1
00:00:00,240 --> 00:00:03,000
Speaker 1: Live from the Mercedes Benz Interview Lounge.

2
00:00:03,720 --> 00:00:06,800
Speaker 2: Welcome to the show. M Night Shamalan and his daughter Silika.

3
00:00:06,920 --> 00:00:09,039
Speaker 2: So good to have you here, having us well, thanks

4
00:00:09,080 --> 00:00:12,840
Speaker 2: for being had in two weeks. This film, they're saying,

5
00:00:12,880 --> 00:00:16,680
Speaker 2: this is the film of the season. Trap it's coming out.

6
00:00:17,200 --> 00:00:19,840
Speaker 2: Are you a little nervous right before a film comes out?

7
00:00:20,160 --> 00:00:20,880
Speaker 3: I do get that way.

8
00:00:21,079 --> 00:00:24,599
Speaker 1: I don't like that part of it, of the anxiety,

9
00:00:24,600 --> 00:00:26,920
Speaker 1: because I've finished the movie and so you know, in

10
00:00:26,960 --> 00:00:29,440
Speaker 1: that stoic thing, you should let go. I don't have

11
00:00:29,480 --> 00:00:31,480
Speaker 1: control over this part of it. And then I'm still

12
00:00:31,520 --> 00:00:33,720
Speaker 1: holding it tight. This is movie sixteen, you know, so

13
00:00:33,720 --> 00:00:36,160
Speaker 1: it's like thirty years and sixteen movies.

14
00:00:36,200 --> 00:00:38,519
Speaker 3: It's just stop already. Yeah, but he's want your baby.

15
00:00:38,640 --> 00:00:40,800
Speaker 1: So it's like your baby's about to go out into

16
00:00:40,880 --> 00:00:42,920
Speaker 1: the world and you want everyone to like your baby.

17
00:00:42,960 --> 00:00:45,479
Speaker 3: You know. Sometimes they have any control over that.

18
00:00:45,960 --> 00:00:49,920
Speaker 2: Yeah, sometimes they don't like your baby. But this is

19
00:00:50,040 --> 00:00:52,040
Speaker 2: very interesting parallel that's going on. Of course, your daughter

20
00:00:52,040 --> 00:00:54,880
Speaker 2: Selika is here, and of course she is featured in

21
00:00:54,920 --> 00:00:56,440
Speaker 2: the film, and we're gonna get it into that in

22
00:00:56,480 --> 00:00:59,280
Speaker 2: a moment. Well, so it's like having a daughter, you know,

23
00:00:59,360 --> 00:01:01,480
Speaker 2: I mean Yeah, you got to let her go one

24
00:01:01,560 --> 00:01:04,800
Speaker 2: day and let her fly. I'm equally bad at that. Yeah,

25
00:01:05,080 --> 00:01:07,360
Speaker 2: is you're not doing what I mean? Are you still?

26
00:01:07,400 --> 00:01:08,319
Speaker 2: Do you still live at home?

27
00:01:08,440 --> 00:01:11,280
Speaker 3: Or are you there half the time? Pretty much? Yeah.

28
00:01:11,319 --> 00:01:13,720
Speaker 4: He built studio in the house, so I work there.

29
00:01:14,400 --> 00:01:17,800
Speaker 2: There you go. It's this is another premise for a film,

30
00:01:18,120 --> 00:01:22,120
Speaker 2: the dad who just can't let go. It's called being Indian.

31
00:01:23,360 --> 00:01:24,399
Speaker 5: That's the first thing I thought.

32
00:01:24,400 --> 00:01:27,760
Speaker 2: I was very Indian of you explain that, Kandy.

33
00:01:28,000 --> 00:01:29,800
Speaker 5: Any people love to stay with their family.

34
00:01:29,600 --> 00:01:31,800
Speaker 2: Until we die. There's nothing wrong with get.

35
00:01:31,720 --> 00:01:33,760
Speaker 5: Married and then you have permission to leave. But like,

36
00:01:33,920 --> 00:01:36,080
Speaker 5: but I don't live with the family, and it's so stressful.

37
00:01:36,400 --> 00:01:37,280
Speaker 2: How did you not be there?

38
00:01:37,360 --> 00:01:37,560
Speaker 4: Yeah?

39
00:01:37,600 --> 00:01:38,000
Speaker 2: I love it.

40
00:01:38,040 --> 00:01:40,520
Speaker 1: I'm glad you did a different Yeah, different concept of

41
00:01:40,600 --> 00:01:41,400
Speaker 1: nuclear family.

42
00:01:41,440 --> 00:01:43,360
Speaker 3: And you know, as it puts, like, am eighteen, let's

43
00:01:43,360 --> 00:01:44,720
Speaker 3: go to the University of Miami, let's go.

44
00:01:46,400 --> 00:01:49,360
Speaker 1: That's a different mentality than Hey, you know, go to

45
00:01:49,400 --> 00:01:51,560
Speaker 1: the closest college you can and you know it's come

46
00:01:51,640 --> 00:01:53,480
Speaker 1: back and see us and have food and you.

47
00:01:53,440 --> 00:01:56,720
Speaker 2: Know, you wash your dryer. Yeah, exactly, the refrigerated We'll

48
00:01:56,760 --> 00:01:57,800
Speaker 2: let you eat our food.

49
00:01:57,880 --> 00:01:59,880
Speaker 1: There's definitely a lot of you know, Asian guilt, that

50
00:02:00,080 --> 00:02:02,520
Speaker 1: and votes. And so when we dropped there at college,

51
00:02:02,560 --> 00:02:05,120
Speaker 1: I was that was literally the worst moment in my life.

52
00:02:04,960 --> 00:02:05,480
Speaker 3: Up to that point.

53
00:02:05,520 --> 00:02:06,720
Speaker 2: Oh you broke your heart.

54
00:02:06,880 --> 00:02:08,640
Speaker 3: Literally just sat in the car and wept.

55
00:02:09,440 --> 00:02:11,200
Speaker 2: But how far did she go from she.

56
00:02:11,200 --> 00:02:13,600
Speaker 3: Went to Brown went so it was about six hours.

57
00:02:14,000 --> 00:02:16,280
Speaker 3: Oh my son goes to in England to school. So

58
00:02:16,360 --> 00:02:18,840
Speaker 3: how's that? I know, Yeah, that's not allowed that.

59
00:02:20,720 --> 00:02:22,200
Speaker 2: We should go back to that moment and cry just

60
00:02:22,200 --> 00:02:26,080
Speaker 2: for a moment. All right, let's talk about the film. Okay,

61
00:02:26,080 --> 00:02:29,280
Speaker 2: trap like it's in theaters only theaters only now the

62
00:02:29,360 --> 00:02:32,720
Speaker 2: trailers and I'm not going to say what I think

63
00:02:32,760 --> 00:02:34,400
Speaker 2: this is about, because I don't want to screw anything up.

64
00:02:34,639 --> 00:02:38,640
Speaker 2: But Josh Hartnett, Josh Hartnett could be play a creepy,

65
00:02:38,639 --> 00:02:41,520
Speaker 2: creepy character, but this character he's playing as a dad

66
00:02:42,080 --> 00:02:46,000
Speaker 2: taking his daughter to see Lady Raven, is your character?

67
00:02:46,120 --> 00:02:46,400
Speaker 3: Right?

68
00:02:46,880 --> 00:02:48,600
Speaker 2: What a cool dad? It's like all the dad you

69
00:02:48,639 --> 00:02:50,280
Speaker 2: see its a Tater Swift concert.

70
00:02:50,440 --> 00:02:50,640
Speaker 3: You know.

71
00:02:52,160 --> 00:02:53,960
Speaker 2: There's something going on there and I can't put my

72
00:02:53,960 --> 00:02:55,600
Speaker 2: finger on it. I don't want to start guessing. I

73
00:02:55,600 --> 00:02:57,760
Speaker 2: don't want to screw anything up, am I kind of right.

74
00:02:58,680 --> 00:03:02,920
Speaker 2: You haven't said anything. Okay, good, Yes.

75
00:03:02,720 --> 00:03:03,040
Speaker 3: You're right.

76
00:03:03,639 --> 00:03:06,520
Speaker 1: You know, the culture of being in going in concerts.

77
00:03:06,520 --> 00:03:09,160
Speaker 1: Sometimes you write something and the culture moves away from you,

78
00:03:09,240 --> 00:03:11,480
Speaker 1: or it moves towards you. And since I we thought

79
00:03:11,480 --> 00:03:15,640
Speaker 1: of the idea, the culture moved towards us. With Taylor

80
00:03:15,680 --> 00:03:19,560
Speaker 1: Swift and Beyonce and you know everything, even Kendrick, everything

81
00:03:19,560 --> 00:03:22,320
Speaker 1: you can imagine, the culture has moved towards this thing

82
00:03:22,360 --> 00:03:24,480
Speaker 1: of going as a group to go see an artist

83
00:03:24,560 --> 00:03:27,080
Speaker 1: is the thing that everyone is talking about, and especially

84
00:03:27,120 --> 00:03:28,880
Speaker 1: with Taylor and the whole families and you see the

85
00:03:28,880 --> 00:03:31,680
Speaker 1: girl Dad's going And obviously everything I write is based

86
00:03:31,680 --> 00:03:34,840
Speaker 1: on kind of my relationship to the girls, our family

87
00:03:34,960 --> 00:03:35,520
Speaker 1: in some way.

88
00:03:35,680 --> 00:03:37,520
Speaker 2: But you're not creepy like Josh Hartnett.

89
00:03:37,760 --> 00:03:39,440
Speaker 3: Well, Josh is not creepy either.

90
00:03:42,080 --> 00:03:42,360
Speaker 4: At back.

91
00:03:42,880 --> 00:03:43,760
Speaker 3: He's the sweetest guy.

92
00:03:44,720 --> 00:03:47,119
Speaker 1: He came we were shooting in Ireland and he came

93
00:03:47,120 --> 00:03:49,360
Speaker 1: from he lives in London, said hey, can I come

94
00:03:49,440 --> 00:03:51,560
Speaker 1: see you. We were thinking about who to cast in

95
00:03:51,640 --> 00:03:55,960
Speaker 1: the role and we talked about being dads of three girls.

96
00:03:56,000 --> 00:03:57,560
Speaker 1: Just I was like, this is the guy, This is

97
00:03:57,600 --> 00:04:00,840
Speaker 1: the guy. You know, It's not about just the actor.

98
00:04:00,920 --> 00:04:03,400
Speaker 1: Or the actress. It's where they are in their lives

99
00:04:03,520 --> 00:04:05,560
Speaker 1: and so it's a combination of their skill set but

100
00:04:05,600 --> 00:04:06,600
Speaker 1: where they are emotionally.

101
00:04:06,600 --> 00:04:08,960
Speaker 3: And josh Is just was dead on.

102
00:04:09,280 --> 00:04:11,640
Speaker 1: I was like, I was seeing the superstar, was seeing

103
00:04:11,680 --> 00:04:14,680
Speaker 1: somebody that you would fall in love with, which is

104
00:04:14,800 --> 00:04:16,719
Speaker 1: what I what I need for the movie.

105
00:04:16,960 --> 00:04:20,440
Speaker 2: Well, obviously his character has a lot going on. How

106
00:04:20,520 --> 00:04:21,960
Speaker 2: much can we say? I mean, I don't want to

107
00:04:21,960 --> 00:04:24,360
Speaker 2: get any away, but I think I think he's he's

108
00:04:24,440 --> 00:04:25,679
Speaker 2: up to no good in this film.

109
00:04:25,839 --> 00:04:27,159
Speaker 3: It's very possible.

110
00:04:28,480 --> 00:04:30,159
Speaker 5: If we saw it in the trailer, can we say.

111
00:04:30,080 --> 00:04:31,680
Speaker 3: Yeah, yeah, it's you.

112
00:04:31,880 --> 00:04:34,960
Speaker 2: He's looked several looks on his face. It leads me.

113
00:04:36,440 --> 00:04:37,200
Speaker 5: He's a bad guy.

114
00:04:37,400 --> 00:04:42,000
Speaker 1: Yeah, you know, it was something that that was stuck

115
00:04:42,000 --> 00:04:43,560
Speaker 1: in my head. Well, first of all, Sleek and I

116
00:04:43,800 --> 00:04:47,359
Speaker 1: was we're talking a lot about music, and I was like, gosh,

117
00:04:47,360 --> 00:04:51,000
Speaker 1: we should we should do something like Purple Rain, you know,

118
00:04:51,040 --> 00:04:55,640
Speaker 1: where you write something an album for a narrative purpose.

119
00:04:55,880 --> 00:04:58,440
Speaker 2: So, Selika, what was it like, Well, first of all's

120
00:04:58,440 --> 00:05:00,599
Speaker 2: talk about your character. Your character Lady even of course

121
00:05:00,640 --> 00:05:04,120
Speaker 2: is featured as the big performer at this colisem that

122
00:05:04,240 --> 00:05:08,279
Speaker 2: sold out. How many times did your dad call upon

123
00:05:08,320 --> 00:05:11,240
Speaker 2: you for ideas? Did he did he fold you into

124
00:05:11,240 --> 00:05:14,280
Speaker 2: the into the creative process for your character or for

125
00:05:14,279 --> 00:05:15,440
Speaker 2: anything else with Trap?

126
00:05:15,560 --> 00:05:17,520
Speaker 4: Well, for music wise, I wrote all of the music,

127
00:05:17,680 --> 00:05:19,520
Speaker 4: produced all of it. So I think that was obviously

128
00:05:19,600 --> 00:05:22,360
Speaker 4: a big element of the character itself. And I think

129
00:05:22,400 --> 00:05:24,400
Speaker 4: the idea for the movie we was just something we

130
00:05:24,400 --> 00:05:26,560
Speaker 4: were kind of ideating on for a while, and how

131
00:05:26,600 --> 00:05:29,240
Speaker 4: to bring music and film together. You know, it's obviously

132
00:05:29,240 --> 00:05:32,159
Speaker 4: an Indian culture. That's a very big thing Bollywood movies.

133
00:05:32,200 --> 00:05:34,080
Speaker 4: You know, music and film are kind of equals and that,

134
00:05:34,200 --> 00:05:36,640
Speaker 4: and so something that feels very natural when we wanted

135
00:05:36,640 --> 00:05:38,560
Speaker 4: to do it in our own kind of Shyamalan way.

136
00:05:39,600 --> 00:05:42,039
Speaker 4: But yeah, I think the original ideas we kind of

137
00:05:42,080 --> 00:05:45,440
Speaker 4: brainstorm together, and then he wrote the most incredible script.

138
00:05:45,880 --> 00:05:48,120
Speaker 2: Now I'm going to ask the question, don't get don't

139
00:05:48,120 --> 00:05:50,120
Speaker 2: get upset because asking a father a question like this

140
00:05:50,120 --> 00:05:53,120
Speaker 2: about his daughter, Yea, does someone chop your daughter up

141
00:05:53,120 --> 00:05:56,760
Speaker 2: in this film? He's had a fair question.

142
00:05:57,000 --> 00:05:58,560
Speaker 3: Yeah, I can't say, do.

143
00:05:58,520 --> 00:06:01,040
Speaker 2: You get chopped up in this film? Have you mutilated?

144
00:06:01,080 --> 00:06:01,599
Speaker 2: No cameras?

145
00:06:02,240 --> 00:06:02,680
Speaker 5: I don't know.

146
00:06:03,000 --> 00:06:06,440
Speaker 2: I mean, look, we're talking about not reality. This is okay.

147
00:06:06,680 --> 00:06:07,440
Speaker 3: You never know.

148
00:06:08,480 --> 00:06:11,000
Speaker 5: Any point when she wanted to do this for a living,

149
00:06:11,000 --> 00:06:12,880
Speaker 5: did you say run the other direction?

150
00:06:13,120 --> 00:06:13,960
Speaker 3: Did you try to like.

151
00:06:14,120 --> 00:06:16,200
Speaker 1: Well, we know in our house, I kind of we

152
00:06:16,360 --> 00:06:20,240
Speaker 1: are is sacred. This is not this is not a

153
00:06:20,279 --> 00:06:23,760
Speaker 1: transactional thing. This is not an opportunistic thing. In fact,

154
00:06:23,800 --> 00:06:26,239
Speaker 1: it's the tears have come the opposite.

155
00:06:25,800 --> 00:06:26,960
Speaker 3: Way where I'm where.

156
00:06:26,960 --> 00:06:29,560
Speaker 1: I'm like, we don't need another person going into the

157
00:06:29,640 --> 00:06:31,960
Speaker 1: arts to prove that they have value or to get

158
00:06:32,080 --> 00:06:36,200
Speaker 1: validation or become famous or make money. If those are

159
00:06:36,200 --> 00:06:39,839
Speaker 1: your motivations, please don't do it. This is not what

160
00:06:39,960 --> 00:06:41,960
Speaker 1: we want in the world because you are just stealing

161
00:06:42,000 --> 00:06:45,279
Speaker 1: everyone's agency. Only do it to give And if you

162
00:06:45,279 --> 00:06:47,480
Speaker 1: have something that you want to give your point of view,

163
00:06:47,800 --> 00:06:49,880
Speaker 1: then then let's do it. It's a beautiful thing to

164
00:06:49,880 --> 00:06:53,120
Speaker 1: be an artist to speak. So I'm really tough on them.

165
00:06:53,160 --> 00:06:55,640
Speaker 1: And then and then we have all the Asian work

166
00:06:55,680 --> 00:06:57,880
Speaker 1: ethic stuff and I'm like, you're just not working hard enough.

167
00:06:58,000 --> 00:07:01,360
Speaker 1: So you know, you know what the Asian Asian and

168
00:07:01,400 --> 00:07:02,680
Speaker 1: a yeah.

169
00:07:02,400 --> 00:07:03,320
Speaker 2: Wow, it's terrible.

170
00:07:03,560 --> 00:07:06,119
Speaker 5: You guys are like the one one percent of Indian

171
00:07:06,120 --> 00:07:08,000
Speaker 5: parents who are not disappointed in their children for not

172
00:07:08,040 --> 00:07:08,599
Speaker 5: being a doctor.

173
00:07:08,960 --> 00:07:09,279
Speaker 2: I love.

174
00:07:11,640 --> 00:07:13,360
Speaker 5: I know.

175
00:07:13,400 --> 00:07:16,000
Speaker 2: Yeah, she's the academic in your family, man in your

176
00:07:16,000 --> 00:07:18,920
Speaker 2: in your family, how many doctors, how many attorneys? And

177
00:07:18,960 --> 00:07:21,320
Speaker 2: then a radio person. Yeah, and so they looked at

178
00:07:21,320 --> 00:07:21,760
Speaker 2: you like, what.

179
00:07:21,640 --> 00:07:22,080
Speaker 3: The hell are you?

180
00:07:22,160 --> 00:07:23,360
Speaker 5: They still ask me all the time when I'm going

181
00:07:23,400 --> 00:07:25,680
Speaker 5: to get a real job. This is the real job.

182
00:07:25,720 --> 00:07:28,360
Speaker 5: I'm telling you, you have to do it. I love

183
00:07:28,400 --> 00:07:29,080
Speaker 5: to see this though.

184
00:07:29,480 --> 00:07:29,640
Speaker 3: Yeah.

185
00:07:29,840 --> 00:07:31,240
Speaker 1: I don't think my parents even I don't think they

186
00:07:31,280 --> 00:07:33,320
Speaker 1: really got it until I was on the cover of

187
00:07:33,440 --> 00:07:34,480
Speaker 1: magazines and then they.

188
00:07:34,360 --> 00:07:35,280
Speaker 3: Bought every magazine.

189
00:07:35,480 --> 00:07:41,960
Speaker 5: And I know, but I do, but we do.

190
00:07:42,200 --> 00:07:45,520
Speaker 1: I do talk about the Asian this unusual marriage between

191
00:07:45,560 --> 00:07:48,360
Speaker 1: the arts and our family and the upbringing of being Asian.

192
00:07:48,400 --> 00:07:50,800
Speaker 1: In fact, you know, you can talk about that, you

193
00:07:50,800 --> 00:07:53,280
Speaker 1: know when I'm like, hey, stop being so Asian on stage.

194
00:07:53,560 --> 00:07:55,000
Speaker 4: Yeah. I mean, for me, it's been a process because

195
00:07:55,000 --> 00:07:57,240
Speaker 4: I came from classical piano, which is, you know, very

196
00:07:57,240 --> 00:08:00,640
Speaker 4: disciplined and and you know, don't make mistakes and kind

197
00:08:00,640 --> 00:08:02,640
Speaker 4: of don't put your own personality into it in a way,

198
00:08:02,840 --> 00:08:05,160
Speaker 4: and so kind of coming to writing my own music,

199
00:08:05,160 --> 00:08:07,360
Speaker 4: it was a challenge for me to come out of

200
00:08:07,400 --> 00:08:09,520
Speaker 4: like trying to do everything perfect. And so now my

201
00:08:09,600 --> 00:08:11,920
Speaker 4: challenge is to just be free and kind of learn

202
00:08:11,960 --> 00:08:14,000
Speaker 4: how to perform and all that. And so now he's

203
00:08:14,040 --> 00:08:15,560
Speaker 4: helping me kind of get out of my shell. But

204
00:08:15,720 --> 00:08:17,720
Speaker 4: you know, growing up, it's all you know, you want

205
00:08:17,760 --> 00:08:19,160
Speaker 4: to get the straight a's, and you want to be

206
00:08:19,160 --> 00:08:21,240
Speaker 4: perfect on the SATs, and you want to get the

207
00:08:21,240 --> 00:08:23,960
Speaker 4: classical piano piece perfect at the recital, and you know,

208
00:08:23,960 --> 00:08:26,320
Speaker 4: if we didn't, it's like tears and you feel like

209
00:08:26,360 --> 00:08:29,760
Speaker 4: you failed. So that mentality is definitely deeply ingrained.

210
00:08:30,800 --> 00:08:33,120
Speaker 5: And most of the time your Indian parents will tell you, oh, yeah,

211
00:08:33,160 --> 00:08:34,520
Speaker 5: failed if you were wondering.

212
00:08:34,559 --> 00:08:36,400
Speaker 4: First, I think I came home with like a B

213
00:08:36,520 --> 00:08:38,720
Speaker 4: plus at my first semester at Brown, and they were.

214
00:08:38,559 --> 00:08:42,280
Speaker 2: Like, what happened? What is this letter? And I was like,

215
00:08:42,320 --> 00:08:43,400
Speaker 2: I don't know, it's Brown.

216
00:08:43,480 --> 00:08:46,480
Speaker 3: I'm more I didn't remember that. That's terrible.

217
00:08:48,440 --> 00:08:50,280
Speaker 2: Can work. Let's work through this right now.

218
00:08:53,000 --> 00:08:55,240
Speaker 4: Well, I'd gone straight a's on my high school and

219
00:08:55,280 --> 00:08:57,520
Speaker 4: then it was like first semester of college and I

220
00:08:57,559 --> 00:08:59,760
Speaker 4: took a like a senior course and I was trying

221
00:08:59,760 --> 00:09:01,480
Speaker 4: to do something and I think I got like a

222
00:09:01,480 --> 00:09:02,679
Speaker 4: B plus and they were like, there's a.

223
00:09:02,640 --> 00:09:03,880
Speaker 3: Bee, what is this? Okay?

224
00:09:03,960 --> 00:09:10,040
Speaker 2: Let's all stop being so Asian, more open. Let's get

225
00:09:10,040 --> 00:09:12,959
Speaker 2: back to Trap please. All right, so again two weeks

226
00:09:12,960 --> 00:09:17,240
Speaker 2: from today. It's in theaters only. And you, of course

227
00:09:17,679 --> 00:09:20,840
Speaker 2: are known night for these films that have these crazy twists,

228
00:09:20,880 --> 00:09:24,040
Speaker 2: these twists and these turns. But there's something else I've

229
00:09:24,080 --> 00:09:27,080
Speaker 2: noticed about your films. And even in the trailer on Trap,

230
00:09:28,160 --> 00:09:31,439
Speaker 2: there's just something you do with these shots, these these angles.

231
00:09:31,720 --> 00:09:34,719
Speaker 2: You know that something's about to happen. I don't know.

232
00:09:34,960 --> 00:09:39,920
Speaker 2: I got tension built up in my neck just by

233
00:09:40,920 --> 00:09:46,280
Speaker 2: the way you handle how the camera relates with the actor.

234
00:09:47,000 --> 00:09:50,720
Speaker 2: You can see it coming and it's like hair stands

235
00:09:50,720 --> 00:09:52,280
Speaker 2: on the back of your And I've noticed that. I

236
00:09:52,400 --> 00:09:55,160
Speaker 2: noticed that all the way back to uh I See

237
00:09:55,160 --> 00:09:57,440
Speaker 2: Dead People. I mean all all the way back to

238
00:09:58,640 --> 00:10:00,679
Speaker 2: that that film which I was a introduced to you,

239
00:10:00,760 --> 00:10:03,920
Speaker 2: of course, six sixth Cents was actually it's still one

240
00:10:03,920 --> 00:10:06,480
Speaker 2: of my top five favorite films of all time. How

241
00:10:06,520 --> 00:10:09,679
Speaker 2: do you use something like a lens to build tension? Well,

242
00:10:09,679 --> 00:10:12,200
Speaker 2: first of all, thank you for that in articulating that

243
00:10:12,240 --> 00:10:16,320
Speaker 2: it is. It is the primary thing of cinema that's

244
00:10:16,360 --> 00:10:18,800
Speaker 2: important to me. The process you're talking about is the

245
00:10:19,200 --> 00:10:22,199
Speaker 2: cinematic integrity of each shot.

246
00:10:22,240 --> 00:10:25,240
Speaker 3: And there's two philosophies. There's kind of like.

247
00:10:25,240 --> 00:10:27,120
Speaker 1: That I don't want to get We could go on

248
00:10:27,160 --> 00:10:29,240
Speaker 1: and on about this, but like a hunters and gatherers

249
00:10:29,280 --> 00:10:32,240
Speaker 1: philosophy in my mind, you know, And the gatherers philosophy is, hey,

250
00:10:32,240 --> 00:10:33,719
Speaker 1: I'm going to shoot all of you and different things.

251
00:10:33,800 --> 00:10:35,400
Speaker 3: Anything that comes back, oh great, I'll shoot that, I'll

252
00:10:35,400 --> 00:10:36,360
Speaker 3: shoot this, and.

253
00:10:36,280 --> 00:10:37,959
Speaker 1: Then we gather it and then we put together a

254
00:10:38,040 --> 00:10:41,280
Speaker 1: kind of a meal afterwards based on the best of

255
00:10:41,320 --> 00:10:44,079
Speaker 1: the things we've gathered. But there's the hunters, and those

256
00:10:44,120 --> 00:10:47,320
Speaker 1: are the much much rarer because it's highly dangerous, which

257
00:10:47,360 --> 00:10:48,199
Speaker 1: is I'm not shooting you.

258
00:10:48,280 --> 00:10:49,040
Speaker 3: I'm not shooting you.

259
00:10:49,160 --> 00:10:51,280
Speaker 1: I'm going to do your shot like this, and it's

260
00:10:51,280 --> 00:10:53,360
Speaker 1: going to move over to her line over here, because

261
00:10:53,400 --> 00:10:56,480
Speaker 1: that's when you get distracted by her. And then then

262
00:10:56,520 --> 00:10:58,360
Speaker 1: it's going to move over here. And that's all we're doing,

263
00:10:58,400 --> 00:11:00,120
Speaker 1: and we're going to do twelve takes of that. That's

264
00:11:00,120 --> 00:11:02,760
Speaker 1: all we're going to do. That's a hunter mentality. It's

265
00:11:02,840 --> 00:11:06,240
Speaker 1: high risk, but I feel more in that that way

266
00:11:06,280 --> 00:11:09,320
Speaker 1: for me as a viewer in every frame and so

267
00:11:09,480 --> 00:11:13,880
Speaker 1: you know, I'm going up against you know, Deadpool and

268
00:11:13,880 --> 00:11:17,440
Speaker 1: and Inside Out, you know seven and all these movies,

269
00:11:17,480 --> 00:11:20,520
Speaker 1: and all I got is this, That's all I have.

270
00:11:20,960 --> 00:11:25,160
Speaker 2: And there's one shot in the trailer of Josh Hartnett's face.

271
00:11:26,360 --> 00:11:30,679
Speaker 2: You could see he's very tense. His face is stone,

272
00:11:31,640 --> 00:11:35,360
Speaker 2: its stones extreme, and then out of nowhere, his lip

273
00:11:35,400 --> 00:11:38,240
Speaker 2: has one little nervous twitch. Yeah, And I was like,

274
00:11:38,960 --> 00:11:42,079
Speaker 2: in his little lip twitch. You saw the trailer, right,

275
00:11:42,160 --> 00:11:45,400
Speaker 2: I was like, holy yeah, something's going on here. It

276
00:11:45,520 --> 00:11:47,240
Speaker 2: was definitely a hair raising moment.

277
00:11:47,320 --> 00:11:47,480
Speaker 3: Yeah.

278
00:11:47,480 --> 00:11:51,120
Speaker 1: Again, he's so incapable of inauthenticity. So that's at a

279
00:11:51,120 --> 00:11:55,160
Speaker 1: particular moment where he feels he has no moves left

280
00:11:55,280 --> 00:11:57,920
Speaker 1: and he's going to be caught. And in the intensity

281
00:11:57,960 --> 00:12:01,880
Speaker 1: of this thriller happening in a concert, is that it's

282
00:12:01,920 --> 00:12:05,160
Speaker 1: becoming like too much. What was funny is now becoming,

283
00:12:05,280 --> 00:12:08,480
Speaker 1: you know, a funhouse mirror aberration. And so he's feeling

284
00:12:08,559 --> 00:12:11,000
Speaker 1: all this in that moment, and all we talk about

285
00:12:11,080 --> 00:12:15,560
Speaker 1: is where you are and you're you're out of moves brilliant.

286
00:12:15,880 --> 00:12:17,920
Speaker 2: So obviously he's done some bad stuff.

287
00:12:18,080 --> 00:12:22,520
Speaker 5: Clearly when you are working with your dad on something

288
00:12:22,559 --> 00:12:26,200
Speaker 5: like this. Obviously he's made sixteen movies and you're now

289
00:12:26,240 --> 00:12:29,199
Speaker 5: starting to venture into this. I know you're an actor

290
00:12:29,240 --> 00:12:31,640
Speaker 5: and you're a professional, but are there any times you're like, Dad,

291
00:12:31,920 --> 00:12:33,000
Speaker 5: I do not like that angle.

292
00:12:33,040 --> 00:12:33,520
Speaker 3: Take it out.

293
00:12:34,679 --> 00:12:39,440
Speaker 4: Oh that's not an option conversation. I don't even know

294
00:12:39,480 --> 00:12:40,480
Speaker 4: what's going on over there.

295
00:12:41,240 --> 00:12:43,400
Speaker 5: There's talking about that wide angle distorts your body. I'd

296
00:12:43,440 --> 00:12:44,360
Speaker 5: be like, Dad, don't you dare?

297
00:12:44,520 --> 00:12:46,760
Speaker 4: It was like when I saw the movie, I had

298
00:12:46,760 --> 00:12:49,480
Speaker 4: to process a little bit my insecurities of just seeing

299
00:12:49,480 --> 00:12:51,120
Speaker 4: myself on screen because I'm just not used to that,

300
00:12:51,160 --> 00:12:53,520
Speaker 4: and you know, you notice all of the flaws that

301
00:12:53,559 --> 00:12:55,679
Speaker 4: you hate about yourself. So that was the process. But

302
00:12:55,760 --> 00:12:58,280
Speaker 4: during the shoot, it's not something that I was thinking

303
00:12:58,320 --> 00:13:01,439
Speaker 4: about are supposed to think about and would never dare

304
00:13:01,679 --> 00:13:04,600
Speaker 4: tell him to do anything has to do.

305
00:13:05,120 --> 00:13:07,360
Speaker 3: Only mom does that.

306
00:13:08,720 --> 00:13:11,160
Speaker 2: So as you set up for a release, for instance,

307
00:13:11,240 --> 00:13:16,560
Speaker 2: Trap in two weeks, what's that anticipation journey like for you?

308
00:13:16,880 --> 00:13:19,320
Speaker 2: I mean you're still two weeks out? Yeah, So what

309
00:13:19,440 --> 00:13:22,000
Speaker 2: happens between now and the day it releases? Like where

310
00:13:22,040 --> 00:13:23,040
Speaker 2: do your emotions go?

311
00:13:23,480 --> 00:13:24,000
Speaker 3: I mean.

312
00:13:25,320 --> 00:13:27,400
Speaker 4: I'm just excited. I mean we haven't two weeks of

313
00:13:27,440 --> 00:13:29,679
Speaker 4: getting to kind of travel the world and talk about

314
00:13:29,679 --> 00:13:32,120
Speaker 4: the movie and talk about this amazing experience that for

315
00:13:32,240 --> 00:13:34,280
Speaker 4: me was like just one of the greatest experiences of

316
00:13:34,320 --> 00:13:36,360
Speaker 4: my life. And I, you know, I just admitted the

317
00:13:36,400 --> 00:13:38,600
Speaker 4: album two days ago, you know, and it's coming out

318
00:13:38,600 --> 00:13:41,200
Speaker 4: with the movie, and so I'm excited for that music

319
00:13:41,200 --> 00:13:43,640
Speaker 4: to be out and extremely nervous and you know, all

320
00:13:43,679 --> 00:13:46,680
Speaker 4: of the things. But it's all very positive and I'm

321
00:13:46,760 --> 00:13:48,480
Speaker 4: very proud of the movie and I can't wait to

322
00:13:48,640 --> 00:13:49,200
Speaker 4: watch it again.

323
00:13:49,280 --> 00:13:52,640
Speaker 2: Oh that's so cool. Yeah, I love that. Congratulations. This

324
00:13:52,720 --> 00:13:55,120
Speaker 2: must be just exhilarating for you.

325
00:13:55,280 --> 00:13:58,520
Speaker 4: It's very exciting. I'm like freaked out and excited.

326
00:13:58,160 --> 00:13:58,680
Speaker 3: All the time.

327
00:14:00,440 --> 00:14:03,559
Speaker 2: To be freaked out. If before you get out of

328
00:14:03,600 --> 00:14:04,960
Speaker 2: here now, I got to talk about the album, which

329
00:14:05,000 --> 00:14:09,640
Speaker 2: is coming out in two weeks right now, If someone said, hey, night,

330
00:14:09,720 --> 00:14:12,640
Speaker 2: what's this movie about? It's such a stupid question, but

331
00:14:12,720 --> 00:14:16,080
Speaker 2: it's it's a very very pure question. What's the movie about?

332
00:14:16,160 --> 00:14:18,520
Speaker 2: What journey are people going to go on when they

333
00:14:18,520 --> 00:14:19,520
Speaker 2: sit down to watch this?

334
00:14:21,280 --> 00:14:21,480
Speaker 3: You know?

335
00:14:21,520 --> 00:14:25,160
Speaker 1: For me, if I feel like I have the right idea,

336
00:14:25,400 --> 00:14:27,440
Speaker 1: that's half of it, and then I have to find

337
00:14:27,440 --> 00:14:28,560
Speaker 1: the right angle on.

338
00:14:28,560 --> 00:14:30,560
Speaker 3: The idea, then that's the other half of it.

339
00:14:30,640 --> 00:14:34,120
Speaker 1: How I'm telling you the story, you know, so you

340
00:14:34,160 --> 00:14:37,440
Speaker 1: know in this case, it's a story of a man

341
00:14:37,480 --> 00:14:39,920
Speaker 1: who realizes he goes to a concert with his daughter

342
00:14:39,960 --> 00:14:43,320
Speaker 1: and realizes that the FBI and the police have set

343
00:14:43,320 --> 00:14:47,160
Speaker 1: a trap for a serial killer at this concert. And

344
00:14:47,240 --> 00:14:51,160
Speaker 1: then you realize that he's the serial killer. And so

345
00:14:52,040 --> 00:14:54,280
Speaker 1: that's the angle. So I'm putting you in his shoes,

346
00:14:54,480 --> 00:14:55,760
Speaker 1: and you're gonna love him.

347
00:14:56,080 --> 00:14:58,800
Speaker 2: There you go and him, We're gonna love the serial killer.

348
00:14:59,120 --> 00:15:01,360
Speaker 1: And so what does that mean make you feel when

349
00:15:01,400 --> 00:15:03,920
Speaker 1: you're you're with him? Like I made you, I've made

350
00:15:03,920 --> 00:15:06,160
Speaker 1: you him and now you're in a trap.

351
00:15:06,360 --> 00:15:06,920
Speaker 3: So now what?

352
00:15:07,960 --> 00:15:09,560
Speaker 1: And at the same time, you know, all this dark

353
00:15:09,560 --> 00:15:12,360
Speaker 1: stuff's happening, but there's still a pop concert going on,

354
00:15:12,480 --> 00:15:13,960
Speaker 1: tailor swip concerts still going on.

355
00:15:15,720 --> 00:15:17,520
Speaker 3: There's a lot of comedy. There's a lot of comedy.

356
00:15:17,560 --> 00:15:20,720
Speaker 2: There's a lot of comedy. There's a knife butchering people.

357
00:15:21,520 --> 00:15:22,720
Speaker 2: Something for the whole family.

358
00:15:23,040 --> 00:15:23,240
Speaker 3: You know.

359
00:15:23,280 --> 00:15:25,560
Speaker 1: It came from this thing that I'd heard about when

360
00:15:25,600 --> 00:15:28,280
Speaker 1: I was a kid. It happened in Washington, d C.

361
00:15:28,480 --> 00:15:31,440
Speaker 1: I don't know if you guys remember this. They had

362
00:15:31,440 --> 00:15:33,880
Speaker 1: an event where they gave away on radio. They gave

363
00:15:33,880 --> 00:15:35,800
Speaker 1: away Super Bowl tickets to all these people, and they

364
00:15:35,800 --> 00:15:37,320
Speaker 1: all showed up and you had to sign your name

365
00:15:37,320 --> 00:15:39,160
Speaker 1: and they'd verified and they came and was watching to

366
00:15:39,200 --> 00:15:42,200
Speaker 1: see came this thing and there's cheerleaders and mascots and

367
00:15:42,480 --> 00:15:45,400
Speaker 1: music and parade and everything, and they everybody checks in

368
00:15:45,440 --> 00:15:47,560
Speaker 1: and comes in and you know, and then they go

369
00:15:47,640 --> 00:15:49,880
Speaker 1: into this this this ballroom and they're all there and

370
00:15:49,880 --> 00:15:52,440
Speaker 1: there's like, however many, like five hundred one thousand of them,

371
00:15:52,840 --> 00:15:55,760
Speaker 1: and then they shut the doors and said they were

372
00:15:55,800 --> 00:15:57,960
Speaker 1: all criminals that they were trying to catch.

373
00:15:58,200 --> 00:15:59,240
Speaker 2: You're all under arrest.

374
00:15:59,320 --> 00:16:03,280
Speaker 1: I remember, this whole place was underrest. Everyone, every cheerleader,

375
00:16:03,320 --> 00:16:05,880
Speaker 1: every mascot was a police officer. Everyone there was a

376
00:16:05,880 --> 00:16:07,800
Speaker 1: police officer. And they trapped the whole thing and literally

377
00:16:07,840 --> 00:16:11,160
Speaker 1: you can look this up and it's absolute mania. They're

378
00:16:11,200 --> 00:16:13,960
Speaker 1: like dancing with them when they come in. Yeah, all

379
00:16:13,960 --> 00:16:15,560
Speaker 1: these criminals are so pumped aboat.

380
00:16:17,160 --> 00:16:21,680
Speaker 2: It was called Operation Flagship, so really yeah, and uh yeah,

381
00:16:21,720 --> 00:16:23,280
Speaker 2: so you feel like that was this This.

382
00:16:23,280 --> 00:16:27,000
Speaker 1: Is this feeling like of being that this is absurdist.

383
00:16:27,280 --> 00:16:29,280
Speaker 1: You know that it's happening at this kind of event.

384
00:16:29,440 --> 00:16:30,800
Speaker 1: This is where I'm going to get caught.

385
00:16:30,720 --> 00:16:33,160
Speaker 4: You know, streams of Humanity in one place.

386
00:16:33,120 --> 00:16:36,280
Speaker 2: In two weeks. The album's out, so let's talk about it. Yes,

387
00:16:36,440 --> 00:16:41,400
Speaker 2: how many? How many songs? Fourteen fourteen tracks and you're

388
00:16:41,400 --> 00:16:44,280
Speaker 2: performing all of them? Yes, yeah, and they all feature

389
00:16:44,280 --> 00:16:45,760
Speaker 2: they're all featured in the film as well.

390
00:16:45,640 --> 00:16:49,280
Speaker 4: Different amounts, some little bit and some more more featured.

391
00:16:49,280 --> 00:16:52,480
Speaker 4: But yes, how excited am I'm very excited?

392
00:16:53,000 --> 00:16:54,960
Speaker 5: I have a question about this, Yes, So you don't

393
00:16:55,000 --> 00:16:57,680
Speaker 5: ever fiddle with his process when it comes to directing

394
00:16:57,720 --> 00:16:59,680
Speaker 5: and shooting a movie. Did he have anything to say

395
00:16:59,680 --> 00:17:02,000
Speaker 5: about your process when it came to writing the songs

396
00:17:02,040 --> 00:17:02,800
Speaker 5: for the movie?

397
00:17:03,360 --> 00:17:05,760
Speaker 4: Writing, not necessarily, but I think in terms of finding

398
00:17:05,760 --> 00:17:09,280
Speaker 4: the right sound for the moments and placing the songs

399
00:17:09,280 --> 00:17:11,680
Speaker 4: in the right scenes. It was very collaborative because it's

400
00:17:11,680 --> 00:17:14,320
Speaker 4: his vision and what he's imagining, and every song was

401
00:17:14,560 --> 00:17:16,440
Speaker 4: very specific. It wasn't like, oh, just write a bunch

402
00:17:16,440 --> 00:17:18,040
Speaker 4: of songs and we'll put in the background. It was like,

403
00:17:18,400 --> 00:17:20,040
Speaker 4: in this scene, this is happening, and there's a song

404
00:17:20,080 --> 00:17:21,960
Speaker 4: playing from this moment to this moment, and then it

405
00:17:22,000 --> 00:17:25,359
Speaker 4: transitions to this song. So it was very very prescribed

406
00:17:25,400 --> 00:17:28,160
Speaker 4: and very curated in terms of what does the song

407
00:17:28,200 --> 00:17:30,359
Speaker 4: sound like production wise, what is the arc of production

408
00:17:30,480 --> 00:17:32,679
Speaker 4: through the beginning to the end of the movie and

409
00:17:32,680 --> 00:17:35,159
Speaker 4: the end of the concert. And it does escalate and

410
00:17:35,200 --> 00:17:37,640
Speaker 4: it has to kind of follow Josh Hartnell's characters kind

411
00:17:37,640 --> 00:17:41,000
Speaker 4: of feelings and anxieties and ups and downs, and so

412
00:17:41,040 --> 00:17:43,639
Speaker 4: I kind of tried to ride with him even though

413
00:17:43,840 --> 00:17:45,840
Speaker 4: it's being played by this other character. So it has

414
00:17:45,880 --> 00:17:47,520
Speaker 4: to kind of work sown with things. So it's very

415
00:17:48,160 --> 00:17:50,399
Speaker 4: specific process. And we talked through every single song and

416
00:17:50,440 --> 00:17:53,080
Speaker 4: then once we had the right songs that we wanted,

417
00:17:53,119 --> 00:17:55,920
Speaker 4: we talked through different positions and then you know, lyrically,

418
00:17:56,080 --> 00:17:58,200
Speaker 4: some of them were too on the nose, were certain spots,

419
00:17:58,240 --> 00:18:00,040
Speaker 4: so we had to move them around and things like that.

420
00:18:00,200 --> 00:18:03,000
Speaker 4: But yeah, so it was that part was very collaborative,

421
00:18:03,040 --> 00:18:04,800
Speaker 4: but the writing he really let me kind of be

422
00:18:04,840 --> 00:18:07,600
Speaker 4: free with that and and just take inspiration from, you know,

423
00:18:07,640 --> 00:18:09,720
Speaker 4: the characters in the script, which is like my favorite

424
00:18:09,720 --> 00:18:10,439
Speaker 4: thing in the world to do.

425
00:18:10,960 --> 00:18:13,639
Speaker 1: Yeah, there was songs that were Selika and songs that

426
00:18:13,680 --> 00:18:15,320
Speaker 1: were Lady Raven, and so I was like, well, that

427
00:18:15,359 --> 00:18:17,119
Speaker 1: one's Selika, that one doesn't.

428
00:18:17,160 --> 00:18:18,640
Speaker 3: That doesn't fit in a movie.

429
00:18:19,200 --> 00:18:20,840
Speaker 5: So are you going to get a writing or producing

430
00:18:20,840 --> 00:18:21,639
Speaker 5: credit on this album.

431
00:18:22,080 --> 00:18:28,240
Speaker 1: Oh no, I didn't do anything. I love that. Yeah,

432
00:18:28,480 --> 00:18:30,679
Speaker 1: it's been it's been beautiful. And even when you know,

433
00:18:30,880 --> 00:18:33,879
Speaker 1: she when when Columbia Records can't you know, started hearing

434
00:18:33,920 --> 00:18:36,480
Speaker 1: her stuff. And I do think it helps sometimes to

435
00:18:36,480 --> 00:18:39,400
Speaker 1: think of yourself as a character, you know, rather than yourself.

436
00:18:39,400 --> 00:18:42,400
Speaker 1: You can you know, you're actually more honest.

437
00:18:42,080 --> 00:18:44,400
Speaker 3: In some ways and and freer.

438
00:18:44,760 --> 00:18:47,440
Speaker 1: So just by writing adds another character. And so I

439
00:18:47,480 --> 00:18:50,879
Speaker 1: think when Columbia heard it and felt this kind of

440
00:18:51,000 --> 00:18:54,080
Speaker 1: you know, the beauty of the intentions and things that

441
00:18:54,160 --> 00:18:56,240
Speaker 1: it would kind of all just went click for everybody.

442
00:18:56,320 --> 00:18:59,920
Speaker 3: So she still had to finish college. Was she finished?

443
00:19:00,119 --> 00:19:04,240
Speaker 2: You finished? You're all good? Now, you're all good.

444
00:19:04,320 --> 00:19:04,439
Speaker 1: Now.

445
00:19:05,080 --> 00:19:07,679
Speaker 2: Two weeks from today, an album drops and a movie drops.

446
00:19:07,800 --> 00:19:11,280
Speaker 2: Film drops, of course we're talking about trap. Uh night, Selika,

447
00:19:11,600 --> 00:19:14,400
Speaker 2: Thank you guys so much for coming in you congratulations,

448
00:19:14,520 --> 00:19:17,120
Speaker 2: thank you. I play a song, of course. The answer

449
00:19:17,160 --> 00:19:21,320
Speaker 2: is yes, uh save me? Why are we playing save me?

450
00:19:22,160 --> 00:19:24,639
Speaker 4: I would say it's one of the earlier songs you

451
00:19:24,680 --> 00:19:26,440
Speaker 4: hear in the movie and in kind of the world

452
00:19:26,480 --> 00:19:28,480
Speaker 4: of Lady Raven. We imagine this as like a single

453
00:19:28,520 --> 00:19:30,960
Speaker 4: that came out before. But of course in writing, you

454
00:19:30,960 --> 00:19:34,320
Speaker 4: know the lyrics are thematically relevant, but I won't say

455
00:19:34,359 --> 00:19:34,640
Speaker 4: too much.

456
00:19:35,240 --> 00:19:37,359
Speaker 2: So if you play Save Me, do we say this

457
00:19:37,440 --> 00:19:39,600
Speaker 2: is Selika or do we say this is Lady Raven.

458
00:19:39,920 --> 00:19:41,719
Speaker 4: It's Selka.

459
00:19:42,720 --> 00:19:46,960
Speaker 2: We'll tell Lady Raven we said night, Thank you guys

460
00:19:46,960 --> 00:19:47,399
Speaker 2: for coming in.

461
00:19:48,000 --> 00:19:50,000
Speaker 4: There you go, he's going to say, he's going to

462
00:19:50,040 --> 00:19:52,719
Speaker 4: say what he wants whenever,