1 00:00:03,080 --> 00:00:06,280 Speaker 1: Hi everyone, I'm Katie Curic and this is next question. 2 00:00:07,160 --> 00:00:09,719 Speaker 1: The Oscars are on the horizon, and though it's been 3 00:00:09,760 --> 00:00:12,680 Speaker 1: a strange year for the movie industry, the race for 4 00:00:12,720 --> 00:00:17,320 Speaker 1: the Golden Statue is nothing short of historic. Notably, there 5 00:00:17,400 --> 00:00:21,040 Speaker 1: is not one, but two women nominated for Best Director, 6 00:00:21,640 --> 00:00:24,200 Speaker 1: and I know you're probably rolling your eyes at the 7 00:00:24,200 --> 00:00:28,960 Speaker 1: Academy's glacial progressive pace, but it's at least a hopeful sign. 8 00:00:29,680 --> 00:00:34,720 Speaker 1: Those historic directors are Emerald Finell, nominated for Promising Young Woman, 9 00:00:34,840 --> 00:00:39,480 Speaker 1: starring Kerrie mulligan, and Chloe's Ou nominated for Nomad Land, 10 00:00:39,760 --> 00:00:43,480 Speaker 1: which stars Frances McDorman as Fern, a woman living out 11 00:00:43,479 --> 00:00:47,040 Speaker 1: of her van, traveling the country, working seasonal jobs and 12 00:00:47,120 --> 00:00:51,760 Speaker 1: meeting a community of like minded itinerant Americans along the way. 13 00:00:52,159 --> 00:00:55,920 Speaker 1: You are one of those lucky people who can travel anywhere. Yes, 14 00:00:56,560 --> 00:01:04,120 Speaker 1: and they'll sometimes call you no maad my mom. So 15 00:01:04,319 --> 00:01:07,959 Speaker 1: that's your homeless. Who's that true? No, I'm not homeless, 16 00:01:08,200 --> 00:01:14,360 Speaker 1: I'm just houseless. Not the same thing, right. Chloe, I 17 00:01:14,360 --> 00:01:17,640 Speaker 1: should note, is the first woman to receive four nominations 18 00:01:17,640 --> 00:01:20,600 Speaker 1: in a single year and the first non white woman 19 00:01:20,640 --> 00:01:24,320 Speaker 1: to be nominated in the director category, and recently, I 20 00:01:24,360 --> 00:01:26,479 Speaker 1: had the pleasure of speaking with Chloe, as well as 21 00:01:26,520 --> 00:01:31,039 Speaker 1: three producers of Nomad Land, Peter Spears, Molly Asher, and 22 00:01:31,160 --> 00:01:38,640 Speaker 1: Dan Jampi, about this extraordinarily beautiful and strangely prescient film. Peter, 23 00:01:38,760 --> 00:01:42,720 Speaker 1: let me start with you. You and Francis option Nomad Land, 24 00:01:42,880 --> 00:01:46,640 Speaker 1: Surviving American the twenty one Century, Frances mcdormomand, who also 25 00:01:46,680 --> 00:01:49,200 Speaker 1: stars in the film. It was written by someone named 26 00:01:49,240 --> 00:01:52,440 Speaker 1: Jessica Brewder, And I'm curious what made you believe that 27 00:01:52,520 --> 00:01:55,880 Speaker 1: this could be translated into film and would actually make 28 00:01:55,920 --> 00:02:00,600 Speaker 1: a really compelling movie. Well, when it was sent to us, uh, 29 00:02:00,720 --> 00:02:05,320 Speaker 1: we read it with an eye to something that Francis 30 00:02:05,400 --> 00:02:09,040 Speaker 1: might play herself in the movie. But Linda May, who 31 00:02:09,120 --> 00:02:14,080 Speaker 1: is the main character of the book, uh, is also 32 00:02:14,160 --> 00:02:17,760 Speaker 1: in our film. But the book itself follows sort of 33 00:02:17,800 --> 00:02:21,400 Speaker 1: the journey of Linda from unemployment to eventually buying some 34 00:02:21,520 --> 00:02:25,880 Speaker 1: land and making an earthship on that land. And I 35 00:02:25,919 --> 00:02:30,359 Speaker 1: think what both Francis and I responded to in that 36 00:02:30,480 --> 00:02:35,560 Speaker 1: book felt like a bit of a flare going up 37 00:02:36,120 --> 00:02:40,359 Speaker 1: while in a warning to us all that that there was, 38 00:02:40,560 --> 00:02:42,440 Speaker 1: as it says in the book that the Titanic is 39 00:02:42,480 --> 00:02:46,680 Speaker 1: going down and that we needed to get the lifeboats ready. 40 00:02:46,760 --> 00:02:49,200 Speaker 1: And I know that the book itself takes place in 41 00:02:50,000 --> 00:02:52,000 Speaker 1: two thousand and eleven, in the in the wake of 42 00:02:52,040 --> 00:02:56,720 Speaker 1: the two thousand and eight recession, but something really felt 43 00:02:56,760 --> 00:02:59,519 Speaker 1: prescient about it in the reading of it in two 44 00:02:59,560 --> 00:03:03,840 Speaker 1: thousands sent team and it felt like, really was something 45 00:03:04,800 --> 00:03:07,480 Speaker 1: afoot in a way that I think we all came 46 00:03:07,520 --> 00:03:12,880 Speaker 1: to realize in the ensuing year was even more widespread 47 00:03:12,960 --> 00:03:16,280 Speaker 1: and deeper than than we had ever had the ability 48 00:03:16,280 --> 00:03:19,000 Speaker 1: to look into a crystal ball and see and when 49 00:03:19,040 --> 00:03:22,360 Speaker 1: you think about Dan, what that was, you know, and 50 00:03:22,440 --> 00:03:27,320 Speaker 1: what this this whole population represented, you know what struck 51 00:03:27,440 --> 00:03:31,440 Speaker 1: you about the message that that their way of life 52 00:03:31,639 --> 00:03:35,640 Speaker 1: and their situation was sending that that Peter talked about. 53 00:03:37,840 --> 00:03:40,040 Speaker 1: But the moment that I became involved in the film, 54 00:03:40,160 --> 00:03:44,240 Speaker 1: Chloe had a very specific vision for the movie and 55 00:03:44,560 --> 00:03:49,160 Speaker 1: one of the primary um one of the primary adaptations 56 00:03:49,160 --> 00:03:53,040 Speaker 1: that Chloe made was creating the character of Firm in 57 00:03:53,120 --> 00:03:56,920 Speaker 1: collaboration with Francis. And so at the moment that we 58 00:03:57,040 --> 00:04:00,120 Speaker 1: entered the film, there was this notion of for and 59 00:04:00,280 --> 00:04:03,000 Speaker 1: going on a journey through the American West following these 60 00:04:03,080 --> 00:04:07,600 Speaker 1: various jobs, and so cinematically. For me, I was quite 61 00:04:07,720 --> 00:04:11,640 Speaker 1: drawn to the idea of new, a new entry from 62 00:04:11,720 --> 00:04:16,040 Speaker 1: Chloe into the American road movie and into the American Western. 63 00:04:16,600 --> 00:04:20,000 Speaker 1: And I felt that Chloe's approach to this, for me, 64 00:04:20,080 --> 00:04:23,560 Speaker 1: I was as much influenced by playing with classic genres 65 00:04:23,560 --> 00:04:27,800 Speaker 1: of American cinema and radically new ways. So fascinating. And 66 00:04:27,880 --> 00:04:29,960 Speaker 1: I'm going to talk to Chloe about her vision in 67 00:04:29,960 --> 00:04:32,320 Speaker 1: a moment. But Molly, I'm just curious when you got 68 00:04:32,520 --> 00:04:34,960 Speaker 1: involved in this project, and I think I'm a pretty 69 00:04:35,000 --> 00:04:40,159 Speaker 1: well read person, I didn't realize that there were all 70 00:04:40,200 --> 00:04:44,400 Speaker 1: these nomads traveling across the country from place to place, 71 00:04:44,480 --> 00:04:48,640 Speaker 1: from job to job, from location to location, um, you know, 72 00:04:49,120 --> 00:04:55,119 Speaker 1: really making this very charipatetic life for themselves. And I'm curious, Molly, 73 00:04:55,200 --> 00:05:00,080 Speaker 1: if you were aware of this segment of the population. No, Oh, 74 00:05:00,160 --> 00:05:03,080 Speaker 1: I wasn't at all, and you know, not until reading 75 00:05:03,080 --> 00:05:06,200 Speaker 1: the book and then even more so how striking it 76 00:05:06,320 --> 00:05:08,840 Speaker 1: was then meeting Swanky and then the may and Bob 77 00:05:08,839 --> 00:05:12,320 Speaker 1: Wells and realizing that, like I think what people, the 78 00:05:12,320 --> 00:05:14,920 Speaker 1: notion people might have of someone who lives in their 79 00:05:15,040 --> 00:05:17,680 Speaker 1: van is very different. You know, this could be somebody 80 00:05:17,720 --> 00:05:20,359 Speaker 1: who's sitting next to you at a restaurant, or behind 81 00:05:20,400 --> 00:05:22,360 Speaker 1: you in line at the bank, or you know, it's 82 00:05:22,480 --> 00:05:31,320 Speaker 1: it's um. I found that fascinating and also really um warming. Yeah. 83 00:05:31,520 --> 00:05:34,120 Speaker 1: You know, initially you think, oh, you'll feel sorry for 84 00:05:34,160 --> 00:05:36,520 Speaker 1: these people, and then you receive the way that they're 85 00:05:36,560 --> 00:05:40,200 Speaker 1: living and how connected they are to both the land 86 00:05:40,320 --> 00:05:43,160 Speaker 1: and ultimately each other. And then I think it gives 87 00:05:43,200 --> 00:05:46,039 Speaker 1: you a brand new perspective. I know, Peter, you and 88 00:05:46,120 --> 00:05:50,240 Speaker 1: Francis or Francis rather was at the Toronto Film Festival 89 00:05:50,960 --> 00:05:55,280 Speaker 1: and you saw the work of a remarkable, uh young 90 00:05:55,400 --> 00:06:02,400 Speaker 1: filmmaker who's drinking her tea right now. Francis came back 91 00:06:02,440 --> 00:06:05,760 Speaker 1: and said, I think we found our director. What was 92 00:06:05,800 --> 00:06:08,080 Speaker 1: it about Chloe in that work? And I promised Chloe, 93 00:06:08,120 --> 00:06:13,240 Speaker 1: I'm going to get team the next your time. But 94 00:06:13,400 --> 00:06:16,159 Speaker 1: what was it about Chloe's work? I believe it was 95 00:06:16,160 --> 00:06:19,839 Speaker 1: a film called Writer. I think the Writer, Yes, and 96 00:06:20,120 --> 00:06:23,200 Speaker 1: Molly was the producer on that as well, and uh, 97 00:06:23,440 --> 00:06:27,039 Speaker 1: you know, we had really never seen anything quite like it, 98 00:06:27,080 --> 00:06:30,400 Speaker 1: and mine and Francis's experience we had come up in 99 00:06:30,440 --> 00:06:36,520 Speaker 1: a more traditional filmmaking storytelling away and it just it 100 00:06:36,560 --> 00:06:41,880 Speaker 1: blew our socks. Off. We we really were both mesmerized 101 00:06:41,920 --> 00:06:47,920 Speaker 1: by the uh proficient UM way of storytelling, but also 102 00:06:48,200 --> 00:06:53,479 Speaker 1: how immersive the experience was and how strong the filmmaker's 103 00:06:53,480 --> 00:06:55,400 Speaker 1: point of view was. And that's always what you're looking 104 00:06:55,400 --> 00:06:58,520 Speaker 1: for when you're looking, uh to find a director for 105 00:06:58,560 --> 00:07:02,200 Speaker 1: a project. And so we reached out to Chloe. We met. 106 00:07:02,240 --> 00:07:05,520 Speaker 1: The three of us, Chloe, Francis, and I met on 107 00:07:05,560 --> 00:07:09,120 Speaker 1: the afternoon of the Independent Spirit Awards in Los Angeles 108 00:07:09,160 --> 00:07:11,680 Speaker 1: that year. All three of us had been working on 109 00:07:11,760 --> 00:07:14,480 Speaker 1: separate films. UH. I was coming off Called Me by 110 00:07:14,480 --> 00:07:17,520 Speaker 1: Your Name, and Francis doing three Billboards and and Chloe 111 00:07:17,600 --> 00:07:20,880 Speaker 1: was just beginning UH with Molly the The The Ride. 112 00:07:21,120 --> 00:07:23,040 Speaker 1: You know, these sort of awards season right for for 113 00:07:23,080 --> 00:07:27,000 Speaker 1: the writer. And we decided then and there that we 114 00:07:27,040 --> 00:07:29,000 Speaker 1: wanted to make this film. But it was Chloe who 115 00:07:29,040 --> 00:07:32,840 Speaker 1: suggested to us that instead of a straightforward adaptation, perhaps 116 00:07:32,880 --> 00:07:35,160 Speaker 1: the movie was more in the style of of the 117 00:07:35,200 --> 00:07:38,520 Speaker 1: way she had made her earlier two movies and UH 118 00:07:38,560 --> 00:07:41,080 Speaker 1: and we were very, very excited, And the next day 119 00:07:41,120 --> 00:07:43,600 Speaker 1: she was off packed her car and was driving to 120 00:07:43,640 --> 00:07:47,440 Speaker 1: the Rubber Tramp Rendezvous to meet Bob Wells and Linda 121 00:07:47,480 --> 00:07:50,040 Speaker 1: and all the folks there and uh, we were off 122 00:07:50,080 --> 00:07:54,080 Speaker 1: and running. So Chloe, finally, um, tell me when you 123 00:07:54,520 --> 00:07:57,120 Speaker 1: first of all, when you get when you met with 124 00:07:57,120 --> 00:08:00,880 Speaker 1: Peter and Francis. I'm such a huge Francis M. Dormant fan. 125 00:08:01,120 --> 00:08:04,760 Speaker 1: I love her work. I admire everything about her and 126 00:08:05,000 --> 00:08:08,960 Speaker 1: had the the privilege of interviewing her on multiple occasions. 127 00:08:09,000 --> 00:08:11,880 Speaker 1: And I'm just curious when you were sitting there talking 128 00:08:11,880 --> 00:08:16,560 Speaker 1: with them, I mean, how cool was that? Chloe? You 129 00:08:16,640 --> 00:08:19,240 Speaker 1: have interviewed her, you know, you know, you can't keep 130 00:08:19,240 --> 00:08:22,440 Speaker 1: your eyes off of her. She has that she has 131 00:08:22,440 --> 00:08:25,080 Speaker 1: that ability to just draw you in, you know, because 132 00:08:25,080 --> 00:08:29,040 Speaker 1: she is very, very curious about people and about the 133 00:08:29,080 --> 00:08:31,480 Speaker 1: world around her, which makes her makes her not only 134 00:08:31,560 --> 00:08:34,520 Speaker 1: great actress, but a really great producer in that sense. 135 00:08:34,559 --> 00:08:37,200 Speaker 1: I think instinctually when she saw the writer, she thought, oh, 136 00:08:37,240 --> 00:08:40,520 Speaker 1: maybe there's another way to to to do this, you know, 137 00:08:40,640 --> 00:08:43,440 Speaker 1: So it was it was exciting. So when you thought 138 00:08:43,480 --> 00:08:49,240 Speaker 1: about us not doing a straightforward adaptation, but doing something 139 00:08:49,320 --> 00:08:54,840 Speaker 1: altogether different and so visually I think original. Tell me 140 00:08:54,920 --> 00:08:59,079 Speaker 1: when when you when you first conceived of that, how 141 00:08:59,120 --> 00:09:02,200 Speaker 1: would you describe the way you wanted this film to 142 00:09:02,400 --> 00:09:05,439 Speaker 1: unfold and the way you wanted to share the stories 143 00:09:05,960 --> 00:09:10,240 Speaker 1: of the nomads in it, including firm of course, Well 144 00:09:10,280 --> 00:09:13,959 Speaker 1: for me making these decisions are we're such um, we're 145 00:09:14,000 --> 00:09:17,760 Speaker 1: always such a god. Feeling very hard to pimp on 146 00:09:17,880 --> 00:09:21,959 Speaker 1: why and how until later when the film is done, 147 00:09:22,280 --> 00:09:25,280 Speaker 1: And why I realized when normal and went out into 148 00:09:25,320 --> 00:09:28,440 Speaker 1: the world is that people really take away different things, 149 00:09:29,280 --> 00:09:33,360 Speaker 1: drastically different messages from the film and different experiences. And 150 00:09:33,400 --> 00:09:35,439 Speaker 1: that's how I felt when I was reading the book. 151 00:09:35,760 --> 00:09:38,680 Speaker 1: Looking back at it, it wasn't just one thing, you 152 00:09:38,720 --> 00:09:42,719 Speaker 1: know there because Jessica did a great job of capturing. Yes, 153 00:09:42,840 --> 00:09:46,280 Speaker 1: there was an event that led to everyone in the 154 00:09:46,280 --> 00:09:48,720 Speaker 1: book to to make choices and or or to have 155 00:09:48,840 --> 00:09:52,319 Speaker 1: to to do something different with their lives, but that 156 00:09:52,360 --> 00:09:55,960 Speaker 1: brings out different humanity and different kind of human struggle 157 00:09:56,200 --> 00:09:59,720 Speaker 1: in each of them, and that diversity was so interesting 158 00:09:59,720 --> 00:10:01,920 Speaker 1: to me that I didn't want to I want us 159 00:10:01,920 --> 00:10:04,360 Speaker 1: to be able to create a character that can allow 160 00:10:04,440 --> 00:10:07,800 Speaker 1: me to bring as many aspects of that those stories 161 00:10:08,160 --> 00:10:13,400 Speaker 1: as possible. You see that this is my husband's old 162 00:10:13,400 --> 00:10:15,680 Speaker 1: fishing box. I put this whole latch on it, and 163 00:10:15,679 --> 00:10:18,800 Speaker 1: then when I opened it, the stopper holds it and 164 00:10:19,120 --> 00:10:22,640 Speaker 1: creates more counter space, and then I keep my really 165 00:10:22,720 --> 00:10:25,640 Speaker 1: nice stuff inside my dishes that my dad gave me. 166 00:10:25,800 --> 00:10:29,040 Speaker 1: He collected theesel into may from yard sales, and when 167 00:10:29,080 --> 00:10:31,600 Speaker 1: I graduated from high school, he gave me the whole set. 168 00:10:32,920 --> 00:10:37,360 Speaker 1: Is it that great? Yeah, it's called Automn. I don't 169 00:10:37,400 --> 00:10:39,520 Speaker 1: have that many pieces with me. But you know what 170 00:10:39,679 --> 00:10:45,840 Speaker 1: did you name your van Vanguard? Ah? That is very strong? 171 00:10:46,240 --> 00:10:51,800 Speaker 1: She is. Mhm. It's such a quiet, contemplative movie, which 172 00:10:51,840 --> 00:10:55,360 Speaker 1: I think the power is almost in the the quiet 173 00:10:55,440 --> 00:10:59,920 Speaker 1: of the film. And uh and and I think Fern 174 00:11:00,160 --> 00:11:05,600 Speaker 1: character remains somewhat an enigma throughout it. Um, kind of 175 00:11:05,720 --> 00:11:08,760 Speaker 1: understanding her and her motivations, you kind of put the 176 00:11:08,800 --> 00:11:14,480 Speaker 1: pieces together. But um, how much was Francis involved with 177 00:11:14,679 --> 00:11:19,559 Speaker 1: really kind of infusing Burn? Because Burn is a little 178 00:11:19,600 --> 00:11:24,440 Speaker 1: bit of Francis, and Francis is a little bit of Fern, right, Chloe, Yeah, 179 00:11:24,440 --> 00:11:26,320 Speaker 1: I think friend said she takes a little bit of 180 00:11:26,360 --> 00:11:29,839 Speaker 1: a character that she played with her every time. So 181 00:11:29,920 --> 00:11:32,120 Speaker 1: now so in a way, Firn is also a little 182 00:11:32,160 --> 00:11:35,040 Speaker 1: bit of every character she's ever played, so because she 183 00:11:35,080 --> 00:11:39,200 Speaker 1: really lives her art, you know, so, I think she 184 00:11:39,280 --> 00:11:42,040 Speaker 1: always said I didn't become an actual stuff my pictures taken. 185 00:11:42,440 --> 00:11:46,040 Speaker 1: I think I'm actress to to live different lives. And 186 00:11:46,160 --> 00:11:49,679 Speaker 1: Frannon was very much involved in creating firm the way 187 00:11:49,720 --> 00:11:54,000 Speaker 1: that I really heavily on the non professional actors that 188 00:11:54,080 --> 00:11:57,760 Speaker 1: work with in creating their characters. Uh yeah, so everything 189 00:11:57,840 --> 00:12:02,160 Speaker 1: from the way she moved her her outfit to her hair, 190 00:12:02,360 --> 00:12:04,959 Speaker 1: to the things that she bring into the vent, which 191 00:12:05,120 --> 00:12:07,760 Speaker 1: if you only bring fifties things with you, they say 192 00:12:07,800 --> 00:12:10,040 Speaker 1: a lot about who you are. And that was a 193 00:12:10,080 --> 00:12:14,680 Speaker 1: big part of friends contribution as well. I'm curious about 194 00:12:15,000 --> 00:12:19,960 Speaker 1: working with performers and non actors. And and I know 195 00:12:20,120 --> 00:12:23,480 Speaker 1: that there were some people from the book Swanky I 196 00:12:23,520 --> 00:12:26,400 Speaker 1: know and Linda May were in the book Nomad Land, 197 00:12:26,440 --> 00:12:28,600 Speaker 1: which I'm dying to read, which I haven't read but 198 00:12:28,640 --> 00:12:33,080 Speaker 1: I'm going to read. But um, you found them because 199 00:12:33,160 --> 00:12:37,040 Speaker 1: they were characters, as as we mentioned in Jessica Brewder's book. 200 00:12:37,480 --> 00:12:40,480 Speaker 1: But there were also a lot of other characters as well. 201 00:12:41,040 --> 00:12:44,480 Speaker 1: And I'm curious, who have you really had to I know, 202 00:12:44,559 --> 00:12:48,280 Speaker 1: all of you in a way embedded yourselves into these worlds, 203 00:12:48,360 --> 00:12:52,679 Speaker 1: into these communities, almost as if you were making a documentary. 204 00:12:52,920 --> 00:12:54,920 Speaker 1: And in some ways it was a weird. I think 205 00:12:55,040 --> 00:12:59,720 Speaker 1: hybrid of both film and documentary UM and and how 206 00:13:00,080 --> 00:13:03,839 Speaker 1: challenging was that to a when the trust of those 207 00:13:03,880 --> 00:13:06,840 Speaker 1: people and a film and these real locations where you 208 00:13:06,960 --> 00:13:11,280 Speaker 1: had a lot of authenticity about the life they were leading. 209 00:13:11,600 --> 00:13:13,720 Speaker 1: I think well as far as like how the how 210 00:13:13,720 --> 00:13:16,760 Speaker 1: the other UM actors came to be, there was kind 211 00:13:16,760 --> 00:13:18,720 Speaker 1: of we did it in sort of three different ways. 212 00:13:19,160 --> 00:13:21,360 Speaker 1: One of them is that we had you know, traditional 213 00:13:21,360 --> 00:13:24,520 Speaker 1: sort of open calls in various areas. And then we 214 00:13:24,600 --> 00:13:27,960 Speaker 1: also had UM two people who were doing local casting, 215 00:13:28,400 --> 00:13:32,319 Speaker 1: and they were actually also combining location scouting and local 216 00:13:32,360 --> 00:13:34,960 Speaker 1: casting um and in that sense, so that's that's actually 217 00:13:34,960 --> 00:13:38,359 Speaker 1: how we found Derek the Young Traveler in the film UM. 218 00:13:38,400 --> 00:13:41,800 Speaker 1: And then the other part was just specifically for the 219 00:13:41,960 --> 00:13:45,960 Speaker 1: r TR was you know, get getting getting advice from 220 00:13:46,400 --> 00:13:50,040 Speaker 1: Linda May, Swanky, Jessica possibly other nomads that might like 221 00:13:50,160 --> 00:13:52,800 Speaker 1: to be in the film, reaching out and then and 222 00:13:52,800 --> 00:13:55,720 Speaker 1: then sort of you know, becoming part becoming part of 223 00:13:55,720 --> 00:13:57,800 Speaker 1: the community as much as we could, which is I 224 00:13:57,840 --> 00:14:01,120 Speaker 1: think then how UM there was this this trust and 225 00:14:01,160 --> 00:14:05,240 Speaker 1: comfortable feeling once we run set and working with everyone. 226 00:14:05,280 --> 00:14:07,360 Speaker 1: I actually think that is also a really good at 227 00:14:07,600 --> 00:14:12,880 Speaker 1: talking about better than me this fine line between the 228 00:14:12,960 --> 00:14:16,599 Speaker 1: documentary aspect and the fictional aspect, which the trick is 229 00:14:16,640 --> 00:14:19,760 Speaker 1: always making you feel like it feels like a documentary, 230 00:14:19,800 --> 00:14:21,520 Speaker 1: but it actually the work went into it is not 231 00:14:21,680 --> 00:14:26,760 Speaker 1: like that at all. Damn sure. Yeah, and Chloe, I 232 00:14:26,800 --> 00:14:30,720 Speaker 1: think it's one of your The most miraculous aspects of 233 00:14:30,760 --> 00:14:34,280 Speaker 1: how you make movies is for me, the degree to 234 00:14:34,320 --> 00:14:37,840 Speaker 1: which you give people an experience as if this is 235 00:14:37,880 --> 00:14:40,760 Speaker 1: really happening. That's that's the magic trick, is that the 236 00:14:40,840 --> 00:14:44,240 Speaker 1: end result is the movie feels lived in. And I 237 00:14:44,240 --> 00:14:48,240 Speaker 1: think when people talk about documentary, they're talking about a 238 00:14:48,320 --> 00:14:51,680 Speaker 1: sense of, um, a notion of this is the world 239 00:14:51,680 --> 00:14:53,600 Speaker 1: that we live in, this is a real world. And 240 00:14:53,640 --> 00:14:56,880 Speaker 1: I think that that's absolutely a goal of the work 241 00:14:57,040 --> 00:15:01,000 Speaker 1: is to give the end result. From a production standpoint, 242 00:15:01,360 --> 00:15:04,000 Speaker 1: I think that we actually there's an unbelief. Like any 243 00:15:04,040 --> 00:15:06,840 Speaker 1: great magic trick, there's an unbelievable amount of things happening 244 00:15:07,360 --> 00:15:10,720 Speaker 1: off stage, blow stage, and with the group around us 245 00:15:10,920 --> 00:15:15,240 Speaker 1: kind of end up without illusion. Um. So the best 246 00:15:15,280 --> 00:15:19,120 Speaker 1: example is the RTR festival that's in our movie is 247 00:15:19,160 --> 00:15:23,200 Speaker 1: actually a staged RTR. And I think that what's interesting 248 00:15:23,200 --> 00:15:26,240 Speaker 1: about this way of making movies is like any great 249 00:15:26,280 --> 00:15:30,040 Speaker 1: magic trick, the boundaries start to get blurred. So you 250 00:15:30,240 --> 00:15:33,760 Speaker 1: stage in our tr means you you cast the performers, 251 00:15:34,240 --> 00:15:37,040 Speaker 1: you bring them to a site that you control, but 252 00:15:37,080 --> 00:15:39,880 Speaker 1: then the performers end up actually end up having their 253 00:15:39,920 --> 00:15:43,320 Speaker 1: own r TR. And then on top of that, Chloe 254 00:15:43,320 --> 00:15:48,640 Speaker 1: and Josh's shooting style is actually very fiction cinema based, 255 00:15:49,200 --> 00:15:52,160 Speaker 1: like the references that they would use, like Chloe, the 256 00:15:52,200 --> 00:15:53,920 Speaker 1: one that's always stood out to me as One car 257 00:15:54,000 --> 00:15:56,440 Speaker 1: Wise Happy Together, which is one of my favorite movies, 258 00:15:57,120 --> 00:16:00,800 Speaker 1: are your your visual language references are not documentary cinema 259 00:16:00,800 --> 00:16:04,880 Speaker 1: at all. It's actual narrative storytelling and then combined with 260 00:16:04,920 --> 00:16:07,480 Speaker 1: your incredible sense of how the footage is going to 261 00:16:07,600 --> 00:16:10,800 Speaker 1: end up in the edit. So I think that the 262 00:16:10,840 --> 00:16:14,760 Speaker 1: whole experience is about creating an infrastructure to end up 263 00:16:14,800 --> 00:16:18,080 Speaker 1: with that magic trick of and and I would add 264 00:16:18,120 --> 00:16:21,080 Speaker 1: to that that meanwhile, while all that's going on, Chloe 265 00:16:21,120 --> 00:16:25,200 Speaker 1: has created this bond with the not with the performers 266 00:16:25,480 --> 00:16:29,400 Speaker 1: Francis and David, but and also the non performers. Where 267 00:16:29,440 --> 00:16:32,160 Speaker 1: because the footprint of the movie and the crew is 268 00:16:32,200 --> 00:16:36,240 Speaker 1: so small, because we've all been living together for so long, uh, 269 00:16:36,280 --> 00:16:41,000 Speaker 1: that they trust implicitly and so with compassion and pat 270 00:16:41,040 --> 00:16:44,680 Speaker 1: patients and and the ability to just want to listen 271 00:16:44,720 --> 00:16:48,880 Speaker 1: and hear the stories from, you know, just the deepest 272 00:16:48,920 --> 00:16:52,640 Speaker 1: parts of their beings they that they offer up. Uh. 273 00:16:52,680 --> 00:16:54,640 Speaker 1: And with the camera there and all the other things, 274 00:16:54,720 --> 00:16:57,400 Speaker 1: it's it's it melts away. And I see performers who 275 00:16:57,440 --> 00:17:01,280 Speaker 1: have performed for decades who who don't have the kind 276 00:17:01,280 --> 00:17:04,080 Speaker 1: of comfort that that Chloe is able to create in 277 00:17:04,119 --> 00:17:06,600 Speaker 1: the space for for non performers and performers alike. And 278 00:17:06,760 --> 00:17:08,720 Speaker 1: that's the last part I think of the magic trick 279 00:17:08,800 --> 00:17:12,080 Speaker 1: that Chloe does. I'm gonna be seventy five this year, 280 00:17:12,800 --> 00:17:15,160 Speaker 1: and i think I've lived a pretty good life. I've 281 00:17:15,160 --> 00:17:20,280 Speaker 1: seen some really neat things kayaking all those places, and 282 00:17:20,320 --> 00:17:23,479 Speaker 1: you know, like moose in the wild, a moose family 283 00:17:23,720 --> 00:17:30,000 Speaker 1: on a river in Idaho, and um, big white pelicans 284 00:17:30,080 --> 00:17:32,640 Speaker 1: landing just six ft over my kayak on a lake 285 00:17:32,680 --> 00:17:39,639 Speaker 1: in Colorado. Or um come around it been was a 286 00:17:39,720 --> 00:17:42,639 Speaker 1: cliff and find hundreds and hundreds of swallow nests on 287 00:17:42,680 --> 00:17:45,159 Speaker 1: the on the wall of the cliff, and the swallows 288 00:17:45,200 --> 00:17:48,960 Speaker 1: flying all around and reflecting in the water. So it 289 00:17:49,000 --> 00:17:51,720 Speaker 1: looks like I'm flying with the swallows, and they're under 290 00:17:51,720 --> 00:17:54,520 Speaker 1: me and over me and all around me, and little 291 00:17:54,520 --> 00:17:57,280 Speaker 1: babies are hatching out and eggshells are falling out of 292 00:17:57,280 --> 00:17:59,320 Speaker 1: the nest, landing on the water and floating on the 293 00:17:59,320 --> 00:18:02,639 Speaker 1: water these little white chills. It was like, it's just 294 00:18:02,720 --> 00:18:05,480 Speaker 1: so awesome. I felt like I've done enough. My life 295 00:18:05,560 --> 00:18:08,479 Speaker 1: was complete If I died right right then that moment 296 00:18:09,359 --> 00:18:13,600 Speaker 1: perfectly fine. And when they're speaking, a lot of it 297 00:18:13,640 --> 00:18:17,879 Speaker 1: is is it not scripted? It's just them telling their stories. 298 00:18:18,040 --> 00:18:21,320 Speaker 1: Chloe about who they are and what their wishes are, 299 00:18:21,320 --> 00:18:26,719 Speaker 1: and Linda May talking about her situation or Swanky and 300 00:18:27,280 --> 00:18:30,760 Speaker 1: you know, all the different people. Kind of I'm just 301 00:18:30,840 --> 00:18:34,000 Speaker 1: curious how much of it was action that you just 302 00:18:34,119 --> 00:18:37,439 Speaker 1: kind of set up and let the let the people 303 00:18:37,560 --> 00:18:42,160 Speaker 1: go with it and share, or how much it was actually, 304 00:18:42,880 --> 00:18:46,879 Speaker 1: you know, orchestrated dialogue. I got the feeling and maybe 305 00:18:46,920 --> 00:18:49,879 Speaker 1: this is part of the magic too, that it was 306 00:18:49,960 --> 00:18:55,119 Speaker 1: just people talking about their lives and somehow it all 307 00:18:55,160 --> 00:18:59,719 Speaker 1: just worked together beautifully. Can you explain how that worked? 308 00:19:00,320 --> 00:19:04,840 Speaker 1: That that somehow is the uh, the magic trick part, 309 00:19:05,200 --> 00:19:08,360 Speaker 1: Because if you just show up and have people talk 310 00:19:08,400 --> 00:19:10,880 Speaker 1: about their lives, what you're gonna end up is our. 311 00:19:11,240 --> 00:19:13,280 Speaker 1: I mean, hundreds of hours of footage has had nothing 312 00:19:13,280 --> 00:19:16,719 Speaker 1: to do with your film. So the process is actually 313 00:19:16,720 --> 00:19:18,840 Speaker 1: really straightforward. People ask me how do you work with 314 00:19:18,880 --> 00:19:22,480 Speaker 1: non professional actors? I said, you start with the writing, right. 315 00:19:22,600 --> 00:19:26,440 Speaker 1: You have to know for a movie what's the main 316 00:19:26,480 --> 00:19:30,600 Speaker 1: emotional art, and then you need to pick moments that 317 00:19:30,640 --> 00:19:33,960 Speaker 1: are going to supplement this main emotional arc. You can't 318 00:19:34,000 --> 00:19:36,200 Speaker 1: go off, you know, Linda main swan Ki talking about 319 00:19:36,200 --> 00:19:38,520 Speaker 1: something nothing to do with the Ferns plot, but it 320 00:19:38,640 --> 00:19:41,280 Speaker 1: has to have something to do with Firn's plot on 321 00:19:41,440 --> 00:19:44,959 Speaker 1: the very deep level. So then you pick your non 322 00:19:45,000 --> 00:19:47,560 Speaker 1: professional actors. First of all, they have to be okay 323 00:19:47,600 --> 00:19:50,000 Speaker 1: on a camera. You put a camera on them right away, 324 00:19:50,119 --> 00:19:52,280 Speaker 1: let them speak and see if there I can't do 325 00:19:52,359 --> 00:19:56,360 Speaker 1: it right and uh and so then when and then 326 00:19:56,400 --> 00:19:59,320 Speaker 1: you spend days with them and sometimes just a few 327 00:19:59,320 --> 00:20:01,920 Speaker 1: hours because us all the time we have. And then 328 00:20:02,240 --> 00:20:07,240 Speaker 1: you you listen really really carefully of what they're really 329 00:20:07,280 --> 00:20:10,920 Speaker 1: trying to say about themselves, and then you do a 330 00:20:10,960 --> 00:20:12,919 Speaker 1: lot of that too. You know, I'm sure you know 331 00:20:13,000 --> 00:20:14,719 Speaker 1: what how that feels that you have to really go 332 00:20:14,800 --> 00:20:18,480 Speaker 1: beyond because people have a lot of wars they put up. 333 00:20:18,840 --> 00:20:20,480 Speaker 1: And then that's where you have to push a little 334 00:20:20,520 --> 00:20:24,320 Speaker 1: further and go, but tell me about that day. And 335 00:20:24,359 --> 00:20:26,320 Speaker 1: then and then when you hear these things and you 336 00:20:26,359 --> 00:20:28,280 Speaker 1: go out, that is really going to that's going to 337 00:20:28,400 --> 00:20:31,960 Speaker 1: represent what who they really want to say about who 338 00:20:31,960 --> 00:20:35,159 Speaker 1: they are. And then that's also gonna work for first 339 00:20:35,200 --> 00:20:37,800 Speaker 1: Journey because the audience has to care in that moment 340 00:20:38,200 --> 00:20:40,400 Speaker 1: because they're invested in furns, so they have to care 341 00:20:40,480 --> 00:20:42,959 Speaker 1: what Swan kid is going to say for that moment 342 00:20:43,040 --> 00:20:48,879 Speaker 1: to feel emotional. So I put those words, those specific 343 00:20:49,000 --> 00:20:52,560 Speaker 1: lines onto the script and then my DP is gonna 344 00:20:52,600 --> 00:20:54,919 Speaker 1: read it, and and you know, my producer gonna they 345 00:20:54,960 --> 00:20:57,000 Speaker 1: are gonna read it and go and my my sound 346 00:20:57,240 --> 00:21:00,520 Speaker 1: you know wolf are our sound recorders make He's gonna 347 00:21:00,520 --> 00:21:02,639 Speaker 1: read it. We're all gonna come come to the place 348 00:21:02,680 --> 00:21:06,879 Speaker 1: and go, how do we cinematically best put this moment 349 00:21:06,920 --> 00:21:10,560 Speaker 1: on screen? And now that day, Swanky already know this 350 00:21:10,680 --> 00:21:13,560 Speaker 1: part of her own life. That's when instead of hiring 351 00:21:13,600 --> 00:21:17,040 Speaker 1: an actor who talked to Swanky and and do the scenes, 352 00:21:17,440 --> 00:21:19,720 Speaker 1: She's going to do it herself. So on that day 353 00:21:19,760 --> 00:21:23,720 Speaker 1: for her, you know, the producers has created environment where 354 00:21:23,920 --> 00:21:26,920 Speaker 1: I feel that it's just in her space that she's 355 00:21:26,960 --> 00:21:29,000 Speaker 1: not being asked to come to a stage. You know, 356 00:21:29,160 --> 00:21:31,680 Speaker 1: with all these lights on her. Our DP has done 357 00:21:31,720 --> 00:21:33,760 Speaker 1: a great job, our sound makes us done a great job, 358 00:21:33,760 --> 00:21:36,399 Speaker 1: And in that moment, she's feels like she's just living 359 00:21:36,440 --> 00:21:40,800 Speaker 1: her own story. But everything else around her is carefully 360 00:21:40,800 --> 00:21:44,400 Speaker 1: planned so that you could make into the film later. 361 00:21:44,520 --> 00:21:46,720 Speaker 1: I'm meaning something. I learned that from my first film, 362 00:21:47,080 --> 00:21:51,119 Speaker 1: where I thought spontaneous means not planning, and I mean, like, 363 00:21:51,200 --> 00:21:53,000 Speaker 1: you know, go with the flow, let's just show up 364 00:21:53,000 --> 00:21:54,960 Speaker 1: and do it. And then when I also work on 365 00:21:55,000 --> 00:21:58,120 Speaker 1: the edit my first film and realized it's great stuff, 366 00:21:58,520 --> 00:22:00,159 Speaker 1: but it had nothing to do with the film, and 367 00:22:00,240 --> 00:22:05,240 Speaker 1: no one's gonna care. So we'll be right back with 368 00:22:05,400 --> 00:22:20,160 Speaker 1: more Nomad Land in just a moment. I know you've 369 00:22:20,160 --> 00:22:24,080 Speaker 1: all traveled all over. It was shot over six months 370 00:22:24,400 --> 00:22:28,040 Speaker 1: in starting in September two thous eighteen in South Dakota 371 00:22:28,119 --> 00:22:30,080 Speaker 1: for the scenes in the bad Lands and at Wall 372 00:22:30,200 --> 00:22:37,959 Speaker 1: Drug then onto Nebraska, Nevada, UH, the Northern California Coast, Yuma, Arizona, 373 00:22:38,080 --> 00:22:41,920 Speaker 1: and then San Bernardino County. Was it tough moving around 374 00:22:42,000 --> 00:22:46,399 Speaker 1: so much? I know you worked with a pretty small crew. Um, 375 00:22:46,440 --> 00:22:48,439 Speaker 1: and I also know that you kind of lived the 376 00:22:48,480 --> 00:22:51,800 Speaker 1: way the Nomads lived in the process of making this film, 377 00:22:51,840 --> 00:22:55,359 Speaker 1: which must have brought you even closer to to the 378 00:22:55,480 --> 00:23:00,359 Speaker 1: story and to the narrative. But was that challenge Peter 379 00:23:00,520 --> 00:23:07,840 Speaker 1: just slept in all of the country right specifically, was 380 00:23:07,840 --> 00:23:14,120 Speaker 1: it was it hard for you? Uh? You know, I 381 00:23:14,160 --> 00:23:16,840 Speaker 1: think I jokingly say I'm the only eagle scout in 382 00:23:16,880 --> 00:23:19,800 Speaker 1: the world who ever managed to get a badge without camping. 383 00:23:20,440 --> 00:23:24,479 Speaker 1: You know, it was that never my thing, but I 384 00:23:24,480 --> 00:23:28,880 Speaker 1: immediately Chloe had this idea with in conjunction with all 385 00:23:28,920 --> 00:23:33,440 Speaker 1: the producers that because she and Molly uh and and 386 00:23:33,640 --> 00:23:37,280 Speaker 1: Josh the DP had had made movies together before the 387 00:23:37,320 --> 00:23:41,080 Speaker 1: rest of us were new to this process and and 388 00:23:41,160 --> 00:23:43,679 Speaker 1: she needed to quickly kind of get us up and 389 00:23:43,800 --> 00:23:45,800 Speaker 1: running in the style of of how we were gonna 390 00:23:45,800 --> 00:23:48,600 Speaker 1: make this movie so that that hitting together in September. 391 00:23:48,680 --> 00:23:52,480 Speaker 1: Beside needing some summer shots seasonally, she also had had 392 00:23:52,480 --> 00:23:54,679 Speaker 1: the thought that this would be a good boot camp 393 00:23:54,800 --> 00:23:58,600 Speaker 1: for for us all to learn her the language of 394 00:23:58,600 --> 00:24:01,080 Speaker 1: how she does this and to learn about you know, magic, 395 00:24:01,119 --> 00:24:04,920 Speaker 1: our hustle and all the other sorts of components, So 396 00:24:04,960 --> 00:24:07,119 Speaker 1: that when we got to the winter part of the movie, 397 00:24:07,160 --> 00:24:09,800 Speaker 1: which was going to be a lot more extreme and 398 00:24:10,080 --> 00:24:14,479 Speaker 1: shorter days, colder days, and much more emotional material we 399 00:24:14,480 --> 00:24:17,359 Speaker 1: were going to be dealing with, we had we had 400 00:24:17,400 --> 00:24:19,800 Speaker 1: a little more of that muscle memory that the rest 401 00:24:19,800 --> 00:24:22,320 Speaker 1: of the rest of that group had already brought to 402 00:24:22,400 --> 00:24:25,280 Speaker 1: the proceedings, So that that helped a lot. That was 403 00:24:25,680 --> 00:24:28,879 Speaker 1: a big help in the process. Molly, want to add 404 00:24:28,920 --> 00:24:32,080 Speaker 1: to that, what what it was like for you hearings 405 00:24:32,160 --> 00:24:36,000 Speaker 1: of all this travel and kind of indoctrinating you into 406 00:24:36,040 --> 00:24:39,560 Speaker 1: these different areas and with with a new set of 407 00:24:39,600 --> 00:24:42,359 Speaker 1: people or in some cases some of the same people. 408 00:24:43,119 --> 00:24:45,640 Speaker 1: Mm hmm um. Well, another thing I think that came 409 00:24:45,680 --> 00:24:49,240 Speaker 1: out of the first the sort of UM boot camp 410 00:24:49,320 --> 00:24:52,440 Speaker 1: that that Peter mentioned was that also like logistically too, 411 00:24:52,480 --> 00:24:54,960 Speaker 1: we're kind of testing, you know, do we have the 412 00:24:55,000 --> 00:24:57,440 Speaker 1: right kinds of vehicles, Like do we have we need 413 00:24:57,480 --> 00:25:00,480 Speaker 1: more crew, you know, for the next time that we're 414 00:25:00,520 --> 00:25:02,560 Speaker 1: going out, and so so some things were adjusted, you 415 00:25:02,600 --> 00:25:06,879 Speaker 1: know specifically, remember our are one of the equipment fans UM, 416 00:25:06,960 --> 00:25:11,040 Speaker 1: and then you know, going place to place. As as 417 00:25:11,080 --> 00:25:13,879 Speaker 1: to just the planning of it UM, it's sort of 418 00:25:13,920 --> 00:25:16,520 Speaker 1: just like planning a an out of town shoot, but 419 00:25:16,640 --> 00:25:20,320 Speaker 1: you just are traveling, you know, multiple times, rather than 420 00:25:20,400 --> 00:25:22,680 Speaker 1: just you know, going to that one place and staying there. 421 00:25:23,200 --> 00:25:26,920 Speaker 1: But it was incredible how different each place was, and 422 00:25:27,880 --> 00:25:30,960 Speaker 1: you know, not only the environment, but but the people. 423 00:25:31,200 --> 00:25:33,760 Speaker 1: And I think that that also, you know that I 424 00:25:33,760 --> 00:25:36,160 Speaker 1: think you feel that when when you're watching the film, 425 00:25:36,240 --> 00:25:39,280 Speaker 1: that it's not only the landscape that's changing, but also 426 00:25:39,640 --> 00:25:43,359 Speaker 1: the people that are of this landscape. I was gonna say, 427 00:25:43,400 --> 00:25:47,439 Speaker 1: I think the landscape itself and the land really is 428 00:25:47,480 --> 00:25:50,719 Speaker 1: such a character in this film in every and every 429 00:25:50,800 --> 00:25:56,399 Speaker 1: possible way. And Chloe AM curious how you were able 430 00:25:56,440 --> 00:26:01,200 Speaker 1: to translate a certain emotional connection connectivity to the land 431 00:26:01,280 --> 00:26:04,359 Speaker 1: the people on it and and if you, in fact 432 00:26:04,480 --> 00:26:08,600 Speaker 1: saw I saw it as almost a character in and 433 00:26:08,640 --> 00:26:13,040 Speaker 1: of itself. I think it definitely is, you know, and 434 00:26:13,040 --> 00:26:16,240 Speaker 1: it is something that I was now. I grew up 435 00:26:16,240 --> 00:26:18,440 Speaker 1: in big cities, I live in big cities in most 436 00:26:18,480 --> 00:26:21,760 Speaker 1: of my life, and I definitely felt the lack of 437 00:26:22,040 --> 00:26:27,119 Speaker 1: um connection with nature is something that is problematic in 438 00:26:27,160 --> 00:26:32,200 Speaker 1: my life. And making these last three films to experience 439 00:26:32,280 --> 00:26:35,800 Speaker 1: the natural environments through my character's perspective and see how 440 00:26:35,840 --> 00:26:40,920 Speaker 1: important the natural world is for their healing process, for 441 00:26:40,920 --> 00:26:44,760 Speaker 1: for them to have space rediscover themselves. Um, these are 442 00:26:45,320 --> 00:26:50,400 Speaker 1: incredible experiences I get to have. UM and so uh 443 00:26:50,520 --> 00:26:54,879 Speaker 1: to understand why Swanky will give up the comfort of 444 00:26:54,960 --> 00:26:58,040 Speaker 1: a home in the suburb and go live in the 445 00:26:58,080 --> 00:27:01,800 Speaker 1: desert of Arizona, you really have to capture the soundset 446 00:27:02,160 --> 00:27:04,680 Speaker 1: the way she sees it. He will never be as 447 00:27:04,720 --> 00:27:09,720 Speaker 1: beautiful as she sees it. Well, we try, and and 448 00:27:09,840 --> 00:27:13,800 Speaker 1: speaking of Swanky and and Linda, me and everyone else, 449 00:27:14,840 --> 00:27:17,439 Speaker 1: was it hard to you know, as a journalist, I 450 00:27:17,520 --> 00:27:20,760 Speaker 1: have to earn someone's trust, especially if it's a sensitive 451 00:27:21,920 --> 00:27:26,439 Speaker 1: story about a life experience or you know, about their 452 00:27:26,600 --> 00:27:29,600 Speaker 1: very way of life or something traumatic that happens to them. 453 00:27:29,640 --> 00:27:31,960 Speaker 1: And I I'm curious how you know. It's one thing 454 00:27:32,000 --> 00:27:34,840 Speaker 1: to to share your story with someone writing a book, right, 455 00:27:35,200 --> 00:27:38,520 Speaker 1: It's a whole another thing to be on film, to 456 00:27:38,600 --> 00:27:42,880 Speaker 1: have your face shown, to talk to have to kind 457 00:27:42,880 --> 00:27:45,760 Speaker 1: of recount your life experience. Was it hard to win 458 00:27:45,920 --> 00:27:49,360 Speaker 1: the trust of some of these people because I know 459 00:27:50,000 --> 00:27:52,840 Speaker 1: you didn't have all the time in the world. And 460 00:27:53,680 --> 00:27:56,120 Speaker 1: did anyone say I don't want to I don't want 461 00:27:56,119 --> 00:27:58,720 Speaker 1: to be a part of this. Uh, they felt maybe 462 00:27:58,720 --> 00:28:02,240 Speaker 1: they were going to be exploited it or more made 463 00:28:02,280 --> 00:28:05,440 Speaker 1: fun of or be kind of an oddity. And I'm 464 00:28:05,480 --> 00:28:08,200 Speaker 1: just curious how how you were able to do that. 465 00:28:10,040 --> 00:28:13,399 Speaker 1: I think definitely, you know, there there were people that 466 00:28:13,480 --> 00:28:17,560 Speaker 1: weren't sure, you know, and even had questions with me 467 00:28:17,720 --> 00:28:20,800 Speaker 1: talking about it on the morning of the shoe, especially 468 00:28:20,840 --> 00:28:23,200 Speaker 1: the people who had to share some really personal things 469 00:28:23,240 --> 00:28:26,359 Speaker 1: and sometimes their friends are surprised while you did it, 470 00:28:26,480 --> 00:28:30,359 Speaker 1: you know, even right there, Um, I have to just 471 00:28:30,880 --> 00:28:32,640 Speaker 1: I know that when I go to bed at night, 472 00:28:32,800 --> 00:28:35,080 Speaker 1: I can I can go to sleep like I I 473 00:28:35,200 --> 00:28:39,240 Speaker 1: have to because you can't. Um, you have to set 474 00:28:39,280 --> 00:28:43,360 Speaker 1: a moral standard for yourself, and you you go by 475 00:28:43,440 --> 00:28:47,280 Speaker 1: that day after day. And I think, if you're truthful 476 00:28:47,520 --> 00:28:49,720 Speaker 1: and you're authentic, and you go in there trying to 477 00:28:49,720 --> 00:28:52,880 Speaker 1: relate to another human being as a human being now 478 00:28:53,000 --> 00:28:56,320 Speaker 1: with an agenda, I think they would feel it deep inside. 479 00:28:56,320 --> 00:28:58,440 Speaker 1: They would feel And the people who are too guarded, 480 00:28:58,440 --> 00:29:01,000 Speaker 1: they're not going to come to to our lives anyways. 481 00:29:01,040 --> 00:29:06,360 Speaker 1: Because we are a fictional film making team, we invite 482 00:29:06,400 --> 00:29:07,800 Speaker 1: people to come in would you like to be in 483 00:29:07,800 --> 00:29:10,600 Speaker 1: the movie? To act? So if they really resistant, if 484 00:29:10,600 --> 00:29:13,800 Speaker 1: they wouldn't even come anywhere near us, And so we're 485 00:29:13,840 --> 00:29:17,120 Speaker 1: halfway there, and with Jessica, who have gotten to know 486 00:29:17,320 --> 00:29:20,560 Speaker 1: everyone for so long, and we always go to her 487 00:29:20,600 --> 00:29:22,240 Speaker 1: and said, do you think this is someone that we 488 00:29:22,320 --> 00:29:25,480 Speaker 1: even feel comfortable sharing their stories? And you can never 489 00:29:25,560 --> 00:29:28,960 Speaker 1: completely prepare someone how they're going to react. In the 490 00:29:29,160 --> 00:29:32,840 Speaker 1: very end, you just have to be truthful and hope 491 00:29:32,840 --> 00:29:35,680 Speaker 1: for the best. So far, we have had great experiences 492 00:29:35,800 --> 00:29:39,760 Speaker 1: making three films with nonprofessional actors like Swanky would let 493 00:29:39,760 --> 00:29:42,120 Speaker 1: me know a couple of days ago, I was now 494 00:29:42,160 --> 00:29:44,640 Speaker 1: prepared for the size of my rain call on an 495 00:29:44,640 --> 00:29:50,760 Speaker 1: Imax screen. She's seen it so many times in Imax now. 496 00:29:50,880 --> 00:29:54,560 Speaker 1: She was like, do you know big those rain calls are? Chloe, Uh, 497 00:29:54,600 --> 00:29:59,480 Speaker 1: that's as much of a come ony I think I got. 498 00:29:59,600 --> 00:30:02,920 Speaker 1: I think another factor from is that you set a 499 00:30:03,040 --> 00:30:06,040 Speaker 1: tone for the rest of the crew, because from a 500 00:30:06,080 --> 00:30:09,480 Speaker 1: production standpoint, I'm always struck by the question of what 501 00:30:09,560 --> 00:30:12,320 Speaker 1: it's like to work with nonprofessional performers because for us, 502 00:30:12,920 --> 00:30:16,760 Speaker 1: they are our stars, they are actors. And I think 503 00:30:16,800 --> 00:30:20,320 Speaker 1: that Chloe's relationship and Josh's relationship with them is on 504 00:30:20,400 --> 00:30:25,440 Speaker 1: a spiritual level of storyteller to human and human to storyteller. 505 00:30:26,040 --> 00:30:28,040 Speaker 1: But it sets a tone for the rest of the 506 00:30:28,120 --> 00:30:31,680 Speaker 1: crew to kind of create a comfortable environment for our performers. 507 00:30:31,920 --> 00:30:35,800 Speaker 1: And I know that for the Nomadland Company, they loved 508 00:30:36,000 --> 00:30:39,480 Speaker 1: being with Bob and Swanky and Linda May. I think 509 00:30:39,520 --> 00:30:42,240 Speaker 1: Chloe that comes from the tone of like, these are 510 00:30:42,280 --> 00:30:46,680 Speaker 1: these people are part of our filmmaking family, and it's 511 00:30:46,720 --> 00:30:50,479 Speaker 1: just the whole The whole entity exists to kind of 512 00:30:50,520 --> 00:30:53,920 Speaker 1: create a culture of comfort where people can be themselves 513 00:30:53,920 --> 00:30:57,320 Speaker 1: in vulnerable and acts. And I remember Bob said after 514 00:30:57,400 --> 00:30:59,520 Speaker 1: the screening, he's I just feel like we were all 515 00:30:59,560 --> 00:31:03,080 Speaker 1: filming Curse where we're a team telling these story stories 516 00:31:03,120 --> 00:31:06,720 Speaker 1: together because they knew we needed them. Swankie needs to 517 00:31:06,840 --> 00:31:09,560 Speaker 1: show us where the place that we can film in 518 00:31:09,600 --> 00:31:13,320 Speaker 1: the desert that has this cactus bulb is going to 519 00:31:13,400 --> 00:31:15,400 Speaker 1: help us get in touch with two of their friends 520 00:31:15,400 --> 00:31:17,120 Speaker 1: who are going to be able to do the solar thing, 521 00:31:17,600 --> 00:31:20,480 Speaker 1: you know. So it's really a group of filmmakers. We 522 00:31:20,800 --> 00:31:24,680 Speaker 1: treat our non professional actors very much as uh, someone 523 00:31:24,720 --> 00:31:27,640 Speaker 1: who can help us with your resources as well. So 524 00:31:27,680 --> 00:31:31,600 Speaker 1: it was very much a team work. And and talk 525 00:31:31,680 --> 00:31:36,479 Speaker 1: about maybe Peter the role France slashed Fern. You know 526 00:31:36,880 --> 00:31:42,120 Speaker 1: how she kind of obviously she's the epicenter of this film, 527 00:31:42,240 --> 00:31:48,400 Speaker 1: but how her story, um is the connected tissue to 528 00:31:48,600 --> 00:31:52,120 Speaker 1: talk about the major thing, And I'm going to ask 529 00:31:52,160 --> 00:31:54,560 Speaker 1: you about the major things of the movie next, but 530 00:31:55,040 --> 00:31:58,680 Speaker 1: to kind of to put everything together and to be 531 00:31:58,880 --> 00:32:04,080 Speaker 1: almost the the wheel is everyone else are the spokes 532 00:32:04,120 --> 00:32:06,400 Speaker 1: if you will? Does that make sense? Or what is 533 00:32:06,400 --> 00:32:08,360 Speaker 1: the thing in the center of the wheel? Would that be? 534 00:32:09,840 --> 00:32:12,680 Speaker 1: What is that called the center again? The eagles scout 535 00:32:12,680 --> 00:32:14,840 Speaker 1: who has no idea? What that? You know? The thing 536 00:32:14,920 --> 00:32:16,840 Speaker 1: in the middle of the wheel, I'll call the mechanic? 537 00:32:17,400 --> 00:32:22,800 Speaker 1: Um uh, you know. I look, I think this is 538 00:32:22,840 --> 00:32:25,240 Speaker 1: also something Chloe can speak to as well. And I'll 539 00:32:25,240 --> 00:32:28,840 Speaker 1: try to spey. I wouldn't, you know, to speak for Francis, 540 00:32:28,880 --> 00:32:31,240 Speaker 1: but I feel when I've heard her speak about this, 541 00:32:31,600 --> 00:32:34,400 Speaker 1: you know, um in so many ways. From the very 542 00:32:34,440 --> 00:32:38,720 Speaker 1: beginning of the creation of the movie, Francis first said 543 00:32:38,760 --> 00:32:41,480 Speaker 1: to Chloe, you know, I've always had this dream that 544 00:32:41,640 --> 00:32:44,520 Speaker 1: someday I'm going to hit the road and with a 545 00:32:44,520 --> 00:32:46,920 Speaker 1: bottle of Jack Daniels and a pack of Lucky Strikes 546 00:32:47,000 --> 00:32:50,080 Speaker 1: and and leave my husband and and and call myself 547 00:32:50,080 --> 00:32:52,640 Speaker 1: you know, change my name to Fern and and head 548 00:32:52,680 --> 00:32:56,320 Speaker 1: off into the world. So she she got to do that. 549 00:32:56,600 --> 00:32:58,840 Speaker 1: And in a sort of way, and and and Chloe 550 00:32:58,880 --> 00:33:03,040 Speaker 1: and she really together in this collaboration to create the 551 00:33:03,080 --> 00:33:07,880 Speaker 1: space where she is living these days, not as Francis 552 00:33:07,920 --> 00:33:12,080 Speaker 1: the actor, but as as Frances Fern. Francis the person 553 00:33:12,160 --> 00:33:16,400 Speaker 1: who is literally driving all the mind anywhere that van went. 554 00:33:16,520 --> 00:33:20,720 Speaker 1: For five months, Francis was driving that van, and Francis was, 555 00:33:21,040 --> 00:33:25,640 Speaker 1: you know, living the life of of these same people 556 00:33:25,720 --> 00:33:29,320 Speaker 1: that we were all sort of amongst and with. So she, 557 00:33:29,480 --> 00:33:32,040 Speaker 1: in so many ways was the glue. Not because she 558 00:33:32,160 --> 00:33:34,480 Speaker 1: came in as the performer and was doing something other 559 00:33:35,040 --> 00:33:39,800 Speaker 1: or something that felt artificial. She had completely immersed herself 560 00:33:40,240 --> 00:33:43,720 Speaker 1: into this world in a way that in many scenes 561 00:33:43,760 --> 00:33:45,720 Speaker 1: many people didn't even know she was Frances When we 562 00:33:45,720 --> 00:33:47,960 Speaker 1: would arrive and left, they didn't know it was even 563 00:33:48,000 --> 00:33:50,880 Speaker 1: Francis McDorman, or they didn't know who Francis McDorman was. 564 00:33:51,400 --> 00:33:54,520 Speaker 1: UH And and and that was sort of the beauty 565 00:33:54,600 --> 00:33:59,400 Speaker 1: I think of of Francis's commitment to UH and her 566 00:33:59,440 --> 00:34:02,560 Speaker 1: ability the other half of great acting is great listening 567 00:34:03,080 --> 00:34:06,440 Speaker 1: and her ability to truly listen and here and want 568 00:34:06,520 --> 00:34:10,000 Speaker 1: to know and want to connect to the people that 569 00:34:10,040 --> 00:34:14,279 Speaker 1: she was she was working shoulder to shoulder with We'll 570 00:34:14,320 --> 00:34:27,160 Speaker 1: be right back. It seemed like Francis's character. It seemed 571 00:34:27,200 --> 00:34:31,719 Speaker 1: as if Fern and so many of the other nomads, 572 00:34:31,760 --> 00:34:34,000 Speaker 1: this is the choice of how they want to live, 573 00:34:34,440 --> 00:34:36,799 Speaker 1: you know. I think, as I said earlier, it's not 574 00:34:37,280 --> 00:34:40,960 Speaker 1: what they're forced to do. And in fact, she couldn't 575 00:34:41,000 --> 00:34:47,200 Speaker 1: deal with being in a comfortable home ah. And I 576 00:34:47,200 --> 00:34:49,520 Speaker 1: don't want to give too much away for people haven't 577 00:34:49,560 --> 00:34:54,960 Speaker 1: seen the film, but that was so oppressive to her uh. 578 00:34:55,040 --> 00:34:59,600 Speaker 1: And I found that so interesting that this is a 579 00:34:59,760 --> 00:35:05,280 Speaker 1: pro wild life choice. It's not a desperate, uh way 580 00:35:05,360 --> 00:35:07,800 Speaker 1: to live. And I think that's one of the big 581 00:35:08,200 --> 00:35:13,000 Speaker 1: at least takeaways that I had, that this is a 582 00:35:13,040 --> 00:35:19,360 Speaker 1: preferred lifestyle and a choice, not as if people don't 583 00:35:19,400 --> 00:35:22,160 Speaker 1: have any other options, but this is a choice. And 584 00:35:22,200 --> 00:35:25,280 Speaker 1: I think that became very clear when when Fern didn't 585 00:35:25,280 --> 00:35:29,880 Speaker 1: want to live in a comfortable house with a dog 586 00:35:29,960 --> 00:35:34,000 Speaker 1: and children running around. And do you think that most 587 00:35:34,239 --> 00:35:36,799 Speaker 1: I mean, I'm just so curious about the motivation of 588 00:35:36,840 --> 00:35:41,000 Speaker 1: many of these people to choose this particular lifestyle. What 589 00:35:41,000 --> 00:35:44,560 Speaker 1: what do you think it is Chloe Well First of all, 590 00:35:44,600 --> 00:35:46,399 Speaker 1: I don't think we can. I don't think you can 591 00:35:46,440 --> 00:35:52,840 Speaker 1: spoil No Meland. Okay, okay, because I tried something that 592 00:35:53,000 --> 00:35:55,960 Speaker 1: they people always worry. I don't want to give away. 593 00:35:56,000 --> 00:36:00,000 Speaker 1: I don't think the tension is enough for people jokes aside. 594 00:36:00,000 --> 00:36:03,239 Speaker 1: And I think it's really important for us to and 595 00:36:03,480 --> 00:36:05,799 Speaker 1: I hope No Malan does show that us. It's just 596 00:36:05,840 --> 00:36:09,960 Speaker 1: not in your face, um that even though it is 597 00:36:10,000 --> 00:36:12,840 Speaker 1: a choice for someone like Swanky and firm Bob Wells, 598 00:36:14,440 --> 00:36:18,279 Speaker 1: it's important that they have a choice, you know. I 599 00:36:18,320 --> 00:36:21,920 Speaker 1: think I think it's very important not to um forget 600 00:36:22,200 --> 00:36:25,320 Speaker 1: that many of them were forced into at the beginning 601 00:36:25,800 --> 00:36:29,280 Speaker 1: without a choice. Right. Eventually they learned something about themselves 602 00:36:29,400 --> 00:36:31,560 Speaker 1: and some of them decided, like Linda may no, I'm 603 00:36:31,560 --> 00:36:33,680 Speaker 1: gonna stay stand still. I want to build the Earthship. 604 00:36:34,160 --> 00:36:36,319 Speaker 1: Some of them, like Bob said, I'm going to keep going. 605 00:36:37,040 --> 00:36:41,800 Speaker 1: But the initial lack of choice, it's now something we 606 00:36:41,800 --> 00:36:45,319 Speaker 1: we think it's okay, you know, the way that out 607 00:36:45,360 --> 00:36:48,799 Speaker 1: their care in this country at the moment, or it's 608 00:36:48,800 --> 00:36:51,280 Speaker 1: been like that for a long time, and the feeling 609 00:36:51,400 --> 00:36:54,760 Speaker 1: of uh, if you don't contribute to the capitalist economy, 610 00:36:54,800 --> 00:36:58,560 Speaker 1: then you're disposable. That's a shame for any society because 611 00:36:58,600 --> 00:37:01,480 Speaker 1: elders have so much wisdom to leave behind. And we 612 00:37:01,640 --> 00:37:04,720 Speaker 1: learned so much. I personally learned so much being around 613 00:37:04,719 --> 00:37:07,799 Speaker 1: people of firm evolved in the maze generation to learn 614 00:37:07,800 --> 00:37:11,640 Speaker 1: about life, to learn about grief and loss and death 615 00:37:11,719 --> 00:37:14,359 Speaker 1: and perseverance and all these things. But we don't think 616 00:37:14,360 --> 00:37:16,400 Speaker 1: about the outer that way. So that's something that we 617 00:37:16,480 --> 00:37:18,920 Speaker 1: want to make it very clear. All of us feel 618 00:37:18,960 --> 00:37:24,600 Speaker 1: like hopefully that message come across and then each individual UM, 619 00:37:24,680 --> 00:37:27,920 Speaker 1: after we've been put so many different identity on us, 620 00:37:28,000 --> 00:37:32,200 Speaker 1: a mother, a coworker's part of a community, a daughter, 621 00:37:32,239 --> 00:37:35,480 Speaker 1: and all that. If all that goes away one day, 622 00:37:35,920 --> 00:37:39,799 Speaker 1: who am I? And many of them were put in 623 00:37:39,800 --> 00:37:44,719 Speaker 1: that situation after without and eight and I think, I 624 00:37:44,800 --> 00:37:49,640 Speaker 1: think whether it's a sunset or like the way Firm said, 625 00:37:49,640 --> 00:37:51,399 Speaker 1: I don't need any of these things. At the end 626 00:37:51,440 --> 00:37:54,080 Speaker 1: when she was at the storage place, they felt weighted 627 00:37:54,120 --> 00:37:57,919 Speaker 1: down by working so hard, giving up their entire lives 628 00:37:57,960 --> 00:38:00,360 Speaker 1: for things that doesn't really matter to them compared to 629 00:38:00,400 --> 00:38:03,520 Speaker 1: a soundset. You know, UM and then wanted to be 630 00:38:03,600 --> 00:38:06,560 Speaker 1: closer to nature because when you get into a certain age, 631 00:38:07,760 --> 00:38:10,400 Speaker 1: I remember friends said this to me. I moved to 632 00:38:10,440 --> 00:38:12,759 Speaker 1: a small town next to the ocean because I want 633 00:38:12,760 --> 00:38:14,799 Speaker 1: to feel close to the third that I'm going about 634 00:38:14,840 --> 00:38:19,200 Speaker 1: to go into and this feeding of contemplating of mortality, 635 00:38:19,719 --> 00:38:21,719 Speaker 1: and I want to be close to nature. And there's 636 00:38:21,719 --> 00:38:23,840 Speaker 1: a lot of reasons why each of them choose to 637 00:38:23,920 --> 00:38:26,640 Speaker 1: keep going. For Bob, there's also a bigger reason. You know, 638 00:38:26,719 --> 00:38:29,160 Speaker 1: he wants to help other people. He wants to be 639 00:38:29,239 --> 00:38:33,120 Speaker 1: part of a something, of a movement, But that's very 640 00:38:33,160 --> 00:38:37,040 Speaker 1: individual for each person why they end up choosing to 641 00:38:37,160 --> 00:38:41,840 Speaker 1: not go back to a house when they can. Finally, 642 00:38:42,080 --> 00:38:45,120 Speaker 1: if if you all had to describe what No mad 643 00:38:45,239 --> 00:38:48,640 Speaker 1: Land is really about at its at its essence, what 644 00:38:48,760 --> 00:38:51,080 Speaker 1: would you say? And I'll just go around the horn 645 00:38:51,160 --> 00:38:54,000 Speaker 1: and start with Dan, What would you say, No mad 646 00:38:54,080 --> 00:38:59,120 Speaker 1: Land is about Dan? I think I think that what 647 00:38:59,160 --> 00:39:01,319 Speaker 1: we're going was talking about. One thing that was on 648 00:39:01,360 --> 00:39:04,080 Speaker 1: my mind is about why the movie may resonate with 649 00:39:04,120 --> 00:39:06,080 Speaker 1: so many people who aren't in the same set of 650 00:39:06,120 --> 00:39:11,000 Speaker 1: circumstances as the characters of Nomad Lands, and a lot 651 00:39:11,080 --> 00:39:13,680 Speaker 1: of privileged people see the film, and we come from 652 00:39:13,800 --> 00:39:19,520 Speaker 1: privileged backgrounds as filmmakers as well, that the Fern's journey 653 00:39:19,560 --> 00:39:22,759 Speaker 1: is an extreme journey, physical journey that I think is 654 00:39:22,800 --> 00:39:26,040 Speaker 1: a spiritual one that all people go on, where we 655 00:39:26,120 --> 00:39:30,239 Speaker 1: ask ourselves, what does it mean to have a home? 656 00:39:31,440 --> 00:39:35,200 Speaker 1: Who is that home with? Where do we find happiness? 657 00:39:35,400 --> 00:39:40,280 Speaker 1: Where do we find survival? So I think that, especially 658 00:39:40,320 --> 00:39:43,439 Speaker 1: in the context of the pandemic, Fern is going through 659 00:39:43,440 --> 00:39:45,759 Speaker 1: a physical journey that is a spiritual journey that a 660 00:39:45,760 --> 00:39:48,960 Speaker 1: lot of us are going on, regardless of where we 661 00:39:49,000 --> 00:39:51,719 Speaker 1: are in life or what age we're on. There the 662 00:39:52,040 --> 00:39:55,640 Speaker 1: movie ask you to lean into some big cosmic questions 663 00:39:55,680 --> 00:39:59,160 Speaker 1: about being alive in America right now. So I think 664 00:39:59,239 --> 00:40:02,200 Speaker 1: I think Burn's Journey allows us to go on our 665 00:40:02,200 --> 00:40:06,839 Speaker 1: own spiritual journeys. And I think all great movies give 666 00:40:06,880 --> 00:40:09,040 Speaker 1: you the ability to go to worlds that you don't know, 667 00:40:09,160 --> 00:40:11,279 Speaker 1: to then look within your own soul and say, Okay, 668 00:40:11,280 --> 00:40:13,480 Speaker 1: well who am I? What does it mean for me 669 00:40:13,560 --> 00:40:17,920 Speaker 1: to be alive? I don't know if that makes any sense. Now, 670 00:40:18,080 --> 00:40:20,840 Speaker 1: it totally makes sense. I think. I think it was 671 00:40:20,920 --> 00:40:25,920 Speaker 1: beautiful actually, and and and Chloe's assessment I think of 672 00:40:25,960 --> 00:40:29,560 Speaker 1: the characters was as well. Um, but I think you're right. 673 00:40:29,600 --> 00:40:33,880 Speaker 1: It brings up a lot of cosmic issues through these 674 00:40:34,040 --> 00:40:39,440 Speaker 1: through this storytelling just of a few characters, and and 675 00:40:39,560 --> 00:40:46,040 Speaker 1: a lot of questions about society, about capitalism, about income inequality, 676 00:40:46,080 --> 00:40:52,959 Speaker 1: about disposal, the you know, people as as disposable, about workers, 677 00:40:52,960 --> 00:40:55,600 Speaker 1: the workforce, Amazon. I mean, there are a lot of 678 00:40:56,000 --> 00:40:59,640 Speaker 1: it's a lot of stuff, you know in one and 679 00:40:59,760 --> 00:41:04,600 Speaker 1: one small film. Really and and Molly, for you, as Chloes, 680 00:41:04,920 --> 00:41:07,760 Speaker 1: it struck me, Chloe said, everybody kind of takes something 681 00:41:07,800 --> 00:41:10,600 Speaker 1: different away from it. I also I thought a lot 682 00:41:10,640 --> 00:41:14,680 Speaker 1: about isolation and loneliness because I can't really I'm not 683 00:41:14,719 --> 00:41:18,359 Speaker 1: good at being alone. I can't really stand the my 684 00:41:18,400 --> 00:41:23,279 Speaker 1: own company, and uh and and and I would be 685 00:41:23,880 --> 00:41:27,040 Speaker 1: really I would go crazy if I lit lead the 686 00:41:27,160 --> 00:41:30,279 Speaker 1: kind of isolated life that Fern was living, you know, 687 00:41:30,360 --> 00:41:34,120 Speaker 1: without companionship on these long drives, I mean, and and 688 00:41:34,200 --> 00:41:37,480 Speaker 1: so me. For me, it was a lot about living 689 00:41:37,520 --> 00:41:42,520 Speaker 1: with loneliness or live you know, tolerating, acceptance, accepting loneliness 690 00:41:43,000 --> 00:41:48,600 Speaker 1: and um solitary you know, I just love that. I 691 00:41:48,640 --> 00:41:51,439 Speaker 1: love that. I really hope someone take away that. Thank you, 692 00:41:53,440 --> 00:41:56,239 Speaker 1: um and and Molly. So when you think about it, 693 00:41:56,360 --> 00:41:58,239 Speaker 1: what do you think the film is about? And I 694 00:41:58,239 --> 00:42:00,360 Speaker 1: think I know Chloe, I'm gonna have you and in 695 00:42:00,440 --> 00:42:03,720 Speaker 1: this conversation because I know you've talked about the American Dream. 696 00:42:03,800 --> 00:42:07,759 Speaker 1: But first, Molly you yeah, I mean, actually I was 697 00:42:07,800 --> 00:42:10,480 Speaker 1: going to bring up the American Dream because I think 698 00:42:10,480 --> 00:42:13,240 Speaker 1: when I first just first reading the book, I really 699 00:42:14,080 --> 00:42:16,200 Speaker 1: you know, the people in this film, in the book 700 00:42:16,239 --> 00:42:18,319 Speaker 1: are are my parents age and I remember after the 701 00:42:18,400 --> 00:42:21,080 Speaker 1: financial crisis, they had this whole plan of what their 702 00:42:21,120 --> 00:42:23,760 Speaker 1: retirement was going to be and that all fell apart 703 00:42:23,960 --> 00:42:28,080 Speaker 1: and um, and so I was really interested in exploring 704 00:42:28,120 --> 00:42:30,880 Speaker 1: this um, this whole idea of like when you have 705 00:42:31,000 --> 00:42:32,600 Speaker 1: this idea of what your life is going to be, 706 00:42:32,640 --> 00:42:34,960 Speaker 1: this American dream, and it doesn't work out, and then 707 00:42:35,000 --> 00:42:38,680 Speaker 1: finding your own way to, you know, sort of rebuild 708 00:42:39,080 --> 00:42:43,319 Speaker 1: an American dream for your for yourself and how much 709 00:42:43,360 --> 00:42:46,319 Speaker 1: we really need and how much we really don't need, right, 710 00:42:46,400 --> 00:42:49,080 Speaker 1: I mean a lot of it is about sort of 711 00:42:49,200 --> 00:42:53,840 Speaker 1: crass consumerism too. But anyway, Peter, what about you. I 712 00:42:53,920 --> 00:42:56,440 Speaker 1: think I'm really strong, and I've seen it several times 713 00:42:56,480 --> 00:42:58,279 Speaker 1: now and I come away from different things, but I 714 00:42:58,320 --> 00:43:02,680 Speaker 1: think I'm really of late. I felt very moved by 715 00:43:02,760 --> 00:43:06,040 Speaker 1: the concept of these people in our lives who are 716 00:43:06,280 --> 00:43:09,120 Speaker 1: the rememberers, those people, the people who are sort of 717 00:43:09,160 --> 00:43:14,480 Speaker 1: traveling with the memory of someone gone, of something gone, 718 00:43:14,640 --> 00:43:19,239 Speaker 1: of a lost community of lost lover of lost friendships, 719 00:43:19,320 --> 00:43:23,000 Speaker 1: of of lost meaning and and and and certainly in 720 00:43:23,040 --> 00:43:26,040 Speaker 1: the in the movie, you know the line what remember what, 721 00:43:26,040 --> 00:43:29,800 Speaker 1: what's remembered lives and and and it just the idea 722 00:43:29,920 --> 00:43:33,160 Speaker 1: of of grief and how we process that, and and 723 00:43:33,239 --> 00:43:37,560 Speaker 1: that you know, the death doesn't necessarily into relationship, and 724 00:43:37,640 --> 00:43:40,839 Speaker 1: that it struggles still in the minds of you know, 725 00:43:40,960 --> 00:43:44,680 Speaker 1: of of whomever for some kind of resolution that it 726 00:43:44,719 --> 00:43:47,720 Speaker 1: may or may not find feels you know, uh, feels 727 00:43:47,840 --> 00:43:52,399 Speaker 1: very much of of import right now in the time 728 00:43:52,400 --> 00:43:56,560 Speaker 1: we're living in. I also think, and you know, who 729 00:43:56,600 --> 00:43:58,640 Speaker 1: cares what I think? But I was just gonna say, Chloe, 730 00:43:58,719 --> 00:44:02,160 Speaker 1: that while it was about loneliness and isolation, it was 731 00:44:02,200 --> 00:44:06,880 Speaker 1: also very much about community and the fact that humans, 732 00:44:07,520 --> 00:44:11,880 Speaker 1: human to human contact can really happen anywhere if you 733 00:44:11,960 --> 00:44:15,520 Speaker 1: have like an open heart and you're willing to share. 734 00:44:16,080 --> 00:44:20,200 Speaker 1: And especially I think it was especially poignant poignant for 735 00:44:20,320 --> 00:44:24,560 Speaker 1: me watching the scene around the fire where people were 736 00:44:24,560 --> 00:44:27,600 Speaker 1: throwing things in the fire and saying a few words, 737 00:44:27,840 --> 00:44:35,239 Speaker 1: and that kind of communal ritual, ritualistic exercise and and 738 00:44:35,280 --> 00:44:40,799 Speaker 1: how community can be anywhere. Does that make sense? Yeah? Yeah, 739 00:44:40,960 --> 00:44:46,280 Speaker 1: And look the loneliness aspect for me, these stars there, 740 00:44:46,320 --> 00:44:49,600 Speaker 1: you know it stars there. Because I think wanting to 741 00:44:49,600 --> 00:44:51,640 Speaker 1: tell stories is in a way of saying, is there 742 00:44:51,680 --> 00:44:54,719 Speaker 1: anybody out there? You know? I just you want to 743 00:44:54,760 --> 00:44:57,160 Speaker 1: reach out because there's a deep loneliness I think we 744 00:44:57,200 --> 00:45:00,160 Speaker 1: all have and you's got to resolve in different is 745 00:45:00,200 --> 00:45:02,960 Speaker 1: for me is to connect with other people through storytelling 746 00:45:03,680 --> 00:45:08,160 Speaker 1: and UM. In order to tell stories, I have to believe, 747 00:45:08,400 --> 00:45:11,200 Speaker 1: I have to have their faith that we're inherently good 748 00:45:11,719 --> 00:45:16,440 Speaker 1: as human beings, that we inherently have compassion for one 749 00:45:16,440 --> 00:45:19,360 Speaker 1: another even though we disagree on everything. So when I 750 00:45:19,400 --> 00:45:22,040 Speaker 1: go out there in the middle of nowhere of a 751 00:45:22,120 --> 00:45:25,400 Speaker 1: community is not my own, I search for that compassion. 752 00:45:25,480 --> 00:45:29,839 Speaker 1: I always find it, and I think Nomal and UM 753 00:45:30,080 --> 00:45:33,799 Speaker 1: document that experience for me. Of these people around the 754 00:45:33,840 --> 00:45:36,600 Speaker 1: fire have nothing in common, come from all walk of life. 755 00:45:36,840 --> 00:45:39,360 Speaker 1: I kind of listen to each other and try to 756 00:45:39,440 --> 00:45:41,840 Speaker 1: see the world from the other person's perspective and have 757 00:45:42,200 --> 00:45:45,520 Speaker 1: compassion for each other and as a result, have compassion 758 00:45:45,560 --> 00:45:51,240 Speaker 1: for themselves. A big thank you to all My Guests 759 00:45:51,280 --> 00:45:56,200 Speaker 1: Today director Chloe's Out, Producers Peter Spears, Molly Asher, and 760 00:45:56,280 --> 00:46:00,720 Speaker 1: Dan Champige. You can watch The Incredible Nomad Land on Hulu. 761 00:46:06,640 --> 00:46:08,880 Speaker 1: Next Question with Katie Kurik is a production of I 762 00:46:09,000 --> 00:46:12,919 Speaker 1: Heart Media and Katie Curic Media. The executive producers Army, 763 00:46:13,120 --> 00:46:17,640 Speaker 1: Katie Curic, and Courtney Litz. The supervising producer is Lauren Hansen. 764 00:46:17,960 --> 00:46:23,319 Speaker 1: Associate producers Derek Clements, Adrianna Fasio, and Emily Pinto. The 765 00:46:23,360 --> 00:46:26,920 Speaker 1: show is edited and mixed by Derrick Clements. For more 766 00:46:26,960 --> 00:46:29,759 Speaker 1: information about today's episode, or to sign up for my 767 00:46:29,880 --> 00:46:33,480 Speaker 1: morning newsletter, wake Up Call, go to Katie currect dot com. 768 00:46:33,520 --> 00:46:36,160 Speaker 1: You can also find me at Katie Curic on Instagram 769 00:46:36,200 --> 00:46:39,759 Speaker 1: and all my social media channels. For more podcasts from 770 00:46:39,760 --> 00:46:43,799 Speaker 1: I heart Radio, visit the I heart Radio app, Apple podcast, 771 00:46:44,120 --> 00:46:46,360 Speaker 1: or wherever you listen to your favorite shows,