1 00:00:00,360 --> 00:00:10,959 Speaker 1: Quest Loft Show is a production of iHeartRadio. We's Up, y'all. 2 00:00:11,080 --> 00:00:13,480 Speaker 2: Welcome to the Quest Love Show, new era and format 3 00:00:13,480 --> 00:00:14,160 Speaker 2: for QLs. 4 00:00:14,680 --> 00:00:16,520 Speaker 1: After close to a decade. 5 00:00:16,160 --> 00:00:18,880 Speaker 2: Of award winning podcast that you Know and Love, I'm 6 00:00:18,880 --> 00:00:21,840 Speaker 2: back from a lengthy hiatus to have conversations with people 7 00:00:22,120 --> 00:00:24,239 Speaker 2: I always wanted to get to know on a deeper level. 8 00:00:24,840 --> 00:00:28,520 Speaker 2: Earlier this week, I spoke to Autumn Derout Archipele. If 9 00:00:28,520 --> 00:00:32,520 Speaker 2: you've seen Sinners or Black Panther or Condu Forever, you've 10 00:00:32,600 --> 00:00:34,960 Speaker 2: experienced Autumn's incredible. 11 00:00:34,320 --> 00:00:35,960 Speaker 1: Work as a cinematographer. 12 00:00:36,360 --> 00:00:40,000 Speaker 2: She also shot Beasty Boys Story and The Last Show 13 00:00:40,040 --> 00:00:42,680 Speaker 2: Girl and As He's and Sorry It's Right Now Special. 14 00:00:43,240 --> 00:00:45,879 Speaker 2: She collaborates on a higher level with Brian Coogler and 15 00:00:45,880 --> 00:00:46,640 Speaker 2: Spike Jones. 16 00:00:47,200 --> 00:00:48,760 Speaker 1: Autumn is a maverick. 17 00:00:48,720 --> 00:00:52,400 Speaker 2: And I love how she was open about setting boundaries 18 00:00:52,400 --> 00:00:56,040 Speaker 2: and a work, her influences, and how she finds joy 19 00:00:56,120 --> 00:00:59,600 Speaker 2: and family and tennis, Yes, tennis. As you're hear in 20 00:00:59,640 --> 00:01:04,520 Speaker 2: this comment, Autumn is soulful, innovative, and deeply passionate about 21 00:01:04,520 --> 00:01:07,160 Speaker 2: her craft. I told her at the end of our 22 00:01:07,240 --> 00:01:10,320 Speaker 2: top at I want to work with her someday, and 23 00:01:10,360 --> 00:01:13,600 Speaker 2: I meant that to the fullest. That feeling only deepened 24 00:01:13,640 --> 00:01:18,080 Speaker 2: after learning how she builds a vision, welcomes improvisation, and 25 00:01:18,200 --> 00:01:21,880 Speaker 2: captures a wider perspective on life and art. 26 00:01:22,680 --> 00:01:24,200 Speaker 1: My vision for this new chapter of. 27 00:01:24,440 --> 00:01:27,240 Speaker 2: LS is to get to know people I already do 28 00:01:27,360 --> 00:01:30,600 Speaker 2: on a different plane. And you know, we get to 29 00:01:30,640 --> 00:01:34,320 Speaker 2: meet new voices who inspired me and Autumn Deroud Archapyle 30 00:01:34,840 --> 00:01:38,440 Speaker 2: inspires me first with a work and men with this conversation. 31 00:01:38,520 --> 00:01:40,880 Speaker 1: So please enjoy. Make sure you've. 32 00:01:40,680 --> 00:01:44,640 Speaker 2: Seen Sinners as Award Seasons is approaching. I highly recommend 33 00:01:44,640 --> 00:01:48,720 Speaker 2: it and look out for her upcoming collaboration with Ryan Coogler, which. 34 00:01:48,560 --> 00:01:49,560 Speaker 1: Is The X Files. 35 00:01:49,800 --> 00:01:52,400 Speaker 2: All right, thank you for joining us today. 36 00:01:52,480 --> 00:01:53,040 Speaker 1: How are you? 37 00:01:53,080 --> 00:01:55,560 Speaker 3: Thank you? No, your voice is so familiar to me. 38 00:01:56,000 --> 00:01:58,320 Speaker 3: It's like, you know, when you don't know somebody but 39 00:01:58,440 --> 00:02:01,720 Speaker 3: you've seen them you and listen to them. Wow, it 40 00:02:01,720 --> 00:02:03,559 Speaker 3: makes you feel like you know them, but you don't 41 00:02:03,600 --> 00:02:06,200 Speaker 3: know them. So it's nice to meet you. 42 00:02:06,800 --> 00:02:09,399 Speaker 2: It's not false modesty, but I'm always under the impression 43 00:02:09,440 --> 00:02:12,000 Speaker 2: that no one knows me, so I'm approaching this is 44 00:02:12,040 --> 00:02:13,720 Speaker 2: if you never heard of me, or don't know who 45 00:02:13,800 --> 00:02:17,280 Speaker 2: I am, or you know, but yeah, we're meeting we've 46 00:02:17,720 --> 00:02:18,480 Speaker 2: never met before. 47 00:02:18,600 --> 00:02:22,040 Speaker 3: Correct, I don't think, No, we actually haven't met before. No. 48 00:02:22,280 --> 00:02:25,640 Speaker 3: The appreciation is ditto, So thank you for all of that. 49 00:02:25,800 --> 00:02:26,560 Speaker 3: I appreciate that. 50 00:02:26,919 --> 00:02:28,480 Speaker 1: Thank you, Thank you. All right. 51 00:02:28,840 --> 00:02:32,480 Speaker 2: My first question to you is, can you describe to 52 00:02:32,520 --> 00:02:37,000 Speaker 2: me the first twenty minutes of your morning This. 53 00:02:37,000 --> 00:02:40,120 Speaker 3: Morning, I have a son. He is nine years old, 54 00:02:40,400 --> 00:02:44,080 Speaker 3: but my husband's also DP. When we're both in town, 55 00:02:44,840 --> 00:02:47,600 Speaker 3: it is my job to get up and do all 56 00:02:47,639 --> 00:02:49,840 Speaker 3: the things that you would to get a child ready. 57 00:02:50,240 --> 00:02:52,600 Speaker 3: So I woke up, and I did set an alarm 58 00:02:52,600 --> 00:02:55,919 Speaker 3: because I just got back from Scad Film Festival where 59 00:02:55,960 --> 00:02:58,040 Speaker 3: we got to screen Sinners and talk about it. So 60 00:02:58,120 --> 00:03:01,480 Speaker 3: I woke up, I woke him up, I got his 61 00:03:01,560 --> 00:03:05,760 Speaker 3: lunch ready, I got it, his breakfast ready, his long hair, 62 00:03:05,840 --> 00:03:08,400 Speaker 3: so I brushed his hair and I chased him out 63 00:03:08,440 --> 00:03:10,680 Speaker 3: the door and his father took him to school. Then 64 00:03:10,720 --> 00:03:14,280 Speaker 3: I rushed to get ready for the zoom. And that's 65 00:03:14,320 --> 00:03:14,800 Speaker 3: what it was. 66 00:03:15,200 --> 00:03:15,519 Speaker 1: Okay. 67 00:03:15,560 --> 00:03:20,120 Speaker 2: So, as a child who grew up with parents that 68 00:03:20,160 --> 00:03:23,760 Speaker 2: did the same thing for a living, I got tricked 69 00:03:24,080 --> 00:03:28,240 Speaker 2: into the family business. Both my parents were singers. By 70 00:03:28,240 --> 00:03:29,080 Speaker 2: the time I was born. 71 00:03:29,120 --> 00:03:33,560 Speaker 1: They were nightclub loungejacks. So yeah, in the seventies. 72 00:03:34,200 --> 00:03:37,480 Speaker 2: I was there from like five until you're really when 73 00:03:37,480 --> 00:03:41,200 Speaker 2: the roots started, so like from age five till eighteen. 74 00:03:42,200 --> 00:03:44,920 Speaker 2: I got tricked into the family business, mostly because they 75 00:03:44,920 --> 00:03:48,080 Speaker 2: didn't trust The idea of a babysitter wasn't a thing 76 00:03:48,160 --> 00:03:53,040 Speaker 2: until the late eighties. So in the seventies, you it's 77 00:03:53,120 --> 00:03:55,760 Speaker 2: like farm work. You just and I'm in the nightclub 78 00:03:55,920 --> 00:04:00,480 Speaker 2: at one in the morning, like operating lights, cutting gels, monitors, 79 00:04:00,480 --> 00:04:04,839 Speaker 2: all those things. If both of you do the same thing, 80 00:04:05,240 --> 00:04:10,240 Speaker 2: is there a hope that there's a creative epigenetic passing 81 00:04:10,280 --> 00:04:15,760 Speaker 2: of the torch? Are you leaving camera equipment? His version 82 00:04:15,800 --> 00:04:19,040 Speaker 2: of my first sony like you know, no. 83 00:04:19,400 --> 00:04:23,839 Speaker 3: I mean, I think for me, the allure is if 84 00:04:23,839 --> 00:04:26,960 Speaker 3: he does have an interest when he say, thirteen fourteen 85 00:04:27,720 --> 00:04:30,000 Speaker 3: in operating a camera, then I get to be close 86 00:04:30,040 --> 00:04:32,200 Speaker 3: to him because we only have one child, and then 87 00:04:32,240 --> 00:04:34,200 Speaker 3: I could bring in with me on all my jobs. Right, 88 00:04:34,279 --> 00:04:36,880 Speaker 3: So if he's really into it, it just allows me 89 00:04:37,240 --> 00:04:39,279 Speaker 3: to spend time with him because you know, when we 90 00:04:39,360 --> 00:04:41,719 Speaker 3: make these films, as you know, when you do music, 91 00:04:42,040 --> 00:04:44,440 Speaker 3: you're away for long periods of time. You have to 92 00:04:44,560 --> 00:04:49,400 Speaker 3: juggle life and you know, schedules, so he is interested. 93 00:04:49,440 --> 00:04:51,840 Speaker 3: I wouldn't say it's like his top thing. You know, 94 00:04:51,960 --> 00:04:54,360 Speaker 3: he's he's kind of a builder. He likes building stuff. 95 00:04:54,400 --> 00:04:56,560 Speaker 3: But he did bring his camera because he has a 96 00:04:56,640 --> 00:04:59,960 Speaker 3: nice camera to his camping trip recently and made a 97 00:05:00,000 --> 00:05:02,520 Speaker 3: bunch of videos and he was the only kid doing it. 98 00:05:02,560 --> 00:05:05,880 Speaker 3: So it's there. I'm just not, you know, on the cusp. 99 00:05:06,000 --> 00:05:08,320 Speaker 3: It's just like maybe it'll take off. Maybe. 100 00:05:08,839 --> 00:05:13,920 Speaker 1: What was your first creative project in life? 101 00:05:14,160 --> 00:05:17,360 Speaker 3: What I can remember the most, I think is being 102 00:05:17,400 --> 00:05:20,040 Speaker 3: in high school and you know they have the labs, 103 00:05:20,080 --> 00:05:23,479 Speaker 3: the photography labs. Yeah, the first time I felt like 104 00:05:23,720 --> 00:05:27,360 Speaker 3: ownership of something that I made was the black and 105 00:05:27,400 --> 00:05:31,120 Speaker 3: white photography class I took and having to go out there, 106 00:05:31,120 --> 00:05:33,240 Speaker 3: you know, the assignment like go take some pictures whatever 107 00:05:33,279 --> 00:05:35,400 Speaker 3: you like, like go talk to some people. And I 108 00:05:35,400 --> 00:05:37,440 Speaker 3: remember taking a bunch of pictures and I still have 109 00:05:37,560 --> 00:05:40,440 Speaker 3: them printed in a book. They're black and white. And 110 00:05:40,480 --> 00:05:42,839 Speaker 3: I felt like a sense of power because I had 111 00:05:42,960 --> 00:05:45,080 Speaker 3: made something. But also it was my own right, it 112 00:05:45,120 --> 00:05:47,520 Speaker 3: was my perspective. I've never been asked that, but it 113 00:05:48,560 --> 00:05:50,720 Speaker 3: immediately came to mind. So I feel like it had 114 00:05:50,760 --> 00:05:52,280 Speaker 3: to be that class because that was the first time 115 00:05:52,320 --> 00:05:55,960 Speaker 3: I think I did anything like I never I wasn't 116 00:05:55,960 --> 00:05:59,239 Speaker 3: a painter, I wasn't good at drawing. So that photography class, 117 00:05:59,240 --> 00:06:02,280 Speaker 3: I think was important. And like I guess that would 118 00:06:02,279 --> 00:06:03,159 Speaker 3: be like ninth grade. 119 00:06:03,520 --> 00:06:05,960 Speaker 1: Okay, what year was that? Do you remember who? 120 00:06:07,120 --> 00:06:11,280 Speaker 3: Let's call it ninety four, nineteen ninety four, ninety five. 121 00:06:11,839 --> 00:06:15,520 Speaker 2: Before then, was there a passion for photography? Were you 122 00:06:16,200 --> 00:06:20,039 Speaker 2: reading magazines and seeing like her Brits or any Leewoods 123 00:06:20,160 --> 00:06:20,960 Speaker 2: or any like? 124 00:06:21,720 --> 00:06:24,720 Speaker 1: Did you have a north star for photography? 125 00:06:25,720 --> 00:06:29,400 Speaker 3: It's interesting because I don't have anyone. Like my mom 126 00:06:29,440 --> 00:06:32,880 Speaker 3: works in business. She always traveled a lot. She raised me. 127 00:06:32,920 --> 00:06:35,640 Speaker 3: It was just me and my mom. I'm just myself 128 00:06:36,120 --> 00:06:38,599 Speaker 3: and she was a single mom until she remarried and 129 00:06:38,680 --> 00:06:41,000 Speaker 3: when I was in eighth grade. But you know, as 130 00:06:41,080 --> 00:06:43,200 Speaker 3: far as like she would take me to films, we 131 00:06:43,200 --> 00:06:45,640 Speaker 3: would go to museums. I always had art around me. 132 00:06:46,040 --> 00:06:50,400 Speaker 3: But my grandparents my mother's side is Filipino and she 133 00:06:50,560 --> 00:06:52,520 Speaker 3: was born in England and he was in the service, 134 00:06:53,040 --> 00:06:55,479 Speaker 3: and they traveled the world for his job, Like he 135 00:06:55,480 --> 00:06:57,680 Speaker 3: would be stationed in London and then he would go 136 00:06:57,800 --> 00:07:00,839 Speaker 3: to the Americas in New York and they my grandmother 137 00:07:00,839 --> 00:07:03,360 Speaker 3: always took photographs. I can't show you right now. It's 138 00:07:03,360 --> 00:07:05,720 Speaker 3: on a wall, but a lot of the photographs are 139 00:07:05,760 --> 00:07:09,159 Speaker 3: black and white photographs where they're center punched, and it's 140 00:07:09,279 --> 00:07:12,200 Speaker 3: just like single shots of like my grandmother in New 141 00:07:12,280 --> 00:07:15,440 Speaker 3: York or my grandmother in London, and they were always around, 142 00:07:15,440 --> 00:07:17,640 Speaker 3: Like my mom always had him around, And that must 143 00:07:17,640 --> 00:07:21,440 Speaker 3: have had an impact because till this day, like the 144 00:07:21,440 --> 00:07:24,120 Speaker 3: way that I frame, I find that there's similarities. But 145 00:07:24,160 --> 00:07:27,560 Speaker 3: that's like the first relationship I had with photography before 146 00:07:27,800 --> 00:07:32,720 Speaker 3: doing art history in LMU undergrad where you're learning about 147 00:07:32,800 --> 00:07:36,080 Speaker 3: you know, roth Cooe, where you're learning about Eggleston and 148 00:07:36,640 --> 00:07:39,200 Speaker 3: then you're more versed in it. But they always had 149 00:07:39,240 --> 00:07:41,360 Speaker 3: photos around our house growing up. 150 00:07:41,880 --> 00:07:43,520 Speaker 1: You went to LMU, I did. 151 00:07:43,560 --> 00:07:44,920 Speaker 3: I went to ELMU for undergrad. 152 00:07:45,000 --> 00:07:50,640 Speaker 2: Yeah, okay, despite my quest loveness, I have a major 153 00:07:50,680 --> 00:07:55,520 Speaker 2: fear of public speaking, kind of a therapeutic challenge. This 154 00:07:55,640 --> 00:07:59,960 Speaker 2: was like December of the year before in twenty twenty five, 155 00:08:00,120 --> 00:08:03,560 Speaker 2: or my therapist was like she knew that Noah was 156 00:08:03,600 --> 00:08:06,880 Speaker 2: my favorite word. When it came to hey, quest, come 157 00:08:06,920 --> 00:08:09,120 Speaker 2: speak to the kids, Hey chus, you want to talk 158 00:08:09,120 --> 00:08:12,080 Speaker 2: to these you know, like and so it just so 159 00:08:12,240 --> 00:08:16,440 Speaker 2: happened that LMU had given me an offer to speak 160 00:08:16,480 --> 00:08:23,280 Speaker 2: to the graduating class, and I begrudgingly did it. Weird enough, 161 00:08:23,400 --> 00:08:26,680 Speaker 2: I've made it about me by just telling that class 162 00:08:26,680 --> 00:08:28,920 Speaker 2: how scared I was to do this, And somehow it 163 00:08:28,960 --> 00:08:29,480 Speaker 2: became like. 164 00:08:29,600 --> 00:08:35,160 Speaker 3: Yeah, when was that obviously before the podcast, like before 165 00:08:35,200 --> 00:08:37,800 Speaker 3: this year? 166 00:08:38,120 --> 00:08:42,079 Speaker 2: Yeah, well, okay, you know previously with the podcast. Uh, 167 00:08:42,360 --> 00:08:46,440 Speaker 2: you know, I had four other co hosts with me, Like, 168 00:08:46,520 --> 00:08:49,760 Speaker 2: I like community work, but when it's like one on one, 169 00:08:50,040 --> 00:08:52,079 Speaker 2: that's like there's too much intimacy. 170 00:08:52,320 --> 00:08:53,400 Speaker 1: So even this is. 171 00:08:53,360 --> 00:08:57,960 Speaker 2: More or less like a somewhat cathartic therapeutic exercise. 172 00:08:58,320 --> 00:09:00,880 Speaker 3: I was going to say, yeah, I like that, no thing. 173 00:09:01,360 --> 00:09:04,880 Speaker 2: I specifically wanted to talk to people like one that 174 00:09:04,920 --> 00:09:06,840 Speaker 2: I didn't know, like the back of my hand, and 175 00:09:07,160 --> 00:09:10,040 Speaker 2: you know, kind of two strangers meetings. So that's what 176 00:09:10,080 --> 00:09:15,319 Speaker 2: I'm doing. What is your favorite childhood memory from your home. 177 00:09:16,200 --> 00:09:17,880 Speaker 2: It doesn't have to be in a major event like 178 00:09:17,880 --> 00:09:19,760 Speaker 2: oh that time we went to Disneyland or whatever, but 179 00:09:19,880 --> 00:09:22,640 Speaker 2: just like, what's your version of a happy moment from 180 00:09:22,679 --> 00:09:23,280 Speaker 2: your childhood? 181 00:09:24,040 --> 00:09:28,600 Speaker 3: Give me all emotional and shit. I think it's mostly 182 00:09:29,520 --> 00:09:31,720 Speaker 3: like my it was always me and my mom, you 183 00:09:31,720 --> 00:09:32,760 Speaker 3: know together. 184 00:09:33,840 --> 00:09:36,800 Speaker 2: Yeah, what traits of yours do you think that you've 185 00:09:36,840 --> 00:09:39,680 Speaker 2: gotten from your parents, either creative or personal. 186 00:09:40,720 --> 00:09:46,560 Speaker 3: I think she's pretty resilient and very determined person. I 187 00:09:46,600 --> 00:09:49,880 Speaker 3: think being raised by someone and always listening to her 188 00:09:49,960 --> 00:09:53,000 Speaker 3: on the phone and doing her business work because she 189 00:09:53,040 --> 00:09:56,959 Speaker 3: does international trade business and interacting with people. I was 190 00:09:57,000 --> 00:10:00,360 Speaker 3: always worried about her, I think early on, you know, 191 00:10:00,800 --> 00:10:05,080 Speaker 3: going out by herself, because you've become kind of the caretaker, 192 00:10:05,160 --> 00:10:08,079 Speaker 3: you know, if it's just you and her. She's pretty tough. 193 00:10:08,800 --> 00:10:13,680 Speaker 3: So I always tried to follow in those footsteps. And yeah, 194 00:10:13,679 --> 00:10:15,800 Speaker 3: I mean we spent a lot of time together, you know, 195 00:10:15,840 --> 00:10:20,200 Speaker 3: it's just us too. Like I grew up in northern California. 196 00:10:20,760 --> 00:10:23,200 Speaker 1: Which city specifically, well. 197 00:10:23,080 --> 00:10:25,800 Speaker 3: We first started out in San Leandro. I lived in 198 00:10:25,840 --> 00:10:29,319 Speaker 3: Hayward as well, Bay area, you know, near Oakland, and 199 00:10:29,600 --> 00:10:32,079 Speaker 3: we had a little apartment, you know, so I shared 200 00:10:32,080 --> 00:10:34,840 Speaker 3: a room with her early on, and then she moved 201 00:10:34,880 --> 00:10:38,640 Speaker 3: me to Danville, which is a less diverse community, to 202 00:10:38,760 --> 00:10:41,040 Speaker 3: go to a better school because it had a really 203 00:10:41,080 --> 00:10:43,880 Speaker 3: good public school program. So you kind of moved from 204 00:10:43,920 --> 00:10:47,440 Speaker 3: like a diverse area into you know, most you know, 205 00:10:47,520 --> 00:10:50,720 Speaker 3: I was probably the only mixed race kid. Maybe there 206 00:10:50,720 --> 00:10:53,080 Speaker 3: were a couple of black people and a couple of Asians, 207 00:10:53,160 --> 00:10:55,920 Speaker 3: but it was way, you know, nicer environment for her 208 00:10:56,000 --> 00:10:59,439 Speaker 3: to be okay with, like single parenting and having good education. 209 00:11:00,040 --> 00:11:02,040 Speaker 3: But that's my favorite. Yeah, I think just spending time 210 00:11:02,080 --> 00:11:04,800 Speaker 3: with her because I'm that quality time kind of person. 211 00:11:05,440 --> 00:11:08,400 Speaker 3: You know that that fills me up. 212 00:11:09,120 --> 00:11:11,040 Speaker 1: You said that you were a parent. 213 00:11:11,280 --> 00:11:13,360 Speaker 2: Is there a trade of yours that you feel like 214 00:11:13,440 --> 00:11:17,200 Speaker 2: you've passed onward to your child? Yeah. 215 00:11:17,200 --> 00:11:19,560 Speaker 3: I think my husband and I are always telling him 216 00:11:19,640 --> 00:11:22,840 Speaker 3: like and I believe it because I think, you know, 217 00:11:22,880 --> 00:11:24,760 Speaker 3: my mom told me, but you can do anything you 218 00:11:24,760 --> 00:11:28,080 Speaker 3: want to do, you know, you really anything that inspire you, 219 00:11:29,360 --> 00:11:32,880 Speaker 3: anything that you feel in your bones. Make sure you 220 00:11:32,920 --> 00:11:35,000 Speaker 3: know we're there to help you with that, but also 221 00:11:35,120 --> 00:11:37,480 Speaker 3: that like you, you have the ability to do that. 222 00:11:38,160 --> 00:11:40,760 Speaker 3: And I think I was told that. My husband grew 223 00:11:40,840 --> 00:11:43,160 Speaker 3: up in a very supportive He's Australian, but he has 224 00:11:43,160 --> 00:11:46,520 Speaker 3: a big family, a very loving family, and I do 225 00:11:46,559 --> 00:11:48,960 Speaker 3: feel like I reiterate that to my son a lot. 226 00:11:49,320 --> 00:11:51,640 Speaker 2: So is it true that a friend of yours gifted 227 00:11:51,679 --> 00:11:55,719 Speaker 2: you or purchased you a cinematography class at UCLA. 228 00:11:56,679 --> 00:12:00,560 Speaker 3: Yeah, isn't that crazy. I haven't emailed him for a while. 229 00:12:01,160 --> 00:12:05,480 Speaker 3: But when I graduated LMU, I got a job for 230 00:12:05,600 --> 00:12:07,680 Speaker 3: AOL time warner. I was a temp you know, I 231 00:12:07,720 --> 00:12:10,600 Speaker 3: had to like graduate get some money, and I got 232 00:12:10,640 --> 00:12:14,080 Speaker 3: a temp job through a friend and I had to input. 233 00:12:14,120 --> 00:12:16,839 Speaker 3: Like you remember when AOL had banners, Like it was 234 00:12:16,880 --> 00:12:19,280 Speaker 3: the early stages, and the banners would pop up all 235 00:12:19,280 --> 00:12:21,040 Speaker 3: over the place, like on the side and the top, 236 00:12:21,600 --> 00:12:23,959 Speaker 3: and it would be like right, like buy this car, 237 00:12:24,040 --> 00:12:27,360 Speaker 3: buy this Honda. I used to put together spreadsheets for 238 00:12:27,480 --> 00:12:31,040 Speaker 3: those banners and support someone who was doing auto sales online. 239 00:12:31,559 --> 00:12:33,199 Speaker 3: So I had a cubicle at a desk and I 240 00:12:33,200 --> 00:12:35,000 Speaker 3: would do that. I would input all the stuff in 241 00:12:35,280 --> 00:12:39,160 Speaker 3: you know, nice little paycheck. And I just started to 242 00:12:39,200 --> 00:12:42,360 Speaker 3: be interested in cinematography. And I remember telling him and 243 00:12:42,440 --> 00:12:45,600 Speaker 3: his father owned els, which is one of the biggest 244 00:12:45,679 --> 00:12:49,400 Speaker 3: lighting companies that works with the premiers or big events 245 00:12:49,440 --> 00:12:52,040 Speaker 3: around Los Angeles. So there's like this weird through line. 246 00:12:52,440 --> 00:12:54,120 Speaker 3: And then on the side he's like, you know what, 247 00:12:54,120 --> 00:12:56,960 Speaker 3: I'll help you buy that class. Like I looked into 248 00:12:57,000 --> 00:12:59,280 Speaker 3: a night class. So when I would get off work, 249 00:13:00,120 --> 00:13:03,080 Speaker 3: go to UCLA for the cinematography class like a little 250 00:13:03,120 --> 00:13:06,520 Speaker 3: semester class, and I would learn what being a DP meant. 251 00:13:07,679 --> 00:13:10,040 Speaker 3: I did the class, I loved it, and then I 252 00:13:10,160 --> 00:13:13,040 Speaker 3: decided to quit, and he got me a job working 253 00:13:13,080 --> 00:13:16,960 Speaker 3: at els to help lay the red carpet and put 254 00:13:17,000 --> 00:13:19,960 Speaker 3: up the lights for the premieres. So I did, like 255 00:13:20,120 --> 00:13:23,840 Speaker 3: Mission Impossible, Devilwaar's product, you were on the night shift. 256 00:13:24,040 --> 00:13:25,720 Speaker 3: So I don't know if you've been to a premiere 257 00:13:25,840 --> 00:13:28,040 Speaker 3: a little early, but you see people crawling around taping 258 00:13:28,120 --> 00:13:29,440 Speaker 3: up the carpet, putting the lights up. 259 00:13:29,800 --> 00:13:30,199 Speaker 1: Totally. 260 00:13:30,640 --> 00:13:34,520 Speaker 2: I'm the DJ that they'll hire sometimes for events. Oh yes, 261 00:13:34,920 --> 00:13:36,720 Speaker 2: So I have to be there early to set up 262 00:13:36,840 --> 00:13:39,439 Speaker 2: and like, I love how the sausage is made in 263 00:13:39,559 --> 00:13:43,480 Speaker 2: any thing that I go to. So as a new director, 264 00:13:43,760 --> 00:13:48,680 Speaker 2: speaking of myself, I'm learning fast that my you know, 265 00:13:48,840 --> 00:13:52,920 Speaker 2: team has to be intact. I initially thought that as 266 00:13:52,960 --> 00:13:57,880 Speaker 2: a director that I'm part of the starting five players 267 00:13:57,920 --> 00:14:01,240 Speaker 2: on the floor, and I learned quickly that I'm the 268 00:14:01,240 --> 00:14:07,320 Speaker 2: coach and the cinematographer, the editor, the writer, the soundman, 269 00:14:07,600 --> 00:14:10,839 Speaker 2: the colorists, like all those people are the starting five, 270 00:14:11,120 --> 00:14:15,400 Speaker 2: and you're the coach. So because I came in backwards. 271 00:14:14,920 --> 00:14:16,080 Speaker 1: At the top of the pyramid. 272 00:14:16,600 --> 00:14:20,720 Speaker 2: Yeah, you know, for most people in film, I noticed that, yes, 273 00:14:20,760 --> 00:14:25,280 Speaker 2: there's a pecking order for you. Was the desired destination 274 00:14:25,560 --> 00:14:27,040 Speaker 2: always cinematography. 275 00:14:27,720 --> 00:14:30,320 Speaker 3: My comfort zone is definitely where I'm at. I mean, 276 00:14:30,360 --> 00:14:33,160 Speaker 3: I get asked a lot, I think, being a female 277 00:14:33,240 --> 00:14:36,160 Speaker 3: DP at this level, because there aren't that many of us, 278 00:14:36,400 --> 00:14:40,840 Speaker 3: you know, shooting this level of film historically, so the 279 00:14:40,960 --> 00:14:43,520 Speaker 3: question comes up a lot, well are you interested in directing? 280 00:14:43,520 --> 00:14:45,960 Speaker 3: And I think why that is is because you know, 281 00:14:46,000 --> 00:14:48,680 Speaker 3: you get to a point on set where you're very 282 00:14:48,760 --> 00:14:51,200 Speaker 3: versed in how a set's run. You're next to the 283 00:14:51,200 --> 00:14:53,160 Speaker 3: director all the time I work with, you know, I 284 00:14:53,240 --> 00:14:55,440 Speaker 3: do the big budget films with a lot of the effects. 285 00:14:55,440 --> 00:14:59,280 Speaker 3: So they always just imagine, okay, well, well you must 286 00:14:59,280 --> 00:15:01,800 Speaker 3: be interested in direct now, you know. And I think 287 00:15:01,840 --> 00:15:04,160 Speaker 3: it's an interesting thing because I've now gotten to the 288 00:15:04,200 --> 00:15:07,120 Speaker 3: point of my career where you work so hard as 289 00:15:07,240 --> 00:15:09,880 Speaker 3: a female DP to be able to do those things, 290 00:15:09,920 --> 00:15:11,880 Speaker 3: and then now they're already trying to like ask you 291 00:15:11,920 --> 00:15:14,560 Speaker 3: to go this direction. So I hear that question a lot. 292 00:15:15,040 --> 00:15:18,480 Speaker 3: But I'm so I think passionate about the way things 293 00:15:18,520 --> 00:15:22,040 Speaker 3: are shot and lighting that I could never give that 294 00:15:22,200 --> 00:15:25,280 Speaker 3: up right, so it's easy for me to position myself. 295 00:15:25,320 --> 00:15:26,920 Speaker 3: And Ryan's like, hey, do you want to do this 296 00:15:27,000 --> 00:15:30,800 Speaker 3: Rihana video that's up my alley Because it's music related, 297 00:15:30,840 --> 00:15:33,120 Speaker 3: it's beauty related. I get to work one on one 298 00:15:33,200 --> 00:15:36,640 Speaker 3: with a star and make them look beautiful and make 299 00:15:36,680 --> 00:15:40,320 Speaker 3: them feel comfortable. But no, I think I'm lucky to 300 00:15:40,400 --> 00:15:43,480 Speaker 3: have found a partner in Ryan because we have similar 301 00:15:43,520 --> 00:15:47,520 Speaker 3: tastes and we like the same things, and I understand 302 00:15:47,640 --> 00:15:51,800 Speaker 3: him really well. But to do his job like it 303 00:15:51,920 --> 00:15:54,600 Speaker 3: is a very very difficult position to be. And as 304 00:15:54,600 --> 00:15:58,280 Speaker 3: you know, I don't have a story that's like so 305 00:15:59,000 --> 00:16:01,000 Speaker 3: in my bones that I have to tell and only 306 00:16:01,040 --> 00:16:03,200 Speaker 3: I'm the only one that can tell it. Not yet, 307 00:16:03,320 --> 00:16:05,160 Speaker 3: you know, maybe in the future there is something that 308 00:16:05,280 --> 00:16:08,800 Speaker 3: only I can tell as a director. But I really 309 00:16:08,800 --> 00:16:12,680 Speaker 3: do enjoy supporting him and the other directors I work with, because, 310 00:16:13,240 --> 00:16:15,440 Speaker 3: as you know, it's just it's a very complex job 311 00:16:15,760 --> 00:16:17,520 Speaker 3: to do everything well. 312 00:16:17,600 --> 00:16:20,920 Speaker 2: Number One, you mentioned Rihanna's Lifted Me Up video. What 313 00:16:21,120 --> 00:16:27,960 Speaker 2: was the creative decision behind doing that handheld as opposed 314 00:16:28,000 --> 00:16:32,800 Speaker 2: to you know, crane and you know this is Rihanna, Like, 315 00:16:33,120 --> 00:16:38,200 Speaker 2: I feel like every director has their uh, their Lawrence 316 00:16:38,240 --> 00:16:42,360 Speaker 2: of Arabia, dream of like the or Citizen King, like 317 00:16:42,400 --> 00:16:43,800 Speaker 2: the sprawling opening scene thing. 318 00:16:44,640 --> 00:16:46,800 Speaker 1: Uh, and you know handheld. 319 00:16:46,400 --> 00:16:49,040 Speaker 2: Is more of a we're all personal intimate things. But 320 00:16:49,720 --> 00:16:52,560 Speaker 2: what was your decision behind shooting it that way? 321 00:16:53,560 --> 00:16:56,440 Speaker 3: Yeah, we had a crane that we used. You know, 322 00:16:56,600 --> 00:16:59,000 Speaker 3: the opening is a water shot. We shot some more 323 00:16:59,040 --> 00:17:03,120 Speaker 3: stuff that I didn't use with the wide shots of 324 00:17:03,160 --> 00:17:05,719 Speaker 3: the water before we went into intimate stuff. So that 325 00:17:05,800 --> 00:17:07,640 Speaker 3: was done on a crane to kind of crawl over 326 00:17:07,680 --> 00:17:10,760 Speaker 3: the sand. But I mean I came up in indies. 327 00:17:10,880 --> 00:17:14,400 Speaker 3: I came up shooting music videos, fashion films that didn't 328 00:17:14,400 --> 00:17:16,960 Speaker 3: have any money. So when you have a camera in 329 00:17:17,000 --> 00:17:19,840 Speaker 3: your hands and it is an extension of yourself and 330 00:17:19,880 --> 00:17:23,359 Speaker 3: your point of view, that's how you learn to find 331 00:17:23,720 --> 00:17:28,400 Speaker 3: where the camera needs to be right. And so I'm 332 00:17:28,480 --> 00:17:31,440 Speaker 3: very much an operator. I've operated most of my films, 333 00:17:31,480 --> 00:17:34,679 Speaker 3: all the stuff that I do. So when I'm having 334 00:17:34,720 --> 00:17:38,159 Speaker 3: to be in a situation where light is falling quickly, 335 00:17:39,119 --> 00:17:40,679 Speaker 3: I want to be with her. I want her to 336 00:17:40,760 --> 00:17:43,040 Speaker 3: move freely and do what she wants, but I also 337 00:17:43,200 --> 00:17:46,399 Speaker 3: want to capture and get the right shots. Then you 338 00:17:46,440 --> 00:17:49,080 Speaker 3: want to take as much control as you can, right 339 00:17:49,119 --> 00:17:51,080 Speaker 3: I don't want to worry about it being on a 340 00:17:51,119 --> 00:17:52,880 Speaker 3: dolly and moving the dolly. Then I have to worry 341 00:17:52,880 --> 00:17:54,440 Speaker 3: about the dolly grip. Then I have to worry about 342 00:17:54,440 --> 00:17:56,520 Speaker 3: all stuff. So I put it in my hands so 343 00:17:56,560 --> 00:17:59,800 Speaker 3: I have the most control and I'm most intimate with her, 344 00:18:00,080 --> 00:18:03,000 Speaker 3: similar to Last Showgirl, you know, with Pamela, like being 345 00:18:03,040 --> 00:18:05,520 Speaker 3: close to the woman so you can move with her 346 00:18:05,760 --> 00:18:07,520 Speaker 3: and find her beauty easily. 347 00:18:08,280 --> 00:18:12,920 Speaker 2: In general, I want to know how much lee way 348 00:18:13,560 --> 00:18:20,440 Speaker 2: or access or preparation are you given to your subjects 349 00:18:20,480 --> 00:18:23,560 Speaker 2: that you're going to film, Like how do you even 350 00:18:23,880 --> 00:18:26,840 Speaker 2: map out the choreography of how you're going to shoot that, 351 00:18:27,720 --> 00:18:31,320 Speaker 2: what their strengths are, what their weaknesses are, or is 352 00:18:31,359 --> 00:18:36,080 Speaker 2: this just taking direction from your director and you executing, 353 00:18:36,880 --> 00:18:41,200 Speaker 2: Like how much leeway are you given to well? Actually, 354 00:18:41,440 --> 00:18:42,359 Speaker 2: why don't we try this? 355 00:18:42,400 --> 00:18:44,840 Speaker 1: And da da da da da. Like specifically, I want 356 00:18:44,840 --> 00:18:46,560 Speaker 1: to know for the Last. 357 00:18:46,320 --> 00:18:50,119 Speaker 3: Show Girl, Okay, well I'll start with that saying I 358 00:18:50,160 --> 00:18:53,720 Speaker 3: think the best thing that you can do is work 359 00:18:53,760 --> 00:18:58,439 Speaker 3: with people that allow you to exercise your creativity and 360 00:18:58,560 --> 00:19:01,160 Speaker 3: have trust in you. Right when I work with Gia, 361 00:19:01,240 --> 00:19:03,720 Speaker 3: you know, we started out running around, we shot Paloouto. 362 00:19:03,760 --> 00:19:05,879 Speaker 3: We're running around with a bunch of kids with her friends. 363 00:19:06,640 --> 00:19:09,000 Speaker 3: She's my best friend, so we talk every day. But 364 00:19:09,040 --> 00:19:10,760 Speaker 3: it's someone I know really well, and I know what 365 00:19:10,800 --> 00:19:14,760 Speaker 3: they like and I know where they want the camera. 366 00:19:15,160 --> 00:19:18,080 Speaker 3: It's intuitive, like I choose people to collaborate with that 367 00:19:18,359 --> 00:19:21,280 Speaker 3: we have that connection. So when it's with her, there's 368 00:19:21,280 --> 00:19:23,760 Speaker 3: a lot of trust in camera that she gives me. 369 00:19:24,040 --> 00:19:27,800 Speaker 3: And that's why that that kind of relationship works. Also 370 00:19:27,880 --> 00:19:30,399 Speaker 3: with that scene, I remember, you have to be the 371 00:19:30,440 --> 00:19:32,760 Speaker 3: best thing you can be as a DP is quick 372 00:19:32,800 --> 00:19:36,439 Speaker 3: to make decisions and have solutions. So I remember I 373 00:19:36,440 --> 00:19:39,399 Speaker 3: didn't have any prep there. I think Gia came up 374 00:19:39,440 --> 00:19:42,320 Speaker 3: and said, Jamie wants to dance on that thing in 375 00:19:42,359 --> 00:19:45,119 Speaker 3: the middle of the casino, right like we have some time, 376 00:19:45,200 --> 00:19:48,000 Speaker 3: you know, in between like some other senior shooting. She 377 00:19:48,040 --> 00:19:50,360 Speaker 3: wants to dance. She's gonna dance to this song. We're 378 00:19:50,400 --> 00:19:52,760 Speaker 3: gonna shoot it. I'm like, all right, cool. So then 379 00:19:53,240 --> 00:19:55,840 Speaker 3: I tell my gaffer, like to position the light and 380 00:19:55,920 --> 00:19:58,520 Speaker 3: a good spot. I just evaluate, you know, that kind 381 00:19:58,560 --> 00:20:00,840 Speaker 3: of podium that she wanted. I picked direction. I said, 382 00:20:00,840 --> 00:20:02,240 Speaker 3: I'm going to shoot it from here because it was 383 00:20:02,280 --> 00:20:04,720 Speaker 3: the best direction for lighting, and I moved a little 384 00:20:04,720 --> 00:20:07,000 Speaker 3: bit of a key light for and then we just 385 00:20:07,080 --> 00:20:09,159 Speaker 3: let her do her thing and I captured it, you know, 386 00:20:09,160 --> 00:20:13,360 Speaker 3: while she was dancing and handhealth and that was it. 387 00:20:13,400 --> 00:20:15,560 Speaker 3: And I think there are a lot of those types 388 00:20:15,600 --> 00:20:19,119 Speaker 3: of moments that in the film like that, because you 389 00:20:19,240 --> 00:20:22,080 Speaker 3: want to be free and vulnerable to like what the 390 00:20:22,119 --> 00:20:24,199 Speaker 3: actor may want to do, but you also want to 391 00:20:24,840 --> 00:20:28,480 Speaker 3: get those moments that the director wants, because Gia loves 392 00:20:28,520 --> 00:20:32,000 Speaker 3: those non communication moments where it's just following women around 393 00:20:32,080 --> 00:20:34,639 Speaker 3: and letting them. Like Pamela, we went on the parking 394 00:20:34,680 --> 00:20:38,520 Speaker 3: lot on a weekend and Pamela just started dancing around 395 00:20:38,720 --> 00:20:41,000 Speaker 3: and being funny and cute and we just captured it. 396 00:20:41,320 --> 00:20:42,880 Speaker 3: So there's a lot of that For. 397 00:20:42,880 --> 00:20:46,240 Speaker 2: You, though, how do you decide the thin line of 398 00:20:47,240 --> 00:20:51,399 Speaker 2: what would be deemed an unflattering shot but staying true 399 00:20:51,480 --> 00:20:56,359 Speaker 2: to what's needed to really make that film come alive. 400 00:20:56,480 --> 00:20:58,520 Speaker 2: Because of course, you know, a lot of us know 401 00:20:59,040 --> 00:21:01,840 Speaker 2: Pamela Anderson for like all these slow motion and glam 402 00:21:01,960 --> 00:21:06,720 Speaker 2: shots and everything's perfectly edited and whatnot. But for you, 403 00:21:07,480 --> 00:21:11,600 Speaker 2: how aware of you on how this has to look 404 00:21:11,760 --> 00:21:12,920 Speaker 2: to make this film come along? 405 00:21:13,640 --> 00:21:16,439 Speaker 3: We had been discussing it Gia and I for a 406 00:21:16,480 --> 00:21:19,720 Speaker 3: long time prior to when we actually ended up shooting it. 407 00:21:20,359 --> 00:21:24,879 Speaker 3: So she was always looking for someone to be vulnerable 408 00:21:25,280 --> 00:21:29,600 Speaker 3: and not like have a lot of makeup on, to 409 00:21:29,640 --> 00:21:31,520 Speaker 3: not go through makeup at the top of the day, 410 00:21:31,640 --> 00:21:34,199 Speaker 3: and because that can be time consuming, to just be 411 00:21:34,359 --> 00:21:37,600 Speaker 3: themselves right, to just be raw, and so that was 412 00:21:37,640 --> 00:21:40,280 Speaker 3: the directive that was someone she wanted to play it. 413 00:21:40,320 --> 00:21:41,920 Speaker 3: We knew that we didn't have a lot of money 414 00:21:42,000 --> 00:21:44,159 Speaker 3: to make this film. We knew that we'd make it 415 00:21:44,200 --> 00:21:47,160 Speaker 3: with a small group with friends on film. It would 416 00:21:47,200 --> 00:21:49,400 Speaker 3: be very intimate where we would have all the control, 417 00:21:49,640 --> 00:21:51,280 Speaker 3: and that was the most important thing because we made 418 00:21:51,280 --> 00:21:53,879 Speaker 3: a film before that where we didn't have as much control, 419 00:21:54,040 --> 00:21:56,800 Speaker 3: and we wanted to make a film where we had control. 420 00:21:56,880 --> 00:21:58,760 Speaker 3: She has all the control, I have all the control, 421 00:21:58,800 --> 00:22:01,159 Speaker 3: and we make it. That's very rare. As you know, 422 00:22:01,560 --> 00:22:04,879 Speaker 3: it shouldn't be rare because we're the filmmakers and we 423 00:22:04,960 --> 00:22:07,879 Speaker 3: both have director in our title, but it does happen, 424 00:22:07,960 --> 00:22:10,959 Speaker 3: and it's unfortunate when you don't. So with this film, 425 00:22:11,160 --> 00:22:15,240 Speaker 3: it's very much our retelling of that story, which is nice, 426 00:22:15,400 --> 00:22:18,120 Speaker 3: like you can watch it and only you made those mistakes. 427 00:22:18,119 --> 00:22:23,320 Speaker 3: You weren't forced into anything. As you know Pamela, I mean, 428 00:22:23,359 --> 00:22:25,840 Speaker 3: she's just amazing, And same with Jamie. It's like they're 429 00:22:25,920 --> 00:22:29,560 Speaker 3: okay with just being themselves. They're at that point where 430 00:22:29,560 --> 00:22:33,119 Speaker 3: they're so confident in who they are that it's so 431 00:22:33,240 --> 00:22:35,400 Speaker 3: enlightening to be able to shoot women like that, right, 432 00:22:35,720 --> 00:22:37,359 Speaker 3: and so they put their trust in you that you 433 00:22:37,480 --> 00:22:40,040 Speaker 3: know what it should be lit, like you know where 434 00:22:40,080 --> 00:22:42,600 Speaker 3: the camera should be. So for that like I wanted 435 00:22:42,640 --> 00:22:45,720 Speaker 3: to have a lower footprint, which meant using a lot 436 00:22:45,720 --> 00:22:48,360 Speaker 3: of available light, which meant going into space is using 437 00:22:48,400 --> 00:22:50,840 Speaker 3: a lot of practicals. And then just how I exposed it. 438 00:22:50,880 --> 00:22:53,439 Speaker 3: You just need to know your exposure right, what you 439 00:22:53,480 --> 00:22:56,080 Speaker 3: can push and what you can't. And that's just like 440 00:22:56,600 --> 00:22:59,320 Speaker 3: having experience and trial and error, I think in spaces. 441 00:22:59,400 --> 00:23:01,719 Speaker 3: So and then you as a woman, like I know 442 00:23:01,920 --> 00:23:04,800 Speaker 3: where the beauty shops are, you know what someone will 443 00:23:04,920 --> 00:23:07,680 Speaker 3: look powerful or where the camera needs to be. And 444 00:23:07,960 --> 00:23:11,879 Speaker 3: then I also made lenses for that picture, so Hannah 445 00:23:11,920 --> 00:23:13,840 Speaker 3: Vision and I made some lenses that have never been 446 00:23:13,840 --> 00:23:17,680 Speaker 3: made before, anamorphic sixteen lenses because I couldn't find any 447 00:23:17,720 --> 00:23:20,479 Speaker 3: lenses that I liked, so we made some so it 448 00:23:20,520 --> 00:23:22,760 Speaker 3: has a very particular look that I feel is very 449 00:23:22,760 --> 00:23:26,520 Speaker 3: flattering because it's very soft, old vintage glass. But I 450 00:23:26,600 --> 00:23:28,199 Speaker 3: detuned it in a way that has a lot of 451 00:23:28,200 --> 00:23:31,720 Speaker 3: fall off and is more dreamy. So that also helps 452 00:23:31,720 --> 00:23:34,000 Speaker 3: when you're thinking about how this should look. You know, 453 00:23:34,119 --> 00:23:37,640 Speaker 3: to pair the film stock with a beautiful lens, which 454 00:23:37,680 --> 00:23:41,200 Speaker 3: also in turn, I think, as you know, like lighting 455 00:23:41,480 --> 00:23:45,639 Speaker 3: and lensing are in conversation with each other. A lighting 456 00:23:45,640 --> 00:23:47,960 Speaker 3: can only look great if the camera's in the right position, 457 00:23:48,240 --> 00:23:51,639 Speaker 3: and it depends on what that lenses. So yeah, it 458 00:23:52,040 --> 00:23:54,760 Speaker 3: was very thought through, but always with the intention of 459 00:23:54,800 --> 00:23:57,399 Speaker 3: having a small footprint and not getting in the way 460 00:23:57,600 --> 00:23:58,320 Speaker 3: of the process. 461 00:23:58,600 --> 00:24:02,159 Speaker 2: What is your attraction to the anamorphic style of shooting, like, 462 00:24:02,280 --> 00:24:04,840 Speaker 2: did you see it happened before or are you in 463 00:24:04,880 --> 00:24:09,160 Speaker 2: a place where you're just like, I want to push 464 00:24:09,160 --> 00:24:11,320 Speaker 2: forward the things that I'm not seeing that I wish 465 00:24:11,359 --> 00:24:11,720 Speaker 2: I seen. 466 00:24:12,440 --> 00:24:14,919 Speaker 3: Yeah, well, see, I went to AFI, so you know 467 00:24:14,960 --> 00:24:19,200 Speaker 3: it's a playground for you to explore and ask questions 468 00:24:19,200 --> 00:24:21,800 Speaker 3: and you have access to like camera houses and stuff. 469 00:24:21,840 --> 00:24:25,159 Speaker 3: So early on before AFI, I was in love with 470 00:24:25,240 --> 00:24:29,160 Speaker 3: the format because I saw films like Manhattan, The Last Emperor, 471 00:24:29,160 --> 00:24:31,399 Speaker 3: these films are shot on anamorphic. They have a lot 472 00:24:31,440 --> 00:24:36,200 Speaker 3: of scope, and I didn't exactly knew like the logistics 473 00:24:36,200 --> 00:24:38,760 Speaker 3: of that format at the time, but it was like, 474 00:24:38,800 --> 00:24:41,720 Speaker 3: what am I responding to? That makes me feel like, 475 00:24:41,800 --> 00:24:43,960 Speaker 3: this is cinematic? What is this like? Because I saw 476 00:24:44,000 --> 00:24:47,520 Speaker 3: a similarity in this format, right, you have twice the 477 00:24:47,640 --> 00:24:51,280 Speaker 3: field of view, faces look different, there's more fall off, 478 00:24:51,280 --> 00:24:53,399 Speaker 3: like all these characteristics that come with it. And then 479 00:24:53,440 --> 00:24:55,080 Speaker 3: when I was at film school, I looked into it 480 00:24:55,119 --> 00:24:58,199 Speaker 3: more and started shooting my own anamorphic and then you 481 00:24:58,280 --> 00:25:01,080 Speaker 3: figure out how to use the format. But for me, 482 00:25:01,119 --> 00:25:03,479 Speaker 3: it's just something that I think early on, when I 483 00:25:03,640 --> 00:25:08,639 Speaker 3: was researching filmmaking, I was responding more to film shot 484 00:25:08,640 --> 00:25:11,320 Speaker 3: and anamorphic and now it's just like kind of my thing. 485 00:25:11,560 --> 00:25:13,320 Speaker 3: But I don't push it on directors. That's the thing. 486 00:25:13,359 --> 00:25:15,600 Speaker 3: The director has to want to shoot in that format. 487 00:25:15,880 --> 00:25:17,919 Speaker 3: You don't want to like push them into it if 488 00:25:17,920 --> 00:25:18,760 Speaker 3: they're not into it. 489 00:25:31,320 --> 00:25:38,399 Speaker 2: From one to ten, what is your tolerance level for 490 00:25:39,480 --> 00:25:44,960 Speaker 2: a micromanaging director versus someone that just lets. 491 00:25:44,720 --> 00:25:48,880 Speaker 1: You have the space to do what you do. 492 00:25:51,080 --> 00:25:55,359 Speaker 2: Have you had an experience with a micromanaging director that's 493 00:25:55,520 --> 00:25:57,120 Speaker 2: always oh damn. 494 00:25:56,880 --> 00:26:00,760 Speaker 1: You don't even let me get okay. 495 00:26:01,720 --> 00:26:04,840 Speaker 2: And the opposite, we could say, a more pleasant situation 496 00:26:05,840 --> 00:26:09,280 Speaker 2: where you're given the leeway to show what you know 497 00:26:09,400 --> 00:26:12,160 Speaker 2: and your education and it works out fine. Like you've 498 00:26:12,200 --> 00:26:14,359 Speaker 2: been on both sides of the fence. Is there a 499 00:26:14,359 --> 00:26:17,560 Speaker 2: way for you to describe both to me without compromising 500 00:26:17,600 --> 00:26:19,600 Speaker 2: and putting yourself in No? 501 00:26:19,600 --> 00:26:22,159 Speaker 3: No, of course. I think the thing about it is 502 00:26:23,040 --> 00:26:25,080 Speaker 3: is when you get to a point where you feel 503 00:26:25,080 --> 00:26:27,200 Speaker 3: like you have something to offer, right, and you can 504 00:26:27,240 --> 00:26:30,240 Speaker 3: relate in music where it's like you have something to say. 505 00:26:30,240 --> 00:26:33,639 Speaker 3: It's inside, it's in your bones. And the people that 506 00:26:33,800 --> 00:26:36,800 Speaker 3: recognize that and see it in you and see it 507 00:26:36,800 --> 00:26:38,760 Speaker 3: in your work and then ask you to come break 508 00:26:38,800 --> 00:26:41,639 Speaker 3: bread with them and join their family and say, you 509 00:26:41,640 --> 00:26:43,960 Speaker 3: know what, I see that magic and I want you 510 00:26:44,040 --> 00:26:46,840 Speaker 3: to join me to help me tell this story because 511 00:26:46,880 --> 00:26:49,359 Speaker 3: only you can be the person to tell it. And 512 00:26:49,400 --> 00:26:51,040 Speaker 3: those are the people that I want to work with. 513 00:26:51,320 --> 00:26:53,719 Speaker 3: And I've been lucky enough to work with those people 514 00:26:53,760 --> 00:26:56,520 Speaker 3: like a Gea, like a Ryan, even with Spike, like 515 00:26:56,960 --> 00:26:58,639 Speaker 3: you know, even though it was in a movie like 516 00:26:59,000 --> 00:27:02,520 Speaker 3: these are very collaborate people. They're very talented people, and 517 00:27:02,640 --> 00:27:05,399 Speaker 3: they have their own point of view and they know 518 00:27:05,440 --> 00:27:08,040 Speaker 3: how to kind of explain it to you. And then 519 00:27:08,480 --> 00:27:10,240 Speaker 3: they want to collaborate with you, right, So they have 520 00:27:10,480 --> 00:27:12,520 Speaker 3: a vision that they hand off to you, that you 521 00:27:12,600 --> 00:27:15,320 Speaker 3: work together with them, and it's very clear and it's 522 00:27:15,359 --> 00:27:17,760 Speaker 3: a great relationship. And on the other hand, I've been 523 00:27:17,760 --> 00:27:21,480 Speaker 3: in a situation where I think I've been hired because 524 00:27:21,520 --> 00:27:25,000 Speaker 3: of my work, but then when we get to the 525 00:27:25,000 --> 00:27:27,399 Speaker 3: point at which I need to execute my you know, 526 00:27:27,440 --> 00:27:30,359 Speaker 3: and help them, they want to micromanage me. And so 527 00:27:30,520 --> 00:27:33,479 Speaker 3: I'm not even allowed to get that out right. So 528 00:27:33,520 --> 00:27:36,400 Speaker 3: it's already a conflict because it's like, you know, come 529 00:27:36,440 --> 00:27:38,960 Speaker 3: play this music. Oh wait, don't play that, Like, well, 530 00:27:39,000 --> 00:27:40,320 Speaker 3: the motherfucker why am I here? 531 00:27:40,359 --> 00:27:41,040 Speaker 2: Why am I here? 532 00:27:43,000 --> 00:27:45,280 Speaker 1: So now you're from the Bay Area. I was waiting 533 00:27:45,320 --> 00:27:47,760 Speaker 1: for Ella or motherfucker? All right? Good. 534 00:27:48,640 --> 00:27:51,400 Speaker 3: So I'm like, I think, for me, I don't put 535 00:27:51,400 --> 00:27:55,119 Speaker 3: myself in those situations anymore. Life is too short. I 536 00:27:55,160 --> 00:27:57,280 Speaker 3: have a family. I have to be away. And that's 537 00:27:57,280 --> 00:27:59,800 Speaker 3: what's so beautiful with Ryan. It's like, you know, we 538 00:28:00,040 --> 00:28:01,879 Speaker 3: go when we make these films, well Conda took a 539 00:28:01,960 --> 00:28:04,760 Speaker 3: year long, and it's like he protects my time, he 540 00:28:04,840 --> 00:28:07,199 Speaker 3: protects the effort that I put in. I know it 541 00:28:07,240 --> 00:28:10,080 Speaker 3: will be worthy. I know I will be respected. I 542 00:28:10,119 --> 00:28:12,960 Speaker 3: know that I will be able to collaborate on the 543 00:28:13,040 --> 00:28:16,720 Speaker 3: highest level. So I tend to look for that opportunity 544 00:28:16,800 --> 00:28:19,919 Speaker 3: because it is hard as an artist to just be 545 00:28:20,880 --> 00:28:23,199 Speaker 3: you know, told no all the time, or the trust 546 00:28:23,240 --> 00:28:25,359 Speaker 3: isn't there, or not being able to be brave like 547 00:28:25,400 --> 00:28:27,000 Speaker 3: I want to work with brave people. I don't want 548 00:28:27,000 --> 00:28:30,439 Speaker 3: to work with restricted people like scared people. Is that answer? 549 00:28:31,119 --> 00:28:32,399 Speaker 3: I'm going off on a tangent. 550 00:28:33,600 --> 00:28:36,280 Speaker 1: Talk your shit, talk your shit. Yeah, I like that. 551 00:28:36,720 --> 00:28:37,120 Speaker 1: All right. 552 00:28:37,359 --> 00:28:42,440 Speaker 2: If you were to recommend me three films that probably 553 00:28:43,440 --> 00:28:45,680 Speaker 2: touches you the most, what would those three films be? 554 00:28:46,440 --> 00:28:49,280 Speaker 3: Hannah and Her Sisters? So what do you allen? Film? 555 00:28:49,720 --> 00:28:55,400 Speaker 3: The Last Emperor? Bertolucci, and Barry Lyndon Kubrick. Have you 556 00:28:55,400 --> 00:28:56,200 Speaker 3: seen any of those? 557 00:28:56,560 --> 00:28:56,800 Speaker 1: Yes? 558 00:28:56,960 --> 00:28:59,959 Speaker 3: Of course, yeah, well that's great. Yeah it's not us. 559 00:29:00,080 --> 00:29:02,960 Speaker 3: Some people say like, oh, I haven't seen Last Emperor, 560 00:29:03,560 --> 00:29:05,400 Speaker 3: but that means yes in aphile, I suppose. 561 00:29:05,480 --> 00:29:05,880 Speaker 1: Yeah. 562 00:29:05,960 --> 00:29:09,880 Speaker 2: I lived on a tour bus for twenty plus years, 563 00:29:11,000 --> 00:29:13,240 Speaker 2: and the thing is, yeah, I'm not going to just 564 00:29:14,080 --> 00:29:18,200 Speaker 2: pretend that we were all these criteering collection nerds. 565 00:29:18,440 --> 00:29:19,840 Speaker 1: It just became a point where I. 566 00:29:19,760 --> 00:29:25,960 Speaker 2: Got tired of watching Friday and Juice and Scarface on 567 00:29:25,960 --> 00:29:26,880 Speaker 2: the tour bus. 568 00:29:27,160 --> 00:29:27,640 Speaker 3: Yeah. 569 00:29:27,720 --> 00:29:31,080 Speaker 2: So I live in the East Coast, so in Philadelphia, 570 00:29:31,160 --> 00:29:34,719 Speaker 2: New York, there's a you know, independent places like a 571 00:29:34,760 --> 00:29:36,760 Speaker 2: TLA Video or Kim's Video. 572 00:29:37,320 --> 00:29:39,720 Speaker 1: Where a lot of those. 573 00:29:39,840 --> 00:29:41,720 Speaker 2: And even when I go to the like to La, 574 00:29:42,000 --> 00:29:46,720 Speaker 2: like going to a Respudenz or going to a Sunset Boulevard, 575 00:29:47,040 --> 00:29:47,400 Speaker 2: they just. 576 00:29:47,360 --> 00:29:50,880 Speaker 3: Shut down the tower like it used to be Tower Records, 577 00:29:50,920 --> 00:29:52,480 Speaker 3: and it turned into Amiba. 578 00:29:52,840 --> 00:29:56,840 Speaker 2: Yeah yeah, tower, but also Amiba yeah yeah. And then 579 00:29:56,920 --> 00:30:01,080 Speaker 2: that's when I discovered, oh, Criterion collect and now I 580 00:30:01,120 --> 00:30:04,160 Speaker 2: want to watch, you know, things that I haven't seen before. Well, 581 00:30:04,200 --> 00:30:08,400 Speaker 2: I'll ask you, are you a Criterion person or a 582 00:30:08,440 --> 00:30:09,280 Speaker 2: two B person? 583 00:30:09,960 --> 00:30:11,960 Speaker 3: To be honest, I didn't do the deep dive on 584 00:30:12,000 --> 00:30:15,800 Speaker 3: Too be It and Criterion. I think I was after college. 585 00:30:16,400 --> 00:30:19,400 Speaker 3: But now I'm just like, you know, Apple TV, which 586 00:30:19,440 --> 00:30:23,760 Speaker 3: doesn't give you any of the extras, obviously, don't you that? Yeah, 587 00:30:23,800 --> 00:30:25,720 Speaker 3: well but I do. I'm not gonna lie to you, 588 00:30:25,760 --> 00:30:28,640 Speaker 3: like and I talked a lot about this with my husband. 589 00:30:28,960 --> 00:30:31,240 Speaker 3: The more and more you shoot movies or work on 590 00:30:31,320 --> 00:30:37,080 Speaker 3: film sets, Unfortunately, the less and less you watch movies, 591 00:30:37,920 --> 00:30:41,080 Speaker 3: especially how they're made, because you you, I mean, you're there, 592 00:30:41,160 --> 00:30:42,960 Speaker 3: you start to you know, you get to a point 593 00:30:42,960 --> 00:30:45,520 Speaker 3: where but I did when I was coming up, Like 594 00:30:45,600 --> 00:30:47,440 Speaker 3: a Thin Red Line is another one that I'd add 595 00:30:47,440 --> 00:30:50,360 Speaker 3: to that three where I remember watching the criterion of 596 00:30:50,400 --> 00:30:53,360 Speaker 3: a Thin Red Line to find out, you know, how 597 00:30:53,360 --> 00:30:55,400 Speaker 3: they made that, and I was just blown away because 598 00:30:55,400 --> 00:30:57,040 Speaker 3: I didn't know anything at the time, So I think 599 00:30:57,040 --> 00:30:59,360 Speaker 3: it was more alluring when I didn't know stuff. 600 00:31:00,000 --> 00:31:02,520 Speaker 1: We have to rapifire you on your profession. 601 00:31:03,280 --> 00:31:10,120 Speaker 2: For the Disease special, I was just so obsessed with 602 00:31:11,400 --> 00:31:17,560 Speaker 2: the diagonal framing, just the unorthodox framing of it. He 603 00:31:17,760 --> 00:31:20,600 Speaker 2: just walked me through just the creative of that special. 604 00:31:21,160 --> 00:31:24,000 Speaker 3: Spike and I met because he wanted to do a 605 00:31:24,080 --> 00:31:27,360 Speaker 3: music video that didn't end up happening. We did that 606 00:31:27,440 --> 00:31:28,600 Speaker 3: before Beastie Boys. 607 00:31:28,840 --> 00:31:29,360 Speaker 1: Who was it for? 608 00:31:29,520 --> 00:31:31,480 Speaker 3: It? By the way, you know who it's for, but 609 00:31:31,640 --> 00:31:32,240 Speaker 3: I forget. 610 00:31:32,320 --> 00:31:33,480 Speaker 1: I can't say, but. 611 00:31:33,480 --> 00:31:36,480 Speaker 3: You would know. You would know, Okay, but it's escaping 612 00:31:36,520 --> 00:31:39,120 Speaker 3: me now like someone important, and I was very excited. 613 00:31:39,160 --> 00:31:41,720 Speaker 3: We went and scouted it. It didn't happen, so then 614 00:31:41,800 --> 00:31:45,800 Speaker 3: we did Disease together. And what was cool about it 615 00:31:45,840 --> 00:31:49,720 Speaker 3: was Disease was performing in Manhattan Beach in a smaller 616 00:31:49,720 --> 00:31:52,560 Speaker 3: comedy club down by the beach, and so that was 617 00:31:52,600 --> 00:31:56,120 Speaker 3: our first kind of, I guess dress rehearsal. So Spike 618 00:31:56,160 --> 00:31:58,480 Speaker 3: took me down there. I met him there. He had 619 00:31:58,480 --> 00:32:00,360 Speaker 3: a camera on his back the whole show. And this 620 00:32:00,480 --> 00:32:02,000 Speaker 3: is like hour and a half I guess hour and 621 00:32:02,000 --> 00:32:04,080 Speaker 3: a half show, and I had a camera on my 622 00:32:04,160 --> 00:32:07,040 Speaker 3: back digital and we shot the show as like a 623 00:32:07,120 --> 00:32:10,840 Speaker 3: dress rehearsal of like let's see how we vibe with disease. 624 00:32:10,920 --> 00:32:12,479 Speaker 3: And this is something Spike wanted to do to kind 625 00:32:12,480 --> 00:32:14,960 Speaker 3: of see the angles that would be good. It's not 626 00:32:15,080 --> 00:32:16,960 Speaker 3: the space that we were going to shoot it, but 627 00:32:17,040 --> 00:32:19,560 Speaker 3: it was kind of just learning, like a learning process. 628 00:32:19,640 --> 00:32:22,040 Speaker 3: And what was so funny was, you know, having a 629 00:32:22,080 --> 00:32:23,640 Speaker 3: camera on your back for an hour and a half 630 00:32:23,800 --> 00:32:26,920 Speaker 3: is a pain in the ass. But I remember thinking like, well, 631 00:32:26,960 --> 00:32:29,800 Speaker 3: Spike's doing it. I'm not taking this camera off my back, 632 00:32:29,840 --> 00:32:31,160 Speaker 3: you know what I mean, Like, because we were rolling 633 00:32:31,200 --> 00:32:33,400 Speaker 3: the whole time. We rolled the whole show, and it 634 00:32:33,520 --> 00:32:36,840 Speaker 3: just forced you to kind of find perspectives and angles 635 00:32:36,880 --> 00:32:39,240 Speaker 3: that were interesting because you know, it is when you 636 00:32:39,280 --> 00:32:41,719 Speaker 3: hold on an angle for a long time, you know, 637 00:32:41,880 --> 00:32:44,000 Speaker 3: it can get boring, and then you it makes you 638 00:32:44,040 --> 00:32:46,160 Speaker 3: think about where's a better angle. So you're always one 639 00:32:46,200 --> 00:32:48,320 Speaker 3: uping yourself trying to figure out what those angles are. 640 00:32:48,320 --> 00:32:50,560 Speaker 3: But you're also keeping an eye on the other operator 641 00:32:51,160 --> 00:32:53,160 Speaker 3: to see where they are right, so you can kind 642 00:32:53,160 --> 00:32:53,760 Speaker 3: of dance. 643 00:32:53,560 --> 00:32:55,440 Speaker 1: With each other and there's only the two of you. 644 00:32:55,920 --> 00:32:58,200 Speaker 2: There's only two of us, and you didn't do a 645 00:32:58,360 --> 00:33:01,320 Speaker 2: pre this mizone, this is your zone. 646 00:33:01,960 --> 00:33:04,080 Speaker 3: I think that was the point of that dress rehearsal. 647 00:33:04,120 --> 00:33:05,920 Speaker 3: Like we definitely had a talk when we went into 648 00:33:05,920 --> 00:33:08,640 Speaker 3: the space. Right it's an empty comedy space. You know, 649 00:33:08,680 --> 00:33:11,440 Speaker 3: we knew you'd be on stage, he'd have a little stool. 650 00:33:11,880 --> 00:33:14,040 Speaker 3: And then Spike obviously was like, okay, well I think 651 00:33:14,040 --> 00:33:17,000 Speaker 3: this or that because I remember adjusting some lights. So 652 00:33:17,040 --> 00:33:19,120 Speaker 3: there was a conversation about it. But I think in 653 00:33:19,160 --> 00:33:21,760 Speaker 3: the moment when you're trying to move around, you also 654 00:33:21,880 --> 00:33:24,760 Speaker 3: have to just like think on your feet too. Even 655 00:33:24,760 --> 00:33:26,880 Speaker 3: though we would say like okay, I'll take this side 656 00:33:26,960 --> 00:33:30,000 Speaker 3: or that side, because I allowed him like he was, 657 00:33:30,360 --> 00:33:31,920 Speaker 3: I think, you know, you want to make sure you're 658 00:33:31,960 --> 00:33:34,080 Speaker 3: not stacking up, and sometimes I think he might have 659 00:33:34,160 --> 00:33:36,360 Speaker 3: told me, like we can go to the audience sometimes 660 00:33:36,720 --> 00:33:38,920 Speaker 3: all stay on him, watch me. If I stay on him, 661 00:33:38,920 --> 00:33:40,920 Speaker 3: then you go here, you know. So there's a conversation 662 00:33:41,000 --> 00:33:43,160 Speaker 3: that you would have with that operator. And so that 663 00:33:43,240 --> 00:33:45,760 Speaker 3: was our dress rehearsal. Then fast forward we're in New 664 00:33:45,840 --> 00:33:49,200 Speaker 3: York and you know, we also did a dress rehearsal there, 665 00:33:49,240 --> 00:33:51,560 Speaker 3: but we're shooting on film, and I think in conversations 666 00:33:51,600 --> 00:33:54,160 Speaker 3: with a Ziz, you know they wanted to shoot it 667 00:33:54,200 --> 00:33:56,400 Speaker 3: on film. And one of the biggest references I think 668 00:33:56,520 --> 00:33:59,400 Speaker 3: Spike amy was those old Richard Pryor shows that were 669 00:33:59,400 --> 00:34:03,680 Speaker 3: shot on sick so I'll watched those. Obviously made sense 670 00:34:03,720 --> 00:34:06,400 Speaker 3: to me. But it was a tall order because shooting, 671 00:34:07,160 --> 00:34:12,040 Speaker 3: I think we had six cameras shooting simultaneously, knowing when 672 00:34:12,080 --> 00:34:13,960 Speaker 3: to you have to change the mags so you don't 673 00:34:14,000 --> 00:34:17,280 Speaker 3: miss a beat on each angle right, you have to coordinate. 674 00:34:16,840 --> 00:34:17,200 Speaker 1: All of that. 675 00:34:17,800 --> 00:34:19,520 Speaker 3: So it was a It was a lot of prep 676 00:34:19,560 --> 00:34:23,000 Speaker 3: in the sense, like I remember with Spike, he's very specific, 677 00:34:23,200 --> 00:34:25,600 Speaker 3: but also he wants to try things, so like we 678 00:34:25,640 --> 00:34:28,279 Speaker 3: would set the camera up in different zones and we 679 00:34:28,320 --> 00:34:30,960 Speaker 3: would figure out that was the right zone, and then 680 00:34:31,000 --> 00:34:33,640 Speaker 3: we mapped it out. We also did a lighting test 681 00:34:33,920 --> 00:34:36,759 Speaker 3: where we you know, we lit it, We lit the backstage, 682 00:34:37,320 --> 00:34:40,640 Speaker 3: we tried some things, we developed it, we watched it 683 00:34:40,680 --> 00:34:42,600 Speaker 3: to see if he liked it. So there was a 684 00:34:42,600 --> 00:34:45,360 Speaker 3: lot of prep, I would say in that sense, because 685 00:34:45,480 --> 00:34:49,560 Speaker 3: when you take it to film, you know, accidents can happen, 686 00:34:49,600 --> 00:34:51,200 Speaker 3: so you need to be on top of your game 687 00:34:51,280 --> 00:34:53,520 Speaker 3: and make sure all the operators and all the mags 688 00:34:53,560 --> 00:34:56,600 Speaker 3: whiches are on time. We had all the monitors set 689 00:34:56,680 --> 00:34:59,000 Speaker 3: up HD tap and I would you know, you know, 690 00:34:59,000 --> 00:35:01,160 Speaker 3: you're doing a little bit of core nation. Spike did 691 00:35:01,239 --> 00:35:04,440 Speaker 3: operate the on stage camera for one of the shows, 692 00:35:04,440 --> 00:35:08,800 Speaker 3: I believe, and I think we shot two nights my Trippin' maybe, 693 00:35:09,080 --> 00:35:11,080 Speaker 3: but yeah, I mean it was all coordinated, and so 694 00:35:12,040 --> 00:35:14,000 Speaker 3: I think it was nice to do that smaller show 695 00:35:14,000 --> 00:35:16,480 Speaker 3: with him. But he wanted it to feel alive, right, 696 00:35:16,520 --> 00:35:18,680 Speaker 3: He wanted it to have the texture and the kind 697 00:35:18,680 --> 00:35:22,320 Speaker 3: of quality that came from those old Richard Pryor shows 698 00:35:23,239 --> 00:35:26,359 Speaker 3: where you can feel the grain alive. And so yeah, 699 00:35:26,400 --> 00:35:29,240 Speaker 3: there was a lot of discussion, but we got very lucky. 700 00:35:29,239 --> 00:35:31,200 Speaker 3: I mean, I wouldn't say we had like a bunch 701 00:35:31,200 --> 00:35:34,279 Speaker 3: of jams or you know, because that shit is like 702 00:35:34,360 --> 00:35:35,920 Speaker 3: you're sweating. Trust me, you're sweating. 703 00:35:36,320 --> 00:35:39,400 Speaker 2: I wish concert films were shot that way. Like I 704 00:35:39,520 --> 00:35:42,800 Speaker 2: just Spike is an idol of mine. 705 00:35:42,680 --> 00:35:47,439 Speaker 3: Like yeah, he's so fun, Like I would say that right, 706 00:35:47,440 --> 00:35:51,120 Speaker 3: It's like it was fun to work on and it's 707 00:35:51,160 --> 00:35:54,560 Speaker 3: fun to watch because he creates that environment when you're 708 00:35:54,560 --> 00:35:57,759 Speaker 3: making a film, like let's just do this, let's go here, 709 00:35:57,880 --> 00:36:00,480 Speaker 3: let's you know, like I'm an operator, you know, it was. 710 00:36:00,680 --> 00:36:01,239 Speaker 3: It was fun. 711 00:36:01,360 --> 00:36:07,920 Speaker 2: So I experienced Sinners, flew out to La. My preferred 712 00:36:08,760 --> 00:36:12,880 Speaker 2: destination points in Los Angeles is either the New Beverly 713 00:36:13,160 --> 00:36:17,719 Speaker 2: to watch movies and Vista House to watch, both owned 714 00:36:17,719 --> 00:36:21,680 Speaker 2: by Quentin Tarantino. Pretty much from not since I was 715 00:36:21,719 --> 00:36:25,240 Speaker 2: a child. I come from also a place where before 716 00:36:25,280 --> 00:36:27,839 Speaker 2: the VCR, you would go to a movie house at 717 00:36:27,920 --> 00:36:32,760 Speaker 2: eleven in the morning and just stay all day, sometimes 718 00:36:32,760 --> 00:36:35,000 Speaker 2: watching two three times in a row a film because 719 00:36:35,239 --> 00:36:37,440 Speaker 2: you're like, there's no way IM see this ever get 720 00:36:37,480 --> 00:36:40,560 Speaker 2: in life. And I will watch Sinners three times in 721 00:36:40,560 --> 00:36:40,959 Speaker 2: a row. 722 00:36:41,560 --> 00:36:43,920 Speaker 3: What are you talking about? What? 723 00:36:44,600 --> 00:36:45,400 Speaker 1: I was obsessed? 724 00:36:45,800 --> 00:36:46,600 Speaker 3: That's amazing. 725 00:36:47,160 --> 00:36:47,840 Speaker 1: I was obsessed. 726 00:36:48,239 --> 00:36:54,640 Speaker 2: So how much experience did you have with the large 727 00:36:54,640 --> 00:36:59,719 Speaker 2: format sixty five millimeter, well one that format, but also 728 00:37:00,440 --> 00:37:03,360 Speaker 2: with Imax, like is sixty five millimeter the same or 729 00:37:03,440 --> 00:37:06,000 Speaker 2: is it two different cameras that you have to operate 730 00:37:06,040 --> 00:37:06,520 Speaker 2: at once. 731 00:37:07,600 --> 00:37:10,959 Speaker 3: Yeah, no, so it's the same negative running through both 732 00:37:11,000 --> 00:37:13,600 Speaker 3: cameras but in different ways, So two different cameras. Like 733 00:37:13,640 --> 00:37:18,000 Speaker 3: you just said, the anamorphic format is the wide screen, 734 00:37:18,040 --> 00:37:21,759 Speaker 3: which is that two seven six hateful eight format that 735 00:37:21,800 --> 00:37:24,799 Speaker 3: people are familiar with, and that is a sixty five 736 00:37:24,840 --> 00:37:28,880 Speaker 3: millimeter negative running vertically through a camera which is a 737 00:37:28,880 --> 00:37:33,280 Speaker 3: Panavision camera called a System sixty five camera. That camera 738 00:37:33,360 --> 00:37:37,319 Speaker 3: is very heavy. That camera is not necessarily a handheld camera, right, 739 00:37:37,320 --> 00:37:40,120 Speaker 3: it's a studio camera. It's on a dolly or whether 740 00:37:40,160 --> 00:37:43,000 Speaker 3: it's on a crane or stuff like that. There's a 741 00:37:43,080 --> 00:37:45,400 Speaker 3: high speed version of that that allows you to shoot 742 00:37:45,440 --> 00:37:47,759 Speaker 3: high speed. That's a little bit lighter that we put 743 00:37:47,760 --> 00:37:51,880 Speaker 3: on a steadicam sometimes, for instance the ononer that goes 744 00:37:51,960 --> 00:37:55,520 Speaker 3: and follows missus Chow across the street and her daughter 745 00:37:55,680 --> 00:37:58,680 Speaker 3: in the grocery store scene. So that's steadycam. And then 746 00:37:58,719 --> 00:38:01,320 Speaker 3: you have the Imax camera, which is sixty five negative, 747 00:38:01,360 --> 00:38:04,279 Speaker 3: same negative, but it's going through the camera horizontally and 748 00:38:04,360 --> 00:38:08,800 Speaker 3: it's fifteen perfs, not five perfs, so much bigger, negative 749 00:38:09,400 --> 00:38:13,319 Speaker 3: real estate, different cameras. So that's Imax camera. I had 750 00:38:13,360 --> 00:38:16,359 Speaker 3: not shot any of these before, and you know, neither 751 00:38:16,560 --> 00:38:18,640 Speaker 3: had my team, so Ryan myself. 752 00:38:19,760 --> 00:38:22,719 Speaker 2: Yeah, not even for a black Panther was that used 753 00:38:22,719 --> 00:38:23,040 Speaker 2: at all. 754 00:38:23,239 --> 00:38:26,560 Speaker 3: No, So when you see that's the thing I think 755 00:38:26,920 --> 00:38:29,560 Speaker 3: what was so great about Ryan's video where he explained 756 00:38:29,600 --> 00:38:32,080 Speaker 3: all the formats is that a lot of people get 757 00:38:32,080 --> 00:38:34,840 Speaker 3: a bit confused about when they go see an Imax 758 00:38:34,880 --> 00:38:39,360 Speaker 3: film if it's Digital Imax or if it's film Imax. 759 00:38:39,400 --> 00:38:42,799 Speaker 3: The only team that we're familiar with, like my you know, 760 00:38:42,840 --> 00:38:45,319 Speaker 3: you and I that are shooting this format would be 761 00:38:45,360 --> 00:38:48,960 Speaker 3: Hota and well Christopher Nolan, Christopher Nolan and Hoyta and 762 00:38:49,000 --> 00:38:51,480 Speaker 3: then obviously Wally Fister with The Dark Knight was the 763 00:38:51,520 --> 00:38:54,160 Speaker 3: first Imax film I went to see at the City Walk, 764 00:38:54,680 --> 00:38:58,360 Speaker 3: And so that's the filmmaking team that's shooting film Imax 765 00:38:58,680 --> 00:39:00,920 Speaker 3: in know, a large format that goes in between the formats. 766 00:39:00,960 --> 00:39:04,560 Speaker 3: So so yeah, so when it came time to do this, 767 00:39:04,680 --> 00:39:07,920 Speaker 3: we did our own testing, but it's not available to everyone. 768 00:39:08,200 --> 00:39:11,640 Speaker 3: To be honest, those cameras that we use, there's only 769 00:39:11,680 --> 00:39:14,520 Speaker 3: four of them for the system cameras, so it's not 770 00:39:14,560 --> 00:39:16,720 Speaker 3: like multiple movies can be shot at the same time 771 00:39:17,040 --> 00:39:18,919 Speaker 3: because those are the cameras that are used. So if 772 00:39:19,280 --> 00:39:21,480 Speaker 3: that team is not using those cameras, then you know, 773 00:39:21,560 --> 00:39:24,000 Speaker 3: we were lucky enough to get to use those cameras. 774 00:39:24,560 --> 00:39:27,839 Speaker 3: So yeah, that's the format thing. And yeah it came up. 775 00:39:27,920 --> 00:39:30,120 Speaker 3: I don't know if you read, but Ryan originally saw 776 00:39:30,120 --> 00:39:34,920 Speaker 3: it as a sixteen millimeter picture. That's how we were 777 00:39:34,920 --> 00:39:36,640 Speaker 3: supposed to do it as That's why I made those 778 00:39:36,719 --> 00:39:38,520 Speaker 3: lenses for Last Show Girl because I was kind of 779 00:39:38,960 --> 00:39:41,319 Speaker 3: thinking ahead and thinking like, oh, let me let me 780 00:39:41,360 --> 00:39:43,359 Speaker 3: test these out and then we can use them on 781 00:39:43,360 --> 00:39:46,319 Speaker 3: that film because we shot right after. But then we 782 00:39:46,480 --> 00:39:49,200 Speaker 3: you know, obviously Ryan up the ante as he as 783 00:39:49,239 --> 00:39:52,600 Speaker 3: he does, and we went you know, we tested thirty 784 00:39:52,600 --> 00:39:54,280 Speaker 3: five and then we tested large format. 785 00:39:54,840 --> 00:39:58,960 Speaker 2: So yeah, how much rehearsal do you get before it's 786 00:39:59,000 --> 00:40:01,080 Speaker 2: the day the Day of Reckoning? Not to make it 787 00:40:01,120 --> 00:40:03,880 Speaker 2: sound o apocalyptic, but it has to be a intimidating 788 00:40:04,000 --> 00:40:06,040 Speaker 2: no like our mistakes allowed. 789 00:40:07,000 --> 00:40:10,040 Speaker 3: I mean, I go back to what you that question 790 00:40:10,080 --> 00:40:12,799 Speaker 3: you asked me for about my lane. I don't like 791 00:40:13,040 --> 00:40:15,240 Speaker 3: how you said public speaking, you get nervous and stuff 792 00:40:15,280 --> 00:40:17,759 Speaker 3: like I would assume when you're in your element and 793 00:40:17,800 --> 00:40:21,080 Speaker 3: you're playing music, like that is your space, and I 794 00:40:21,120 --> 00:40:24,640 Speaker 3: feel very confident in what I do and when I'm 795 00:40:24,920 --> 00:40:28,960 Speaker 3: doing that's where I feel most comfortable. Prep is a 796 00:40:29,000 --> 00:40:30,880 Speaker 3: pain in the act, right when you're doing you have 797 00:40:31,000 --> 00:40:32,480 Speaker 3: you do all the tests and you have to like 798 00:40:32,520 --> 00:40:35,239 Speaker 3: figure everything out. That's very tedious. But if you put 799 00:40:35,239 --> 00:40:37,000 Speaker 3: a camera in my hand and I now know how 800 00:40:37,040 --> 00:40:39,680 Speaker 3: to use it, game on, right. So I think for 801 00:40:39,840 --> 00:40:42,120 Speaker 3: us we always have on movies, let's call it like 802 00:40:42,160 --> 00:40:44,760 Speaker 3: eight to twelve weeks of prep. That's just rough number, 803 00:40:44,800 --> 00:40:46,879 Speaker 3: But you have a lot of weeks to go over 804 00:40:46,920 --> 00:40:49,279 Speaker 3: this stuff. You do not have eight to twelve weeks 805 00:40:49,320 --> 00:40:51,520 Speaker 3: of prep to just mess around with the camera, because 806 00:40:51,960 --> 00:40:55,759 Speaker 3: obviously there's a cost to that prep, right, So say 807 00:40:55,800 --> 00:40:58,040 Speaker 3: you prep that kind of camera package for five weeks 808 00:40:58,080 --> 00:40:59,719 Speaker 3: something like that. So what that means is you're at 809 00:40:59,719 --> 00:41:02,919 Speaker 3: the camp, your AC's are at the camera house. They're 810 00:41:02,960 --> 00:41:05,360 Speaker 3: testing the lenses that you want to use. We're running 811 00:41:05,400 --> 00:41:07,600 Speaker 3: film through all of the magazines through the camera, we're 812 00:41:07,600 --> 00:41:10,759 Speaker 3: looking at the film gate, we're doing shutter tests. So 813 00:41:10,800 --> 00:41:13,280 Speaker 3: there's a lot of logistics that go into like making 814 00:41:13,360 --> 00:41:16,200 Speaker 3: sure that these cameras are going to behave properly. You 815 00:41:16,239 --> 00:41:18,400 Speaker 3: have a lot of technicians that are helping you do that, 816 00:41:18,920 --> 00:41:21,400 Speaker 3: and I always feel like for me, I said this 817 00:41:21,440 --> 00:41:24,600 Speaker 3: to the students recently. When I came up in film school, 818 00:41:24,640 --> 00:41:26,239 Speaker 3: I didn't know as much as everybody else, so I 819 00:41:26,280 --> 00:41:28,359 Speaker 3: was learning from a bunch of people, most of them 820 00:41:28,400 --> 00:41:31,560 Speaker 3: were men, and I hated the feeling when someone was 821 00:41:31,600 --> 00:41:34,040 Speaker 3: staring at me, look at me in the eyes, saying like, well, 822 00:41:34,040 --> 00:41:36,279 Speaker 3: I don't understand what you're saying, Like I don't know 823 00:41:36,320 --> 00:41:38,480 Speaker 3: what you want me to do, Like they were forcing 824 00:41:38,520 --> 00:41:41,760 Speaker 3: me to like figure out how to explain what I wanted, 825 00:41:41,960 --> 00:41:43,680 Speaker 3: you know, how I wanted the lighting to look, how 826 00:41:43,680 --> 00:41:46,600 Speaker 3: I wanted to move the camera, And I felt very uncomfortable, right, 827 00:41:46,600 --> 00:41:48,680 Speaker 3: And you can imagine like there's not you know, many 828 00:41:48,680 --> 00:41:51,960 Speaker 3: of us. So I vowed to not have that happen 829 00:41:52,000 --> 00:41:53,880 Speaker 3: to me throughout my career. So I had to go 830 00:41:53,920 --> 00:41:55,880 Speaker 3: out always make sure I knew the cameras, always make 831 00:41:55,920 --> 00:41:58,319 Speaker 3: sure I knew exactly what I wanted for lighting, and 832 00:41:58,360 --> 00:42:00,759 Speaker 3: I learned. So I'm a very technical person and so 833 00:42:00,800 --> 00:42:02,320 Speaker 3: I make sure that my shit is tight because I 834 00:42:02,360 --> 00:42:04,040 Speaker 3: don't want anyone staring at me and being like, well, 835 00:42:04,040 --> 00:42:05,840 Speaker 3: I don't understand what the fuck you talking about. You know, 836 00:42:05,960 --> 00:42:08,000 Speaker 3: I don't know what you want. So I find that, 837 00:42:08,120 --> 00:42:10,360 Speaker 3: like when I have that prep time, it becomes like 838 00:42:10,400 --> 00:42:12,560 Speaker 3: a very tedious thing where I'm working with my team 839 00:42:12,600 --> 00:42:15,440 Speaker 3: making sure that like I know the shit so that 840 00:42:15,480 --> 00:42:17,920 Speaker 3: when we get on set and it's d day, like 841 00:42:17,960 --> 00:42:20,239 Speaker 3: you say that nothing can get in the way of 842 00:42:20,320 --> 00:42:22,719 Speaker 3: Ryan telling his story. That all the people that I've 843 00:42:22,760 --> 00:42:26,560 Speaker 3: brought to support him, the focus pullers, the g and E, 844 00:42:26,560 --> 00:42:30,680 Speaker 3: everyone is tight. Then that gives us the creative freedom 845 00:42:30,680 --> 00:42:33,200 Speaker 3: to do what we want, so we're not having mistakes happen. 846 00:42:33,480 --> 00:42:34,400 Speaker 1: Im that situation. 847 00:42:35,200 --> 00:42:41,480 Speaker 2: How are you adaptable to freestyling or your plan B, 848 00:42:41,760 --> 00:42:45,560 Speaker 2: your Plan C in case something goes awry? Is that 849 00:42:45,719 --> 00:42:49,600 Speaker 2: also a part of the process of doing this? 850 00:42:50,480 --> 00:42:53,879 Speaker 3: Yes, No, one hundred percent, because I think what Ryan 851 00:42:53,920 --> 00:42:56,640 Speaker 3: loves to do too, and I appreciate this is like 852 00:42:56,719 --> 00:42:59,160 Speaker 3: in prep, we bored everything he wanted to board the 853 00:42:59,200 --> 00:43:02,480 Speaker 3: whole film boarded it. We do previous for the most 854 00:43:03,000 --> 00:43:06,560 Speaker 3: you know, complex sequences like the one or the musical 855 00:43:06,600 --> 00:43:09,480 Speaker 3: wunner or the train sequence. Stuff that we need to 856 00:43:09,600 --> 00:43:12,160 Speaker 3: like guide a bunch of different teams, but also see 857 00:43:12,680 --> 00:43:14,759 Speaker 3: ahead of time how it's going to plan out, so 858 00:43:14,800 --> 00:43:17,160 Speaker 3: we know how we're shooting it, but it doesn't mean 859 00:43:17,200 --> 00:43:19,759 Speaker 3: that we get there. We don't change it. And that's 860 00:43:19,800 --> 00:43:22,240 Speaker 3: what I love is like you have a plan because 861 00:43:22,280 --> 00:43:24,960 Speaker 3: you have to with that many people and this complex 862 00:43:24,960 --> 00:43:26,960 Speaker 3: stuff we're doing, but we can throw it out if 863 00:43:26,960 --> 00:43:28,840 Speaker 3: we want to because we're in the space Michael B. 864 00:43:28,920 --> 00:43:31,680 Speaker 3: Jordan is you know, we're doing a blocking with him 865 00:43:32,120 --> 00:43:33,880 Speaker 3: and all of a sudden, you know the sun's coming in, 866 00:43:34,000 --> 00:43:36,000 Speaker 3: or you see these special moments that you want to 867 00:43:36,160 --> 00:43:38,840 Speaker 3: adapt quickly too, because the actor is now in the 868 00:43:38,880 --> 00:43:41,880 Speaker 3: actual space giving you shit in the rehearsal, so you 869 00:43:41,880 --> 00:43:43,719 Speaker 3: don't want to stick to maybe what you thought of 870 00:43:43,880 --> 00:43:46,279 Speaker 3: on the page in an office like six weeks ago. 871 00:43:46,560 --> 00:43:48,759 Speaker 3: So yeah, we adapt, And I love that about Ryan 872 00:43:48,800 --> 00:43:51,040 Speaker 3: because we have a plan, but we also like feel 873 00:43:51,040 --> 00:43:52,680 Speaker 3: it out as well, and that's where you know, you 874 00:43:52,719 --> 00:43:55,240 Speaker 3: can get extra stuff or you can have different versions 875 00:43:55,280 --> 00:43:58,200 Speaker 3: of things. But no, I think the more you know, 876 00:43:58,360 --> 00:44:01,719 Speaker 3: the more you can play jazz on set. Right, Like 877 00:44:01,760 --> 00:44:04,759 Speaker 3: if you prep your shit tight before then you can 878 00:44:04,880 --> 00:44:27,640 Speaker 3: be more free flowing and not be erratic I guess. 879 00:44:20,080 --> 00:44:23,680 Speaker 2: I would assume that music sequence. I mean, there's so 880 00:44:23,719 --> 00:44:26,400 Speaker 2: many iconic sequences, but for me, that's the one that 881 00:44:26,440 --> 00:44:28,160 Speaker 2: grabbed me the most, and it came so early, so 882 00:44:28,239 --> 00:44:30,279 Speaker 2: I don't know if I should call that the epicenter 883 00:44:30,239 --> 00:44:31,480 Speaker 2: of the heartbeat of the film. 884 00:44:32,120 --> 00:44:34,440 Speaker 1: But that's one of the things we're. 885 00:44:34,320 --> 00:44:37,560 Speaker 2: Obsessed about, where it's like, how did that look on page? 886 00:44:38,320 --> 00:44:42,840 Speaker 2: Because I feel like what was captured wasn't specifically written 887 00:44:42,880 --> 00:44:46,279 Speaker 2: on page like it just I'll ask you, what was 888 00:44:46,320 --> 00:44:49,440 Speaker 2: the most difficult sequence to shoot in that film? 889 00:44:49,600 --> 00:44:52,040 Speaker 3: Yeah, it wasn't that one. I answered this once because 890 00:44:52,080 --> 00:44:54,520 Speaker 3: I think someone asked me when I was talking about 891 00:44:54,520 --> 00:44:58,040 Speaker 3: Imax on something and well, to go back to how 892 00:44:58,040 --> 00:44:59,960 Speaker 3: it was written. It was beautifully written. But you know 893 00:45:00,160 --> 00:45:04,480 Speaker 3: something like that is written in description, right because it's 894 00:45:04,520 --> 00:45:08,080 Speaker 3: so like ethereal and surreal, and so when I first 895 00:45:08,080 --> 00:45:11,520 Speaker 3: read it has so much imagination, So you read it, 896 00:45:11,520 --> 00:45:14,320 Speaker 3: it makes you think, like on your own by yourself, 897 00:45:14,400 --> 00:45:16,120 Speaker 3: right when you read it. And then I have a 898 00:45:16,120 --> 00:45:19,000 Speaker 3: meeting with Ryan and then he's explaining what he wants 899 00:45:19,040 --> 00:45:21,280 Speaker 3: to do with it, right, how it makes him feel, 900 00:45:21,360 --> 00:45:23,239 Speaker 3: what his drive is for the scene. And then that's 901 00:45:23,239 --> 00:45:25,120 Speaker 3: when it starts to fill itself out, and then you 902 00:45:25,160 --> 00:45:28,640 Speaker 3: have meetings about it. He also did some rough drawings boards, 903 00:45:28,920 --> 00:45:31,360 Speaker 3: you know, prior to us flashing it out fully, so 904 00:45:31,400 --> 00:45:33,560 Speaker 3: I kind of after you see those, you have a 905 00:45:33,600 --> 00:45:35,640 Speaker 3: bit of an idea of what he wants, but it 906 00:45:35,680 --> 00:45:38,880 Speaker 3: is a kind of evolves, you know, based off of 907 00:45:38,920 --> 00:45:40,520 Speaker 3: what he read. If you read that, which I'm sure 908 00:45:40,560 --> 00:45:43,800 Speaker 3: the script will come out at some point. It's beautifully written, 909 00:45:44,160 --> 00:45:47,080 Speaker 3: and so it is actually that cool on the page, 910 00:45:47,120 --> 00:45:50,440 Speaker 3: but visually I think it turned into something much greater, obviously, 911 00:45:50,880 --> 00:45:52,920 Speaker 3: but no, I think for me the hardest scene was 912 00:45:52,920 --> 00:45:56,319 Speaker 3: the last scene that we shot, the fight in the river, 913 00:45:56,520 --> 00:45:59,120 Speaker 3: the night fight, And I think for me, why I 914 00:45:59,160 --> 00:46:01,600 Speaker 3: say that's the heart this is because number one, it's 915 00:46:01,719 --> 00:46:04,600 Speaker 3: night shoots. Those are always difficult, But when there is 916 00:46:04,719 --> 00:46:09,000 Speaker 3: VFX involved, I find it difficult because with VFX we 917 00:46:09,080 --> 00:46:11,640 Speaker 3: try to get as most as we can in camera, 918 00:46:12,000 --> 00:46:14,240 Speaker 3: but there's a lot of stuff that's being done way later, 919 00:46:14,520 --> 00:46:17,040 Speaker 3: right and as a DP on set, you want to 920 00:46:17,080 --> 00:46:18,799 Speaker 3: know what that's going to look like. You want to 921 00:46:18,840 --> 00:46:21,239 Speaker 3: know how they're going to manipulate the image. You want 922 00:46:21,239 --> 00:46:23,800 Speaker 3: to know the kind of the path that it's going 923 00:46:24,200 --> 00:46:26,400 Speaker 3: and so when I don't have control, that's when I 924 00:46:26,400 --> 00:46:29,359 Speaker 3: find it difficult because I need control. So that scene, 925 00:46:29,400 --> 00:46:31,960 Speaker 3: I think, in itself was more complex because we did 926 00:46:32,000 --> 00:46:34,160 Speaker 3: some work on it. Obviously we did most of it 927 00:46:34,160 --> 00:46:36,759 Speaker 3: in camera. We did burn him, but you can see 928 00:46:36,800 --> 00:46:40,640 Speaker 3: there's a lot of collaboration between make up, the effects, 929 00:46:41,120 --> 00:46:44,680 Speaker 3: the actors, how we shot it. So that was the 930 00:46:44,719 --> 00:46:46,960 Speaker 3: trickiest thing for me, I think, because it has an evolution, 931 00:46:47,080 --> 00:46:49,080 Speaker 3: there's a fire, tornado, all this stuff like that. 932 00:46:49,719 --> 00:46:51,520 Speaker 1: Where did you watch it for the first time with 933 00:46:51,560 --> 00:46:52,600 Speaker 1: an audience. 934 00:46:52,960 --> 00:46:54,960 Speaker 3: A real audience. I don't want to call it real 935 00:46:55,000 --> 00:46:57,840 Speaker 3: because it was the premiere, you know what premieers are, right. 936 00:46:57,719 --> 00:47:01,200 Speaker 2: But did you go to see it with non industry 937 00:47:01,280 --> 00:47:01,839 Speaker 2: people like. 938 00:47:02,680 --> 00:47:04,719 Speaker 3: I did after the premiere? So I would say the 939 00:47:04,760 --> 00:47:06,480 Speaker 3: first time I saw it, well, the first you know, 940 00:47:06,480 --> 00:47:08,480 Speaker 3: we watched it one hundred million times because we're doing 941 00:47:08,480 --> 00:47:10,879 Speaker 3: the QC. I got to watch the print, I gotta 942 00:47:10,960 --> 00:47:13,040 Speaker 3: do the HDR, I got to watch the digital projection. 943 00:47:13,120 --> 00:47:14,440 Speaker 3: So I see it a bunch with Ryan. 944 00:47:14,760 --> 00:47:16,560 Speaker 1: So you're tired of it a film like. 945 00:47:16,520 --> 00:47:19,880 Speaker 3: This, you aren't because it makes you so happy. You know, 946 00:47:20,000 --> 00:47:22,280 Speaker 3: it speaks to you like it speaks to your history, 947 00:47:22,320 --> 00:47:25,359 Speaker 3: your culture, your your family, your relatives. So I didn't 948 00:47:25,360 --> 00:47:27,120 Speaker 3: have a problem with it, you know, like watching it 949 00:47:27,239 --> 00:47:29,080 Speaker 3: a bunch of times, I was very proud of it. 950 00:47:29,080 --> 00:47:30,759 Speaker 3: So you're like, when you watch it, you're like, uh, 951 00:47:31,360 --> 00:47:34,680 Speaker 3: but no. I watched it with a regular crowd in 952 00:47:34,760 --> 00:47:37,399 Speaker 3: quotes regular at the premiere in New York. And then 953 00:47:37,480 --> 00:47:40,040 Speaker 3: the first time I really watched it was at City Walk. 954 00:47:40,040 --> 00:47:42,640 Speaker 3: I went to City Walk and I watched it with 955 00:47:42,680 --> 00:47:45,120 Speaker 3: a real crowd. And you know, I think I get 956 00:47:45,160 --> 00:47:47,520 Speaker 3: emotional every time I watch it, for sure. 957 00:47:47,680 --> 00:47:53,640 Speaker 2: Yeah, I assume that the X Files are next, right, Yeah. 958 00:47:52,840 --> 00:47:56,400 Speaker 1: How familiar were you with the. 959 00:47:55,800 --> 00:47:58,279 Speaker 2: Series before you signed on to it, Like were you 960 00:47:58,440 --> 00:48:02,160 Speaker 2: obsessive or like what was the process of tackling that? 961 00:48:02,719 --> 00:48:07,280 Speaker 3: I was not. I am not. My mom loved that show. 962 00:48:07,600 --> 00:48:09,600 Speaker 3: It's funny because I think Ryan said something to media 963 00:48:09,600 --> 00:48:12,000 Speaker 3: recently that he's making it for his mom or like that, 964 00:48:12,360 --> 00:48:14,080 Speaker 3: you know, she really loved that show, so he wants 965 00:48:14,120 --> 00:48:17,000 Speaker 3: to do right by her. But my mom, I guess 966 00:48:17,040 --> 00:48:19,200 Speaker 3: it was like in a time and of her place, 967 00:48:19,360 --> 00:48:21,759 Speaker 3: like to watch that and be obsessive about like next 968 00:48:21,800 --> 00:48:24,239 Speaker 3: week is this? And she would do that. But I 969 00:48:24,280 --> 00:48:26,239 Speaker 3: never got that into it. I mean, I'm not versed 970 00:48:26,280 --> 00:48:29,040 Speaker 3: in it. I did watch it throughout my life. Sometimes 971 00:48:29,160 --> 00:48:31,680 Speaker 3: I found myself watching it. But I'm okay with that 972 00:48:31,719 --> 00:48:35,680 Speaker 3: because I feel like, what's nice about maybe not knowing 973 00:48:35,719 --> 00:48:38,239 Speaker 3: everything is you can be more imaginative because when he 974 00:48:38,280 --> 00:48:40,960 Speaker 3: hands me the script, it's a new version of that, 975 00:48:41,160 --> 00:48:44,440 Speaker 3: right right, same roots. I think not too long ago, 976 00:48:44,480 --> 00:48:46,880 Speaker 3: I watched the first the pilot episode to revisit it, 977 00:48:47,280 --> 00:48:48,959 Speaker 3: but I try not to get too much in my head, 978 00:48:49,000 --> 00:48:52,840 Speaker 3: Like I'm more big on like him, having a conversation 979 00:48:52,920 --> 00:48:55,839 Speaker 3: with him about what things mean, and doing my own 980 00:48:55,840 --> 00:48:58,319 Speaker 3: homework than like watching it all and filling my head 981 00:48:58,360 --> 00:49:00,600 Speaker 3: with like what was it makes sense? 982 00:49:00,800 --> 00:49:03,200 Speaker 2: So you didn't like watch the box set twelve times 983 00:49:03,200 --> 00:49:03,960 Speaker 2: over to make sure? 984 00:49:04,000 --> 00:49:06,960 Speaker 3: No, no, no, no, We're we're about to get into prep. 985 00:49:07,040 --> 00:49:10,719 Speaker 3: So I'm not in prep officially yet, so I'm going 986 00:49:10,760 --> 00:49:11,640 Speaker 3: to have to revisit that. 987 00:49:12,200 --> 00:49:14,759 Speaker 2: Well, especially with your line of work, how long do 988 00:49:14,800 --> 00:49:18,239 Speaker 2: you give yourself in between projects to even commit to 989 00:49:18,320 --> 00:49:22,000 Speaker 2: another project and go through the process of like sitting 990 00:49:22,000 --> 00:49:24,520 Speaker 2: with it, doing some research and starting your notes. 991 00:49:24,600 --> 00:49:27,960 Speaker 3: Like, no, no, it's such a good question because I 992 00:49:28,000 --> 00:49:32,400 Speaker 3: think because my husband also a DP and he's he 993 00:49:32,520 --> 00:49:36,799 Speaker 3: does movies, bigger movies as well. That I don't want 994 00:49:36,800 --> 00:49:38,719 Speaker 3: to work all the time, you know, like I don't. 995 00:49:38,880 --> 00:49:40,800 Speaker 3: I'm not like a back to back to back person. 996 00:49:40,840 --> 00:49:43,400 Speaker 3: I think Last show Girl and Sinners, these are like 997 00:49:43,480 --> 00:49:45,640 Speaker 3: my two best friends, so I you know, that had 998 00:49:45,640 --> 00:49:47,799 Speaker 3: to happen like that. I wasn't going to not do 999 00:49:48,080 --> 00:49:51,799 Speaker 3: those ones. But it's not something that like, I pour 1000 00:49:51,880 --> 00:49:54,640 Speaker 3: so much of myself into it that it's very draining 1001 00:49:54,760 --> 00:49:57,560 Speaker 3: by the end of it. So I'm not even thinking 1002 00:49:57,600 --> 00:49:59,880 Speaker 3: about like calling my agent, like what else do you 1003 00:50:00,239 --> 00:50:02,080 Speaker 3: for me? You know, Oh, it's not doing that. 1004 00:50:02,160 --> 00:50:03,080 Speaker 1: You're not a stacker. 1005 00:50:03,640 --> 00:50:04,440 Speaker 3: I'm not a stacker. 1006 00:50:04,520 --> 00:50:07,760 Speaker 1: Yeah, I'm a stacker. 1007 00:50:07,800 --> 00:50:10,320 Speaker 3: Well you'd be. Yeah, that's the thing. I think many 1008 00:50:10,360 --> 00:50:13,400 Speaker 3: people are. There are reasons why I'm not. But I 1009 00:50:13,440 --> 00:50:16,560 Speaker 3: also like fill it in with commercials. So like, for instance, 1010 00:50:16,600 --> 00:50:19,160 Speaker 3: you know, I finished Sinners, I'm back at home, and 1011 00:50:19,200 --> 00:50:22,800 Speaker 3: now I'm flying to Barcelona to shoot a soccer commercial. 1012 00:50:22,880 --> 00:50:26,040 Speaker 3: So I get to exercise, you know, shooting. I'm not 1013 00:50:26,080 --> 00:50:29,359 Speaker 3: doing a narrative, which is my favorite, but because we 1014 00:50:29,440 --> 00:50:32,600 Speaker 3: get to do commercials in between. I've been doing commercials 1015 00:50:32,880 --> 00:50:38,600 Speaker 3: since Sinners wrapped and the pilot, Like our dates have 1016 00:50:38,640 --> 00:50:40,640 Speaker 3: shifted a bit, so the pilot I was supposed to. 1017 00:50:40,680 --> 00:50:42,560 Speaker 3: You know, it's like when things shift, you kind of 1018 00:50:42,640 --> 00:50:44,879 Speaker 3: run with it. So I haven't put anything in front 1019 00:50:44,920 --> 00:50:45,160 Speaker 3: of that. 1020 00:50:45,560 --> 00:50:48,880 Speaker 2: Our commercial is your version of me going to a 1021 00:50:48,960 --> 00:50:52,160 Speaker 2: jam session at a jazz club to try new things out. 1022 00:50:52,440 --> 00:50:54,759 Speaker 3: Yes, that you get to work with your friends, right, 1023 00:50:54,840 --> 00:50:56,799 Speaker 3: Like your friend can call you like come jam with me, 1024 00:50:56,840 --> 00:50:58,400 Speaker 3: and they're like, okay, I'll come chat with you for 1025 00:50:58,440 --> 00:50:58,800 Speaker 3: a week. 1026 00:50:59,160 --> 00:51:02,440 Speaker 1: What is your other talent that's not film related? 1027 00:51:02,800 --> 00:51:06,319 Speaker 3: Tennis? I played tennis, okay, but I'm not like going 1028 00:51:06,400 --> 00:51:09,399 Speaker 3: pro or anything. But I find that like is very 1029 00:51:09,400 --> 00:51:12,240 Speaker 3: helpful to me, Like I have a coach, I'll go play, 1030 00:51:12,360 --> 00:51:13,799 Speaker 3: like I'm going to go play after this. 1031 00:51:14,360 --> 00:51:17,560 Speaker 1: What is your go to movie theater? Snack? 1032 00:51:18,080 --> 00:51:21,480 Speaker 3: Oh, popcorner, raisinets mixed together. 1033 00:51:21,239 --> 00:51:24,839 Speaker 1: Mixed together? Okay. What's the film that you've seen the 1034 00:51:24,880 --> 00:51:25,840 Speaker 1: most in your life? 1035 00:51:26,400 --> 00:51:27,080 Speaker 3: Probably Heat. 1036 00:51:27,560 --> 00:51:29,120 Speaker 1: I'm showing that for my birthday this year. 1037 00:51:29,760 --> 00:51:30,319 Speaker 3: Oh you are? 1038 00:51:30,600 --> 00:51:34,120 Speaker 2: I run out of movie theater the Saturday before my 1039 00:51:34,200 --> 00:51:39,200 Speaker 2: birthday and I curate not a twenty four hour but 1040 00:51:39,320 --> 00:51:43,920 Speaker 2: like sixteen to seventeen hour all day film festival. 1041 00:51:44,160 --> 00:51:46,960 Speaker 1: Like cartoons cartoons in the morning, and. 1042 00:51:46,920 --> 00:51:50,359 Speaker 2: Then a musical whatever I liked in the eighties, something 1043 00:51:50,360 --> 00:51:53,279 Speaker 2: in the nineties, a gangster flick, and usually ends with 1044 00:51:53,360 --> 00:51:57,560 Speaker 2: like a really horrible b film like that. How do 1045 00:51:57,600 --> 00:52:00,520 Speaker 2: you manage stress? Like how do you what's your self 1046 00:52:00,520 --> 00:52:01,360 Speaker 2: care routine? 1047 00:52:01,800 --> 00:52:04,800 Speaker 3: I like to be I'm a homebody because I spend 1048 00:52:04,840 --> 00:52:08,799 Speaker 3: so much time outside, you know, like I just did 1049 00:52:08,800 --> 00:52:13,000 Speaker 3: that film festival. I'll push myself to go do things 1050 00:52:13,080 --> 00:52:16,719 Speaker 3: because I think they're important. And like being at that festival, 1051 00:52:17,560 --> 00:52:20,799 Speaker 3: you know, as a representative. You know, they had me there, 1052 00:52:20,840 --> 00:52:22,920 Speaker 3: they gave me like I was part of a panel, 1053 00:52:23,080 --> 00:52:25,400 Speaker 3: but also the students that were there, Like I was 1054 00:52:25,400 --> 00:52:27,000 Speaker 3: texting Ryan and I was telling them. I was like 1055 00:52:27,480 --> 00:52:29,600 Speaker 3: I could count on two hands how many black women 1056 00:52:29,680 --> 00:52:31,440 Speaker 3: came up to me and said thank you for what 1057 00:52:31,480 --> 00:52:35,120 Speaker 3: you do and they wanted to meet me, like that 1058 00:52:35,239 --> 00:52:37,640 Speaker 3: was unheard of, like on two hands. So I had 1059 00:52:37,680 --> 00:52:41,399 Speaker 3: more than five and they were lovely students. And then 1060 00:52:41,400 --> 00:52:44,920 Speaker 3: when I have those experiences, it makes me go, you 1061 00:52:44,920 --> 00:52:47,080 Speaker 3: know what, this is why I'm going to go out 1062 00:52:47,080 --> 00:52:50,239 Speaker 3: and talk. This is why I'm going to do the interviews, 1063 00:52:50,280 --> 00:52:52,200 Speaker 3: because some girl is going to read it and it's 1064 00:52:52,239 --> 00:52:55,719 Speaker 3: going to be something that is important to her and 1065 00:52:55,760 --> 00:52:57,560 Speaker 3: so all that stress, you know, because you got to 1066 00:52:57,560 --> 00:53:01,239 Speaker 3: stack all the stuff, you know, it is for this 1067 00:53:01,320 --> 00:53:04,000 Speaker 3: time and period. It's worth it. And I do see 1068 00:53:04,080 --> 00:53:06,800 Speaker 3: Ryan doing that too. He's very inspirational in that regard, 1069 00:53:06,840 --> 00:53:10,400 Speaker 3: where like he he gives a lot of people his 1070 00:53:10,520 --> 00:53:13,200 Speaker 3: time and energy. And also his family is a great 1071 00:53:13,200 --> 00:53:15,960 Speaker 3: family person and I see that in him. So I 1072 00:53:16,000 --> 00:53:17,960 Speaker 3: want to extend that as well because I've been given 1073 00:53:17,960 --> 00:53:21,239 Speaker 3: this opportunity that many people do not get. So my 1074 00:53:21,280 --> 00:53:23,520 Speaker 3: self carries. I'll do all the stuff, but then when 1075 00:53:23,520 --> 00:53:25,160 Speaker 3: it's time to rest, I like to be in my 1076 00:53:25,280 --> 00:53:28,839 Speaker 3: home by myself if my son's at school or whatever 1077 00:53:28,880 --> 00:53:30,480 Speaker 3: it is. But I need a loane time. I need 1078 00:53:30,520 --> 00:53:33,239 Speaker 3: some space and time for myself, or I'll go Placennis 1079 00:53:33,360 --> 00:53:36,000 Speaker 3: Hennis is my Yeah. But if I'm on set and 1080 00:53:36,040 --> 00:53:38,760 Speaker 3: I'm stressed, someone might, you know, I might get upset, 1081 00:53:38,800 --> 00:53:41,040 Speaker 3: yell at somebody, go out a cigarette maybe something like that. 1082 00:53:41,440 --> 00:53:45,120 Speaker 2: Yeah, this has been really educational, and I thank you 1083 00:53:45,160 --> 00:53:48,359 Speaker 2: for giving me the honor of this conversation. 1084 00:53:48,840 --> 00:53:51,040 Speaker 1: I am such a fan of your work. 1085 00:53:51,040 --> 00:53:53,759 Speaker 2: Thank you so much, and I hope to one day 1086 00:53:53,800 --> 00:53:54,520 Speaker 2: to work with you. 1087 00:53:55,120 --> 00:53:59,080 Speaker 3: Very like Zacher, I like, you got a stack of 1088 00:53:59,080 --> 00:53:59,960 Speaker 3: shit that you need to do. 1089 00:54:00,520 --> 00:54:00,799 Speaker 1: I am. 1090 00:54:00,840 --> 00:54:04,160 Speaker 2: I'm definitely working until like twenty thirty two, so I 1091 00:54:04,560 --> 00:54:08,120 Speaker 2: really appreciate it, and thank you very much, ladies and gentlemen. 1092 00:54:08,640 --> 00:54:12,760 Speaker 2: This is Autumn Arkapale Am I pronouncing that correctly. 1093 00:54:12,880 --> 00:54:15,960 Speaker 3: Yeah, it's actually well you could say Arkapau. I think 1094 00:54:16,000 --> 00:54:18,080 Speaker 3: they it's my husband's last name, but they changed it. 1095 00:54:18,080 --> 00:54:20,880 Speaker 3: It's Arkapove, but when they immigrated it they changed it 1096 00:54:20,920 --> 00:54:25,279 Speaker 3: to Arkapau, you know, but yes, Arka Paul beautiful. 1097 00:54:25,360 --> 00:54:28,000 Speaker 2: Well, thank you very much for talking to the Quest 1098 00:54:28,040 --> 00:54:30,320 Speaker 2: Loft Show, and ladies and gentlemen, I will see you 1099 00:54:30,400 --> 00:54:31,239 Speaker 2: on the next go round. 1100 00:54:31,400 --> 00:54:33,160 Speaker 3: All right, thank you, thank you. 1101 00:54:39,920 --> 00:54:42,720 Speaker 2: Quest Left Show is hosted by me A Mere Quest 1102 00:54:42,719 --> 00:54:48,160 Speaker 2: Love Thompson. Executive producers are Sean g Brian Calhoun and me. 1103 00:54:49,800 --> 00:54:54,600 Speaker 2: Produced by Britney Benjamin and Jake Paine. Produced for I 1104 00:54:54,800 --> 00:55:00,640 Speaker 2: Heearten by Noel Brown, edited by Alex Convoy, iHeart Video 1105 00:55:00,640 --> 00:55:05,960 Speaker 2: support by Mark Canton, Logos Graphics and animation by Nick 1106 00:55:06,200 --> 00:55:12,360 Speaker 2: by Loewie. Additional support by Lance Colman. Special thanks to 1107 00:55:12,440 --> 00:55:18,640 Speaker 2: Kathy Brown. Special thanks to Sugar Steve Mandel. Please subscribe, 1108 00:55:18,719 --> 00:55:22,040 Speaker 2: rate review and share the Quest Love Show wherever you 1109 00:55:22,080 --> 00:55:24,520 Speaker 2: stream your podcast. To make sure you follow us on 1110 00:55:24,560 --> 00:55:31,279 Speaker 2: socials that's at QLs. Check out hundreds and hundreds of 1111 00:55:31,360 --> 00:55:34,799 Speaker 2: QLs episodes, including the Quest Love Supreme Shows, and our 1112 00:55:34,800 --> 00:55:35,920 Speaker 2: podcast archives. 1113 00:55:38,440 --> 00:55:41,000 Speaker 1: Quest Loup Show is a production of iHeartRadio