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Speaker 1: Oh, here we go, what's up? And sauce on the side,

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Speaker 1: and I am with my girl Diamond. Hello, Hi, Hi,

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Speaker 1: And we have an interesting person on the pod today.

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Speaker 1: His name is Nico Blisteros and if you haven't heard

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Speaker 1: of him, which you maybe haven't, he followed Kanye West

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Speaker 1: around for six years of his life, just documenting what

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Speaker 1: was going on. And he recently came out with a

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Speaker 1: basically a documentary about Kanye called in Whose Name? And

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Speaker 1: it's pretty interesting how all of it went down. But

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Speaker 1: I have a lot of questions for him, because dedicating

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Speaker 1: six years of your life to that had to be insane,

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Speaker 1: and he didn't get paid for it.

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Speaker 2: I almost said something that I don't think I should

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Speaker 2: say out loud.

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Speaker 1: But why this is a free space.

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Speaker 2: It takes a psychotic person to follow around a psychotic person.

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Speaker 2: And Nico s very nice, sweet guy, truthful, he seemed.

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Speaker 2: But I mean, I hate to label someone as crazy,

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Speaker 2: but you got to be crazy to deal with that

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Speaker 2: level of I'm not calling him crazy crazy Kanye, Yeah,

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Speaker 2: he is crazy, I know, but and then also I

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Speaker 2: don't know. I mean, Kanye confuses me, so I wonder

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Speaker 2: how people could be around him for extended periods of

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Speaker 2: time and not drive themselves insane as well.

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Speaker 1: So it's just not a lot of money. Money causes

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Speaker 1: people to do wild things and put themselves in wild positions,

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Speaker 1: which is just in itself crazy. And I'm mad that

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Speaker 1: people are saying you can't use that word to describe

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Speaker 1: crazy things. But there are just some things and some

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Speaker 1: people and that are crazy and it hurts your feelings, okay,

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Speaker 1: but it is what it is.

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Speaker 3: Yep.

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Speaker 1: Kanye West is a fascinating, creatively genius lunatic. The man

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Speaker 1: is a lunatic. I used to and we talk about

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Speaker 1: all this in the interview, so you're gonna hear soon.

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Speaker 1: But there was a time, I mean, it was really

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Speaker 1: hard to convince me that Kanye was not amazing and

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Speaker 1: that fall it was ridiculous because I'll be the first

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Speaker 1: person to say my favorite moments with him are now

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Speaker 1: when he is silent.

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Speaker 2: I absolutely don't say anything. You know, what just came

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Speaker 2: to my mind what Kim Kardashian's call her Daddy interview

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Speaker 2: was probably a response to this movie.

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Speaker 1: Oh you know, that was a fascinating interview too. If

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Speaker 1: you haven't seen it, watched it hurt it, which maybe

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Speaker 1: we shouldn't be promoting someone else's podcast, but it was good.

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Speaker 1: I think in all of this, what I told Diamond

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Speaker 1: and I said Taniko at one point was I have

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Speaker 1: never been a big Kardashian fan, none of them. I

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Speaker 1: don't watch the show ever, so I don't really have

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Speaker 1: a good grasp on who they are as people. Through

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Speaker 1: all of this, I think she looked like a good

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Speaker 1: human being with what she was trying to do, because

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Speaker 1: there were so many moments where if that was my

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Speaker 1: boyfriend or husband or whomever, I would have snapped, and

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Speaker 1: you could tell that she loved him and she was

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Speaker 1: really trying to work with him and say like, calm down,

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Speaker 1: I'm trying to do what's best for you. And it

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Speaker 1: was just a wild ride. Minds me a little bit.

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Speaker 1: What's going on on this season of Love is Blind?

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Speaker 2: Oh? Please don't again, don't. I'm trying so hard.

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Speaker 1: Season nine Love is Blind. Every single one of those

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Speaker 1: people needs help, except maybe Calabria. However, the fact that

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Speaker 1: she is dealing with Edmund period makes me question what's

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Speaker 1: going on with her. But I will say this every

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Speaker 1: single time this show comes out, how many seasons of

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Speaker 1: the show do we need before we realize love is

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Speaker 1: in fact not blind. Love is not blind. It's blind ing,

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Speaker 1: but you don't walk into it blind.

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Speaker 2: Yeah. Oh I like that blind ing.

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Speaker 1: Well, like when you fall in love with someone, I

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Speaker 1: think that blinds you. Then you don't see all of

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Speaker 1: these red flags and these horrible things about them because

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Speaker 1: you're in love with that person. But you know what,

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Speaker 1: she did see them first, and then you made that decision.

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Speaker 1: These people are falling in love with quote unquote personalities

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Speaker 1: and being like, yes, I love you. Then they see

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Speaker 1: them and they're like, I actually don't even like you,

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Speaker 1: and I don't want to be friends with you. Oh

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Speaker 1: it's funny, and they call it an experiment. But this

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Speaker 1: season has been nuts.

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Speaker 2: I think that if there's anything that this season has

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Speaker 2: taught us more than the other ones, I've gone on

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Speaker 2: record and said this. They're not the casting, they're not

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Speaker 2: doing their job. They need full evaluations done, and they

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Speaker 2: need them to be honest, because there is no way

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Speaker 2: that Edmund should have got through the evaluation.

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Speaker 1: Not at all. One of the best memes I saw

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Speaker 1: about this was somewhere this man took a wrong turn

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Speaker 1: on his way to casting for Love on the Spectrum

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Speaker 1: and ended up on Love is Blind, yep, because there

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Speaker 1: is something about him, almost the love on the spectrum.

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Speaker 1: People don't deserve Edmund. They're like the purest love, most lovely,

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Speaker 1: amazing human beings. Edmund is a ham.

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Speaker 2: He is just.

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Speaker 1: He should not be on one of these shows.

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Speaker 4: Yep.

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Speaker 1: They should not be unleashing him on innocent, unsuspecting people

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Speaker 1: because but there have just been multiple instances with multiple

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Speaker 1: people on that show where I'm like, absolutely not, why

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Speaker 1: you sticking around?

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Speaker 2: Yep.

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Speaker 1: I'm not gonna say who did it, but somebody made

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Speaker 1: a shake out of chicken oh and crystal light and

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Speaker 1: the man drinks it every day.

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Speaker 2: Also goodbye. The thought of crystal light makes my stomach term.

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Speaker 2: My doctor used to try to get me to go

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Speaker 2: on diets when I was little, and that was his fix.

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Speaker 2: I told my mother, if you bring another crystal light

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Speaker 2: bottle in this house, I'm gonna pour it out.

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Speaker 1: It's the crystal light making you sick, not the chicken

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Speaker 1: smoothie disgusting it. There's just a lot of weird stuff happening.

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Speaker 1: Love is Blind is the show, but we have learned

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Speaker 1: love is in fact not blind. Ridiculous. How's your cousin

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Speaker 1: doing post Love is Blind. Her cousin Monica was on

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Speaker 1: if you didn't already know this, she's great, Monica, her

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Speaker 1: best life, famous for her.

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Speaker 2: House and everything. Don't ever buy me that, don't ever

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Speaker 2: get me one of those. I love it, I love it.

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Speaker 2: But yeah, she's great.

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Speaker 1: She's moving into a new house. That's exciting.

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Speaker 2: It is is she engaged? Not yet? Okay? Oh honey,

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Speaker 2: it's coming.

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Speaker 1: I bet it is.

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Speaker 2: Oh boy, I'm nervous.

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Speaker 1: There's a lot of weddings happening around.

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Speaker 2: Please don't get me started.

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Speaker 1: Why why is her sister's wedding stressing you out?

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Speaker 2: Oh I'm in trouble right now.

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Speaker 1: What did you do?

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Speaker 2: Because, oh, my cousin Melanie decided that.

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Speaker 1: She edged control, Yes, kJ edge control.

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Speaker 2: She decided that she was going to she may miss

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Speaker 2: the rehearsal dinner because of something at work. And she's

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Speaker 2: a DJ. No she has a day job too. Oh

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Speaker 2: I didn't know that, okay. And so she called me

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Speaker 2: and told me the situation, and my immediate reaction was

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Speaker 2: call my sister immediately. Well, it looks like she hasn't

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Speaker 2: called my sister. And that was over a week ago.

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Speaker 2: I kept the secret because Number one, I feel like

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Speaker 2: you're an adult. I'm not doing your dirty work for

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Speaker 2: you. You get yelled at, not me, you know what I mean.

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Speaker 2: Number Two, it wasn't set in stone, so I'm like,

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Speaker 2: I'll give you some time to figure it out. You

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Speaker 2: need to have this conversation. Well, someone else leaked it

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Speaker 2: to my sister, and now she's mad at me for

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Speaker 2: not telling her. But I'm like, oh the w And

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Speaker 2: then the thing that she hits me with is well,

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Speaker 2: I would have told you, And I'm like, oh great, great, would.

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Speaker 1: She have Probably?

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Speaker 2: Yeah, that's the worst, But I won one or two

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Speaker 2: okay because it's premature. Okay, but you know, so I'm

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Speaker 2: in trouble.

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Speaker 1: When is your sister getting married less than a month away?

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Speaker 2: I think we're three weeks away. And the only reason

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Speaker 2: why I'm saying is because I have no clue what

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Speaker 2: I'm gonna say, and I'm made of honor speech and

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Speaker 2: it's keeping me up at night.

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Speaker 1: Can I help you?

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Speaker 2: Sure?

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Speaker 1: I love writing?

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Speaker 2: These things really pull me out because I am losing it.

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Speaker 2: I'm just like, I need something written down because I

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Speaker 2: don't want to just go up there and wing it.

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Speaker 2: But I feel like winging. It is the only way

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Speaker 2: to go about it. It is not overthinking.

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Speaker 1: Diamond is not the only way to go about it.

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Speaker 1: You need to at least have some talking points, just

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Speaker 1: a couple of things, because you're gonna get up there

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Speaker 1: and you're gonna be in front of people looking at them.

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Speaker 1: You're probably gonna get nervous.

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Speaker 2: I'm gonna be drunk.

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Speaker 1: Just you're gonna be drunk. You want to have at

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Speaker 1: least some talking points. I think it'll go out when

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Speaker 1: for me, you've seen my notes app Whenever I think

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Speaker 1: about anything, if I think it's funny, if I think

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Speaker 1: it's important, whatever it is, it goes into an oh

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Speaker 1: and my notes up my stand up comedy routine for

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Speaker 1: my Netflix special is going to be crazy. Oh god,

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Speaker 1: so long. Let me tell you this. I was reading

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Speaker 1: through it the other day, chuckling to myself. I was like,

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Speaker 1: this is funny.

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Speaker 2: What if it's only funny to you and no one else? No,

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Speaker 2: that's not possible.

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Speaker 1: What okay? All right, back to my land of delusion?

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Speaker 2: All right, it's given Scotty.

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Speaker 1: Yeah, First of all, what the hell does that mean?

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Speaker 2: Because Scotty lives in a world of delusion?

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Speaker 1: I resent to you, this is sick.

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Speaker 2: Well, I don't know.

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Speaker 1: Now I'm upset. Now we have to get to the interview.

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Speaker 1: Thanks a lot, Timond. His name is Nicobellasteros. The movie

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Speaker 1: is called in Whose Name? If it is not out

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Speaker 1: in theaters now, because we did record this a couple

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Speaker 1: of weeks ago, I'm sure you can catch it on

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Speaker 1: a streaming platform. But let's get to it, all right.

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Speaker 1: I am with Nico Ballasteros, who is fascinating to me

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Speaker 1: for a lot of reasons, and I watched your film

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Speaker 1: last night. I have a million questions. So before we

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Speaker 1: get into it, let's introduce you a little bit. First

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Speaker 1: of all, Hi, Hi, thank you for joining. Much appreciated. Yeah,

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Speaker 1: of course. So you recorded six years worth of footage

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Speaker 1: with Kanye West? Or are we going by yay now now?

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Speaker 2: Yeah?

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Speaker 1: I saw in the film that was actually a topic

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Speaker 1: of contention with him quite often. Yeah, it's a part

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Speaker 1: of the arc, a part of the arc. Yes, his transformation.

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Speaker 1: What's been going on with him? You were with him

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Speaker 1: when you started when you were what eighteen years old,

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Speaker 1: that's correct, and you stuck with him for six years

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Speaker 1: until you were twenty four, recording pretty much everything that

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Speaker 1: he did everything that he said, and you put together

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Speaker 1: a film called in Whose Name? Where do we even begin?

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Speaker 1: How did you become part of this project?

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Speaker 5: Well, I was in high school and I was desperately

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Speaker 5: looking for a.

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Speaker 1: Way out in high school.

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Speaker 5: Yeah, just away into the real world, okay, And I

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Speaker 5: knew that higher education was no longer something of interest

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Speaker 5: to me. I was in this high school for performing arts,

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Speaker 5: and I was actually doing film and TV studies, but

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Speaker 5: kind of halfway through it, I kind of found myself

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Speaker 5: searching for a lived experience to be had in order

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Speaker 5: to really pool from something to tell stories from the future.

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Speaker 5: And I felt like documentary filmmaking was the best way

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Speaker 5: that I could be of service to the world to

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Speaker 5: also grow up in it and figure out what it

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Speaker 5: is that I want to tell. So about my junior year,

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Speaker 5: I would say of high school, I kind of shifted

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Speaker 5: gears a bit and started to focus less on the

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Speaker 5: craft of filmmaking and more on the culture around me.

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Speaker 5: And I really found myself integrated in that naturally, because

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Speaker 5: there was just a group of kids at my school

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Speaker 5: that was already kind of tapped into culture. We were

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Speaker 5: in proximity to La living out in Orange County, and

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Speaker 5: you know, they basically took me. One day, we ditched

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Speaker 5: class and we went to the AMC and watched a

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Speaker 5: live stream of YA doing at the time, Kanye West

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Speaker 5: doing a Madison Square Garden performance, and I kind of

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Speaker 5: just saw it as an epicenter of culture and kind

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Speaker 5: of his relationship with it very fascinating, and I decided

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Speaker 5: at that moment that this is the person that I

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Speaker 5: want to go make a documentary on or something within

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Speaker 5: this zeitgeist for sure. And I started to just naturally

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Speaker 5: become a part of that world.

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Speaker 3: Well yeah, when.

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Speaker 1: You say naturally becoming part of that world.

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Speaker 5: Taking the train out to LA and just kind of

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Speaker 5: meeting with people through social media, okay, and shooting music videos,

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Speaker 5: hanging out with different artists, creative directors, producers, and you know,

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Speaker 5: like just kind of looking for a home outside of

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Speaker 5: the one that I.

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Speaker 3: Grew up in.

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Speaker 1: Okay, did you graduate barely?

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Speaker 5: I really desperately. I was a want to be a

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Speaker 5: high school dropout. I tried as much as I could,

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Speaker 5: but you know, I didn't just dissatisfy my parents, but

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Speaker 5: I was definitely pulled in the principal's office multiple times

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Speaker 5: for not going to class.

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Speaker 1: So you decide I want to be part of this.

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Speaker 1: And as an eighteen year old, how did you actually

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Speaker 1: get the call or did you reach out to them

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Speaker 1: to say, let me do this? Because I read a

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Speaker 1: lot about your process and pretty much the fact that

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Speaker 1: you did this unpaid. You were taking loans to be

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Speaker 1: able to go out and support yourself for the six

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Speaker 1: years that you were doing this. So where naturally all.

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Speaker 5: Come from, Well, it came from when he went to

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Speaker 5: the hospital also as well, it was within the timeframe

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Speaker 5: of me still graduating in high school. So I started

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Speaker 5: to also understand the severity of this story and like

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Speaker 5: the need to tell it and kind of the the

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Speaker 5: story being a relationship between the mind and celebrity and

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Speaker 5: artistry as well, those kind of three situations going on

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Speaker 5: at once. Because he was always someone who and still is,

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Speaker 5: you know, tapping into younger generations and emerging talents and

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Speaker 5: finding you know, the next the next talent, like someone

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Speaker 5: like Virgil Ablow as an as an example, So Virgil

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Speaker 5: Ablow did this collaboration with this one clothing brand at

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Speaker 5: the time called the Spaghetti Boys, and this one person

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Speaker 5: by the name of Lucas Sabat was a part of

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Speaker 5: this group and this collection, and basically they were looking

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Speaker 5: for creative collaborators and through that I found myself connected

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Speaker 5: with some of the videographers and directors that were working

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Speaker 5: with Yea at the time.

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Speaker 3: And when Ya got out of.

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Speaker 5: The hospital, the previous videographer went to work with I

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Speaker 5: Have a Scott. His name was Tyler and he ended

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Speaker 5: up doing the Loukmak a Fly documentary, which I Have

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Speaker 5: a Scott and Yay just needed, you.

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Speaker 3: Know, someone else.

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Speaker 5: He's always kind of had someone and I knew that

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Speaker 5: was a position and I just kind of rose to

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Speaker 5: the occasion in.

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Speaker 1: That way at the time that you got the call

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Speaker 1: or you somehow figured out I'm going to go now

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Speaker 1: start shooting Kanye West twenty four to seven. Did you

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Speaker 1: understand what that was going to entail? Were you ready

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Speaker 1: for it?

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Speaker 3: I don't know.

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Speaker 5: I mean, humbly, I don't know if I could say

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Speaker 5: I was ready for it. It was, you know, a

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Speaker 5: life changing experience. And I don't want to sound, you know,

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Speaker 5: arrogant in that regard, but I did know what it

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Speaker 5: entailed on.

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Speaker 1: Paper, rumblings of like this could could be a wild

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Speaker 1: ride for you, absolutely, and you were ready for it. Yeah,

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Speaker 1: part you were prepared for that.

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Speaker 3: Yeah.

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Speaker 5: I mean again, I think not to sound like an

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Speaker 5: armchair psychologist, because I'm definitely not a mental health professional

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Speaker 5: by any means. But you know, there was this moment

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Speaker 5: in my life as well where I was about to

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Speaker 5: go into the real world, so to speak, and I

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Speaker 5: had maybe my own little existential crisis, and I started

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Speaker 5: to find myself being comforted by reading texts like Carl

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Speaker 5: Young and Sibby and Freud, and you know, still as

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Speaker 5: someone who was very open minded, those were kind of

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Speaker 5: the textures that I was entering within.

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Speaker 1: Okay, you got what three thousand plus hours of footage

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Speaker 1: that you somehow managed to boil down to an hour

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Speaker 1: and forty four minutes, and in that what it felt

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Speaker 1: like to me, And I'm interested to see your take

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Speaker 1: on it, because you were the person who created this film.

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Speaker 1: It felt like I was watching real life someone slowly

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Speaker 1: destroyed themselves. How did you feel watching that over the

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Speaker 1: six years versus me in the hour and forty four minutes.

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Speaker 5: It was, you know, in some ways in slow motion.

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Speaker 5: And you know, I think there's just quote by Steve

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Speaker 5: Jobs that I think about a lot and I've said

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Speaker 5: it a few times now that you can only connect

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Speaker 5: the dots looking backward, not forward. So as I was

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Speaker 5: going through it, I knew that there would be a

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Speaker 5: cause and effect to some of the things that I

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Speaker 5: was observing, but I wasn't necessarily trying to immediately make

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Speaker 5: sense of it nor interject I would you know there

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Speaker 5: too objectively observe and not necessarily past judgment.

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Speaker 3: That mixed with also where.

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Speaker 5: He was at and where the story was finding himself,

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Speaker 5: was accumulation of things that called me to go into

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Speaker 5: the edit, okay, and start to make sense of the story.

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Speaker 1: He talks about. Oh, I don't want to ruin anything

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Speaker 1: about this film, because I do want people to go

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Speaker 1: see it. I thought it was fascinating. It left me

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Speaker 1: with again so many questions and just thoughts. And I

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Speaker 1: think you did a couple of really fascinating things with it.

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Speaker 1: One just the fact that you were behind the scenes

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Speaker 1: with so much of this, and you get to see

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Speaker 1: the way he thinks. You get to see it gets

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Speaker 1: darker over time, and you can almost see that in

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Speaker 1: his art and the things that he's doing, the fashion shows,

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Speaker 1: the things that he's making, the.

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Speaker 5: Contact in the eye that was a big moment, was

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Speaker 5: it for me? And just yeah, the film, Oh absolutely.

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Speaker 1: So what you're talking about is there's a part where

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Speaker 1: he's in concert with Marilyn Manson and who are the

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Speaker 1: other two people?

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Speaker 3: Play Boy Cardi, Playboy Cardi and this skater.

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Speaker 1: Eric And you know, one of the things that is

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Speaker 1: very prevalent for him, just kind of in general, is

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Speaker 1: he's always talking about Jesus and God, and in this

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Speaker 1: particular part, he puts these contacts in his eyes and

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Speaker 1: he goes out on stage with Marilyn Manson, who was

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Speaker 1: notoriously not necessarily all about Jesus. It's correct, and you

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Speaker 1: see this just transformation in him in general. Did you

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Speaker 1: decide when you were done or was there absolutely Okay,

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Speaker 1: so you said, I've gotten over six years, I've gotten

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Speaker 1: what I need now I'm going to walk away with

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Speaker 1: this yea, and I'm going to make this film.

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Speaker 5: And it wasn't the first time that I tried to

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Speaker 5: go and make the film. It was something that I knew.

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Speaker 5: And you know, you're speaking about Donda two, which was

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Speaker 5: an album that he made and I don't think it

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Speaker 5: was officially released, but that's what we were seeing in

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Speaker 5: that scene. And prior to that, we had Donda one

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Speaker 5: which was released, and I also worked in a separate

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Speaker 5: capacity on that project outside of the documentary scope, where

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Speaker 5: I actually also did the live streams, so as I

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Speaker 5: was kind of operating within the realm of that and

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Speaker 5: also telling the story of the documentary adjacent to it,

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Speaker 5: I you know, kind of saw where we were at

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Speaker 5: in the story with the divorce and now with this

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Speaker 5: like concert. So that was the first time that I

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Speaker 5: felt I had what I needed to go and tell

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Speaker 5: the story, and I did try. However, I didn't do

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Speaker 5: it in a way where I truly removed myself. I

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Speaker 5: was still one with the culture. So my identity as

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Speaker 5: kind of like a gonzo journalist that I could kind

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Speaker 5: of say that I became with humility. You know, it

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Speaker 5: was hard for me to objectively look at some of

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Speaker 5: the footage because I didn't actually have the time to

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Speaker 5: and I scraped.

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Speaker 1: That first scrapped it. But you said, I need more.

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Speaker 5: I needed to make sure that I had what I

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Speaker 5: needed because I had to leave not just filming, but

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Speaker 5: I had to leave society in a lot of ways

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Speaker 5: because I had injected myself so much into culture that

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Speaker 5: it was you know, subconsciously influencing my perspective on just filmmaking.

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Speaker 5: So I kept holding in there for a minute, and

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Speaker 5: then you know, within I think less than a year,

401
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Speaker 5: I shot the actual ending of the film, which the

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Speaker 5: last thing that I shot was in the film where

403
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Speaker 5: we go to Portland and for the mediation where the

404
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Speaker 5: Adidas deal is taken off the table, and that was.

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Speaker 1: Until you stop filming, basically correct, And that.

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Speaker 5: Was like the last time I stopped filming, except for

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Speaker 5: the epilogue, which was just like for those haven't seen

408
00:18:11,440 --> 00:18:13,320
Speaker 5: the film, there's just this epilogue in you know, we

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Speaker 5: seem a few years later at the chateaum Armont and

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Speaker 5: we just happened to run into each other at the

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Speaker 5: Chateau Armont, and I was, you know, intrigued with what

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Speaker 5: he was saying, and I just captured it for.

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Speaker 3: Fifteen minutes or so.

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Speaker 5: And that was essentially the true, true, last time that

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Speaker 5: I had ever filmed him. But prior to that, it

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Speaker 5: was that meeting where they told me to stop filming,

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Speaker 5: and that was actually the last time that I stopped filming.

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Speaker 1: There was so much going on and so much of

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Speaker 1: what you just said that I want to kind of

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Speaker 1: touch on So one, you started this when you were

421
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Speaker 1: eighteen and you stopped when you were twenty four, So

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Speaker 1: essentially you went through the college years filming Kanye West

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Speaker 1: and being immersed in this celebrity world during some pretty

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Speaker 1: formative years of your life. How has that impacted you

425
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Speaker 1: going forward? Because for me, college is when I discovered

426
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Speaker 1: so much about myself and so much of about the world,

427
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Speaker 1: and you are in a completely different type of learning environment.

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Speaker 1: Where are you at now with that? Are you was

429
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Speaker 1: it easy to adjust back to the real world? Are

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Speaker 1: you still having trouble?

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Speaker 3: I'm still adjusting, you know.

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Speaker 5: I mean, I definitely have the lived experience that I

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Speaker 5: was looking for to pull something deep out of me,

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Speaker 5: to tell that.

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Speaker 1: Crazy lived experience. I don't think a lot of people

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Speaker 1: would be like, you know what, I'm just gonna be

437
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Speaker 1: like like stuck in some ways with Kanye West for

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Speaker 1: six years. That's a lot heavy.

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Speaker 5: I feel very grateful for the journey, you know. Now,

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Speaker 5: I'm really looking forward to pulling from this deep well

441
00:19:29,320 --> 00:19:32,720
Speaker 5: of experience to tell stories, to continue to really service

442
00:19:33,000 --> 00:19:36,480
Speaker 5: humanity and also forward in advance what I hope you

443
00:19:36,520 --> 00:19:50,720
Speaker 5: know to do with film. But there's another question that

444
00:19:50,720 --> 00:19:52,280
Speaker 5: you had that I wanted to address. Do you remember

445
00:19:52,280 --> 00:19:52,719
Speaker 5: what it was?

446
00:19:53,280 --> 00:19:55,840
Speaker 1: Many I just asked you about college and.

447
00:19:55,760 --> 00:19:58,040
Speaker 5: You're like, oh, yeah, yes, yeah. I mean I definitely

448
00:19:58,040 --> 00:19:59,879
Speaker 5: came of age throughout that whole process. And you know,

449
00:20:00,080 --> 00:20:01,600
Speaker 5: that was one of the things that he would ask

450
00:20:01,640 --> 00:20:04,800
Speaker 5: me a lot when there may be a break or

451
00:20:04,840 --> 00:20:07,520
Speaker 5: two within the filming period of times, you know, I

452
00:20:07,520 --> 00:20:09,399
Speaker 5: would come into the room and he would ask, so,

453
00:20:09,480 --> 00:20:10,560
Speaker 5: how is the real world?

454
00:20:10,840 --> 00:20:12,800
Speaker 3: And I always found that very fascinating.

455
00:20:13,080 --> 00:20:15,000
Speaker 1: Yeah, I mean you can see in it how detached

456
00:20:15,000 --> 00:20:17,520
Speaker 1: he is from the real world, and how in a

457
00:20:17,520 --> 00:20:20,720
Speaker 1: lot of ways when people tried to step in and say, like, hey,

458
00:20:20,800 --> 00:20:22,960
Speaker 1: let me help you out here, let me present an

459
00:20:23,000 --> 00:20:25,479
Speaker 1: opposing viewpoint, he did not like that. That was what

460
00:20:25,600 --> 00:20:28,160
Speaker 1: seemed to be from the hour and forty four minutes

461
00:20:28,200 --> 00:20:30,040
Speaker 1: that I watched, It seemed to be a thing that

462
00:20:30,040 --> 00:20:32,560
Speaker 1: triggered him constantly, like, do not tell me what to do,

463
00:20:32,560 --> 00:20:34,199
Speaker 1: do not tell me how to make art. That is me.

464
00:20:34,320 --> 00:20:35,639
Speaker 1: I will do it the way I want to do it.

465
00:20:35,800 --> 00:20:37,840
Speaker 1: And I can't imagine what that would be like for you,

466
00:20:37,880 --> 00:20:39,560
Speaker 1: because in essence, you're sort of like a like a

467
00:20:39,640 --> 00:20:44,160
Speaker 1: National geographic videographer, where you're out there just quietly observing.

468
00:20:44,560 --> 00:20:47,480
Speaker 1: You see the lion about to attack the analogact. You

469
00:20:47,600 --> 00:20:50,760
Speaker 1: just have to keep shooting. Were there times that you

470
00:20:50,880 --> 00:20:53,680
Speaker 1: wanted to be like, bruh, don't do it? Back away?

471
00:20:54,240 --> 00:20:54,280
Speaker 5: What?

472
00:20:54,520 --> 00:20:55,560
Speaker 1: But you don't say anything?

473
00:20:55,760 --> 00:20:56,000
Speaker 4: You know?

474
00:20:56,560 --> 00:21:01,280
Speaker 5: I think, like you said, like I knew what my

475
00:21:01,359 --> 00:21:03,159
Speaker 5: role was as a journalist, and if I were to

476
00:21:03,200 --> 00:21:06,080
Speaker 5: cross that line, you know, it would open it up

477
00:21:06,119 --> 00:21:07,000
Speaker 5: to bias.

478
00:21:07,080 --> 00:21:08,399
Speaker 3: I think ultimately so.

479
00:21:09,040 --> 00:21:11,200
Speaker 1: But he did ask you a couple like there were

480
00:21:11,240 --> 00:21:12,840
Speaker 1: You're very but you see my.

481
00:21:12,800 --> 00:21:15,520
Speaker 3: Open endedness though in some of my responses I did.

482
00:21:15,600 --> 00:21:17,560
Speaker 1: I thought, I actually like scormed for you for a

483
00:21:17,600 --> 00:21:21,320
Speaker 1: second because just because he was like, Nico, what did

484
00:21:21,359 --> 00:21:23,439
Speaker 1: you think of that? Like he directly asks you. It

485
00:21:23,480 --> 00:21:25,639
Speaker 1: was right after the Saturday Night Live incident, and he

486
00:21:25,800 --> 00:21:27,160
Speaker 1: asks you what you thought of it.

487
00:21:27,440 --> 00:21:28,960
Speaker 3: I said, it's the start of a conversation.

488
00:21:29,119 --> 00:21:31,600
Speaker 1: Yes, you vaguely answer where I feel like I would

489
00:21:31,600 --> 00:21:35,280
Speaker 1: have been like, well, I feel like you maybe overreacted

490
00:21:35,320 --> 00:21:37,240
Speaker 1: to something. But you can't say that because I could

491
00:21:37,240 --> 00:21:39,560
Speaker 1: completely queer your deal with what's going on and what

492
00:21:39,600 --> 00:21:39,960
Speaker 1: you're doing.

493
00:21:40,040 --> 00:21:40,840
Speaker 3: I wasn't worried.

494
00:21:40,600 --> 00:21:44,800
Speaker 5: About changing the dynamic of the relationship. As much as

495
00:21:44,840 --> 00:21:51,720
Speaker 5: I was creating like maybe a deviation in perspective, I

496
00:21:51,760 --> 00:21:53,680
Speaker 5: also felt like it was a golden ticket, like in

497
00:21:53,720 --> 00:21:56,040
Speaker 5: the Willy Wonk kind of story, and I wanted to

498
00:21:56,119 --> 00:21:59,400
Speaker 5: kind of see how the candy got made, so to speak,

499
00:21:59,520 --> 00:22:02,520
Speaker 5: and the can in this instance being not just the music,

500
00:22:02,560 --> 00:22:07,000
Speaker 5: not just the shoes, but popular culture. And when I

501
00:22:07,040 --> 00:22:10,119
Speaker 5: would first kind of experiment with the footage, I realized

502
00:22:10,119 --> 00:22:12,640
Speaker 5: that I had enough material to really tell it with

503
00:22:12,680 --> 00:22:14,720
Speaker 5: what I had, almost like a Blair Witch without needing

504
00:22:14,720 --> 00:22:19,000
Speaker 5: talking head interviews, without needing voiceover narration, and not much archival.

505
00:22:19,520 --> 00:22:23,120
Speaker 5: You know, it was very important to just remove biases

506
00:22:23,119 --> 00:22:26,320
Speaker 5: as much as possible because a lot of documentaries right now,

507
00:22:27,200 --> 00:22:29,920
Speaker 5: especially once I came onto the scene as a first

508
00:22:29,960 --> 00:22:33,320
Speaker 5: time filmmaker, you could easily get caught up in, you know,

509
00:22:33,400 --> 00:22:36,560
Speaker 5: the format that is currently being championed by streaming versus

510
00:22:36,680 --> 00:22:40,600
Speaker 5: kind of the old style documentaries from like the seventies

511
00:22:40,640 --> 00:22:44,000
Speaker 5: and the sixties, which I just found spoke to my

512
00:22:44,080 --> 00:22:47,560
Speaker 5: soul more as like an early you know, filmmaker. If

513
00:22:47,560 --> 00:22:51,159
Speaker 5: I were to kind of interject or you know, commentate

514
00:22:51,240 --> 00:22:53,000
Speaker 5: a little bit, it would just kind of go against

515
00:22:53,160 --> 00:22:55,399
Speaker 5: the format. That I felt like I needed a champion

516
00:22:55,440 --> 00:22:57,000
Speaker 5: for this particular project.

517
00:22:57,400 --> 00:22:59,080
Speaker 1: So something else that you did that I thought was

518
00:22:59,080 --> 00:23:03,920
Speaker 1: really interesting with this Because I have full disclosure, never

519
00:23:03,960 --> 00:23:06,520
Speaker 1: watched an episode of Keeping Up with the Kardashians. I

520
00:23:06,600 --> 00:23:09,800
Speaker 1: only know about them what I gleaned from the prep

521
00:23:09,840 --> 00:23:12,639
Speaker 1: services that we get and just popular culture in general.

522
00:23:12,720 --> 00:23:15,439
Speaker 1: You hear about them, you see things about them. To me,

523
00:23:16,440 --> 00:23:22,440
Speaker 1: Kim Kardashian came off as incredibly patient and much more

524
00:23:22,520 --> 00:23:26,280
Speaker 1: human than I would have ever thought she would be

525
00:23:27,240 --> 00:23:30,320
Speaker 1: dealing with him and going through these very heavy dark times.

526
00:23:30,440 --> 00:23:33,760
Speaker 1: And I'm asking you how you were able to grab

527
00:23:33,760 --> 00:23:36,080
Speaker 1: that footage because I know they're very tight with the

528
00:23:36,119 --> 00:23:38,440
Speaker 1: way they allow people to film them and be around them.

529
00:23:38,720 --> 00:23:40,520
Speaker 1: So how did that play in? Were there times that

530
00:23:40,560 --> 00:23:42,879
Speaker 1: you couldn't be around them because they had other people

531
00:23:42,880 --> 00:23:43,480
Speaker 1: there filming?

532
00:23:44,000 --> 00:23:45,800
Speaker 5: Yeah, there were times where they had other people filming,

533
00:23:45,840 --> 00:23:48,280
Speaker 5: And actually they were really nice to me, and you know,

534
00:23:48,280 --> 00:23:50,159
Speaker 5: their carew and production would even kind of give me

535
00:23:50,200 --> 00:23:52,919
Speaker 5: tips and tricks on how to you know, perhaps like

536
00:23:53,080 --> 00:23:57,040
Speaker 5: organize things, and you know, yeah, so they were always

537
00:23:57,040 --> 00:23:59,960
Speaker 5: like a resource positively in that regard. And you know,

538
00:24:00,040 --> 00:24:01,760
Speaker 5: I mean there are also people who've always filmed their

539
00:24:01,800 --> 00:24:04,560
Speaker 5: lives and as we even see in the film a

540
00:24:04,600 --> 00:24:08,520
Speaker 5: specific moment where you know, there's a heated discussion and

541
00:24:08,760 --> 00:24:11,639
Speaker 5: Yay says, you know, you know I've had these moments before.

542
00:24:12,040 --> 00:24:15,400
Speaker 5: Backstage there's tapes, so you know that's like very nuanced,

543
00:24:15,440 --> 00:24:18,920
Speaker 5: but it's to say, like again, like they're both people

544
00:24:19,000 --> 00:24:23,040
Speaker 5: who have always notoriously documented their lives, very personally and

545
00:24:23,080 --> 00:24:26,119
Speaker 5: perhaps in some retrospect that says a lot about our

546
00:24:26,160 --> 00:24:29,000
Speaker 5: time in society, but maybe even what they're looking to

547
00:24:29,040 --> 00:24:32,239
Speaker 5: achieve as artists or as personalities, and you know, it

548
00:24:32,320 --> 00:24:34,359
Speaker 5: is like a new art form, like this Truman show.

549
00:24:34,640 --> 00:24:36,320
Speaker 5: No one ever told me to stop recording. It was

550
00:24:36,320 --> 00:24:38,919
Speaker 5: always the contrary. It was always like keep the camera on.

551
00:24:39,600 --> 00:24:41,199
Speaker 1: In some ways, did you feel like that camera's an

552
00:24:41,200 --> 00:24:42,800
Speaker 1: invisibility cloak for me?

553
00:24:43,040 --> 00:24:43,240
Speaker 2: Yeah?

554
00:24:43,280 --> 00:24:44,240
Speaker 3: Yeah, absolutely.

555
00:24:44,880 --> 00:24:47,080
Speaker 1: Does it still hold that sort of weight when you're

556
00:24:47,080 --> 00:24:48,840
Speaker 1: out in the real world now, do you feel like

557
00:24:48,880 --> 00:24:49,879
Speaker 1: when you're behind a camera?

558
00:24:50,040 --> 00:24:50,879
Speaker 3: Yeah, I mean that's.

559
00:24:51,480 --> 00:24:53,080
Speaker 5: How it started for me as a seven and eight

560
00:24:53,160 --> 00:24:55,000
Speaker 5: year old, you know, kind of growing up with the

561
00:24:55,040 --> 00:24:58,119
Speaker 5: divorce family and like as an only child, the camera

562
00:24:58,280 --> 00:25:02,160
Speaker 5: was always an invisibility cloaked me. I just stumbled upon

563
00:25:02,280 --> 00:25:06,280
Speaker 5: a camera that my actually my younger cousin had and

564
00:25:06,359 --> 00:25:07,520
Speaker 5: it was just a way for me to kind of

565
00:25:07,600 --> 00:25:09,960
Speaker 5: understand at a young age, you know, how our life

566
00:25:09,960 --> 00:25:10,840
Speaker 5: could play back.

567
00:25:10,680 --> 00:25:13,639
Speaker 1: For us when you spend so much time filming and

568
00:25:13,680 --> 00:25:15,840
Speaker 1: then you have to go through three thousand hours, which

569
00:25:15,840 --> 00:25:17,800
Speaker 1: I'm sure it wasn't every second of three thousand hours,

570
00:25:17,840 --> 00:25:22,080
Speaker 1: but you're then reliving the past six years again. Yeah,

571
00:25:22,119 --> 00:25:24,200
Speaker 1: and that has to sometimes put you in a strange

572
00:25:24,200 --> 00:25:27,280
Speaker 1: space seeing that stuff in front of you. And I

573
00:25:27,280 --> 00:25:29,439
Speaker 1: know that that's what filmmakers do, but were there times

574
00:25:29,480 --> 00:25:32,400
Speaker 1: for you that anyone came to you and they were like, Hey,

575
00:25:32,640 --> 00:25:34,720
Speaker 1: can I see that footage that you just shot? Because

576
00:25:34,800 --> 00:25:37,040
Speaker 1: I want to see what I said, if I did

577
00:25:37,080 --> 00:25:39,480
Speaker 1: something wrong, how that actually played out. Did anyone ask

578
00:25:39,520 --> 00:25:40,480
Speaker 1: to see the footage before?

579
00:25:40,560 --> 00:25:41,000
Speaker 3: Yeah?

580
00:25:41,040 --> 00:25:43,840
Speaker 5: Okay, yeah, I mean like throughout the years, not at

581
00:25:43,880 --> 00:25:45,560
Speaker 5: the very end, but throughout the years, and I always

582
00:25:45,560 --> 00:25:47,280
Speaker 5: just kept it like a tight volt. You know, no

583
00:25:47,320 --> 00:25:49,600
Speaker 5: one ever got to see anything. And it was never

584
00:25:49,720 --> 00:25:51,600
Speaker 5: someone that you would expect. It would be just someone

585
00:25:51,680 --> 00:25:54,520
Speaker 5: completely like random. It wouldn't be like an A list

586
00:25:54,560 --> 00:25:57,359
Speaker 5: celebrity like coming up to me. It'd be just someone

587
00:25:57,480 --> 00:25:59,280
Speaker 5: like in the back of a studio set or like, hey,

588
00:25:59,440 --> 00:26:01,359
Speaker 5: most of the time, most people wanting the clip just

589
00:26:01,400 --> 00:26:04,160
Speaker 5: for their own like personal you know, memory or something

590
00:26:04,240 --> 00:26:07,080
Speaker 5: like that. But I actually moved to Costa Rica for

591
00:26:07,080 --> 00:26:09,840
Speaker 5: a year and it took me nine months straight to

592
00:26:10,680 --> 00:26:13,800
Speaker 5: watch the three thousand hours back. I had someone who

593
00:26:13,880 --> 00:26:17,040
Speaker 5: had organized it and trimmed like the true fat and

594
00:26:17,160 --> 00:26:20,480
Speaker 5: unusable moments from it. So maybe we could say just

595
00:26:20,560 --> 00:26:24,600
Speaker 5: a ballpark, like there was two thousand, seven hundred hours that.

596
00:26:24,520 --> 00:26:26,240
Speaker 3: I hours had logged.

597
00:26:26,400 --> 00:26:30,440
Speaker 5: Yeah, you know, no stone was left unturned, so much

598
00:26:30,480 --> 00:26:33,040
Speaker 5: so that we got to a point where everything became

599
00:26:33,320 --> 00:26:36,879
Speaker 5: became transcribed, and I had printed everything out and I

600
00:26:36,920 --> 00:26:40,240
Speaker 5: had cut them into individual ships of paper, and each

601
00:26:40,280 --> 00:26:42,720
Speaker 5: strip of paper was anywhere between like ten seconds and

602
00:26:42,760 --> 00:26:45,280
Speaker 5: maybe like five ten minutes worth of footage. I had

603
00:26:45,359 --> 00:26:48,240
Speaker 5: nine thousands of these strips of paper, all on bulletin boards,

604
00:26:48,280 --> 00:26:50,960
Speaker 5: and I would go through these bulletin boards and sort

605
00:26:51,040 --> 00:26:54,240
Speaker 5: through the data also on paper. So the process, you know,

606
00:26:54,280 --> 00:26:56,720
Speaker 5: it was very meticulous. People always would say, like, do

607
00:26:56,760 --> 00:26:58,919
Speaker 5: you keep a journal like for your reflections? And I

608
00:26:58,960 --> 00:27:00,920
Speaker 5: never did because I just didn't have the time to

609
00:27:01,920 --> 00:27:05,280
Speaker 5: or desire. Maybe but when I was going to that footage,

610
00:27:05,320 --> 00:27:09,639
Speaker 5: I was immediately inserted back into that lived experience, and

611
00:27:09,680 --> 00:27:12,560
Speaker 5: I was almost like viewing it from like the nineteen

612
00:27:12,640 --> 00:27:14,440
Speaker 5: year old self for the twenty one year old self,

613
00:27:14,440 --> 00:27:17,200
Speaker 5: and I remembered what I was thinking at the time.

614
00:27:17,640 --> 00:27:19,760
Speaker 3: It aided so much so in the story that I

615
00:27:19,800 --> 00:27:20,360
Speaker 3: was shaping.

616
00:27:20,560 --> 00:27:22,280
Speaker 1: So now you feel like maybe there's a little bit

617
00:27:22,280 --> 00:27:24,760
Speaker 1: of this invisibility cloak because you're behind a camera. But

618
00:27:25,080 --> 00:27:27,399
Speaker 1: were there times that you still just didn't want to

619
00:27:27,400 --> 00:27:29,399
Speaker 1: be there? Because there were some really awkward moments in

620
00:27:29,440 --> 00:27:31,800
Speaker 1: that Like the one that really struck me the most

621
00:27:32,119 --> 00:27:34,040
Speaker 1: was when he was talking to Elon Musk, because they're

622
00:27:34,040 --> 00:27:37,040
Speaker 1: both kind of maybe intrinsically strange people, and then you

623
00:27:37,080 --> 00:27:39,439
Speaker 1: have them together, but there you are just trying to

624
00:27:39,520 --> 00:27:42,560
Speaker 1: nonchalantly film what's happening, and it made me chuckle a

625
00:27:42,600 --> 00:27:45,840
Speaker 1: little bit, like this is so uncomfortable. Were there moments

626
00:27:45,880 --> 00:27:48,359
Speaker 1: like that for you where you thought, I'm very uncomfortable.

627
00:27:48,359 --> 00:27:49,639
Speaker 1: Thank God I'm behind this camera.

628
00:27:50,080 --> 00:27:52,000
Speaker 5: Yeah, I mean definitely I like being behind the camera

629
00:27:52,080 --> 00:27:54,760
Speaker 5: because that had a reason, you know, it gave me

630
00:27:54,800 --> 00:27:55,560
Speaker 5: a reason to be there.

631
00:27:55,600 --> 00:27:55,959
Speaker 3: Obviously.

632
00:27:56,000 --> 00:27:58,119
Speaker 5: When I mean that, because like when you have someone

633
00:27:58,320 --> 00:28:00,679
Speaker 5: like Yay or just celebrities, and there are a lot

634
00:28:00,720 --> 00:28:03,560
Speaker 5: of people around who have a role and responsibility that

635
00:28:03,720 --> 00:28:09,679
Speaker 5: could quickly become undefined, especially if it's like more in

636
00:28:09,760 --> 00:28:13,200
Speaker 5: the kind of realm of someone being there to give ideas,

637
00:28:13,760 --> 00:28:15,480
Speaker 5: and you know, they can kind of get lost in

638
00:28:15,520 --> 00:28:17,840
Speaker 5: those environments very quickly. And I you know, think it

639
00:28:17,840 --> 00:28:19,600
Speaker 5: would even be something that ye would say, like we

640
00:28:19,720 --> 00:28:22,080
Speaker 5: know what Nico does, Like he's here with this camera,

641
00:28:22,200 --> 00:28:24,639
Speaker 5: Like what do some of you guys do? Because you know,

642
00:28:24,880 --> 00:28:27,359
Speaker 5: weeks could go by, months could go by, and suddenly

643
00:28:27,440 --> 00:28:28,880
Speaker 5: it's like what do these people do?

644
00:28:29,000 --> 00:28:31,960
Speaker 3: So less about me feeling like I was.

645
00:28:33,560 --> 00:28:35,600
Speaker 5: You know, awkward in those moments and more like I

646
00:28:35,680 --> 00:28:37,240
Speaker 5: just had a reason why I was there.

647
00:28:37,480 --> 00:28:39,280
Speaker 1: Okay, looking back at the film when you finish it,

648
00:28:39,560 --> 00:28:42,000
Speaker 1: was there anything left on the cutting room floor, as

649
00:28:42,080 --> 00:28:44,160
Speaker 1: they say, or are there things that were left behind

650
00:28:44,160 --> 00:28:46,040
Speaker 1: that you specifically didn't include because you thought it might

651
00:28:46,080 --> 00:28:47,000
Speaker 1: be too much?

652
00:28:47,560 --> 00:28:48,640
Speaker 3: You know, I don't have any regrets.

653
00:28:48,680 --> 00:28:51,040
Speaker 5: I mean I made this cut with so much intention

654
00:28:51,120 --> 00:28:52,600
Speaker 5: and I had final cut on it, and I made

655
00:28:52,600 --> 00:28:57,040
Speaker 5: it for the theatrical experience specifically because of again, like if

656
00:28:57,040 --> 00:28:58,520
Speaker 5: it were to go to streaming, there would have been

657
00:28:58,720 --> 00:29:01,440
Speaker 5: different constraints put on too, just because I'm my first

658
00:29:01,440 --> 00:29:03,960
Speaker 5: time filmmaker. I don't have the pool to demand a

659
00:29:04,040 --> 00:29:06,840
Speaker 5: first cut with a streamer. You know, anything beyond two

660
00:29:06,840 --> 00:29:09,960
Speaker 5: hours was not watchable in one sitting. And I knew

661
00:29:10,000 --> 00:29:12,960
Speaker 5: that because I did screens every Thursday, Friday, Saturday and

662
00:29:13,000 --> 00:29:16,200
Speaker 5: sometimes even Sundays, just repeatedly watching the film over and

663
00:29:16,280 --> 00:29:18,360
Speaker 5: over again with different groups of people as I was

664
00:29:18,480 --> 00:29:21,560
Speaker 5: editing as well. You know, nothing was left on the

665
00:29:21,560 --> 00:29:24,240
Speaker 5: cutting floor, no stone was left you know on turn.

666
00:29:24,280 --> 00:29:27,600
Speaker 5: It's because it was like sculpting David out of marble,

667
00:29:28,000 --> 00:29:30,520
Speaker 5: and that three thousand hours was whittled into the hour

668
00:29:30,560 --> 00:29:33,080
Speaker 5: and forty again, not for me pulling from memory thinking

669
00:29:33,120 --> 00:29:35,080
Speaker 5: we need this and this is the story. It was

670
00:29:35,240 --> 00:29:38,440
Speaker 5: really being humbled and you know, in service to that

671
00:29:38,600 --> 00:29:43,440
Speaker 5: footage and watching, you know, the first cut was ten

672
00:29:43,520 --> 00:29:45,840
Speaker 5: hours and then then it was six hours, and you know,

673
00:29:45,920 --> 00:29:48,320
Speaker 5: watching it repeatedly was a way.

674
00:29:48,160 --> 00:29:51,120
Speaker 3: For us to whittle it down to what we see today.

675
00:29:51,160 --> 00:29:54,120
Speaker 5: And you know, if it were a series and things

676
00:29:54,160 --> 00:29:55,720
Speaker 5: like that, it would have been a different format and

677
00:29:55,760 --> 00:29:57,680
Speaker 5: I would have approached things a little bit differently. There

678
00:29:57,680 --> 00:30:00,840
Speaker 5: would have been more to the story. But you know,

679
00:30:00,880 --> 00:30:03,320
Speaker 5: a lot of the things that you know, maybe the

680
00:30:03,360 --> 00:30:05,880
Speaker 5: fans or people would have thought would have been necessary

681
00:30:05,920 --> 00:30:08,880
Speaker 5: to the story, like music studio sessions and maybe even

682
00:30:08,880 --> 00:30:11,720
Speaker 5: design sessions, you know, kind of fell flat when it

683
00:30:11,760 --> 00:30:14,080
Speaker 5: came to the grander story.

684
00:30:14,600 --> 00:30:18,080
Speaker 1: Okay, and the six years that you're there, do you

685
00:30:18,120 --> 00:30:19,200
Speaker 1: feel like you were friends?

686
00:30:19,760 --> 00:30:20,240
Speaker 3: Uh?

687
00:30:20,360 --> 00:30:23,640
Speaker 5: Yeah, in some capacity, as much as one could be

688
00:30:23,720 --> 00:30:27,680
Speaker 5: with their documentary subject. I think you know, more than anything,

689
00:30:27,920 --> 00:30:32,280
Speaker 5: it is someone who is at times a creative has

690
00:30:32,320 --> 00:30:35,000
Speaker 5: been a creative mentor to me. It's like you talked

691
00:30:35,000 --> 00:30:39,360
Speaker 5: about earlier school and all, just be honest, it's the

692
00:30:39,400 --> 00:30:41,920
Speaker 5: first time filmmaker. If it weren't for me observing even

693
00:30:41,960 --> 00:30:45,160
Speaker 5: though they're not other filmmakers, but observing these artists make

694
00:30:45,200 --> 00:30:47,440
Speaker 5: their art for six years, I wouldn't have been able

695
00:30:47,440 --> 00:30:50,239
Speaker 5: to cut this film because I made it entirely with

696
00:30:50,360 --> 00:30:52,360
Speaker 5: a team of people who never made a film before.

697
00:30:52,400 --> 00:30:56,640
Speaker 5: Except for one person, justin Staple. Everyone else, you know, collectively,

698
00:30:57,280 --> 00:31:00,560
Speaker 5: were people that I had curated over the years and

699
00:31:00,600 --> 00:31:03,400
Speaker 5: a community of creatives that I wanted to foster with me.

700
00:31:03,720 --> 00:31:05,360
Speaker 1: So do you think it was worth taking all these

701
00:31:05,400 --> 00:31:07,600
Speaker 1: loans out to do I have a feeling. I know

702
00:31:07,600 --> 00:31:09,360
Speaker 1: what your answer is going to be. But how is

703
00:31:09,400 --> 00:31:11,240
Speaker 1: it that you were doing this and there was a

704
00:31:11,240 --> 00:31:13,320
Speaker 1: lot expected of you to always be there and shoot

705
00:31:13,560 --> 00:31:14,800
Speaker 1: and you didn't get paid for it?

706
00:31:15,720 --> 00:31:17,360
Speaker 5: Yeah, I mean it was it was all worth it

707
00:31:17,400 --> 00:31:19,400
Speaker 5: in the end, of course, you know. I mean, because

708
00:31:19,600 --> 00:31:21,960
Speaker 5: it's just the beginning of my career as well. So

709
00:31:22,000 --> 00:31:24,840
Speaker 5: it's bigger than just the film. Yeah, it's bigger than

710
00:31:24,880 --> 00:31:28,400
Speaker 5: just this film. It's it's me starting a relationship with

711
00:31:28,480 --> 00:31:32,920
Speaker 5: the medium of filmmaking and also developing a relationship with

712
00:31:32,960 --> 00:31:33,800
Speaker 5: an audience too.

713
00:31:34,120 --> 00:31:35,720
Speaker 1: Were they all aware that you weren't getting.

714
00:31:35,440 --> 00:31:38,200
Speaker 3: Paid to do this, Yeah, because I know that.

715
00:31:38,200 --> 00:31:39,720
Speaker 1: Sometimes when it's all the way up to the artists,

716
00:31:39,720 --> 00:31:41,960
Speaker 1: maybe the artist just assumes other people are taking care

717
00:31:42,000 --> 00:31:42,400
Speaker 1: of things.

718
00:31:42,440 --> 00:31:44,720
Speaker 5: Well, like you know, I made it very apparent like

719
00:31:44,720 --> 00:31:46,320
Speaker 5: when I'm going to go edit this, like you know,

720
00:31:46,360 --> 00:31:49,080
Speaker 5: I have to like do it completely independently, and like

721
00:31:49,160 --> 00:31:52,000
Speaker 5: you know, that was always the goal was to remain

722
00:31:52,040 --> 00:31:56,880
Speaker 5: independent and not you know, get influenced by anyone or anything.

723
00:31:57,200 --> 00:31:58,720
Speaker 1: So I also would assume that makes it a lot

724
00:31:58,760 --> 00:32:01,000
Speaker 1: easier to edit. Back to what you were saying earlier,

725
00:32:01,120 --> 00:32:02,680
Speaker 1: ed the way you want to edit because there's not

726
00:32:02,720 --> 00:32:04,560
Speaker 1: somebody that paid you that then, Oh yeah, because I.

727
00:32:04,600 --> 00:32:06,680
Speaker 5: Wasn't on a payroll, or because there was no contract,

728
00:32:06,720 --> 00:32:09,640
Speaker 5: because you know, it wasn't a work for hire. Yeah,

729
00:32:09,680 --> 00:32:12,560
Speaker 5: that that was what enabled me, as a first time

730
00:32:12,560 --> 00:32:15,120
Speaker 5: filmmaker to maintain ownership.

731
00:32:14,640 --> 00:32:15,720
Speaker 3: And creative control.

732
00:32:16,000 --> 00:32:16,719
Speaker 1: Has he seen it?

733
00:32:16,920 --> 00:32:18,200
Speaker 3: Yeah? I showed it to him three times.

734
00:32:18,240 --> 00:32:20,360
Speaker 1: Oh wow. They keep saying it's unauthorized, like he didn't

735
00:32:20,360 --> 00:32:22,600
Speaker 1: sign off on it. But if he's seen it three times,

736
00:32:22,920 --> 00:32:24,000
Speaker 1: clearly he has.

737
00:32:24,200 --> 00:32:24,400
Speaker 3: Yeah.

738
00:32:24,440 --> 00:32:26,840
Speaker 1: And I think he again located it in some capacity

739
00:32:26,920 --> 00:32:27,600
Speaker 1: one hundred percent.

740
00:32:27,680 --> 00:32:29,520
Speaker 5: And I think in this day and age, you know,

741
00:32:29,640 --> 00:32:34,360
Speaker 5: the word authorized or unauthorized is so much of a

742
00:32:34,480 --> 00:32:38,360
Speaker 5: challenging kind of perspective to me because of where we're

743
00:32:38,360 --> 00:32:41,280
Speaker 5: at with streaming documentaries, which are really commercials for celebrities

744
00:32:41,320 --> 00:32:44,880
Speaker 5: a lot of the times versus you know, true journalism.

745
00:32:45,160 --> 00:32:47,040
Speaker 5: You know, I showed it to him in three durations.

746
00:32:47,040 --> 00:32:48,680
Speaker 5: In the last version I showed him was about a

747
00:32:48,680 --> 00:32:51,600
Speaker 5: month ago now, and it was the final final version.

748
00:32:51,640 --> 00:32:52,640
Speaker 3: And yeah, I mean every.

749
00:32:52,480 --> 00:32:56,480
Speaker 5: Time it's it's it's very deep, of course, and like

750
00:32:56,560 --> 00:32:59,920
Speaker 5: very reflective. It's like looking through a scrap book or

751
00:32:59,920 --> 00:33:02,320
Speaker 5: a yearbook with you know, a colleague that you spent

752
00:33:02,440 --> 00:33:05,240
Speaker 5: you know, a lived experience with. Most importantly though, that

753
00:33:05,480 --> 00:33:07,320
Speaker 5: there was a sense of gratitude from him, and he

754
00:33:07,400 --> 00:33:10,080
Speaker 5: was actually very you know, very kind, not just to me,

755
00:33:10,160 --> 00:33:12,280
Speaker 5: but also the team that I made it with, my friends.

756
00:33:12,560 --> 00:33:15,440
Speaker 1: Okay, how do you get I don't know anything about this,

757
00:33:15,560 --> 00:33:17,320
Speaker 1: and I don't think a lot of my listeners know either.

758
00:33:17,760 --> 00:33:20,760
Speaker 1: How do you get a film into theaters? What is

759
00:33:20,800 --> 00:33:21,720
Speaker 1: the process behind that?

760
00:33:22,120 --> 00:33:23,920
Speaker 5: You got to find the right partners, you know, for me,

761
00:33:24,120 --> 00:33:26,680
Speaker 5: I was trying to do it all by myself in

762
00:33:26,720 --> 00:33:29,560
Speaker 5: the beginning, you know, walking into Netflix or walking into

763
00:33:29,560 --> 00:33:30,200
Speaker 5: these places.

764
00:33:30,320 --> 00:33:32,240
Speaker 1: I'm very surprised a lot of those places wouldn't have

765
00:33:32,240 --> 00:33:32,720
Speaker 1: picks it up.

766
00:33:33,520 --> 00:33:36,800
Speaker 3: Well, I think they would have if I was willing.

767
00:33:36,480 --> 00:33:38,840
Speaker 5: To change the narrative. And I wasn't willing to change

768
00:33:38,880 --> 00:33:39,400
Speaker 5: the narrative.

769
00:33:39,480 --> 00:33:40,720
Speaker 1: What do you think they wanted you to change that

770
00:33:40,800 --> 00:33:42,080
Speaker 1: narrative too, Well, I.

771
00:33:42,080 --> 00:33:44,000
Speaker 5: Mean they would have just first of all, it would

772
00:33:44,040 --> 00:33:45,920
Speaker 5: have been a different format, and I didn't want it

773
00:33:46,000 --> 00:33:48,400
Speaker 5: to change. I wanted it to be observational. I didn't

774
00:33:48,440 --> 00:33:53,960
Speaker 5: want this you know, cookie cutter approach of talking at interviews,

775
00:33:54,040 --> 00:33:58,840
Speaker 5: and you know, whatever. I wanted something that meant challenging

776
00:33:58,880 --> 00:34:01,320
Speaker 5: myself to tell a story with the source material that

777
00:34:01,400 --> 00:34:04,280
Speaker 5: I had as it was. And then also I just

778
00:34:04,360 --> 00:34:09,760
Speaker 5: think I saw how they did other documentaries with people

779
00:34:09,800 --> 00:34:13,759
Speaker 5: who struggled with mental illness or controversies, and I never

780
00:34:13,800 --> 00:34:15,479
Speaker 5: wanted to make a hit piece and I never would

781
00:34:15,480 --> 00:34:17,640
Speaker 5: have done that. And I didn't get the inkling that

782
00:34:17,640 --> 00:34:19,799
Speaker 5: they were immediately going to do that, but I could

783
00:34:19,840 --> 00:34:21,919
Speaker 5: see how I could lose control and it could become

784
00:34:21,960 --> 00:34:24,200
Speaker 5: something like that, and I was definitely not interested in that.

785
00:34:24,239 --> 00:34:28,440
Speaker 5: I wanted to tell a deeper story about America and

786
00:34:28,480 --> 00:34:34,359
Speaker 5: its relationship to celebrity and also genius, but also the

787
00:34:34,480 --> 00:34:37,120
Speaker 5: dangers of genius, what happens when you fly too close

788
00:34:37,160 --> 00:34:39,879
Speaker 5: to the sun. You know, we always knew, I always knew,

789
00:34:39,880 --> 00:34:43,799
Speaker 5: the team always knew that this film was something intrinsically

790
00:34:44,080 --> 00:34:46,680
Speaker 5: deeply psychological in those ways, and I didn't want to

791
00:34:46,880 --> 00:34:49,879
Speaker 5: cheapen it by, you know, making a tell all.

792
00:34:51,080 --> 00:34:54,680
Speaker 1: It was still very not necessarily tell all, but it

793
00:34:54,760 --> 00:34:59,600
Speaker 1: was incredibly illuminating fars behind the scenes, how things worked

794
00:34:59,600 --> 00:35:01,919
Speaker 1: and how they went something that I know is about

795
00:35:02,000 --> 00:35:04,279
Speaker 1: him because I was a huge Kanye West fan for

796
00:35:04,320 --> 00:35:07,000
Speaker 1: a very long time. I had a really hard time

797
00:35:07,040 --> 00:35:10,600
Speaker 1: when it started to spiral, kind of reconciling like, yeah,

798
00:35:10,719 --> 00:35:13,240
Speaker 1: he's doing some really bad stuff. This is not cool,

799
00:35:13,320 --> 00:35:15,200
Speaker 1: the things that he's saying, the things that he's doing.

800
00:35:15,920 --> 00:35:17,480
Speaker 1: It took me a while to finally be like, yeah,

801
00:35:17,520 --> 00:35:19,000
Speaker 1: you know what that might be my line. Can't do

802
00:35:19,040 --> 00:35:21,840
Speaker 1: it anymore. He's really gone too far from me. But

803
00:35:21,920 --> 00:35:23,480
Speaker 1: one of the things that I always wonder with him,

804
00:35:23,719 --> 00:35:25,319
Speaker 1: especially because he had a line in one of his songs,

805
00:35:25,320 --> 00:35:27,120
Speaker 1: famous the worst drug known to man? What do you

806
00:35:27,160 --> 00:35:28,920
Speaker 1: think is most important to him? Do you think it's

807
00:35:30,080 --> 00:35:31,479
Speaker 1: fame is the worst drug known to man?

808
00:35:31,800 --> 00:35:32,960
Speaker 3: That that is the there line?

809
00:35:33,000 --> 00:35:33,160
Speaker 4: Yeah?

810
00:35:33,160 --> 00:35:36,799
Speaker 5: Absolutely, Yeah, fame is the most dangerous drug known to man.

811
00:35:36,880 --> 00:35:38,400
Speaker 1: But do you think the art or the fame is

812
00:35:38,440 --> 00:35:40,600
Speaker 1: more important to him? Because it seemed like he would

813
00:35:40,640 --> 00:35:42,600
Speaker 1: waffle on that a little bit. He wants to make

814
00:35:42,760 --> 00:35:45,759
Speaker 1: art that is art for art's sake, but then it

815
00:35:45,760 --> 00:35:48,319
Speaker 1: seemed like he would also do things specifically to get

816
00:35:48,360 --> 00:35:51,400
Speaker 1: attention and then not enjoy the attention that came his way.

817
00:35:52,200 --> 00:35:54,520
Speaker 1: What in your opinion, because I know you're not a

818
00:35:54,520 --> 00:35:56,680
Speaker 1: therapist or anything like that, do you think that was about.

819
00:35:56,560 --> 00:35:58,120
Speaker 3: I can't speak on another man.

820
00:35:58,320 --> 00:36:01,719
Speaker 5: I think, you know, for me, if I were in

821
00:36:01,719 --> 00:36:06,240
Speaker 5: a similar situation, I can definitely see the reflexivity between

822
00:36:06,840 --> 00:36:09,799
Speaker 5: you know, this postmodern with this postmodern world that we

823
00:36:09,840 --> 00:36:13,720
Speaker 5: live in, the reflexivity between you know, output and input,

824
00:36:13,800 --> 00:36:15,160
Speaker 5: and just how you can kind of get lost in

825
00:36:15,200 --> 00:36:17,279
Speaker 5: that echo chamber for sure, and how it can at

826
00:36:17,320 --> 00:36:20,719
Speaker 5: times be a little bit energizing perhaps like the controversy,

827
00:36:20,719 --> 00:36:24,400
Speaker 5: you can kind of provide new wraps or you know,

828
00:36:24,480 --> 00:36:27,880
Speaker 5: new ideas for films or whatever it may be. But

829
00:36:27,960 --> 00:36:30,000
Speaker 5: I could see how could also be an abyss that

830
00:36:30,080 --> 00:36:31,799
Speaker 5: can completely consume you.

831
00:36:32,000 --> 00:36:33,960
Speaker 1: And you did a really good job documenting that roller

832
00:36:34,040 --> 00:36:36,960
Speaker 1: coaster ride, because it's like he would get this seemingly

833
00:36:37,440 --> 00:36:39,440
Speaker 1: super high high from some of the things that he

834
00:36:39,520 --> 00:36:41,440
Speaker 1: was doing that were to a lot of people outrageous,

835
00:36:41,440 --> 00:36:44,680
Speaker 1: whether it's running for president or putting on a White

836
00:36:44,680 --> 00:36:47,960
Speaker 1: Lives Matter T shirt, and he would be all about it.

837
00:36:48,040 --> 00:36:50,040
Speaker 1: I am, this is my passion, this is what I'm doing.

838
00:36:50,040 --> 00:36:51,960
Speaker 1: I'm one hundred percent behind it, and then you would

839
00:36:52,000 --> 00:36:54,880
Speaker 1: see this sort of crash where it's like this is

840
00:36:54,880 --> 00:36:56,600
Speaker 1: too much for me. I don't want to do it anymore.

841
00:36:56,640 --> 00:36:58,319
Speaker 1: It was supposed to be a joke has gone too far.

842
00:36:58,760 --> 00:37:00,319
Speaker 1: I'm out. I don't want to do it, and then

843
00:37:00,520 --> 00:37:02,680
Speaker 1: he'd follow up and do something again. You see the

844
00:37:02,719 --> 00:37:05,759
Speaker 1: manic sides of what he's dealing with and what he's

845
00:37:05,800 --> 00:37:06,320
Speaker 1: going through.

846
00:37:06,560 --> 00:37:09,880
Speaker 5: Yeah, I, as an artist, do feel things very deeply.

847
00:37:11,000 --> 00:37:16,080
Speaker 5: I just knew that my greatest contribution to the whole

848
00:37:16,120 --> 00:37:22,440
Speaker 5: situation was to remain still. You know, everyone around someone

849
00:37:22,520 --> 00:37:25,040
Speaker 5: like Yay or celebrities are always thinking of what to

850
00:37:25,080 --> 00:37:27,319
Speaker 5: say next, and I perhaps was the only person not

851
00:37:27,360 --> 00:37:28,799
Speaker 5: thinking of what to say next.

852
00:37:28,840 --> 00:37:30,280
Speaker 3: I was truly listening.

853
00:37:30,480 --> 00:37:42,040
Speaker 4: Okay.

854
00:37:43,160 --> 00:37:45,120
Speaker 1: And in all of this, you said something earlier, before

855
00:37:45,160 --> 00:37:48,120
Speaker 1: we even started rolling on the microphones. You mentioned that

856
00:37:48,160 --> 00:37:50,399
Speaker 1: you're here in New York City right now because you're

857
00:37:50,560 --> 00:37:52,760
Speaker 1: going to screenings. You're showing people this film.

858
00:37:52,920 --> 00:37:54,800
Speaker 5: Oh yeah, I'm just going to AM season is putting

859
00:37:54,800 --> 00:37:56,680
Speaker 5: my location up and you're seeing it with.

860
00:37:56,960 --> 00:37:58,759
Speaker 1: Yeah, okay, And then people are coming and they're watching

861
00:37:58,800 --> 00:37:59,320
Speaker 1: this movie.

862
00:37:59,120 --> 00:38:01,759
Speaker 3: With you and they're connecting after Yeah.

863
00:38:01,800 --> 00:38:03,520
Speaker 1: And I asked how that's been going, and you said

864
00:38:03,560 --> 00:38:04,839
Speaker 1: it's been very insightful.

865
00:38:05,080 --> 00:38:05,440
Speaker 3: Yeah.

866
00:38:05,840 --> 00:38:08,840
Speaker 5: Explain that well, because you know the first time I

867
00:38:08,880 --> 00:38:11,560
Speaker 5: watched it with an audience, it was in Orange County

868
00:38:11,680 --> 00:38:14,319
Speaker 5: actually in the same theater that I saw that live

869
00:38:14,360 --> 00:38:16,320
Speaker 5: stream in twenty sixteen.

870
00:38:17,000 --> 00:38:17,600
Speaker 1: Full Circle.

871
00:38:17,640 --> 00:38:21,200
Speaker 5: It was a full circle moment, and everyone was very,

872
00:38:21,280 --> 00:38:25,760
Speaker 5: very young. They were my age when I started this journey.

873
00:38:26,080 --> 00:38:26,319
Speaker 3: You know.

874
00:38:26,520 --> 00:38:28,480
Speaker 5: Some of them afterwards came up to me with a

875
00:38:28,520 --> 00:38:30,640
Speaker 5: graduation album to sign, and I was like, I was

876
00:38:30,680 --> 00:38:32,800
Speaker 5: seven years old, and when that came out, I didn't

877
00:38:32,800 --> 00:38:35,319
Speaker 5: work on that album. I cannot sign that. That's always weird,

878
00:38:36,360 --> 00:38:40,640
Speaker 5: But that, you know, is me confronting with them idolatry

879
00:38:41,200 --> 00:38:43,359
Speaker 5: in the in the real you know, flesh. And that

880
00:38:43,480 --> 00:38:44,920
Speaker 5: is why I made this film, is to have a

881
00:38:44,960 --> 00:38:50,160
Speaker 5: conversation about idolatry in America. I think for the first

882
00:38:50,239 --> 00:38:52,520
Speaker 5: time when I watched it with these audiences. Now, I'm

883
00:38:52,800 --> 00:38:56,080
Speaker 5: honestly starting to understand the level of access that I

884
00:38:56,120 --> 00:38:58,640
Speaker 5: did have and the anomaly of this story and how

885
00:38:59,040 --> 00:39:02,040
Speaker 5: something like this may never exist again. And I say

886
00:39:02,080 --> 00:39:06,400
Speaker 5: that with humility someone at that level providing such access

887
00:39:06,960 --> 00:39:10,160
Speaker 5: and giving someone final cut. You know, as we go

888
00:39:10,360 --> 00:39:12,960
Speaker 5: deeper into this content age, you know, I don't know

889
00:39:13,000 --> 00:39:15,200
Speaker 5: if that will ever really exist again. As we continue

890
00:39:15,239 --> 00:39:18,960
Speaker 5: to kind of bottleneck these narratives. The other thing is

891
00:39:19,000 --> 00:39:21,360
Speaker 5: too honestly, seeing it in theaters and seeing some of

892
00:39:21,400 --> 00:39:24,640
Speaker 5: these subject matters and the controversies on that screen was

893
00:39:24,800 --> 00:39:29,440
Speaker 5: also very insightful to understand, like the gravitass and the

894
00:39:29,480 --> 00:39:32,799
Speaker 5: magnitude of some of these things. Because no longer am

895
00:39:32,840 --> 00:39:36,160
Speaker 5: I just you know, in an Airbnb or you know,

896
00:39:36,320 --> 00:39:39,080
Speaker 5: my apartment kind of looking at this material, or even

897
00:39:39,200 --> 00:39:42,560
Speaker 5: Edit Bay in Hollywood. I'm watching it with real everyday people,

898
00:39:42,880 --> 00:39:46,839
Speaker 5: and we're all confronting this story. You know, as one body.

899
00:39:46,920 --> 00:39:50,080
Speaker 1: Do you find it easy to lose yourself in service

900
00:39:50,120 --> 00:39:54,839
Speaker 1: to somebody else and immersing yourself in following and documenting

901
00:39:54,920 --> 00:39:57,799
Speaker 1: another person for so long? Like how much of your

902
00:39:57,840 --> 00:39:59,960
Speaker 1: life were you able to live while you were doing this?

903
00:40:00,200 --> 00:40:00,399
Speaker 3: Yeah?

904
00:40:00,400 --> 00:40:02,520
Speaker 5: I didn't have a life outside of this. This was

905
00:40:02,680 --> 00:40:05,919
Speaker 5: all consuming for me. But I knew, you know, someone

906
00:40:05,960 --> 00:40:08,960
Speaker 5: who had grown up reading Hunter S. Thompson and like

907
00:40:09,000 --> 00:40:12,680
Speaker 5: what he did with The Hell's Angels. I knew, you know,

908
00:40:12,760 --> 00:40:14,360
Speaker 5: someone like that was a hero of mine, like a

909
00:40:14,400 --> 00:40:16,600
Speaker 5: gonzo journalist. So I knew that this is this is

910
00:40:16,719 --> 00:40:17,640
Speaker 5: the only way to do it.

911
00:40:17,880 --> 00:40:20,239
Speaker 1: Do you have somebody in mind who if they gave

912
00:40:20,239 --> 00:40:23,000
Speaker 1: you this opportunity to do it again, you would want

913
00:40:23,000 --> 00:40:26,799
Speaker 1: to do it with that person, Donald Trump, Really, do

914
00:40:26,840 --> 00:40:28,640
Speaker 1: you think you could do that? I mean, obviously, do

915
00:40:28,640 --> 00:40:30,160
Speaker 1: you think you could do that? Or you wouldn't say it?

916
00:40:30,280 --> 00:40:31,360
Speaker 1: Why Donald Trump?

917
00:40:32,880 --> 00:40:36,200
Speaker 5: Just because I would be interested to tell that story

918
00:40:36,280 --> 00:40:38,319
Speaker 5: after the White House to see what life would be

919
00:40:38,400 --> 00:40:39,359
Speaker 5: like after the White House.

920
00:40:39,600 --> 00:40:40,880
Speaker 1: So you want to follow him when he's out of

921
00:40:40,880 --> 00:40:44,480
Speaker 1: the White House. Not necessarily now, m okay, And in

922
00:40:44,520 --> 00:40:47,440
Speaker 1: all of this, how's your family? How were they with

923
00:40:47,480 --> 00:40:49,439
Speaker 1: all of it? Like, Hey, you're going away, You're gonna

924
00:40:49,520 --> 00:40:51,560
Speaker 1: take out loans for six years? Did they have a

925
00:40:51,600 --> 00:40:52,080
Speaker 1: lot to say?

926
00:40:52,560 --> 00:40:52,759
Speaker 3: Yeah?

927
00:40:52,760 --> 00:40:55,560
Speaker 5: They were always very supportive. You know, I love my family. Yeah,

928
00:40:55,680 --> 00:40:58,799
Speaker 5: they were always very supportive. And you know, but it

929
00:40:58,880 --> 00:41:01,120
Speaker 5: goes deep. It goes to the fact that they allowed

930
00:41:01,160 --> 00:41:03,880
Speaker 5: me to go to this charter art school that was,

931
00:41:04,040 --> 00:41:07,520
Speaker 5: you know, forty five minutes away from either of their homes.

932
00:41:07,719 --> 00:41:09,680
Speaker 5: My mom lived on the northern side of Orange County,

933
00:41:09,680 --> 00:41:11,480
Speaker 5: my father on the southern side, and the school was

934
00:41:11,719 --> 00:41:14,640
Speaker 5: in Santa Ana, so in the heart But they did it,

935
00:41:14,719 --> 00:41:17,920
Speaker 5: and you know, that was a part of my process.

936
00:41:18,239 --> 00:41:19,880
Speaker 1: Do you ever get nervous that, let's say you do

937
00:41:19,960 --> 00:41:23,160
Speaker 1: get this opportunity with Donald Trump and you have years

938
00:41:23,200 --> 00:41:25,880
Speaker 1: that you're then gonna spend dedicated to following someone else around.

939
00:41:26,080 --> 00:41:27,920
Speaker 1: Do you ever get nervous that you're gonna lose yourself,

940
00:41:28,040 --> 00:41:30,520
Speaker 1: that you don't spend enough time with you you're just

941
00:41:30,680 --> 00:41:32,439
Speaker 1: kind of watching and observing everybody else.

942
00:41:32,960 --> 00:41:33,040
Speaker 2: No.

943
00:41:33,120 --> 00:41:36,600
Speaker 5: I believe my relationship with God, you know, is what

944
00:41:36,760 --> 00:41:40,520
Speaker 5: defines me. And I know that I'm here to observe

945
00:41:41,160 --> 00:41:43,239
Speaker 5: for him in some way in capacity, and that's just

946
00:41:43,239 --> 00:41:46,040
Speaker 5: a spiritual you know. Note, what else would I do?

947
00:41:47,120 --> 00:41:48,920
Speaker 1: I don't know. I don't know that you would know that,

948
00:41:48,960 --> 00:41:49,719
Speaker 1: but I wouldn't know that.

949
00:41:49,800 --> 00:41:52,239
Speaker 5: Well, make narrative films, you know. I'm not gonna wait

950
00:41:52,280 --> 00:41:55,800
Speaker 5: around for another documentary subject to fall from the sky,

951
00:41:56,160 --> 00:41:59,360
Speaker 5: you know, I'm gonna start writing. I've already started that actually,

952
00:41:59,360 --> 00:42:03,000
Speaker 5: and I've been receiving scripts scripted film.

953
00:42:03,200 --> 00:42:06,040
Speaker 1: Oh wow, yeah, Okay, how long before we see something

954
00:42:06,280 --> 00:42:08,399
Speaker 1: from you that's scripted? I know that's a tough question.

955
00:42:08,440 --> 00:42:11,279
Speaker 5: Probably probably, you know, it's probably going to take a

956
00:42:11,360 --> 00:42:13,000
Speaker 5: year and a half to two years, I would say,

957
00:42:13,080 --> 00:42:14,480
Speaker 5: till it's you know, released.

958
00:42:14,719 --> 00:42:17,120
Speaker 1: So what is your life like right now that you

959
00:42:17,200 --> 00:42:20,120
Speaker 1: are Liane Free? You're going around, You're talking about this film?

960
00:42:20,200 --> 00:42:22,680
Speaker 5: Yeah, okay, yeah, and connecting with the audiences and.

961
00:42:22,640 --> 00:42:24,600
Speaker 1: People, okay, and how long do you plan to do that?

962
00:42:25,680 --> 00:42:27,280
Speaker 3: I think this might be the last one.

963
00:42:27,320 --> 00:42:29,600
Speaker 1: Really, I think, so you're just sick of it, or.

964
00:42:30,239 --> 00:42:34,200
Speaker 5: Of course, well, you know, I think there's more to

965
00:42:34,239 --> 00:42:36,680
Speaker 5: do for the film, but I think right now this

966
00:42:36,800 --> 00:42:40,879
Speaker 5: is the last one for the foreseeable future, and I'm

967
00:42:40,880 --> 00:42:43,640
Speaker 5: going to start, you know, picking up my rioting again.

968
00:42:44,160 --> 00:42:46,279
Speaker 1: Does it get exhausting? Because again, in all of this,

969
00:42:46,400 --> 00:42:49,320
Speaker 1: you're the observer and you're talking about someone and filming

970
00:42:49,360 --> 00:42:51,239
Speaker 1: someone else, and then you come and you field all

971
00:42:51,280 --> 00:42:53,760
Speaker 1: these questions where people are asking you about another person.

972
00:42:54,480 --> 00:42:56,000
Speaker 1: Is that part exhausting to you at all?

973
00:42:56,440 --> 00:42:58,120
Speaker 5: To the best of my abilities, for now, at least,

974
00:42:58,160 --> 00:43:02,760
Speaker 5: I think I understand the relationship between you know, that fringe.

975
00:43:03,120 --> 00:43:05,760
Speaker 5: Then how not to go over the ledge because.

976
00:43:05,560 --> 00:43:08,560
Speaker 1: I think in just in general, the entertainment business, media,

977
00:43:08,640 --> 00:43:11,080
Speaker 1: all of it, it can be all consuming and you

978
00:43:11,120 --> 00:43:13,080
Speaker 1: get all of these people around you, and it's very

979
00:43:13,080 --> 00:43:16,040
Speaker 1: easy to just lose your perspective on the quote unquote

980
00:43:16,080 --> 00:43:19,839
Speaker 1: real world and what's happening outside of this bizarro world.

981
00:43:19,880 --> 00:43:21,960
Speaker 1: And I say that even involving what we do here,

982
00:43:22,440 --> 00:43:24,360
Speaker 1: it's very easy to just think this is what it's like.

983
00:43:24,360 --> 00:43:25,920
Speaker 1: It's not. This is not what it's like. No, and

984
00:43:25,920 --> 00:43:27,440
Speaker 1: this is not what it's going to be like forever.

985
00:43:27,800 --> 00:43:30,840
Speaker 1: This is like a very finite thing. So I'm always

986
00:43:30,880 --> 00:43:32,880
Speaker 1: trying to think what am I going to do next?

987
00:43:32,960 --> 00:43:38,520
Speaker 1: How do you assimilate back into real life? And you

988
00:43:38,600 --> 00:43:40,759
Speaker 1: have obviously a long road ahead of you with all

989
00:43:40,800 --> 00:43:44,040
Speaker 1: of this, but it's a wild first go at it

990
00:43:44,520 --> 00:43:46,800
Speaker 1: that you had. It's like you stepped out of high school,

991
00:43:47,120 --> 00:43:50,720
Speaker 1: got tossed into a whirlpool, swirled in it for six years,

992
00:43:50,960 --> 00:43:54,200
Speaker 1: and came out and now it's like, Okay, welcome. How

993
00:43:54,960 --> 00:43:55,879
Speaker 1: do you manage from there?

994
00:43:55,920 --> 00:43:56,000
Speaker 3: Like?

995
00:43:56,000 --> 00:43:58,399
Speaker 1: What is your daily life like? Obviously you're doing this

996
00:43:59,040 --> 00:44:00,400
Speaker 1: are you? Where are you now?

997
00:44:00,719 --> 00:44:02,040
Speaker 3: Living in Los Angeles? Still?

998
00:44:02,120 --> 00:44:04,640
Speaker 1: Okay? So you're close to family, Yeah, got your friends

999
00:44:04,680 --> 00:44:05,400
Speaker 1: and stuff around you?

1000
00:44:05,600 --> 00:44:06,360
Speaker 3: Yeah? Absolutely?

1001
00:44:06,480 --> 00:44:10,080
Speaker 1: Is there a dating life involved? See, now we're talking

1002
00:44:10,080 --> 00:44:12,200
Speaker 1: about you, and now you get nervous talking about you.

1003
00:44:12,640 --> 00:44:15,920
Speaker 5: M Yeah, I mean I would like to have a family,

1004
00:44:16,320 --> 00:44:18,279
Speaker 5: you know. I think that's very important to me. I

1005
00:44:18,280 --> 00:44:19,880
Speaker 5: think that'll be an element of grounding.

1006
00:44:20,120 --> 00:44:22,640
Speaker 1: I would imagine it would be very grounding to have that.

1007
00:44:22,719 --> 00:44:24,799
Speaker 1: Do you think that that will ultimately slow you down

1008
00:44:24,840 --> 00:44:26,000
Speaker 1: a little bit with what they're trying to do.

1009
00:44:26,160 --> 00:44:28,560
Speaker 5: Yeah, of course, But I think that's part of life, though,

1010
00:44:28,600 --> 00:44:29,880
Speaker 5: is to create that balance.

1011
00:44:29,960 --> 00:44:32,520
Speaker 1: If somebody wanted to come follow you for six years,

1012
00:44:32,560 --> 00:44:34,200
Speaker 1: do you think you can do it? Let them? You

1013
00:44:34,280 --> 00:44:37,360
Speaker 1: have no creative control. You're just letting somebody else observe you.

1014
00:44:38,120 --> 00:44:40,160
Speaker 5: I'd be very fascinated, because I don't think my life

1015
00:44:40,239 --> 00:44:42,759
Speaker 5: is that interesting yet. But I think if I got

1016
00:44:42,800 --> 00:44:44,279
Speaker 5: to that point, I would take it as a sign

1017
00:44:44,280 --> 00:44:45,440
Speaker 5: that I'm doing something right.

1018
00:44:45,560 --> 00:44:47,319
Speaker 3: Perhaps that's I.

1019
00:44:47,280 --> 00:44:49,920
Speaker 1: Mean again I wrote out, So you've probably seen me

1020
00:44:49,920 --> 00:44:51,799
Speaker 1: looking at my phone a lot because I made a

1021
00:44:51,920 --> 00:44:53,080
Speaker 1: list of all of these questions.

1022
00:44:53,120 --> 00:44:53,840
Speaker 3: I love these questions.

1023
00:44:53,840 --> 00:44:55,719
Speaker 1: By the way, well, oh good, thank you. I appreciate that.

1024
00:44:56,200 --> 00:44:57,880
Speaker 1: While I was watching, I was just like, ooh, pause,

1025
00:44:57,960 --> 00:44:59,759
Speaker 1: I got to ask about this, and there's still so

1026
00:44:59,800 --> 00:45:01,719
Speaker 1: many here. But I guess in all of this, because

1027
00:45:01,719 --> 00:45:03,440
Speaker 1: I don't want to take up too much of your time,

1028
00:45:03,680 --> 00:45:07,040
Speaker 1: would you do anything differently and going forward? Will you

1029
00:45:07,080 --> 00:45:08,920
Speaker 1: do anything differently with what you're going to do?

1030
00:45:09,520 --> 00:45:13,440
Speaker 3: I would keep a better log of the process.

1031
00:45:13,520 --> 00:45:16,520
Speaker 5: I think throughout this is a very technical answer, but

1032
00:45:16,560 --> 00:45:19,000
Speaker 5: I would keep a better log of the process to

1033
00:45:19,120 --> 00:45:22,240
Speaker 5: understand how to increase efficiencies.

1034
00:45:22,640 --> 00:45:24,640
Speaker 1: I think that's a really creative answer though. That's a

1035
00:45:24,640 --> 00:45:27,000
Speaker 1: good answer. I hate when people say I wouldn't do

1036
00:45:27,040 --> 00:45:29,240
Speaker 1: anything differently, because then I'm like, did you learn anything

1037
00:45:29,239 --> 00:45:31,160
Speaker 1: in the process, because that's why you go through experiences.

1038
00:45:31,239 --> 00:45:32,080
Speaker 3: I'll give you an example.

1039
00:45:32,200 --> 00:45:34,040
Speaker 5: Yes, the reason why it took so long for me

1040
00:45:34,120 --> 00:45:37,000
Speaker 5: to go to that footage was because it wasn't organized

1041
00:45:37,719 --> 00:45:40,799
Speaker 5: and I still had like phones that didn't have the

1042
00:45:40,800 --> 00:45:42,680
Speaker 5: footage dumped off of them yet. And you know, so

1043
00:45:43,280 --> 00:45:46,360
Speaker 5: that's a very technical answer, and you know that's an antidote.

1044
00:45:46,440 --> 00:45:48,719
Speaker 3: But I would just keep a better log.

1045
00:45:48,520 --> 00:45:52,600
Speaker 5: In a journal of my observations of my process to create,

1046
00:45:52,680 --> 00:45:54,560
Speaker 5: you know, a more efficient production timeline.

1047
00:45:54,800 --> 00:45:57,839
Speaker 1: Okay. And then in the time that you were with him,

1048
00:45:57,960 --> 00:46:01,040
Speaker 1: observing him and his mental health and and him choosing

1049
00:46:01,120 --> 00:46:03,640
Speaker 1: not to take his meds and go the route that

1050
00:46:03,680 --> 00:46:07,719
Speaker 1: he went with everything, did you find yourself learning anything about.

1051
00:46:07,400 --> 00:46:10,719
Speaker 5: You in relation to not taking meds? I'm skidding, well, I.

1052
00:46:10,760 --> 00:46:13,040
Speaker 1: Mean, hey, if it applies, sure, it's just the way

1053
00:46:13,080 --> 00:46:15,120
Speaker 1: that he operated in general. Did it teach you anything

1054
00:46:15,160 --> 00:46:16,920
Speaker 1: about yourself or just to get there?

1055
00:46:17,200 --> 00:46:17,720
Speaker 3: Of course.

1056
00:46:17,840 --> 00:46:22,880
Speaker 5: I mean, you know, I think again, my relationship to

1057
00:46:23,000 --> 00:46:27,960
Speaker 5: God is something that I definitely grew in because of

1058
00:46:28,120 --> 00:46:30,439
Speaker 5: not only the Sunday Service, but what also happened when

1059
00:46:30,880 --> 00:46:32,399
Speaker 5: you know that went away in his life?

1060
00:46:32,680 --> 00:46:34,400
Speaker 1: What exactly do you mean by that, because I'm not

1061
00:46:34,400 --> 00:46:36,799
Speaker 1: sure if I got that part from the film when

1062
00:46:36,800 --> 00:46:38,000
Speaker 1: what went away? Sunday Service?

1063
00:46:38,200 --> 00:46:38,319
Speaker 2: Mm?

1064
00:46:38,400 --> 00:46:40,440
Speaker 5: Hm, Well, like the Marilyn Manson moment you spoke of.

1065
00:46:40,600 --> 00:46:42,759
Speaker 3: Oh okay, so you did speak about it.

1066
00:46:42,800 --> 00:46:45,520
Speaker 5: Yeah, I said it went from the godly moments to

1067
00:46:45,600 --> 00:46:48,880
Speaker 5: someone who was around that wasn't very godly?

1068
00:46:49,680 --> 00:46:51,799
Speaker 1: Was that part tough for you? Seeing that change when

1069
00:46:51,840 --> 00:46:53,759
Speaker 1: God is in fact in your life and now you're like,

1070
00:46:53,800 --> 00:46:55,839
Speaker 1: oh shit, we've taken a turn here.

1071
00:46:56,120 --> 00:46:56,359
Speaker 3: Tough?

1072
00:46:56,400 --> 00:46:58,680
Speaker 5: I mean, you know I'm there as a journalist, but

1073
00:46:58,680 --> 00:47:01,680
Speaker 5: but yeah, I mean it was a it was an

1074
00:47:01,680 --> 00:47:03,840
Speaker 5: observation that I made. I think more in the editing

1075
00:47:03,880 --> 00:47:05,920
Speaker 5: process after I was kind of making sense of it,

1076
00:47:05,920 --> 00:47:07,279
Speaker 5: and I was like, oh wow, I mean, this is

1077
00:47:07,360 --> 00:47:10,719
Speaker 5: a big part of the arc is one's relationship with God.

1078
00:47:10,880 --> 00:47:12,799
Speaker 1: Where do you think he's at right now? He's been

1079
00:47:12,880 --> 00:47:14,640
Speaker 1: quite quiet lately.

1080
00:47:14,800 --> 00:47:17,239
Speaker 5: I pray he's getting the healing he needs and is

1081
00:47:17,280 --> 00:47:21,719
Speaker 5: you know, getting strengthened, that things turn around for the better.

1082
00:47:21,760 --> 00:47:24,440
Speaker 1: Of course, and in all of this, the one piece

1083
00:47:25,200 --> 00:47:27,799
Speaker 1: that I was like, wait, but where was that? There's

1084
00:47:27,840 --> 00:47:29,920
Speaker 1: no mention of his current wife, Bianca, there was no

1085
00:47:29,960 --> 00:47:30,640
Speaker 1: footage of her.

1086
00:47:30,880 --> 00:47:34,920
Speaker 5: There was no I didn't film, you know, I stopped filming.

1087
00:47:35,120 --> 00:47:36,160
Speaker 1: Oh you had stopped by then?

1088
00:47:36,640 --> 00:47:37,000
Speaker 2: Okay?

1089
00:47:37,120 --> 00:47:39,239
Speaker 1: Are there questions in all of this that make you uncomfortable?

1090
00:47:39,640 --> 00:47:39,839
Speaker 3: No?

1091
00:47:40,120 --> 00:47:41,839
Speaker 1: Nothing? All right?

1092
00:47:42,000 --> 00:47:43,200
Speaker 3: No, Okay, he's been good.

1093
00:47:43,960 --> 00:47:46,279
Speaker 1: So if people want to watch this, they can go

1094
00:47:46,320 --> 00:47:48,320
Speaker 1: to an AMC theater. I know it's in limited release,

1095
00:47:48,560 --> 00:47:51,200
Speaker 1: which sorry, back to that other question really quickly. You

1096
00:47:51,200 --> 00:47:52,959
Speaker 1: found the right team, But how did this movie actually

1097
00:47:53,000 --> 00:47:54,640
Speaker 1: get into theaters? Do you have to pay to be

1098
00:47:54,680 --> 00:47:57,160
Speaker 1: on screens or how does that work? Does the theater

1099
00:47:57,239 --> 00:47:58,080
Speaker 1: say yes, I want this?

1100
00:47:58,480 --> 00:48:01,239
Speaker 5: Well, we had really good partners, someone by the name

1101
00:48:01,280 --> 00:48:03,959
Speaker 5: of Patrick Hughes and then Cimarron as well and my manager,

1102
00:48:04,080 --> 00:48:09,239
Speaker 5: Nick jar Jordan. They had the relationships with the theatrical

1103
00:48:09,480 --> 00:48:11,120
Speaker 5: uh chains.

1104
00:48:10,920 --> 00:48:13,120
Speaker 1: So hopefully people. Do you know how long it's gonna

1105
00:48:13,120 --> 00:48:15,080
Speaker 1: be in theaters? Is that determined ahead of time or

1106
00:48:15,080 --> 00:48:16,080
Speaker 1: does it kind of depend on how.

1107
00:48:16,040 --> 00:48:16,960
Speaker 3: It's I think it depends.

1108
00:48:17,000 --> 00:48:19,560
Speaker 1: Yeah, Okay, it may not. If it's not, where's it

1109
00:48:19,600 --> 00:48:21,320
Speaker 1: going to go? Is that then gonna go to a

1110
00:48:21,320 --> 00:48:22,200
Speaker 1: streaming platform?

1111
00:48:22,880 --> 00:48:25,120
Speaker 5: Oh yeah, we're working on a strategy for the film

1112
00:48:25,160 --> 00:48:27,200
Speaker 5: to live beyond theaters for sure.

1113
00:48:27,440 --> 00:48:29,440
Speaker 1: Okay, Well, it's kind of great that you actually got

1114
00:48:29,480 --> 00:48:31,080
Speaker 1: it out there in it's raw form. So if it

1115
00:48:31,120 --> 00:48:33,720
Speaker 1: does go to streaming and people see something different, hopefully

1116
00:48:33,719 --> 00:48:35,799
Speaker 1: there will be some sort of like outrage and outcry like, hey,

1117
00:48:35,800 --> 00:48:36,280
Speaker 1: what happened?

1118
00:48:36,320 --> 00:48:37,120
Speaker 3: Why does this happen?

1119
00:48:37,480 --> 00:48:41,400
Speaker 1: Smart move? Yeah, we got receipts in the storytelling exactly,

1120
00:48:41,840 --> 00:48:43,600
Speaker 1: all right, So you can go to an AMC theater.

1121
00:48:43,640 --> 00:48:45,279
Speaker 1: Hopefully you can see it right now. It's called in

1122
00:48:45,320 --> 00:48:46,040
Speaker 1: whose Name.

1123
00:48:45,960 --> 00:48:47,280
Speaker 5: And then if not, you can go on in whose

1124
00:48:47,360 --> 00:48:51,200
Speaker 5: Name Instagram and you could just follow us there and

1125
00:48:51,239 --> 00:48:53,400
Speaker 5: that way you can stay up to date on information.

1126
00:48:53,719 --> 00:48:56,759
Speaker 1: Okay, are you interested in pushing your own Instagram at all?

1127
00:48:57,000 --> 00:48:57,200
Speaker 3: Yeah?

1128
00:48:57,320 --> 00:49:01,160
Speaker 5: Nico dot Ballistero's Ico dot B A L L E

1129
00:49:01,280 --> 00:49:02,359
Speaker 5: S T E R O S.

1130
00:49:02,560 --> 00:49:04,320
Speaker 1: All right, And we'll see more from you in the future,

1131
00:49:04,400 --> 00:49:06,879
Speaker 1: I'm sure. And when you do more, come back, we'll

1132
00:49:06,880 --> 00:49:07,319
Speaker 1: talk about it.

1133
00:49:07,400 --> 00:49:09,320
Speaker 3: Yeah, I'd love to come back. It was a pleasure

1134
00:49:09,360 --> 00:49:09,839
Speaker 3: talking to you.

1135
00:49:09,960 --> 00:49:23,919
Speaker 1: Thank you, Thank you so much. I appreciate it all right,

1136
00:49:24,719 --> 00:49:30,120
Speaker 1: found out a lot of interesting information. I just wonder how,

1137
00:49:30,440 --> 00:49:32,040
Speaker 1: and I know that we already talked about it, but

1138
00:49:32,120 --> 00:49:35,839
Speaker 1: those are your very formative years of life. That's when

1139
00:49:35,840 --> 00:49:39,880
Speaker 1: people go to college. And his college was following Kanye

1140
00:49:39,920 --> 00:49:43,480
Speaker 1: West round and being a documentarian, And I just wonder

1141
00:49:43,560 --> 00:49:46,239
Speaker 1: he's got I think he said three thousand hours of

1142
00:49:46,320 --> 00:49:50,200
Speaker 1: footage and he cut it down to ninety minutes. What

1143
00:49:50,600 --> 00:49:51,439
Speaker 1: did we not see?

1144
00:49:51,560 --> 00:49:55,160
Speaker 2: Oh so much? The person who went through the footage.

1145
00:49:55,200 --> 00:49:56,319
Speaker 2: I just want to talk to them.

1146
00:49:57,320 --> 00:49:59,120
Speaker 1: I just want to because you know that they probably

1147
00:49:59,160 --> 00:50:01,000
Speaker 1: did a lot to protect him. Oh for sure, a

1148
00:50:01,000 --> 00:50:03,319
Speaker 1: ton to protect him, because over the last six years

1149
00:50:03,320 --> 00:50:07,880
Speaker 1: is when he's really had his crazy spirals and incredibly racist,

1150
00:50:08,360 --> 00:50:13,000
Speaker 1: incredibly prejudiced, horrible things that he's been doing and saying

1151
00:50:13,200 --> 00:50:15,680
Speaker 1: and hanging out with Nick Fontes and all of that,

1152
00:50:16,040 --> 00:50:19,640
Speaker 1: and none of that made it into the documentary. So

1153
00:50:19,840 --> 00:50:23,680
Speaker 1: why are we protecting him? Because this wasn't an authorized thing.

1154
00:50:23,680 --> 00:50:24,880
Speaker 1: He didn't have to sign off on it because he

1155
00:50:24,880 --> 00:50:25,600
Speaker 1: didn't pay anybody.

1156
00:50:25,680 --> 00:50:29,719
Speaker 2: Right, interesting, Sorry it's not funny, but you would think

1157
00:50:29,719 --> 00:50:30,959
Speaker 2: that he would be smarter.

1158
00:50:31,239 --> 00:50:33,800
Speaker 1: Like if I was him, I would have paid the

1159
00:50:33,880 --> 00:50:35,520
Speaker 1: kid and not release it. Yes, and give me that.

1160
00:50:36,960 --> 00:50:40,160
Speaker 2: What are you gonna do? I there are so many

1161
00:50:40,160 --> 00:50:42,000
Speaker 2: things that I mean, we all know there are things

1162
00:50:42,000 --> 00:50:45,040
Speaker 2: that are wrong with him, I get it right, But

1163
00:50:45,080 --> 00:50:49,040
Speaker 2: there are so many things that he's done over the

1164
00:50:49,080 --> 00:50:54,000
Speaker 2: past few years where like you would think that someone

1165
00:50:54,320 --> 00:50:58,799
Speaker 2: so like self centered would think about these things, whether

1166
00:50:58,840 --> 00:51:01,360
Speaker 2: you're going through an episode or not. Like, I feel

1167
00:51:01,360 --> 00:51:04,640
Speaker 2: like he's so self centered that you mean to tell

1168
00:51:04,680 --> 00:51:06,000
Speaker 2: me you didn't think about.

1169
00:51:05,680 --> 00:51:09,160
Speaker 1: This, or maybe he knew. These people like me so

1170
00:51:09,239 --> 00:51:10,440
Speaker 1: much and they're gonna look out for me. They're not

1171
00:51:10,440 --> 00:51:11,560
Speaker 1: going to release anything crazy.

1172
00:51:11,680 --> 00:51:15,000
Speaker 2: That God complex is crazy. It is. It's crazy.

1173
00:51:15,080 --> 00:51:18,040
Speaker 1: I'll tell you. It's not really a hot take. But

1174
00:51:18,120 --> 00:51:21,359
Speaker 1: I think too many people get away with being a

1175
00:51:21,400 --> 00:51:25,160
Speaker 1: dick because they use the I have a mental health issue.

1176
00:51:25,760 --> 00:51:28,040
Speaker 1: Two things can be true. Oh yeah, you can have

1177
00:51:28,080 --> 00:51:30,680
Speaker 1: a mental health issue and you can be a dick

1178
00:51:30,880 --> 00:51:33,799
Speaker 1: on top of it. One does not absolve the other one, Like,

1179
00:51:33,840 --> 00:51:36,520
Speaker 1: you're not not a dickhead because you have a mental

1180
00:51:36,520 --> 00:51:39,200
Speaker 1: health issue, and you're not only a dickhead because you

1181
00:51:39,239 --> 00:51:41,759
Speaker 1: have this mental health issue. You could be both. There

1182
00:51:41,840 --> 00:51:43,400
Speaker 1: are plenty of people who have mental health issues and

1183
00:51:43,440 --> 00:51:45,640
Speaker 1: struggle with it, who are very kind people and actually

1184
00:51:45,680 --> 00:51:47,360
Speaker 1: give a shit about other people around them, And then

1185
00:51:47,360 --> 00:51:49,400
Speaker 1: there are people who are just assholes, and this maybe

1186
00:51:49,400 --> 00:51:51,520
Speaker 1: exacerbates it. And I kind of think he's one of

1187
00:51:51,520 --> 00:51:53,520
Speaker 1: those people. I'm talking a lot about a person i've

1188
00:51:53,560 --> 00:51:56,560
Speaker 1: never met, based solely on the things that we've seen.

1189
00:51:56,680 --> 00:51:58,920
Speaker 2: We've seen way too much to think that he's a

1190
00:51:58,920 --> 00:52:03,360
Speaker 2: good person. A lot of people want to be kind

1191
00:52:03,440 --> 00:52:05,960
Speaker 2: and want to be good people at their core, and

1192
00:52:06,040 --> 00:52:09,080
Speaker 2: they just don't have it. I don't think he has it.

1193
00:52:09,320 --> 00:52:12,279
Speaker 1: No, I don't think so either. I think if it

1194
00:52:12,360 --> 00:52:15,400
Speaker 1: were possible to suck your own dick, which some people

1195
00:52:15,440 --> 00:52:17,839
Speaker 1: say is because they're very flexible, I believe he would

1196
00:52:17,840 --> 00:52:18,040
Speaker 1: do it.

1197
00:52:18,120 --> 00:52:21,840
Speaker 2: He's done it, He's tried at the least he's try. Yeah. Yeah. Also,

1198
00:52:21,920 --> 00:52:24,040
Speaker 2: I just need I think he needs a good slap

1199
00:52:24,080 --> 00:52:25,759
Speaker 2: at the back of the head, you know how like

1200
00:52:25,880 --> 00:52:28,560
Speaker 2: kids when they're younger and you have like a you see,

1201
00:52:28,560 --> 00:52:30,840
Speaker 2: like a little brother just say or do something stupid

1202
00:52:30,840 --> 00:52:32,759
Speaker 2: and the big brother or cousin just slaps him at

1203
00:52:32,760 --> 00:52:33,319
Speaker 2: the back of the head.

1204
00:52:33,360 --> 00:52:34,440
Speaker 1: Yeah, shut the shut up.

1205
00:52:35,040 --> 00:52:37,480
Speaker 2: Just I would love for someone to do that and

1206
00:52:37,520 --> 00:52:38,680
Speaker 2: for me to be able to see it.

1207
00:52:38,840 --> 00:52:41,399
Speaker 1: He is an only child. You got that only child

1208
00:52:41,400 --> 00:52:44,320
Speaker 1: thing going a lot of things working against him, but

1209
00:52:44,400 --> 00:52:47,320
Speaker 1: he also works against him. Yeah, he won't listen to anybody.

1210
00:52:47,520 --> 00:52:49,680
Speaker 1: He doesn't think anybody is right. He thinks he's just

1211
00:52:49,840 --> 00:52:52,080
Speaker 1: at the forefront of all of it. He could be

1212
00:52:52,120 --> 00:52:54,279
Speaker 1: on the next season of Love his milnd.

1213
00:52:54,120 --> 00:52:57,800
Speaker 2: Well, according to casting he's right up there Alley.

1214
00:52:58,600 --> 00:53:00,760
Speaker 1: The behind the scenes, by the way, the like reddit

1215
00:53:00,800 --> 00:53:03,520
Speaker 1: threads that I go down about Love is Blind and

1216
00:53:03,560 --> 00:53:05,760
Speaker 1: the cast members and like things that they did behind

1217
00:53:05,760 --> 00:53:09,719
Speaker 1: the scenes is wild. I'm not going to go into

1218
00:53:09,719 --> 00:53:11,080
Speaker 1: too much because I don't want to ruin it for

1219
00:53:11,120 --> 00:53:14,040
Speaker 1: people who haven't watched it that there is a couple

1220
00:53:14,200 --> 00:53:18,239
Speaker 1: that does break up and it doesn't say on the

1221
00:53:18,280 --> 00:53:21,520
Speaker 1: show why the breakup happened, Like she sort of alludes

1222
00:53:21,560 --> 00:53:24,000
Speaker 1: to it. She asked him a question, and then I

1223
00:53:24,040 --> 00:53:25,239
Speaker 1: went and looked it up and I was like, Oh,

1224
00:53:25,239 --> 00:53:27,400
Speaker 1: that's exactly what happened. Yeah, like, for sure, that's what happened.

1225
00:53:27,960 --> 00:53:29,359
Speaker 1: Reddit for the wind most of the time.

1226
00:53:29,520 --> 00:53:33,879
Speaker 2: Oh, her sliding down in the kitchen was ten out

1227
00:53:33,880 --> 00:53:36,120
Speaker 2: of ten from me. I'm sorry, I love a person

1228
00:53:36,160 --> 00:53:39,200
Speaker 2: sliding down the wall crying. And she didn't even use

1229
00:53:39,239 --> 00:53:41,680
Speaker 2: a wall, she just slid down. There's something that she

1230
00:53:41,760 --> 00:53:43,239
Speaker 2: slid down on. I loved it.

1231
00:53:43,280 --> 00:53:44,920
Speaker 1: Have you ever slid down a wall crying?

1232
00:53:46,560 --> 00:53:47,520
Speaker 2: Probably as a kid.

1233
00:53:50,280 --> 00:53:51,160
Speaker 4: I don't think I've.

1234
00:53:50,960 --> 00:53:51,600
Speaker 1: Ever done it.

1235
00:53:51,960 --> 00:53:52,360
Speaker 2: I don't know.

1236
00:53:52,480 --> 00:53:54,560
Speaker 1: I'm for sure like I've thrown myself onto a bed

1237
00:53:54,600 --> 00:53:57,319
Speaker 1: like face down, ass up and cried and then you

1238
00:53:57,360 --> 00:53:59,480
Speaker 1: get up and there's this like crazy mask looking thing

1239
00:53:59,560 --> 00:54:02,120
Speaker 1: on your bed of like where the tears were. I've

1240
00:54:02,120 --> 00:54:05,560
Speaker 1: definitely done that. I've never punched anything that I can

1241
00:54:05,600 --> 00:54:08,200
Speaker 1: think of. I don't want to hurt myself.

1242
00:54:08,239 --> 00:54:10,120
Speaker 2: I don't think i've done that either, just the thought.

1243
00:54:10,160 --> 00:54:12,279
Speaker 1: I'm like, I don't pull out my hair. I don't

1244
00:54:12,320 --> 00:54:14,239
Speaker 1: hurt myself. I don't do any of that. I just

1245
00:54:14,320 --> 00:54:17,160
Speaker 1: like I usually just curl into a ball and get

1246
00:54:17,200 --> 00:54:18,520
Speaker 1: pissed about something and then move on.

1247
00:54:18,880 --> 00:54:22,279
Speaker 2: The headache from crying too hard usually like knocks me

1248
00:54:22,360 --> 00:54:24,360
Speaker 2: on my ass anyway, So I try to stop it

1249
00:54:24,400 --> 00:54:26,480
Speaker 2: before it even gets there. I'm like, control yourself.

1250
00:54:26,760 --> 00:54:29,520
Speaker 1: I will tell you this. My face when I cry

1251
00:54:30,680 --> 00:54:32,000
Speaker 1: is what I would like it to look like when

1252
00:54:32,000 --> 00:54:34,600
Speaker 1: I'm not crying, all right, My lips swallow up. They're

1253
00:54:34,600 --> 00:54:36,479
Speaker 1: like puffier than normal. It's like I got a little

1254
00:54:36,480 --> 00:54:39,319
Speaker 1: botox injection. My eyes aren't puffy because my whole face

1255
00:54:39,360 --> 00:54:41,480
Speaker 1: is equally puffy. It's crazy.

1256
00:54:41,600 --> 00:54:43,560
Speaker 2: You are unwhelmed, like people say ugly cry.

1257
00:54:43,600 --> 00:54:46,759
Speaker 1: This is where I want to be. This is great mind,

1258
00:54:46,760 --> 00:54:48,120
Speaker 1: this is not it's not sucker.

1259
00:54:48,239 --> 00:54:50,840
Speaker 2: Oh the snout is not fun. It's not fun.

1260
00:54:51,040 --> 00:54:51,400
Speaker 4: All right.

1261
00:54:51,560 --> 00:54:53,360
Speaker 1: On that note, Diamond, if people want to see you

1262
00:54:53,440 --> 00:54:55,560
Speaker 1: before you slide down a wall because you're so sad,

1263
00:54:56,160 --> 00:54:57,560
Speaker 1: where would they find you at?

1264
00:54:57,560 --> 00:55:00,680
Speaker 2: Diamond sincere on Instagram and threats. She's love threats, I

1265
00:55:00,719 --> 00:55:03,040
Speaker 2: love threads. I have it threaded. Is that what you say?

1266
00:55:03,560 --> 00:55:08,920
Speaker 1: I have no idea, I haven't done, we haven't posted posted.

1267
00:55:10,120 --> 00:55:15,920
Speaker 1: I am at Baby Hot Sauce on Instagram and uh

1268
00:55:16,360 --> 00:55:19,600
Speaker 1: X and threads and we started a page for this

1269
00:55:19,680 --> 00:55:24,080
Speaker 1: podcast sauce on the side. I don't know how Celia

1270
00:55:24,160 --> 00:55:27,080
Speaker 1: got that, but she got it. So maybe a clip

1271
00:55:27,080 --> 00:55:30,600
Speaker 1: will be posted by now, maybe it won't. Choose to say,

1272
00:55:31,000 --> 00:55:32,960
Speaker 1: and that's that art. We'll see you next time. Until then,

1273
00:55:33,080 --> 00:55:35,200
Speaker 1: like follow, subscribe, leave us a review, leave us a

1274
00:55:35,200 --> 00:55:37,279
Speaker 1: talk back. We love it, and we'll see you next week.

1275
00:55:37,480 --> 00:55:41,120
Speaker 4: Say bye,