0:10:35.800 so the dop director of photography, Devin Douleval, my co 0:10:36.040 --> 0:10:41.120 director andres Pepiestrada. Obviously the actors were all bunched up 0:10:41.559 --> 0:10:48.160 in this tiny rental nineteen ninety one Volvo, and because 0:10:48.200 --> 0:10:52.160 it's a it's a period piece, and it's it's cold outside, 0:10:52.200 --> 0:10:56.079 it's hot inside, and so we were just kind of 0:10:56.120 --> 0:11:02.120 it wasn't really working. And I don't know what I 0:11:02.280 --> 0:11:06.760 said to the actors or whatever happened that it was 0:11:06.840 --> 0:11:11.719 one word, I think. And all of a sudden, you know, Alasseli, 0:11:11.800 --> 0:11:17.960 who plays the mom, this this one beautiful take, beautiful take, 0:11:18.760 --> 0:11:23.800 and I broke down watching her, and I'm like putting 0:11:23.840 --> 0:11:27.520 my hand in because I'm like sobbing and I don't 0:11:27.520 --> 0:11:31.120 want to mess up the audio. And I'm like shaking 0:11:31.160 --> 0:11:35.000 from watching, you know. And and then of course when 0:11:35.040 --> 0:11:38.319 I when when and this boy Santio mar Lusn, who 0:11:38.400 --> 0:11:43.160 is amazing. This is a very wonderful job. His first job, 0:11:44.240 --> 0:11:46.640 no way, first audition, Yes. 0:11:47.000 --> 0:11:48.160 What's incredible. 0:11:48.240 --> 0:11:49.960 He was amazing. 0:11:50.960 --> 0:11:56.760 Wow again, you know he was just how he responded 0:11:56.800 --> 0:11:59.720 to the scene in the moment, it was heartbreaking and 0:12:00.120 --> 0:12:02.680 beyond the dad as well, who didn't do anything and 0:12:02.760 --> 0:12:07.040 yet you feel everything that you know. I was very 0:12:07.120 --> 0:12:12.240 lucky to find these people. And I'm a firm believer 0:12:12.960 --> 0:12:18.360 in like finding finding the actors first, because I think 0:12:20.000 --> 0:12:23.080 we are in a moment where there's a little bit 0:12:23.120 --> 0:12:25.439 of criticism to the moment we're in right now, but 0:12:26.240 --> 0:12:30.160 we're in a moment where when the name sometimes is 0:12:30.200 --> 0:12:31.920 more important than the part towards the. 0:12:31.880 --> 0:12:34.160 Story, yeah, or how many followers you have is more 0:12:34.200 --> 0:12:35.040 important than them. 0:12:35.480 --> 0:12:35.800 Yeah. 0:12:35.920 --> 0:12:38.560 And in this one, mostly because I didn't have the 0:12:38.640 --> 0:12:41.560 money to pay the big names, we actually went to 0:12:42.360 --> 0:12:47.080 the actors that felt the most right. And some of 0:12:47.120 --> 0:12:50.360 the people this is their first movie or whatever, and 0:12:51.200 --> 0:12:53.839 I would never have known that it was anyone's first 0:12:53.880 --> 0:12:55.160 movie at all, like it did. 0:12:55.280 --> 0:13:00.640 They're not at all blown away that like yeah. 0:13:00.480 --> 0:13:03.080 Yeah, I mean, I can't really say anything other than 0:13:03.200 --> 0:13:05.760 when I when I when I when I open the 0:13:05.800 --> 0:13:09.600 files and started editing When you edit, you spend a 0:13:09.720 --> 0:13:13.360 lot of time with scenes. Sometimes this one scene has 0:13:13.400 --> 0:13:18.160 like twenty different versions. Okay, so it's not you know, 0:13:18.200 --> 0:13:21.960 it's very time consuming and you're spending time in this world, right, 0:13:22.800 --> 0:13:26.360 And I'm not exaggerating. Every time I used to open 0:13:26.400 --> 0:13:28.200 this scene up to work on it, I was just 0:13:28.400 --> 0:13:33.040 like right, bloodgates and so I remember the moment that 0:13:33.120 --> 0:13:36.920 I cried the most. I think it's ready. 0:13:38.200 --> 0:13:39.600 Yeah, it's done. 0:13:39.920 --> 0:13:40.920 Got Yeah, don. 0:13:40.920 --> 0:13:43.920 Test yourself how you It's a weird process. You sort 0:13:43.960 --> 0:13:49.680 of use your own emotionality to be the audience member 0:13:49.800 --> 0:13:53.439 watching something that you are working, right, see how it's 0:13:53.520 --> 0:13:57.040 hitting you. So it's this conversation that youse a maker 0:13:57.160 --> 0:14:03.120 have with the material. It's a weird phenomenon. It's very strange. Yeah, 0:14:03.160 --> 0:14:05.640 it's like a part of you is an audience member 0:14:05.640 --> 0:14:08.160 and a part of you is the editor, and after 0:14:08.200 --> 0:14:12.760 you go between the two. Yeah, yeah, yeah, I'm so 0:14:12.840 --> 0:14:16.320 happy about that that's on screen because sometimes for people 0:14:16.320 --> 0:14:18.560 who don't are not on set and they don't understand 0:14:19.040 --> 0:14:21.960 perhaps about filming, is that filming in itself, just like 0:14:22.040 --> 0:14:25.840 we didn't fall our house. In everything, there's a moment 0:14:26.000 --> 0:14:31.000 of electricity and there's a moment when almost the air 0:14:31.080 --> 0:14:35.400 gets thick, you know, when they shot the action, like 0:14:35.480 --> 0:14:39.040 everything kind of just you know, slows down and then 0:14:39.080 --> 0:14:44.120 you're like anchored into this weird parallel universe. And the 0:14:44.120 --> 0:14:47.160 moment they say cut you tell it's just you know, 0:14:47.200 --> 0:14:49.280 it's like this energy just kind of open like this. 0:14:50.320 --> 0:14:54.680 And so there's moments on film. We've all had them 0:14:54.800 --> 0:14:58.280 when something something will inspire something for you to do 0:14:58.320 --> 0:15:01.720 something in a certain way, for for what the response 0:15:01.760 --> 0:15:06.920 to be X, and it's caught on film, and those 0:15:06.960 --> 0:15:10.400 are the moments of magic. Now you can't really explain it. 0:15:10.440 --> 0:15:13.160 I mean, you could write something till the Cows Come Home, 0:15:13.160 --> 0:15:16.960 but until the moment happens in the filming process, right, 0:15:17.400 --> 0:15:23.280 this actor has this I don't know, magical reaction. It's 0:15:23.320 --> 0:15:26.560 not really there out of this whole experience. I think 0:15:26.560 --> 0:15:29.480 that's what I've absolutely loved the most making a film 0:15:29.720 --> 0:15:33.240 is that you get to witness before the world something 0:15:33.320 --> 0:15:35.440 magical that you know the rest of the world will 0:15:35.440 --> 0:15:39.760 see at some point and it's like it's it gives 0:15:39.760 --> 0:15:40.640 you goosebumps. 0:15:48.720 --> 0:15:50.960 What was your mom's reaction? Were you with her when 0:15:50.960 --> 0:15:53.200 she watched the film? For the first time in the 0:15:53.320 --> 0:15:56.120 scene in particular, and what was her reaction. 0:15:56.840 --> 0:15:58.680 She wasn't there when we shot it because my mom 0:15:58.720 --> 0:16:01.920 was actually doing in art direction and costume design of 0:16:02.000 --> 0:16:06.000 the film, so she was very involved. So she was 0:16:06.040 --> 0:16:12.040 probably like, so was shooting Uh No, she she she's 0:16:12.080 --> 0:16:19.560 always been just so proud. And I know it's but 0:16:19.560 --> 0:16:24.720 it's true. And and we are My mom and I 0:16:24.800 --> 0:16:28.160 almost have a work relationship where we are kind of 0:16:28.200 --> 0:16:32.200 equals because she's the artist and and and I'm also 0:16:32.240 --> 0:16:35.160 an artist in a different way, and we exchange ideas 0:16:35.280 --> 0:16:38.200 and and there's one scene where my actual mother and 0:16:38.240 --> 0:16:40.119 I are talking about her work. 0:16:40.000 --> 0:16:42.800 And my work, and that's how we. 0:16:42.760 --> 0:16:46.960 Are with each other. And so so, yeah, this whole 0:16:47.000 --> 0:16:50.640 process was was about, okay, making something that comes from us, 0:16:51.120 --> 0:16:54.240 m H. Now that it's it's it's its own thing, 0:16:54.320 --> 0:16:58.200 it's its own story outside of us. And yeah, you 0:16:58.240 --> 0:17:01.640 have to learn to see it critically. And she is 0:17:01.800 --> 0:17:04.760 amazing at seeing things, like she's so critical. 0:17:05.000 --> 0:17:08.240 But my mother, she's so critical. It's great. 0:17:08.600 --> 0:17:11.960 Yeah, yeah, most people all, but you're like, no, it's 0:17:12.240 --> 0:17:14.159 actually really she is. 0:17:14.440 --> 0:17:18.000 And I think some of us, some of my siblings 0:17:18.000 --> 0:17:21.040 have have said this before it's like you're too critical 0:17:21.080 --> 0:17:23.720 with you and and she's like, yeah, I can't help it. 0:17:23.720 --> 0:17:24.480 She's in aries. 0:17:25.160 --> 0:17:29.560 Ah, yes, yes, I have one of those. Yeah, Zoa's 0:17:29.600 --> 0:17:34.120 an aries. Yeah I yeah, yeah, just cherry fiery. It's 0:17:34.160 --> 0:17:36.159 going to be their way, it's going to happen and 0:17:36.240 --> 0:17:38.879 no way. And they're not shy about telling you what 0:17:38.920 --> 0:17:41.520 they think about your not at all. 0:17:41.920 --> 0:17:43.879 Yeah, yeah, not at all, not at all. 0:17:44.600 --> 0:17:47.560 In fact, they're doing you a favor really actually, Yeah, 0:17:47.560 --> 0:17:48.879 you're like you should be thinking me. 0:17:48.920 --> 0:17:50.280 You're like, I don't know if I should. 0:17:50.560 --> 0:17:53.240 Oh, I love your mom so much, it's so amazing. 0:17:53.440 --> 0:17:54.920 Yeah, it's o cute. 0:17:55.000 --> 0:17:57.160 Did she But did she give like notes and stuff 0:17:57.200 --> 0:17:58.320 as you guys were going along? 0:17:58.359 --> 0:17:59.960 Did she ever watch any of the dailies with you 0:18:00.160 --> 0:18:00.520 or anything? 0:18:00.600 --> 0:18:02.720 Or was it more like, you know what I really 0:18:02.720 --> 0:18:06.440 love about my mom, as stubborn as she can be 0:18:06.840 --> 0:18:10.760 about stuff and critical, maybe because she was a teacher, 0:18:11.720 --> 0:18:15.440 a school teacher for a long time art teacher, there's 0:18:15.440 --> 0:18:20.320 this respect that I always got where she would literally 0:18:20.400 --> 0:18:25.320 just stand back see what I was doing, and literally 0:18:25.760 --> 0:18:30.119 bite the head of anyone who would come close to 0:18:30.160 --> 0:18:35.119 me to criticize anything. So I now see it with 0:18:35.240 --> 0:18:39.280 distance and I go, wow, that was so. I mean, yeah, 0:18:39.320 --> 0:18:41.800 it's like Mama Bear, like, yeah, I had an idea. 0:18:41.920 --> 0:18:44.879 For example, I say, I think this should be lit 0:18:44.960 --> 0:18:47.320 in this way and I want the camera to start 0:18:47.400 --> 0:18:51.280 here and I want this to happen. And someone you 0:18:51.280 --> 0:18:53.439 know from art will go, well, we can't do that 0:18:53.560 --> 0:18:55.600 because you know the thing is not ready or this 0:18:55.720 --> 0:18:58.400 or that or the light it's near. And my mom, 0:18:58.440 --> 0:19:03.040 which would would basically just make them do what I wanted. 0:19:05.520 --> 0:19:07.359 So it wasn't that she was critical about what I 0:19:07.400 --> 0:19:11.359 was doing. She was actually respecting to the letter. Yeah, 0:19:11.400 --> 0:19:12.640 one of the things that. 0:19:12.640 --> 0:19:14.359 Your artistic were choices. 0:19:14.920 --> 0:19:19.000 Yeah, And and no, she's never really she's never really 0:19:19.040 --> 0:19:20.639 said oh, you should cut it this way or you 0:19:20.640 --> 0:19:23.359 should change this. She always trusted in whatever I wanted 0:19:23.359 --> 0:19:23.600 to do. 0:19:24.520 --> 0:19:26.600 Which it sounds like you guys have like an artist 0:19:26.680 --> 0:19:29.080 to artist relationship, like you were talking about, sort of 0:19:29.080 --> 0:19:29.960 that working relationship. 0:19:30.000 --> 0:19:31.240 There's times you can talk about it. 0:19:31.280 --> 0:19:34.200 And there's a thing about artists. We are so vulnerable 0:19:35.160 --> 0:19:39.720 and so it hangs by a thread, like our purity 0:19:39.840 --> 0:19:42.879 hangs by like this. Right. So, so when you know, 0:19:42.960 --> 0:19:45.000 when you're convinced of something, you want to do and 0:19:45.040 --> 0:19:49.120 you want to do it this way and whatever. You 0:19:49.240 --> 0:19:53.560 also have to arm yourself with the strength to defend 0:19:53.600 --> 0:19:58.680 it constant and it can be exhausting. And so when 0:19:58.720 --> 0:20:01.879 you have a parent and who is kind of like 0:20:01.960 --> 0:20:06.920 your colleague who's gone, well, he wants this right, everybody 0:20:07.440 --> 0:20:11.320 don't change it right, It's it's kind of amazing. I 0:20:11.640 --> 0:20:14.879 love her for it. I love her because sometimes you 0:20:14.920 --> 0:20:16.960 don't get that at all in this industry, Like you 0:20:17.000 --> 0:20:18.760 get people pushing, pushing of. 0:20:18.720 --> 0:20:21.200 Course, yeah, everyone's trying to elbow each other out of 0:20:21.200 --> 0:20:21.480 the way. 0:20:21.920 --> 0:20:25.040 Yeah. I actually I love working on like small films, 0:20:25.320 --> 0:20:27.960 independent films, because you are you're all in there, all 0:20:28.040 --> 0:20:29.760 doing everyone's doing it all, you know what I mean. 0:20:29.800 --> 0:20:30.440 Like you're all just. 0:20:30.440 --> 0:20:34.200 Kind of in the muck together, creating and doing and 0:20:34.280 --> 0:20:38.360 like it's it's you know again, as an artist, you're 0:20:38.400 --> 0:20:40.040 just like, this is what I love. Is like the 0:20:40.160 --> 0:20:41.680 you know, the playing in the mud and the dirt 0:20:41.680 --> 0:20:44.440 and making something out of you know, whatever, if people 0:20:44.520 --> 0:20:47.040 knew what was going on outside of the shot of 0:20:47.080 --> 0:20:49.840 the camera, you know what I mean, it's like the 0:20:49.880 --> 0:20:52.640 magic that we get to create is really fun. Amongst 0:20:52.640 --> 0:20:53.600 the chaos. 0:20:53.840 --> 0:20:56.439 What's what's been your favorite kind of indie moment. 0:20:57.960 --> 0:21:01.480 Aren't something I mean, you know, honestly, most of the 0:21:01.600 --> 0:21:04.679 like small independent stuff I work on has been for 0:21:04.720 --> 0:21:08.960 Hallmark or for Lifetime. But still like you have, you know, 0:21:09.000 --> 0:21:12.920 twenty days to shoot a ninety seven page movie like there, 0:21:13.000 --> 0:21:15.480 you know, even if you're like, okay, I'm not, it's 0:21:16.000 --> 0:21:18.520 you know, there's not there's no scenes like there are 0:21:18.560 --> 0:21:20.760 in Before We Forget, But it's still like you're having 0:21:20.760 --> 0:21:22.240 to kind of be in the grind and do whatever, 0:21:22.320 --> 0:21:25.159 and you know, and everyone's making it work and no 0:21:25.200 --> 0:21:28.760 one's getting over time and you know, here at hour twelve, 0:21:28.840 --> 0:21:34.480 and but yeah, I'm actually there's a couple scripts that 0:21:34.600 --> 0:21:39.040 I'm working on right now, like producing stuff that are 0:21:39.560 --> 0:21:41.680 again very different, very like things that we're kind of 0:21:41.720 --> 0:21:45.520 having to like really fight for creative choices. So we'll see, 0:21:45.560 --> 0:21:47.800 we'll see the goes anywhere. I mean, we're just still 0:21:47.800 --> 0:21:49.640 in the kind of the writing and creating process. 0:21:49.720 --> 0:21:51.679 I look forward to seeing that because I do remember, 0:21:51.760 --> 0:21:56.000 I mean, you you were always both actually Andrea writing 0:21:56.040 --> 0:22:02.119 the one of the episodes and you're directing. I'm pretty 0:22:02.280 --> 0:22:07.320 curious to see also that vein that you actually you 0:22:07.359 --> 0:22:10.840 both have Andrew I'm still waiting on that show that 0:22:10.880 --> 0:22:11.760 we're going to do together. 0:22:12.440 --> 0:22:12.800 I am. 0:22:13.280 --> 0:22:15.800 Well, look, if you need a director, I'm just saying, I. 0:22:15.840 --> 0:22:19.520 Mean, let's make it happen. Yea on somebody, Warner Brothers, anybody, 0:22:19.880 --> 0:22:20.280 I mean, and. 0:22:20.320 --> 0:22:22.879 I will say it on the podcast, anybody that's looking 0:22:22.880 --> 0:22:23.119 for it. 0:22:23.200 --> 0:22:23.240 Not. 0:22:24.320 --> 0:22:26.479 We have a great script. We're ready to go. 0:22:26.680 --> 0:22:28.800 It actually is ready to go. Yeah, yeah, ready to go. 0:22:29.400 --> 0:22:32.119 Just hand us some money, that's it. Hand us the money. 0:22:32.200 --> 0:22:33.800 We're gonna go do the thing. It's gonna be great. 0:22:33.840 --> 0:22:35.600 We'll take care of all of it. Don't eve worry 0:22:35.600 --> 0:22:37.760 about it. JP's got it. JP and his mom are 0:22:37.760 --> 0:22:38.600 going to handle everything. 0:22:39.480 --> 0:22:42.960 Yeah, JP mom costumes are done. 0:22:43.560 --> 0:22:44.600 Done, they're already sown. 0:22:44.720 --> 0:22:44.920 Yeah. 0:22:44.960 --> 0:22:45.360 Yeah. 0:22:45.440 --> 0:22:45.680 Yeah. 0:22:45.720 --> 0:22:47.520 And don't don't tell her that you don't like him, 0:22:47.560 --> 0:22:49.679 because she is going to. 0:22:49.720 --> 0:22:52.119 Be she'll have opinions. 0:22:52.840 --> 0:22:54.720 Yeah, that's it. That's what you're getting now. 0:22:55.000 --> 0:22:58.720 So your mom was in the film. Your dad made 0:22:58.720 --> 0:23:02.840 a cameo. He played was he the grandfather? He played Grandpa? 0:23:04.960 --> 0:23:05.199 I have. 0:23:05.280 --> 0:23:08.840 My grandpa was in a wheelchair. I don't even know 0:23:08.880 --> 0:23:11.000 if you see the wheelchair in the movie, but we 0:23:11.080 --> 0:23:15.200 had a wheelchair for him. He's in this sweet scene 0:23:15.200 --> 0:23:18.760 in Winnesida, is with the family. I needed. I wanted him, 0:23:19.000 --> 0:23:21.919 wanted him there, and he's so sweet, my dad. But 0:23:22.000 --> 0:23:25.960 actually that wasn't really his day job and the shoot. 0:23:26.000 --> 0:23:32.119 He was actually the transport manager, a transport that's it captain, 0:23:32.160 --> 0:23:34.520