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Speaker 1: Hello, and welcome back to Movie Mix Movie Podcast. I

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Speaker 1: am your host Movie Mike, and today we are taking

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Speaker 1: a look back at the top five interviews of what

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Speaker 1: a year it's been for movies and what a year

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Speaker 1: it's been for you guys supporting this podcast and seeing

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Speaker 1: this podcast grow, and I just want to say thank you,

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Speaker 1: and I also want to say that together we have

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Speaker 1: really built something special here and with the growth of

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Speaker 1: this podcast comes interviews that I get to do now

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Speaker 1: that I never thought would have been possible. And there

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Speaker 1: were some really great moments throughout this year. So I

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Speaker 1: wanted to share these top five with you, and if

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Speaker 1: you missed any of these episodes, I encourage you to

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Speaker 1: go back in the feed and check out these full interviews.

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Speaker 1: So let's get into it. At number five is James

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Speaker 1: chin Land, who is a name you may not know,

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Speaker 1: but you definitely are familiar with his work. He is

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Speaker 1: a production designer and this year he worked on The Batman,

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Speaker 1: which is one of my favorite movies of the year,

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Speaker 1: and I like getting to learn about the behind the

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Speaker 1: scenes of what go is into making a movie, and

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Speaker 1: that is exactly what his job is as a production designer.

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Speaker 1: It's creating the look and the field and the aesthetic

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Speaker 1: in the movie, and that's very important. And he has

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Speaker 1: one of the most important jobs on The Batman, which

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Speaker 1: would be creating the look of the Batmobile. So that

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Speaker 1: was really cool to get to talk to him about that.

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Speaker 1: Really interesting guy. So at number five is James Chinlin,

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Speaker 1: production designer on The Batman. I obviously want to get

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Speaker 1: into the creation of the Batmobile and the feeling of Gotham.

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Speaker 1: But when you meet somebody for the first time, how

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Speaker 1: do you describe what you do? The quick one is

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Speaker 1: we're responsible for everything you see in the film other

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Speaker 1: than people and um, what they're wearing, you know, I

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Speaker 1: think you know. We're responsible for um, the set, the location, UM,

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Speaker 1: the props, the vehicles, the all of the feelings, basically

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Speaker 1: all the space, the biography of the film. And that

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Speaker 1: also entails like a ton of um logistical stuff like

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Speaker 1: working with the cinematographer figuring out, you know, is there

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Speaker 1: room for the camera, how would this shot work? So

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Speaker 1: it really the thing I love most about my job

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Speaker 1: is it touches all departments that basically we're sort of

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Speaker 1: like the the u N for the film. We have

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Speaker 1: to go around and talk to each department and make

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Speaker 1: sure their needs are being met and simultaneously also deliver

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Speaker 1: like a cohesive piece of design for the movie. Um

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Speaker 1: that is, you know, in step and hopefully amplifying the

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Speaker 1: narrative ambitions of the the director. So starting with the

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Speaker 1: Batmobile and the design and the look of it, does

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Speaker 1: it start with like a sketch from Matt Reeves? Do

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Speaker 1: you go back and research like all the Batmobiles that

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Speaker 1: have been featured in other movies, Like where does the

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Speaker 1: content begin? Well? I think in in our case, I

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Speaker 1: think we were all led by Matt's take on Bruce

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Speaker 1: and the fact that Bruce was a um sort of

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Speaker 1: a do it yourself sort of guy who had like

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Speaker 1: turned his back on way in industries and sort of

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Speaker 1: doing it all with his own hands. So I think

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Speaker 1: we knew that the car needed to be something that

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Speaker 1: you felt his hand on and and hopefully as an

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Speaker 1: audience member you looked at him said you know, if

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Speaker 1: I had the right skill set, I could probably build

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Speaker 1: that car in my garage. That was sort of like

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Speaker 1: what we were hoping for. So the idea that maybe

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Speaker 1: he would use pieces of other cars and sort of

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Speaker 1: kit bash them together, you know, sort of just taking

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Speaker 1: what he needed and and assembling it. So we really

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Speaker 1: wanted you to see the way it was built and

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Speaker 1: make sure that was a part of it. And in

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Speaker 1: terms of the access to that design, I think, you know,

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Speaker 1: we were literally looking at fragments of cars and different

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Speaker 1: pieces and details that we that we liked, and we

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Speaker 1: sort of we knew the mission and what we wanted

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Speaker 1: it to do. And then we leaned into some amazing illustrators,

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Speaker 1: UM into and and got their help as we sort

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Speaker 1: of started to hone it together into into a cohesive hole.

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Speaker 1: And the Batmobile we see in the movie is it

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Speaker 1: a fully functional vehicle. That's what we're most proud of.

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Speaker 1: I mean, we built four the team I should say

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Speaker 1: built for Batmobile is one fully electric um and then

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Speaker 1: three combustion engine cars. And they perform like crazy. I mean,

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Speaker 1: all those stunts you see, you're actually seeing that car

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Speaker 1: do it. You know, UM and UM. We're just no

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Speaker 1: other Batmobile in history has performed the way our car did,

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Speaker 1: you know. And the stunt guys were so excited to

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Speaker 1: get their hands on it, you know, put it through

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Speaker 1: its spaces, and I think it really shows in the chase.

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Speaker 1: It's one of the most visceral car chases I've ever experienced,

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Speaker 1: and uh yeah, I mean Dom Toy, the special effects

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Speaker 1: um coordinator and his team just did an amazing job, um,

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Speaker 1: you know, bringing that kind of raw, visceral physicality to it.

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Speaker 1: I think that's one of the most pivotal parts of

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Speaker 1: the entire movie that chase and got me the most

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Speaker 1: high while watching the movie and knowing that now that

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Speaker 1: actually happened and actually went down, just add so much

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Speaker 1: more to it. And I think a lot of that

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Speaker 1: it's from Robert Pattinson's performance. How much did he actually

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Speaker 1: get to drive the Batmobile before and how much did

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Speaker 1: he actually do during the filming of the movie. I mean,

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Speaker 1: he's in the car a lot, whether he's actually controlling

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Speaker 1: it or not. There was a there was a um,

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Speaker 1: the guy's built a what's called the pod car, so

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Speaker 1: Rob's at the wheel and then there's a stunt driver

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Speaker 1: like in a in a pod on the top on

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Speaker 1: the roof who's actually doing it. But you know, in

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Speaker 1: a way, I think that even speaks more to Rob's

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Speaker 1: bravery and intensity. Tobay actually like driving in this car

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Speaker 1: while someone else is actually putting you through all that stuff.

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Speaker 1: So um, but he drove it a bit and um,

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Speaker 1: he certainly put it through his paces himself. So and

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Speaker 1: I think all of those things come through. I think

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Speaker 1: you feel that in the film. You feel the sort

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Speaker 1: of sweat and and um burning rubber and rain and

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Speaker 1: all those things. I think it really comes through in

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Speaker 1: the final product. Did you get your driving at all?

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Speaker 1: I did? I did dream come true? That's amazing. Yeah,

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Speaker 1: I know, I know. I was so excited. So the

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Speaker 1: other thing about this movie that really just kind of

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Speaker 1: grabbed me is that I feel like it's the best

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Speaker 1: iteration of all the characters. But the character that I

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Speaker 1: feel sometimes people don't really talk about is the city

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Speaker 1: of Gotham itself. It has a presence in this movie

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Speaker 1: that feels like like it did its own driving force.

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Speaker 1: And I think a lot of that is due to

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Speaker 1: the technology you guys use I believe it's the led

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Speaker 1: volume screens. Yes, Like, how how did that tech work

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Speaker 1: to help the actors feel like they were more like

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Speaker 1: involved in the scene and in that environment aside from

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Speaker 1: just being behind like a green screen or a blue screen.

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Speaker 1: It's fairly obvious, Like, um, the difference between you know,

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Speaker 1: um staring at a piece of fabric and then looking

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Speaker 1: out into a you know, a city that's fully realized

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Speaker 1: for you, with like wind blowing and helicopters flying by

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Speaker 1: and traffic. It was so exciting to be able to, Um,

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Speaker 1: you know, often as a designer will design something and

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Speaker 1: then hope that it comes together and post and we're

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Speaker 1: at the premiere and we sort of see it all

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Speaker 1: come together. But this was, you know the first time

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Speaker 1: in my career where I had actually been able to

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Speaker 1: design something and see it fully realized on camera during

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Speaker 1: the shoot, and um, yeah, it was just so so

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Speaker 1: exciting to be able to bring all that together. Greg

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Speaker 1: was obviously, you know, really leaning into the tools and

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Speaker 1: making sure that you know, the scene we shot sunset

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Speaker 1: and dusk and dawn, you know, taking advantage of those

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Speaker 1: low light opportunities, and I think the actors really felt it,

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Speaker 1: you know, and I think it really came through in

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Speaker 1: their performance. You also worked on The Avengers, which you've

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Speaker 1: worked in DC and Marvel, and I believe you grew

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Speaker 1: up in New York City. I did, so getting to

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Speaker 1: design something like the Stark Tower having growing up there

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Speaker 1: and you know, knowing exactly like what the city layout

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Speaker 1: is how was that process of like, Okay, I'm gonna

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Speaker 1: create something that's not actually here, but make it feel

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Speaker 1: like it is in New York City. It's just like

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Speaker 1: I pinched myself at the dream dream come true of

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Speaker 1: it all, you know, Stark Tower. For me as a kid,

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Speaker 1: I'd always looked at the Panama Building, and Um, I

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Speaker 1: feel like what we did, whether we actually realized it

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Speaker 1: or not, is going to live forever in the history

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Speaker 1: of New York as a piece of architecture that will

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Speaker 1: always be at least a footnote to that building's history

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Speaker 1: that people will say, and it was used in Avengers

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Speaker 1: and in this way. And so I think, you know,

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Speaker 1: I mean, we're building architecture and worlds that live forever

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Speaker 1: in people's imagine sations, you know. And so I think

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Speaker 1: in the same token like going into Gotham and figuring out,

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Speaker 1: you know, like I have this opportunity to carve out

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Speaker 1: sort of a new space for the fans of Batman

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Speaker 1: to dream and and and um, you know, it's as

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Speaker 1: a designer, it's it's the greatest gift to be able

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Speaker 1: to touch people in that way. And what is the

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Speaker 1: next project you're working on? I don't know. I'm just

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Speaker 1: working on getting through these interviews today. Um. Yeah, I

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Speaker 1: don't know what's coming next. Are you always just like

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Speaker 1: designing and making notes in your head of like you

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Speaker 1: go out in public and maybe you see like a

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Speaker 1: landscape or you see like a skyline that speaks to you.

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Speaker 1: Do you always just keep like record of all those things?

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Speaker 1: Take pictures? Yeah, I mean I think that's that's that's um,

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Speaker 1: that's a designer's greatest resource is you know, just um,

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Speaker 1: the more you design, the more you are able to

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Speaker 1: see in the world and details that you notice that

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Speaker 1: maybe other people might cruise through. I think, you know,

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Speaker 1: we tried to bring all that to the development of Gotham.

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Speaker 1: You know, I think there's so much, so many things

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Speaker 1: you don't see that are hidden in the shadows. But

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Speaker 1: the team, you know, the level of detail that we

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Speaker 1: brought to those sets, every square into the back lot

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Speaker 1: and Riddler's apartment, you know, I mean we went so deep.

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Speaker 1: Any book you opened, you know, it was fully relevant

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Speaker 1: to his past. So I think, yeah, we try. As

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Speaker 1: a designer, you try and just you know, catalog the

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Speaker 1: world and and bring those feelings back to the film. Well,

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Speaker 1: it's a great talking to you. James really appreciate it too,

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Speaker 1: Thanks Mike, Thank you. At number four is Amy Brown

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Speaker 1: of Holiday Harmony. And I've known Amy for a long time,

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Speaker 1: back to my days of interning on The Bobby Bones

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Speaker 1: Show and now working with her as the head writer

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Speaker 1: over there. We see each other every day, but this

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Speaker 1: is the first time we've sat down to do an

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Speaker 1: episode of this podcast and I got to interview her

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Speaker 1: as an actor. She got to make her acting debut,

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Speaker 1: and her movie is out now on HBO Max Holiday

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Speaker 1: Harmony if you haven't seen yet. But it was cool

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Speaker 1: getting to learn and hear about my friend's dream come true.

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Speaker 1: So here at number four is Amy Brown of Holiday Harmony.

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Speaker 1: I am in studio now with Amy from Holiday Harmony.

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Speaker 1: How are you doing. Oh? I'm Amy from Holiday Heart.

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Speaker 1: That is who you are, not Amy Brown or Amy

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Speaker 1: from the Bobby Bone Show or Amy from Four Things.

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Speaker 1: You're here as an actress today. I know it's kind

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Speaker 1: of crazy. So well, I am an actress, but in

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Speaker 1: the movie I'm playing myself, but you still act in

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Speaker 1: the movie. That is true. I did have to act.

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Speaker 1: I'm nervous because well, you've seen it and you're going

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Speaker 1: to give a review, And I have to be honest

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Speaker 1: with that. I have the same link that you have

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Speaker 1: for pre screening, and I can't bring myself to watch it.

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Speaker 1: You haven't watched it yet, No, I can't decide if

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Speaker 1: I just want to experience a Thanksgiving day like everybody

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Speaker 1: else and watch it with my kids and everybody be there,

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Speaker 1: and then, you know, probably close my eyes whenever my

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Speaker 1: scenes come on. Why do you think that is that

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Speaker 1: you're so nervous to watch yourself back? Is it that

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Speaker 1: you don't feel like you did a good job. You

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Speaker 1: just cringe at the thought of seeing yourself on screen.

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Speaker 1: I think it's new to me. I have not ever

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Speaker 1: done anything like this, and with the movie role, I

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Speaker 1: was very nervous but also excited. So I don't know

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Speaker 1: if I'll be one of those people that just can't

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Speaker 1: watch themselves on screen. Maybe I think part of it is, Mike.

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Speaker 1: I wish I would have taken some acting lessons before,

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Speaker 1: and then I would have gone in with a little

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Speaker 1: more confidence. So you're saying you're used to being on

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Speaker 1: a stage, Yes, You're used to talking to a microphone

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Speaker 1: in the radio show, yes, So for you, I feel

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Speaker 1: like you're a natural performer, like you can just walk

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Speaker 1: into your room, you can start a conversation with anybody.

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Speaker 1: You have that about you. When you felt and you

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Speaker 1: were on set doing this movie, do you feel like

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Speaker 1: that came out? There was like a switch in your brain.

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Speaker 1: I tried to turn it on. I definitely told myself, Okay,

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Speaker 1: you're here. This is something that you've dreamt about but

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Speaker 1: never really thought would ever happen. That's what being in

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Speaker 1: a Christmas movie is, something that I just said I

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Speaker 1: would enjoy one day, like that would be cool. But

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Speaker 1: would I ever really do it? I don't know, And

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Speaker 1: it would come up casually here on the show or

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Speaker 1: in talking with friends. Oh, I would love to be

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Speaker 1: the barista at the coffee shop where the two main

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Speaker 1: characters fall in love or whatever in the small mountain

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Speaker 1: town and it's snowing outside, and I would have a

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Speaker 1: small role, just because those Christmas movies make me feel good.

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Speaker 1: I love everything about them. I have since it's sort

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Speaker 1: of they gained notoriety on Hallmark and then Lifetime I

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Speaker 1: think started making some and then now they're everywhere. Netflix

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Speaker 1: coops them up. Yeah, h Ours is on HBO Max,

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Speaker 1: which is one of the coolest of the coolest places.

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Speaker 1: I think that there is to stream something so there's

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Speaker 1: more and more of them out there, which is awesome.

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Speaker 1: But I have always loved them, and I know a

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Speaker 1: lot of people have. But I think it's because how

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Speaker 1: they make me feel, and they just feel they're feel

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Speaker 1: good stories. I love the holidays, I love the coziness.

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Speaker 1: I love the same storyline over and over and over.

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Speaker 1: It's so predictable, but I don't care. Although Holiday Harmony

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Speaker 1: took a different twist, especially with like the singing and

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Speaker 1: her career and kind of where she would is going.

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Speaker 1: I know bits and pieces because I read some of

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Speaker 1: the script, haven't watched it yet, but I obviously know

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Speaker 1: where she's coming from. What my what my job was

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Speaker 1: as her guide in a way in the bathroom, that

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Speaker 1: was my job. I had that one scene that was

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Speaker 1: a pivotal moment for her, so I knew I had

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Speaker 1: to turn it on and show up and do my job.

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Speaker 1: Even though it was exciting, I just still was nervous too.

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Speaker 1: It's just all the things, Mike, all the things. I

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Speaker 1: want to get back to your scene here in a bit.

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Speaker 1: But you said this was always a dream of yours.

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Speaker 1: Was it an instant yes, when the role was offered

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Speaker 1: to you, when this opportunity came with it an instant yes, instant.

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Speaker 1: I was over the moon. I don't I didn't even

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Speaker 1: know many details at all, whatsoever I think I heard

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Speaker 1: would you ever be interested in doing a Christmas Yes?

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Speaker 1: Yes I would. I don't even think so before you

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Speaker 1: knew that, like how much it paid, how much time

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Speaker 1: committed it was going to be. It was just automatic, yes, automatic, Yes,

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Speaker 1: that's it, like I mean there are Yeah, you didn't

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Speaker 1: have to twist my arm. I just was thankful that

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Speaker 1: it worked out with the show. Obviously, Bobby always works

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Speaker 1: with us if we've got something cool going on, like

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Speaker 1: he'll figure it out. But this was interesting too because

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Speaker 1: it was part of My Heart Radio and one of

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Speaker 1: our bosses in New York, Tom Pullman, was the one

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Speaker 1: that was given the script, and so I guess I

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Speaker 1: was probably shocked too that he read the script and

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Speaker 1: then thought, oh, would Amy Brown be interested in this?

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Speaker 1: And then Sissony from Ryan Seacrest Show, she's also considered.

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Speaker 1: I think they wanted two females in radio, but that

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Speaker 1: my name made the shortlist or the list, or that

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Speaker 1: I came to mind for him. But I was totally

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Speaker 1: flattered and honored and said yes right away. So you

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Speaker 1: get the part. How intimidating is it once you get

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Speaker 1: your lines and you see how much you have to learn? Oh,

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Speaker 1: I was studying it. I got out highlighters and pins,

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Speaker 1: and they said, you know, we'll have you'll have freedom

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Speaker 1: to make it your own, but this is what we

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Speaker 1: would like to see happen. But also when the cameras

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Speaker 1: are rolling, if other things come out, that's okay. Don't

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Speaker 1: feel like you have to stick just to this script.

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Speaker 1: And there was some things where I was like, oh,

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Speaker 1: I don't know that I would say it this way,

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Speaker 1: and so I would start just practicing it and the

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Speaker 1: way that I felt most comfortable with, but also was

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Speaker 1: still in their parameters. I didn't want to go completely

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Speaker 1: row well, I actually think that the story line or

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Speaker 1: the scene or my part of the script should go

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Speaker 1: like this. I didn't deviate too much, but I tried

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Speaker 1: to make sure, especially since I was playing myself, that

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Speaker 1: it sounded like something I would authentically say. I think

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Speaker 1: that is what came across in your scene. And when

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Speaker 1: you came on screen, I got really excited. And then

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Speaker 1: when you started acting. I was like, I know, she

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Speaker 1: is being Amy Brown right now, but I felt there

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Speaker 1: was some genuine acting there and I could see that.

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Speaker 1: So that I wondered if all that was like the

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Speaker 1: lines like you said, or it was some of you

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Speaker 1: adding in like how you would say it, because that

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Speaker 1: came across like perfectly. Well. So they needed my character

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Speaker 1: to have an agent and to have an experience of

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Speaker 1: having other people tried to tell you who you're supposed

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Speaker 1: to be in the spotlight, and that felt a little

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Speaker 1: weird to me because I don't have an agent, and

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Speaker 1: so that's where I struggled. So that part was the acting.

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Speaker 1: The I don't really think are my position on the

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Speaker 1: Bobby Bones Show. No one's ever forced me to be

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Speaker 1: anything that I'm not. So I felt very fortunate in

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Speaker 1: that because I know that's not the case for a

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Speaker 1: lot of people that have jobs, whether they're an on

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Speaker 1: air personality, they're on TV, they're on stage performers, you know,

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Speaker 1: they sometimes are put in really crazy positions where they're

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Speaker 1: altering a lot about themselves or they feel like they

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Speaker 1: have to change in a certain way. And so I

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Speaker 1: was trying to tap into that of what would it

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Speaker 1: really feel like if someone had ever told me I

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Speaker 1: couldn't be who I was. And ultimately, that's what's happening

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Speaker 1: with Gail. You know, she's suddenly doesn't even recognize herself

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Speaker 1: and she doesn't feel good in her skin because she

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Speaker 1: she wants to be Gail. Trevor is up there, and

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Speaker 1: she's not able to be because of the label. And

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Speaker 1: so that was that was what I had to tap into.

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Speaker 1: That was the acting because you know, you know, you've

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Speaker 1: worked with me for years. We're not told you, oh,

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Speaker 1: you need to be more country, less country, more girly,

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Speaker 1: less girly, which was my line and I had, but

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Speaker 1: I had to say to her, Hey, I get it.

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Speaker 1: I've been where you are. But I also know other pressures.

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Speaker 1: So I tried to just think of those and what

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Speaker 1: I would genuinely say to a coworker or anybody here

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Speaker 1: on the show if I ran into them in the bathroom,

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Speaker 1: what what would I say to them? And that's sort

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Speaker 1: of what that that scene was. I mean, we were

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Speaker 1: literally in the I Heart Radio bathroom. Well, I thought

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Speaker 1: that scene was great, and like you said, it was

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Speaker 1: a pivotal moment in the entire movie. There was no

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Speaker 1: way they could cut you out. No. I mean that

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Speaker 1: I think was was my saving grace. Just in case

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Speaker 1: I ended up being terrible. They would have to completely

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Speaker 1: reshoot the scene with somebody else because the it changes

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Speaker 1: the trajectory of what she does. So I'm curious about

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Speaker 1: the filming process and all the different roles of the

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Speaker 1: people on the movie. So when you get on set,

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Speaker 1: what exactly does the director do? Do you get to

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Speaker 1: meet with him? I do. He came up and introduced

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Speaker 1: himself to me right away, and I I don't know

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Speaker 1: if this is on every set. It can't be, because

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Speaker 1: you know, you hear horror stories. But every single person

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Speaker 1: was so cool, and I was I was a little

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Speaker 1: bit shocked that multiple producers, directors, writers came up, shook

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Speaker 1: my hand, knew my name, knew exactly what I was

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Speaker 1: going to be doing. That it was. It was set

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Speaker 1: up that way even before I met them in l A.

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Speaker 1: Because they were all on the emails. They could just

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Speaker 1: tell they were very involved, and I'd be like, Wow,

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Speaker 1: I can't believe they're taking the time to email me

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Speaker 1: right now. You would think they would have an assistance

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Speaker 1: assistant or somebody doing it. I don't know. I just

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Speaker 1: had this Hollywood image in my mind of what communication

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Speaker 1: would look like. But it couldn't have been more personal.

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Speaker 1: And so yeah, super friendly staff everyone, even you know,

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Speaker 1: Laurence Swickard she pulled me aside, is one of the

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Speaker 1: writers on it and a producer. She even has a

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Speaker 1: few scenes in it as well. But she pulled me

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Speaker 1: aside outside the bathroom before I went in, and she said,

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Speaker 1: just say it to me, now, how you plan on

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Speaker 1: saying it once you get in the bathroom. And I

398
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Speaker 1: have to say, to let me back up walking into

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Speaker 1: the bathroom, the acting of just casually walking into the

400
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Speaker 1: bathroom because I followed her, that's I struggled with that.

401
00:20:22,680 --> 00:20:26,199
Speaker 1: That's not even words. You're just having to walk in

402
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Speaker 1: a room. It's supposed to be natural, but sometimes doing

403
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Speaker 1: something natural and camera like totally amplified because there's sound guys,

404
00:20:33,080 --> 00:20:36,119
Speaker 1: there's camera guys. You're you know. I I tried to

405
00:20:36,160 --> 00:20:37,879
Speaker 1: be like, okay, just be cool'll be like you're walking

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Speaker 1: into a bathroom. But I also was sort of putting

407
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Speaker 1: myself in a situation. Nobody invited me to the bathroom,

408
00:20:43,720 --> 00:20:47,200
Speaker 1: so I knew I needed to be hesitant in my

409
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Speaker 1: approach because it's not like I was just walking into

410
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Speaker 1: the bathroom with a friend. I was walking in the

411
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Speaker 1: bathroom as someone that picked up on something. My intuition

412
00:20:57,480 --> 00:21:00,199
Speaker 1: picked up on something, and I went into to be

413
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Speaker 1: a guide, and so I had to kind of cautiously

414
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Speaker 1: walk in. It's not like she's my best friend either,

415
00:21:05,880 --> 00:21:08,639
Speaker 1: you know, I'm more of someone that she's just working

416
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Speaker 1: with in the movie. So anyway, that walking was acting,

417
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Speaker 1: so we'll see. I don't know if you picked up

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Speaker 1: on any weirdness with my walking. I don't think it

419
00:21:16,840 --> 00:21:21,399
Speaker 1: looked weird at all. Okay, Well, my bathrooms lines outside

420
00:21:21,400 --> 00:21:24,080
Speaker 1: of their outside of the bathroom, Lawrence Swickard went over

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00:21:24,119 --> 00:21:25,879
Speaker 1: them with me and she said, Sam, Sam, how you

422
00:21:25,920 --> 00:21:27,760
Speaker 1: plan on saying them? And so I did it and

423
00:21:27,800 --> 00:21:30,399
Speaker 1: she said, okay, that's good, but I want you to

424
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Speaker 1: think about it this way, and I want you to

425
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Speaker 1: try to use this tone. And then she would voice

426
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Speaker 1: the tone to me of what like softer, like almost

427
00:21:38,800 --> 00:21:43,440
Speaker 1: you know, less country, more country, more a whisper. It's

428
00:21:43,440 --> 00:21:45,320
Speaker 1: more like I was just talking them because I was

429
00:21:45,800 --> 00:21:49,000
Speaker 1: talking the lines out with a with a friend, and

430
00:21:49,040 --> 00:21:51,080
Speaker 1: she's like, you need to be more. I don't know,

431
00:21:51,480 --> 00:21:53,760
Speaker 1: I can't even remember the words she used to describe it,

432
00:21:53,800 --> 00:21:57,120
Speaker 1: but whatever she told me in that moment was so helpful.

433
00:21:57,400 --> 00:22:01,119
Speaker 1: And having her mimic it like her do it and

434
00:22:01,119 --> 00:22:04,720
Speaker 1: then me mimic her was incredibly helpful. And that was

435
00:22:04,880 --> 00:22:07,359
Speaker 1: right before we went into film and we filmed it

436
00:22:07,440 --> 00:22:10,800
Speaker 1: probably you know, four or five takes, and I don't

437
00:22:10,800 --> 00:22:13,479
Speaker 1: know which ones they ended up going with or if

438
00:22:13,480 --> 00:22:16,639
Speaker 1: they patched certain ones together. I don't know how it

439
00:22:16,680 --> 00:22:19,680
Speaker 1: came together because again still haven't seen it. Well again,

440
00:22:19,720 --> 00:22:21,720
Speaker 1: I think the scene was great. I think a lot

441
00:22:21,760 --> 00:22:23,879
Speaker 1: of what I picked up on from your acting is

442
00:22:23,920 --> 00:22:27,480
Speaker 1: that sometimes when I see early actors doing their work,

443
00:22:28,080 --> 00:22:30,560
Speaker 1: it's very apparent that they're reading lines. And with you,

444
00:22:30,600 --> 00:22:33,639
Speaker 1: it felt very natural, like it was like you being you,

445
00:22:34,119 --> 00:22:37,199
Speaker 1: and they came across. My jaw just dropped. Because you

446
00:22:37,480 --> 00:22:41,439
Speaker 1: watching critique movies well for a living, but even before

447
00:22:41,520 --> 00:22:45,160
Speaker 1: you had this podcast, you did it for fun. This

448
00:22:45,240 --> 00:22:47,879
Speaker 1: is your path, like movies or your thing, and so

449
00:22:48,200 --> 00:22:51,280
Speaker 1: that really means a lot coming from you, because you

450
00:22:51,320 --> 00:22:53,640
Speaker 1: watch a lot of things, and you're watching for things

451
00:22:53,680 --> 00:22:56,040
Speaker 1: that I maybe wouldn't even never see. I watched for

452
00:22:56,080 --> 00:22:59,720
Speaker 1: that and I just wanted to see how you would do.

453
00:23:00,040 --> 00:23:02,000
Speaker 1: And I was really surprised and really happy for you,

454
00:23:02,040 --> 00:23:05,919
Speaker 1: Like I got excited, And so now I wonder what

455
00:23:06,160 --> 00:23:07,480
Speaker 1: is next for you? Like what do you want to

456
00:23:07,520 --> 00:23:09,280
Speaker 1: do with this? I know you've had this kind of

457
00:23:09,320 --> 00:23:12,040
Speaker 1: moment of your taking acting classes now, and you had

458
00:23:12,080 --> 00:23:14,199
Speaker 1: this kind of struggle of like who am I? Like?

459
00:23:14,240 --> 00:23:17,440
Speaker 1: What am I doing taking acting classes? Where is that going? Now?

460
00:23:17,720 --> 00:23:20,560
Speaker 1: So I left l A. It was a whirlwind of

461
00:23:20,600 --> 00:23:23,879
Speaker 1: a day, every little experience on set, from the trailer

462
00:23:23,920 --> 00:23:26,280
Speaker 1: to the makeup to the lunch time, which I'm sure

463
00:23:26,320 --> 00:23:28,399
Speaker 1: some of that would die die off the more you

464
00:23:28,480 --> 00:23:30,640
Speaker 1: do it, but for me, it got it. We were

465
00:23:30,680 --> 00:23:32,800
Speaker 1: not supposed to be there that long. I think it

466
00:23:32,880 --> 00:23:35,520
Speaker 1: was supposed to be a four or five hour day,

467
00:23:35,720 --> 00:23:38,320
Speaker 1: and we were there for so long. And when I

468
00:23:38,440 --> 00:23:41,359
Speaker 1: left there, I was energized, and I went to bed

469
00:23:41,440 --> 00:23:43,680
Speaker 1: with just this extra pep in my step when I

470
00:23:43,680 --> 00:23:46,119
Speaker 1: should have been exhausted. And so I just sat with

471
00:23:46,160 --> 00:23:48,320
Speaker 1: that for a while, and what does that mean? And

472
00:23:48,560 --> 00:23:51,000
Speaker 1: what could this mean? And and the first thing that

473
00:23:51,040 --> 00:23:53,720
Speaker 1: popped in my head when I was asking myself that is, well,

474
00:23:53,760 --> 00:23:55,920
Speaker 1: maybe it means this is something that you would actually

475
00:23:55,960 --> 00:23:58,600
Speaker 1: really enjoy doing and that would fill your cup up

476
00:23:58,640 --> 00:24:02,160
Speaker 1: and bring you joy. Then that thought was immediately followed

477
00:24:02,160 --> 00:24:04,520
Speaker 1: with another angel devil. I don't know what you want

478
00:24:04,520 --> 00:24:06,640
Speaker 1: to call it, but like the counterpart of my brain

479
00:24:06,760 --> 00:24:09,040
Speaker 1: that's like, oh, but you could never do that, and

480
00:24:09,119 --> 00:24:10,399
Speaker 1: why would you even think you can do that? And

481
00:24:10,440 --> 00:24:12,880
Speaker 1: you're forty one years old? And but when I got

482
00:24:12,880 --> 00:24:15,600
Speaker 1: into radio, I had never done radio either. And now

483
00:24:15,640 --> 00:24:19,240
Speaker 1: here we are, almost seventeen years later, and I didn't

484
00:24:19,320 --> 00:24:22,640
Speaker 1: want to keep myself from that. What if twenty years

485
00:24:22,680 --> 00:24:25,080
Speaker 1: from now and I'm sixty one, I maybe have a

486
00:24:25,119 --> 00:24:27,639
Speaker 1: few movies under my belt and not I don't I

487
00:24:27,640 --> 00:24:29,760
Speaker 1: don't know that. I have this vision of me being

488
00:24:29,840 --> 00:24:32,439
Speaker 1: some main character in any way, but just being a

489
00:24:32,480 --> 00:24:34,960
Speaker 1: part of the process and that being another layer to

490
00:24:35,240 --> 00:24:38,119
Speaker 1: creativity and something that I like to do. And I

491
00:24:38,160 --> 00:24:39,919
Speaker 1: thought so, I thought about that. I thought about how

492
00:24:39,920 --> 00:24:41,720
Speaker 1: I'd never done radio, but I gave it a go

493
00:24:42,200 --> 00:24:44,879
Speaker 1: and it just took Bobby believing in me. And I

494
00:24:45,320 --> 00:24:48,480
Speaker 1: feel like the Lauren Swickard in particular, she was on

495
00:24:48,680 --> 00:24:50,879
Speaker 1: my podcast. The episode will go up this week on

496
00:24:50,960 --> 00:24:53,520
Speaker 1: Thanksgiving Day, when when the movie comes out, it'll be

497
00:24:53,520 --> 00:24:56,239
Speaker 1: on four Things. But she I feel as though she

498
00:24:56,400 --> 00:24:59,560
Speaker 1: was genuine when she said, you you do have something

499
00:24:59,760 --> 00:25:02,439
Speaker 1: so and apparently my name has come up in some

500
00:25:02,520 --> 00:25:04,439
Speaker 1: meetings that they've had for other films. I don't know

501
00:25:04,480 --> 00:25:06,640
Speaker 1: for what because she didn't elaborate, but I don't think

502
00:25:06,640 --> 00:25:08,520
Speaker 1: she would have said that out of nowhere, but it

503
00:25:08,600 --> 00:25:11,560
Speaker 1: just gave me that extra little piece of validation. So anyway,

504
00:25:11,560 --> 00:25:13,639
Speaker 1: all that to say, I wanted to be able to

505
00:25:14,640 --> 00:25:16,960
Speaker 1: know that when I'm sixty, at least I gave it

506
00:25:17,000 --> 00:25:19,919
Speaker 1: a try. Maybe it works out, maybe it doesn't, and

507
00:25:19,960 --> 00:25:22,240
Speaker 1: I don't have a few movies under my belt, but

508
00:25:22,280 --> 00:25:24,120
Speaker 1: at least I'll know that I tried. And so that's

509
00:25:24,119 --> 00:25:27,919
Speaker 1: when I decided to book acting lessons. Well, I can

510
00:25:27,960 --> 00:25:30,440
Speaker 1: see it in you, and I hope you do another movie. Well,

511
00:25:30,480 --> 00:25:32,560
Speaker 1: thank you Amy for being on the podcast. Thank you

512
00:25:32,600 --> 00:25:34,199
Speaker 1: for having me. I could talk to you all day long.

513
00:25:34,240 --> 00:25:35,920
Speaker 1: If you can't tell I think you've tried to wrap

514
00:25:35,960 --> 00:25:37,480
Speaker 1: me up like three times, and I'm like so much.

515
00:25:37,880 --> 00:25:41,520
Speaker 1: I'm talking about we'll see you next time you do

516
00:25:41,560 --> 00:25:44,000
Speaker 1: your next movie. Okay, Yeah, happy to come back because

517
00:25:44,640 --> 00:25:53,760
Speaker 1: we're thinking positively, we're manifesting that. Let's go at Number

518
00:25:53,920 --> 00:25:56,919
Speaker 1: three is David Silverman, who is the director of the

519
00:25:56,960 --> 00:26:00,760
Speaker 1: Simpsons Movie, which is celebrating its fifteenth anniverse red this year,

520
00:26:01,440 --> 00:26:03,919
Speaker 1: and he was there from the very beginning, worked on

521
00:26:04,000 --> 00:26:06,520
Speaker 1: the design and the look of the Simpsons back when

522
00:26:06,520 --> 00:26:09,200
Speaker 1: it started on the Tracy Ullman Show in the eighties.

523
00:26:09,240 --> 00:26:12,119
Speaker 1: And I am a huge Simpsons fan, have been watching

524
00:26:12,160 --> 00:26:15,199
Speaker 1: the show in my entire life, continue to watch it regularly.

525
00:26:15,440 --> 00:26:18,320
Speaker 1: So this was a really cool opportunity for me to

526
00:26:18,359 --> 00:26:20,439
Speaker 1: get to talk to somebody who actually works on the

527
00:26:20,440 --> 00:26:23,800
Speaker 1: show and who directed the movie. So we got into

528
00:26:23,840 --> 00:26:26,159
Speaker 1: all of the nerdy stuff I wanted to know about.

529
00:26:26,359 --> 00:26:28,440
Speaker 1: And I think you guys found it pretty interesting too,

530
00:26:28,480 --> 00:26:30,560
Speaker 1: because it was one of the most downloaded episodes of

531
00:26:30,600 --> 00:26:32,960
Speaker 1: the year, So thank you for that. Number Three, here

532
00:26:33,040 --> 00:26:37,560
Speaker 1: is David Silverman, director of the Simpsons Movie. David Silverman,

533
00:26:37,640 --> 00:26:39,800
Speaker 1: how are you. I'm great. How are you doing today?

534
00:26:39,880 --> 00:26:41,760
Speaker 1: I'm doing pretty good. It's an honor to get to

535
00:26:41,800 --> 00:26:45,120
Speaker 1: talk to you. You're just so much of an influence

536
00:26:45,160 --> 00:26:47,919
Speaker 1: on the Simpsons and the design and the look. And

537
00:26:48,040 --> 00:26:50,680
Speaker 1: I'm a huge Simpsons fan. And we want to get

538
00:26:50,720 --> 00:26:53,399
Speaker 1: into talking about the fifteenth anniversary of the Simpsons Movie.

539
00:26:53,640 --> 00:26:56,080
Speaker 1: So looking at the show now, how long does a

540
00:26:56,119 --> 00:26:59,399
Speaker 1: single episode of the Simpsons take from when it's written

541
00:26:59,440 --> 00:27:01,080
Speaker 1: to when it's comes to you, like, how did it

542
00:27:01,119 --> 00:27:03,800
Speaker 1: come to you? Well, it comes to us as a generally,

543
00:27:04,160 --> 00:27:05,560
Speaker 1: it comes to us on the table read. That's the

544
00:27:05,560 --> 00:27:07,240
Speaker 1: first time we get it. And I remember in the

545
00:27:07,359 --> 00:27:10,040
Speaker 1: very beginning to that was my first experience. There was

546
00:27:10,080 --> 00:27:12,159
Speaker 1: a table read for Bart the Genius. That was the

547
00:27:12,160 --> 00:27:14,040
Speaker 1: first show I direct, and I remember saying, this is

548
00:27:14,080 --> 00:27:16,640
Speaker 1: the funniest thing ever written for animation. At the time,

549
00:27:16,720 --> 00:27:19,960
Speaker 1: I just thought this was this is genius. So table

550
00:27:20,000 --> 00:27:25,000
Speaker 1: read it's about it's about nine months one episode. There

551
00:27:25,000 --> 00:27:27,879
Speaker 1: are a lot but what you have, you have we

552
00:27:27,960 --> 00:27:30,159
Speaker 1: we it's meticulous. You have the table read, and then

553
00:27:30,160 --> 00:27:33,840
Speaker 1: you have the storyboard process and then notes on storyboard,

554
00:27:33,840 --> 00:27:36,800
Speaker 1: and then we do an automatic process. And that's the

555
00:27:36,880 --> 00:27:38,560
Speaker 1: number of weeks of doing all the drawings for the

556
00:27:38,560 --> 00:27:42,600
Speaker 1: automatic we should lay out the entire show basically before

557
00:27:42,600 --> 00:27:45,760
Speaker 1: you decided to story real the entire show. Save a

558
00:27:45,840 --> 00:27:48,520
Speaker 1: lot of time and money that way, and then comes

559
00:27:49,119 --> 00:27:52,360
Speaker 1: you know, the finished animation and timing it and then

560
00:27:52,400 --> 00:27:55,840
Speaker 1: going out to our Korean studio either a come or

561
00:27:56,040 --> 00:28:00,320
Speaker 1: rough draft Korea, and they take like ten weeks to animate, finish,

562
00:28:01,080 --> 00:28:04,439
Speaker 1: fill in the mostly and we we actually do a

563
00:28:04,480 --> 00:28:08,000
Speaker 1: lot of animation. We do all those key posing, heavily

564
00:28:08,119 --> 00:28:13,680
Speaker 1: key posed our shows. Uh and um uh. But it

565
00:28:13,720 --> 00:28:15,680
Speaker 1: takes some ten weeks to finish it up and paint.

566
00:28:15,720 --> 00:28:20,040
Speaker 1: It used to be painted on seals, you know, and uh,

567
00:28:20,200 --> 00:28:22,280
Speaker 1: but now it's digitally painted, but still takes the same

568
00:28:22,320 --> 00:28:25,359
Speaker 1: line at the time. It's still time consuming. You're saying

569
00:28:25,440 --> 00:28:28,439
Speaker 1: nine months from one episode, but you're working on several

570
00:28:28,480 --> 00:28:30,800
Speaker 1: different episodes, I mean, the whole season. How in the

571
00:28:30,800 --> 00:28:33,200
Speaker 1: world do you get an entire season done like that?

572
00:28:33,480 --> 00:28:35,480
Speaker 1: All I can tell you it takes a chunk of time. Yeah,

573
00:28:35,880 --> 00:28:38,760
Speaker 1: and it is. It is like, okay, here's this timeline

574
00:28:38,800 --> 00:28:40,800
Speaker 1: for let's say the first episode of the season, right,

575
00:28:41,160 --> 00:28:43,920
Speaker 1: and then here's the next episode, and here's the next episode.

576
00:28:43,960 --> 00:28:47,320
Speaker 1: Here's the next episode. So they're staggered, right, So one

577
00:28:47,400 --> 00:28:50,080
Speaker 1: director is working on this, and our second director is

578
00:28:50,080 --> 00:28:53,400
Speaker 1: working on this with his you know, animation team and

579
00:28:53,440 --> 00:28:55,520
Speaker 1: so forth. And then we have you know, we have

580
00:28:55,600 --> 00:28:58,120
Speaker 1: designers that work on all the shows basically at all

581
00:28:58,160 --> 00:29:01,000
Speaker 1: the times. So there's imagine it. It's like it with

582
00:29:01,080 --> 00:29:03,800
Speaker 1: different moving trains, you know, but they're all a week

583
00:29:03,840 --> 00:29:08,200
Speaker 1: apart and they leave the station and then the film

584
00:29:08,320 --> 00:29:09,920
Speaker 1: arrives here and then when they come back on a

585
00:29:09,920 --> 00:29:12,200
Speaker 1: weekly basis. But that's why we start in March. So

586
00:29:12,240 --> 00:29:15,480
Speaker 1: we start the process of storyboarding in March to make

587
00:29:15,520 --> 00:29:18,560
Speaker 1: our times for the next you know, for for the

588
00:29:18,600 --> 00:29:22,160
Speaker 1: fall season. Uhh. And we have like seven episodes, six

589
00:29:22,320 --> 00:29:25,920
Speaker 1: seven episodes for the previous schedule to sort of give

590
00:29:25,960 --> 00:29:28,600
Speaker 1: us a head start onto the next season as as

591
00:29:28,640 --> 00:29:31,880
Speaker 1: we went through in a season after season we started

592
00:29:31,920 --> 00:29:34,480
Speaker 1: building up. Oh, we have two additional episodes, so that

593
00:29:34,600 --> 00:29:37,800
Speaker 1: gives more of a a a break to get to

594
00:29:38,040 --> 00:29:41,320
Speaker 1: you know, to allow the process to continue. And then

595
00:29:41,360 --> 00:29:44,120
Speaker 1: it then somehow and I can't remember how we got

596
00:29:44,160 --> 00:29:46,000
Speaker 1: it up to, but we had like like six what

597
00:29:46,080 --> 00:29:48,959
Speaker 1: we called hold over episodes. So we do twenty two

598
00:29:49,000 --> 00:29:53,400
Speaker 1: episodes a year, and like seventeen is usually the last

599
00:29:53,560 --> 00:29:56,520
Speaker 1: show that will be broadcast that year in May, and

600
00:29:56,560 --> 00:30:01,120
Speaker 1: the following you know, uh, six of seven episodes will

601
00:30:01,160 --> 00:30:03,840
Speaker 1: be for the following season and they'll had the beginning

602
00:30:03,840 --> 00:30:05,760
Speaker 1: of the season then, you know, so forth and zone.

603
00:30:06,120 --> 00:30:09,640
Speaker 1: It keeps rolling on. Man. So looking now back at

604
00:30:09,680 --> 00:30:12,200
Speaker 1: the movie, it's been fifteen years since the Simpsons movie,

605
00:30:12,360 --> 00:30:15,840
Speaker 1: which you directed. The movie. How does that process begin

606
00:30:15,920 --> 00:30:17,720
Speaker 1: of going from justin all right, we're gonna make this

607
00:30:17,800 --> 00:30:20,520
Speaker 1: one episode to making this full feature that's never been

608
00:30:20,520 --> 00:30:23,360
Speaker 1: done before. People often asked us, why didn't you do

609
00:30:23,360 --> 00:30:26,800
Speaker 1: another one? Well, the Simpson movie, damn, damn, near killed

610
00:30:26,880 --> 00:30:30,200
Speaker 1: us because we had another team of people. We didn't

611
00:30:30,480 --> 00:30:34,040
Speaker 1: expand to some extent, you know, for the movie. But

612
00:30:34,120 --> 00:30:35,760
Speaker 1: we had a lot of the people that work on

613
00:30:35,800 --> 00:30:40,000
Speaker 1: the show also working on the movie simultaneously. Now some

614
00:30:40,000 --> 00:30:43,280
Speaker 1: some kind of like I had I had four um

615
00:30:43,720 --> 00:30:47,080
Speaker 1: sequence directors too, were not on the show over what

616
00:30:47,160 --> 00:30:49,840
Speaker 1: that had been on the show, Rich Moore, Lauren McMullen

617
00:30:50,040 --> 00:30:53,160
Speaker 1: had been on the show previously. Rich had been working

618
00:30:53,800 --> 00:30:56,880
Speaker 1: on Futurama at the time. I think, yeah, it's it's

619
00:30:56,920 --> 00:30:59,960
Speaker 1: hard to like put everything together. But in any event,

620
00:31:00,120 --> 00:31:02,680
Speaker 1: and then we had two other who were working on

621
00:31:02,720 --> 00:31:06,320
Speaker 1: the show, Mike Anderson and uh Steve Bore and there

622
00:31:06,440 --> 00:31:09,200
Speaker 1: was there were my four sequence directors because we were

623
00:31:09,360 --> 00:31:11,720
Speaker 1: that was one ray way we got it done so fast.

624
00:31:11,800 --> 00:31:14,560
Speaker 1: Is I had I had, you know, I had field

625
00:31:14,640 --> 00:31:18,160
Speaker 1: generals because it was we had to do everything and

626
00:31:18,400 --> 00:31:20,800
Speaker 1: once all in a great big box. So I had

627
00:31:20,800 --> 00:31:24,640
Speaker 1: to delegate quite a bit in that respect, but it

628
00:31:24,760 --> 00:31:26,400
Speaker 1: still look and still make it look like it was

629
00:31:26,440 --> 00:31:29,640
Speaker 1: dealt from one hand, because you know, it's a movie.

630
00:31:29,920 --> 00:31:32,480
Speaker 1: But we started the writing started. I think they really

631
00:31:32,480 --> 00:31:34,440
Speaker 1: got started in like two thousand and three, and by

632
00:31:34,480 --> 00:31:38,120
Speaker 1: two thousand five there was a table read in the

633
00:31:38,160 --> 00:31:40,280
Speaker 1: summer of two thousand five, and we really got it

634
00:31:40,400 --> 00:31:42,800
Speaker 1: started story boarding in two thousand six. We did it

635
00:31:42,920 --> 00:31:44,920
Speaker 1: rather fast when you think about it, because we started

636
00:31:44,920 --> 00:31:47,920
Speaker 1: in the production in January of two thousand and six

637
00:31:48,320 --> 00:31:51,920
Speaker 1: and we basically got it done under like fifteen months,

638
00:31:52,680 --> 00:31:55,360
Speaker 1: you know, which is pretty fast considering into the feature

639
00:31:55,920 --> 00:31:58,280
Speaker 1: and pretty fast because a lot of stuff we did

640
00:31:58,400 --> 00:32:01,880
Speaker 1: was thrown out the window. We start over a lot

641
00:32:01,920 --> 00:32:04,840
Speaker 1: of Act one but um, I don't know. I guess

642
00:32:04,920 --> 00:32:08,120
Speaker 1: we all had you know, um they're all pretty seasoned people,

643
00:32:08,120 --> 00:32:11,880
Speaker 1: and we got other people uh involved to uh uh

644
00:32:12,720 --> 00:32:15,200
Speaker 1: uh Steve Markowski, who did a great job. He was

645
00:32:15,240 --> 00:32:19,120
Speaker 1: almost like a like a fifth uh sequence director. He

646
00:32:19,240 --> 00:32:21,280
Speaker 1: did a lot of great board work for me. I

647
00:32:21,280 --> 00:32:23,000
Speaker 1: mean that's how we got things done. We just kind

648
00:32:23,000 --> 00:32:25,920
Speaker 1: of plowed through it and uh we were still drawing

649
00:32:25,920 --> 00:32:29,000
Speaker 1: on paper at the time. We hadn't gone digital, although

650
00:32:29,160 --> 00:32:32,520
Speaker 1: I started, um working on cintique tablet, you know the

651
00:32:32,520 --> 00:32:35,160
Speaker 1: Wacom cintique tablet where you take a stylist and you

652
00:32:35,240 --> 00:32:38,080
Speaker 1: draw directly onto the screen, and that kind of got

653
00:32:38,120 --> 00:32:42,320
Speaker 1: the attention of our US president of Gracie Films, Richard

654
00:32:42,360 --> 00:32:44,600
Speaker 1: skais like, this is the way to go, and I say, absolutely,

655
00:32:44,680 --> 00:32:46,320
Speaker 1: this is where. This is the where to go. We

656
00:32:46,360 --> 00:32:50,240
Speaker 1: started boarding when he started buying cintiques for the board artists,

657
00:32:50,280 --> 00:32:54,800
Speaker 1: which made things very much go faster because the story

658
00:32:54,920 --> 00:32:58,160
Speaker 1: was mercurial and many respects of these things kept changing,

659
00:32:58,680 --> 00:33:02,239
Speaker 1: particularly uh character of Cargo. Originally he was like this

660
00:33:02,320 --> 00:33:05,000
Speaker 1: kind of kind of like a sad sack, you know, uh,

661
00:33:05,360 --> 00:33:07,160
Speaker 1: head of the e P A who was like, you know,

662
00:33:07,440 --> 00:33:10,200
Speaker 1: miserable because he was so was not respected. And then

663
00:33:10,240 --> 00:33:12,160
Speaker 1: this thing happened in Springfield and he's given all this

664
00:33:12,480 --> 00:33:17,280
Speaker 1: power and resources. That storyline wasn't working because you know,

665
00:33:17,360 --> 00:33:19,120
Speaker 1: we were like, we're doing Simpsons movie, it should be

666
00:33:19,160 --> 00:33:22,040
Speaker 1: about the Simpsons, and we're concerning this character. We've never

667
00:33:22,080 --> 00:33:25,160
Speaker 1: heard it before, voiced by Albert Brooks, who's like kind

668
00:33:25,200 --> 00:33:28,479
Speaker 1: of a semi regular in the Simpsons, but still not

669
00:33:28,560 --> 00:33:30,960
Speaker 1: very entertaining. So that's when we kind of pitched that

670
00:33:31,040 --> 00:33:33,960
Speaker 1: all out and said, okay, for a hot second, we

671
00:33:34,040 --> 00:33:36,840
Speaker 1: actually thought Hank Scorpion would be the head of the

672
00:33:36,840 --> 00:33:41,360
Speaker 1: e p A. And that was and tost out rather quickly. Uh.

673
00:33:41,360 --> 00:33:43,200
Speaker 1: And Albert Brooks actually he was. He was one of

674
00:33:43,200 --> 00:33:45,440
Speaker 1: people said that doesn't work for me. And you know,

675
00:33:45,720 --> 00:33:48,400
Speaker 1: Albert Brooks, though doing the voice, is also you know,

676
00:33:48,440 --> 00:33:53,840
Speaker 1: a very accomplished comic uh director, so his his instincts

677
00:33:53,960 --> 00:33:57,920
Speaker 1: are worth listening to. But he basically did a Scorpio

678
00:33:58,360 --> 00:34:01,280
Speaker 1: type of character, you know, and aggressive. It says if

679
00:34:01,400 --> 00:34:04,280
Speaker 1: Donald Rumsfeld ran the e p A, you know, and

680
00:34:04,360 --> 00:34:07,200
Speaker 1: that was sort of like the the the the idea

681
00:34:07,280 --> 00:34:10,279
Speaker 1: behind it. So you're saying, the first movie almost killed

682
00:34:10,320 --> 00:34:13,799
Speaker 1: you guys. So should we not expect a sequel anytime

683
00:34:13,920 --> 00:34:16,200
Speaker 1: like ever in our lifetime? Oh? I think that. I

684
00:34:17,680 --> 00:34:19,680
Speaker 1: never say never. You know. It's like one of these

685
00:34:19,719 --> 00:34:23,560
Speaker 1: things that that will that will, that will happen. Possibly.

686
00:34:23,920 --> 00:34:25,920
Speaker 1: I can't go work and saying it's gonna happen and

687
00:34:25,960 --> 00:34:27,799
Speaker 1: it's not. I can't go work saying it's not gonna

688
00:34:27,800 --> 00:34:32,799
Speaker 1: happen because I can't go and record saying anything. I

689
00:34:32,840 --> 00:34:35,520
Speaker 1: can't give you no scoop because you know, what. I

690
00:34:35,600 --> 00:34:39,760
Speaker 1: don't know. So I was rewatching the movie, and obviously

691
00:34:39,840 --> 00:34:41,920
Speaker 1: you're able to do now in this movie things you

692
00:34:41,960 --> 00:34:44,759
Speaker 1: couldn't do on TV. But I wonder, was there a

693
00:34:44,840 --> 00:34:49,680
Speaker 1: meeting about how to draw Bart Simpson's wiener. Yeah, I

694
00:34:49,719 --> 00:34:51,759
Speaker 1: don't think there was a meaning of meeting about that,

695
00:34:51,800 --> 00:34:55,040
Speaker 1: but I sort of did it. I went forward tastefully

696
00:34:55,400 --> 00:34:57,120
Speaker 1: enough so we would get away with it, you know,

697
00:34:57,160 --> 00:34:59,800
Speaker 1: let's put it that way. And we were really, really,

698
00:35:00,080 --> 00:35:02,240
Speaker 1: really worried that that was going to be a problem

699
00:35:02,280 --> 00:35:04,560
Speaker 1: from the sensors. I mean, we didn't know what we're

700
00:35:04,600 --> 00:35:07,080
Speaker 1: gonna do. We figured we'd get away with it with

701
00:35:07,120 --> 00:35:10,280
Speaker 1: the European audiences, but we just did not know how

702
00:35:10,840 --> 00:35:13,479
Speaker 1: it was going to react. And to this day, I'm

703
00:35:13,520 --> 00:35:19,840
Speaker 1: grateful for the Ratings Board for apparently actually their rating

704
00:35:20,040 --> 00:35:22,320
Speaker 1: was I think it was it was a PG or

705
00:35:22,400 --> 00:35:26,760
Speaker 1: PG thirteen, I think rating PG thirteen for adult humor throughout.

706
00:35:27,000 --> 00:35:28,880
Speaker 1: I think that was their rating, which was like almost

707
00:35:28,880 --> 00:35:32,719
Speaker 1: a mini review, which was very flattering to us. Yeah,

708
00:35:32,880 --> 00:35:34,799
Speaker 1: it was. It was a lot of work, let's put

709
00:35:34,840 --> 00:35:36,919
Speaker 1: it that way. It was. It was a lot of work.

710
00:35:36,920 --> 00:35:39,920
Speaker 1: But I remember at one point it's like, this is

711
00:35:39,960 --> 00:35:42,080
Speaker 1: a lot of work, but hey, you wanted to do this,

712
00:35:42,239 --> 00:35:45,120
Speaker 1: let's let's enjoy it. So I did it. Throughout all

713
00:35:45,160 --> 00:35:48,840
Speaker 1: the work and the and stressful times. I did enjoy myself,

714
00:35:48,880 --> 00:35:50,719
Speaker 1: I think, and I think at the end of the day,

715
00:35:50,760 --> 00:35:52,560
Speaker 1: everybody else, even though it was a lot of work,

716
00:35:52,680 --> 00:35:55,520
Speaker 1: enjoying themselves to Certainly we enjoyed the way it came out,

717
00:35:55,680 --> 00:35:58,359
Speaker 1: and certainly enjoyed the way it was responded to. Well,

718
00:35:58,360 --> 00:35:59,759
Speaker 1: thank you so much. Hope we have a great rest

719
00:35:59,760 --> 00:36:02,080
Speaker 1: of your thank you, thanks very much. I have a

720
00:36:02,080 --> 00:36:10,600
Speaker 1: good one. At number two was one of the warmest

721
00:36:10,640 --> 00:36:15,040
Speaker 1: people I've ever talked to over zoom. It is Sean Asten.

722
00:36:15,440 --> 00:36:17,960
Speaker 1: You would know him as Rudy, you would know him

723
00:36:17,960 --> 00:36:20,040
Speaker 1: from the Goonies. You would know him as Sam and

724
00:36:20,080 --> 00:36:21,719
Speaker 1: the Lord of the Rings, and that is what he

725
00:36:21,800 --> 00:36:25,000
Speaker 1: was on to talk about the twentieth anniversary of that movie.

726
00:36:25,239 --> 00:36:27,600
Speaker 1: He's an actor who's been a part of all of

727
00:36:27,640 --> 00:36:30,560
Speaker 1: these iconic movies, so getting to speak to him about

728
00:36:30,600 --> 00:36:32,680
Speaker 1: one of the biggest movies of all time was a

729
00:36:32,800 --> 00:36:36,480
Speaker 1: real treat. So at number two, here is Shawn Aston. Mike,

730
00:36:36,800 --> 00:36:39,160
Speaker 1: how's it going good. It's so great to talk to you.

731
00:36:39,239 --> 00:36:41,760
Speaker 1: I feel like I've been watching you my entire life.

732
00:36:41,760 --> 00:36:43,400
Speaker 1: And now the Lord of the Rings Fellowship of the

733
00:36:43,480 --> 00:36:47,880
Speaker 1: Ring celebrating his twentieth anniversary. What does it feel like

734
00:36:47,920 --> 00:36:49,600
Speaker 1: to be a part of a franchise that'll just be

735
00:36:49,680 --> 00:36:52,719
Speaker 1: viewed for generations and generations to come. Mike, It's good

736
00:36:52,760 --> 00:36:55,279
Speaker 1: to see you. Finally our moment has come. It's like

737
00:36:55,320 --> 00:36:57,319
Speaker 1: to be part of the general It is, um well,

738
00:36:57,360 --> 00:36:59,080
Speaker 1: it just feels like there's something no one can ever

739
00:36:59,120 --> 00:37:01,880
Speaker 1: take away from you that really special, you know. I

740
00:37:01,920 --> 00:37:04,040
Speaker 1: mean I got a degree, and when when I got

741
00:37:04,040 --> 00:37:06,800
Speaker 1: my undergrad degree before making this movie, and that feeling

742
00:37:06,840 --> 00:37:09,120
Speaker 1: when you're when they hand you the diploma and you

743
00:37:09,120 --> 00:37:11,239
Speaker 1: know you're wearing the cap and gown and you're like, man,

744
00:37:11,480 --> 00:37:15,279
Speaker 1: this is even if I totally fail in life, at

745
00:37:15,360 --> 00:37:19,319
Speaker 1: least I accomplish this. That's what it feels like. It

746
00:37:19,360 --> 00:37:22,440
Speaker 1: feels like there is you know, when it really capped

747
00:37:22,440 --> 00:37:24,880
Speaker 1: off when it won the Best Picture, when The Return

748
00:37:24,880 --> 00:37:26,480
Speaker 1: of the King won Best Picture in the in two

749
00:37:26,520 --> 00:37:30,279
Speaker 1: thousands four whatever it was, and uh, you just felt like,

750
00:37:30,480 --> 00:37:34,160
Speaker 1: you know, world culture will forever recognize this as an

751
00:37:34,200 --> 00:37:37,880
Speaker 1: important contribution and and I have a you know, meaningful

752
00:37:38,000 --> 00:37:40,759
Speaker 1: part of it. And it just feels like, you know,

753
00:37:41,880 --> 00:37:45,520
Speaker 1: immortality is that over I overreach with immortality. I didn't

754
00:37:45,560 --> 00:37:48,439
Speaker 1: mean to overreach. You're gonna live forever through this movie now,

755
00:37:49,880 --> 00:37:51,839
Speaker 1: well and tell somebody figures out how to scrub all

756
00:37:51,880 --> 00:37:56,120
Speaker 1: the digital bites. But but no, yeah, it definitely it

757
00:37:56,239 --> 00:38:00,320
Speaker 1: definitely feels like, um, you know, there's don't know what

758
00:38:00,400 --> 00:38:02,520
Speaker 1: permanence is in this world anymore. You know, my love

759
00:38:02,600 --> 00:38:05,400
Speaker 1: for my wife and my children is permanent. Uh, you know,

760
00:38:05,480 --> 00:38:07,160
Speaker 1: no matter what happens to me, no matter where I go,

761
00:38:07,200 --> 00:38:11,160
Speaker 1: it's permanent. And there there's something about inhabiting this world

762
00:38:11,160 --> 00:38:17,120
Speaker 1: of Middle Earth that just transcends normal. Normal, just transcends normal.

763
00:38:17,200 --> 00:38:19,640
Speaker 1: It's more, you know, it's like in uh, it's like

764
00:38:19,640 --> 00:38:22,719
Speaker 1: it's final tap, It's it's eleven. It's eleven. So what

765
00:38:22,880 --> 00:38:25,319
Speaker 1: was the most grueling part about filming that movie? The

766
00:38:25,360 --> 00:38:27,840
Speaker 1: first one being fat I had to I was, I

767
00:38:27,920 --> 00:38:31,600
Speaker 1: was a hundred pounds. I just run the l A

768
00:38:31,640 --> 00:38:35,439
Speaker 1: marathon and I get this. You know, you're going into

769
00:38:35,440 --> 00:38:37,839
Speaker 1: place you to read for Sandwise Gamg and I get

770
00:38:37,840 --> 00:38:39,440
Speaker 1: the books out and I'm reading through and it's like,

771
00:38:39,800 --> 00:38:42,080
Speaker 1: you know, fat portly Hobbits, but not to it, and

772
00:38:42,120 --> 00:38:45,400
Speaker 1: I'm like, what all it took me to get in shape?

773
00:38:45,440 --> 00:38:48,319
Speaker 1: So of course it's not very difficult to when your

774
00:38:48,320 --> 00:38:50,120
Speaker 1: weight goes up and down to get back into the

775
00:38:50,200 --> 00:38:53,040
Speaker 1: fat road. And I don't mean to be just you know, disrespectful,

776
00:38:53,040 --> 00:38:56,200
Speaker 1: but it's it's hard. It's really hard to be to

777
00:38:56,320 --> 00:38:58,719
Speaker 1: be heavy. And in my life my weight goes up

778
00:38:58,719 --> 00:39:01,280
Speaker 1: and down and kind of like were to six month cycles,

779
00:39:01,719 --> 00:39:04,160
Speaker 1: so six months of being I'm not kidding this, you

780
00:39:04,239 --> 00:39:06,080
Speaker 1: want to know, That's what the hardest part was for me.

781
00:39:06,320 --> 00:39:09,000
Speaker 1: I mean the hours were hard, the the you know,

782
00:39:09,040 --> 00:39:12,319
Speaker 1: carrying that stupid backpack around, you know, the shaping your

783
00:39:12,360 --> 00:39:14,680
Speaker 1: neck and getting cut. A loom fell in my head

784
00:39:14,680 --> 00:39:16,200
Speaker 1: and knocked me out. I got a big cut on

785
00:39:16,280 --> 00:39:18,759
Speaker 1: my foot. I you know, there was there was a

786
00:39:18,760 --> 00:39:21,240
Speaker 1: lot of stuff, but like I honestly think I suffered,

787
00:39:21,360 --> 00:39:27,799
Speaker 1: like real I suffered. Um you know, I suffered so

788
00:39:28,000 --> 00:39:29,919
Speaker 1: with with that, and I remember looking in the mirror

789
00:39:29,920 --> 00:39:31,319
Speaker 1: and being like, oh my god, I can't get back

790
00:39:31,320 --> 00:39:34,000
Speaker 1: in shape right now. And at one point I just

791
00:39:34,239 --> 00:39:37,280
Speaker 1: my makeup artist and I, Jeremy and I we went

792
00:39:37,320 --> 00:39:39,640
Speaker 1: to the tennis club. There's like a tennis jim you

793
00:39:39,680 --> 00:39:41,759
Speaker 1: could go to and we got into it. We were

794
00:39:41,760 --> 00:39:43,480
Speaker 1: like playing every day for a week or something. You're

795
00:39:43,480 --> 00:39:46,200
Speaker 1: just having so much fun and just that your neurons

796
00:39:46,200 --> 00:39:48,719
Speaker 1: when you wake up after not being physically active for

797
00:39:48,719 --> 00:39:52,280
Speaker 1: a while. And then somebody from the news, the Wellington whatever,

798
00:39:52,320 --> 00:39:55,439
Speaker 1: the national newspapers took a picture of me coming out

799
00:39:55,440 --> 00:39:58,000
Speaker 1: of the say this is before the internet, this is

800
00:39:58,040 --> 00:40:00,800
Speaker 1: before we had really the movies were known by anybody.

801
00:40:00,880 --> 00:40:03,400
Speaker 1: And on the front page of the National newspaper is

802
00:40:03,480 --> 00:40:06,160
Speaker 1: me like with a towel over my shoulder coming out

803
00:40:06,160 --> 00:40:08,600
Speaker 1: of the gym. And when I and my heart sank

804
00:40:08,640 --> 00:40:10,560
Speaker 1: when I saw it. And I walked into the set

805
00:40:10,600 --> 00:40:13,440
Speaker 1: the next day and Peter Jackson is there with the

806
00:40:13,440 --> 00:40:16,360
Speaker 1: paper open and he does the slow turn and he

807
00:40:16,400 --> 00:40:18,719
Speaker 1: looks at me, and I look at him, and he's like,

808
00:40:19,280 --> 00:40:24,040
Speaker 1: they call candy lollies and more lollies from Mr Aston, please,

809
00:40:25,400 --> 00:40:28,719
Speaker 1: And he's lonely, partly kidding, so like having to maintain

810
00:40:28,960 --> 00:40:33,480
Speaker 1: fat Sam and so like when Gollum says, stupid fat Hobbits,

811
00:40:33,600 --> 00:40:37,080
Speaker 1: you know, I'm like, f you, dude. So your book

812
00:40:37,120 --> 00:40:39,960
Speaker 1: club at Fable is also celebrating the twentieth anniversary of

813
00:40:39,960 --> 00:40:42,520
Speaker 1: the movie and you can go to fable dot co

814
00:40:42,760 --> 00:40:44,960
Speaker 1: slash on Aston to be a part of that. Have

815
00:40:45,120 --> 00:40:47,640
Speaker 1: any of your original Lord of the Rings costar still

816
00:40:47,760 --> 00:40:52,000
Speaker 1: not read the original books? Well, there's a major publication today.

817
00:40:52,000 --> 00:40:55,839
Speaker 1: I believe it's Vanity Fair with my colleague Elijah Wood

818
00:40:55,880 --> 00:40:58,680
Speaker 1: on it and the the cat. The banner is I

819
00:40:58,719 --> 00:41:00,960
Speaker 1: still haven't read the books. So he still has and

820
00:41:01,280 --> 00:41:03,680
Speaker 1: did the whole I feel now like I used to joke.

821
00:41:03,719 --> 00:41:06,240
Speaker 1: And the amazing thing is, he has a better command

822
00:41:06,239 --> 00:41:08,040
Speaker 1: of the story than I do. And I've read them

823
00:41:08,040 --> 00:41:11,439
Speaker 1: three times. That's not a joke, he I every time

824
00:41:11,440 --> 00:41:13,279
Speaker 1: I read them. So here's this is This is the version.

825
00:41:13,280 --> 00:41:15,560
Speaker 1: I'm gonna you can read it digitally on fable dot com,

826
00:41:15,600 --> 00:41:17,040
Speaker 1: but I'm gonna read this one. And I was reading

827
00:41:17,040 --> 00:41:20,160
Speaker 1: it on the plane back for Atlanta last night, and uh,

828
00:41:20,280 --> 00:41:23,040
Speaker 1: Billy boyd, he he's gonna. I think he came in

829
00:41:23,280 --> 00:41:25,799
Speaker 1: on her zoom yesterday. I think he's gonna join the journey.

830
00:41:25,840 --> 00:41:27,880
Speaker 1: So I'm gonna text Elijah after our interview and I'm

831
00:41:27,880 --> 00:41:30,080
Speaker 1: just gonna be like, hey man, we're doing a chapter week.

832
00:41:30,280 --> 00:41:31,920
Speaker 1: Of course, he's gonna be a new father for the

833
00:41:31,960 --> 00:41:34,480
Speaker 1: second time. He'll probably like I will read two words

834
00:41:34,480 --> 00:41:38,960
Speaker 1: in fal asleep, but but yeah, you know, what can

835
00:41:39,000 --> 00:41:41,759
Speaker 1: I say? What can I say? He's um, I was

836
00:41:41,880 --> 00:41:44,879
Speaker 1: always asking. I would finish. I read the books cover

837
00:41:44,960 --> 00:41:47,839
Speaker 1: to cover three times while we're filming, and I didn't

838
00:41:47,880 --> 00:41:50,839
Speaker 1: really enjoy it in the sense of like disappearing into

839
00:41:50,880 --> 00:41:53,719
Speaker 1: the world. I was just like data mining. I was

840
00:41:53,760 --> 00:41:55,960
Speaker 1: just plumbing it for like what can I know? What

841
00:41:56,080 --> 00:41:58,120
Speaker 1: can I know? And I would I finished, you know,

842
00:41:58,120 --> 00:42:00,400
Speaker 1: like a big chunk of it and beautiful News Zealand

843
00:42:00,480 --> 00:42:03,000
Speaker 1: with the countryside, you know, the mountains or whatever. And

844
00:42:03,040 --> 00:42:04,760
Speaker 1: we go to the set and I look at the script.

845
00:42:04,800 --> 00:42:06,680
Speaker 1: I had to ask Elijah to explain what was happening,

846
00:42:06,680 --> 00:42:07,840
Speaker 1: and he would not. He would be like, well, this

847
00:42:07,880 --> 00:42:11,160
Speaker 1: is what's going on. He would so, yeah, he gets

848
00:42:11,160 --> 00:42:13,000
Speaker 1: to get out of Joffree Cark for me, Well, I

849
00:42:13,040 --> 00:42:14,920
Speaker 1: appreciate the time. It's great to talk to you, Mike,

850
00:42:14,960 --> 00:42:20,759
Speaker 1: you bwall brother. All right, have a good one. And

851
00:42:20,840 --> 00:42:24,239
Speaker 1: at number one is Chris Sanders, who was at the

852
00:42:24,320 --> 00:42:27,560
Speaker 1: creator of Lelo and Stitch and the voice of Stitch

853
00:42:27,840 --> 00:42:32,520
Speaker 1: and Lelo and Stitch is my all time favorite Disney movie.

854
00:42:33,160 --> 00:42:35,279
Speaker 1: And this all came together because I saw him do

855
00:42:35,320 --> 00:42:37,680
Speaker 1: a TikTok where he was talking about how he created

856
00:42:37,680 --> 00:42:40,839
Speaker 1: the movie, and I knew once that twentieth anniversary was up,

857
00:42:41,120 --> 00:42:43,319
Speaker 1: I had to get him on the podcast. And not

858
00:42:43,440 --> 00:42:46,560
Speaker 1: only was this my favorite interview of two, but my

859
00:42:46,640 --> 00:42:49,839
Speaker 1: favorite interview out of this entire time that I've been

860
00:42:49,880 --> 00:42:52,640
Speaker 1: doing this podcast. And I think that's because it is

861
00:42:52,680 --> 00:42:55,400
Speaker 1: my favorite Disney movie. But he's just a really easy

862
00:42:55,440 --> 00:42:57,880
Speaker 1: guy to talk to and had a lot of great stories.

863
00:42:58,000 --> 00:43:00,720
Speaker 1: So at number one, the creator of Lee Lowen Stitch

864
00:43:00,760 --> 00:43:04,040
Speaker 1: and the voice of Stitch here is Chris Sanders. So

865
00:43:04,120 --> 00:43:07,719
Speaker 1: you're working at Marble and I saw that you said

866
00:43:07,760 --> 00:43:11,279
Speaker 1: that you had the first drawing of Stitch in N one.

867
00:43:11,760 --> 00:43:14,480
Speaker 1: What about that story? What about that sketch made you

868
00:43:14,520 --> 00:43:17,520
Speaker 1: come back to it years later when you finally get

869
00:43:17,520 --> 00:43:20,560
Speaker 1: this opportunity to create this story for Disney. I had

870
00:43:20,560 --> 00:43:22,799
Speaker 1: worked a little bit on it in private. I wanted

871
00:43:22,840 --> 00:43:25,600
Speaker 1: us to do with children's book. And what I realized

872
00:43:25,640 --> 00:43:27,440
Speaker 1: after working on it for a while in private, you know,

873
00:43:27,640 --> 00:43:29,560
Speaker 1: on my own time, was that the story was too

874
00:43:29,600 --> 00:43:34,040
Speaker 1: big to fit into a normally formatted children's book. I

875
00:43:34,040 --> 00:43:36,040
Speaker 1: didn't think I could boil this thing down to say

876
00:43:36,040 --> 00:43:38,920
Speaker 1: seventeen pages or thirty two pages. It just seemed too big.

877
00:43:39,239 --> 00:43:41,480
Speaker 1: Um So the idea was bigger than the book. Um.

878
00:43:41,560 --> 00:43:45,719
Speaker 1: So years later, I was in the waning days of

879
00:43:45,880 --> 00:43:49,040
Speaker 1: the production of Mulan. We made that film at the

880
00:43:49,040 --> 00:43:51,120
Speaker 1: Florida Studio. So I was out in Florida, and the

881
00:43:51,160 --> 00:43:54,200
Speaker 1: president of Feature Animation at that time, Tom Schumacher, was

882
00:43:54,239 --> 00:43:57,879
Speaker 1: out visiting, and um, he and I and everybody had

883
00:43:57,880 --> 00:44:00,719
Speaker 1: gone through a lot making this film. It had been

884
00:44:00,880 --> 00:44:03,719
Speaker 1: quite the adventure. I think that my performance on that

885
00:44:03,800 --> 00:44:08,480
Speaker 1: film had earned me, had earned me a certain amount

886
00:44:08,480 --> 00:44:11,200
Speaker 1: of I guess latitude to maybe do my own movie.

887
00:44:11,520 --> 00:44:14,880
Speaker 1: And Tom was out visiting Florida and he said, is

888
00:44:14,880 --> 00:44:17,919
Speaker 1: there anything that you would want to do next? And

889
00:44:18,120 --> 00:44:21,879
Speaker 1: pretty much right there at dinner, I said, no, no,

890
00:44:21,960 --> 00:44:24,120
Speaker 1: not well wait a minute, okay, you know, there is

891
00:44:24,160 --> 00:44:27,040
Speaker 1: this one thing. There was this story, right, and so

892
00:44:27,080 --> 00:44:28,759
Speaker 1: I was able to think about it for a little bit.

893
00:44:29,160 --> 00:44:31,360
Speaker 1: And the next time he visited, he said, well, and

894
00:44:31,360 --> 00:44:32,759
Speaker 1: I was trying to work up a pitch for it,

895
00:44:32,800 --> 00:44:35,520
Speaker 1: you know, and and uh, and he said, well, go ahead,

896
00:44:35,560 --> 00:44:36,680
Speaker 1: just tell me about it. And I said, well, I'm

897
00:44:36,680 --> 00:44:38,120
Speaker 1: not really ready, and he goes, no, just come on,

898
00:44:38,200 --> 00:44:40,120
Speaker 1: just do it. You know what, I thought, here goes

899
00:44:41,000 --> 00:44:43,600
Speaker 1: my idea. I mean, I like, it's it's gonna be

900
00:44:43,640 --> 00:44:45,680
Speaker 1: all over the next like in the next three minutes.

901
00:44:45,960 --> 00:44:48,479
Speaker 1: And I pitched it, just verbally threw it out there,

902
00:44:48,600 --> 00:44:51,600
Speaker 1: and I really got my very first and biggest note

903
00:44:51,680 --> 00:44:53,880
Speaker 1: of all, which was the story that I had concocted

904
00:44:53,960 --> 00:44:57,000
Speaker 1: was all about this strange little creature who was living

905
00:44:57,040 --> 00:44:59,479
Speaker 1: in a forest and he didn't he had come from.

906
00:44:59,719 --> 00:45:01,960
Speaker 1: He was a mystery to everything around him, but he

907
00:45:02,000 --> 00:45:03,880
Speaker 1: was also a bit of a mystery to himself, and

908
00:45:03,880 --> 00:45:05,879
Speaker 1: the story was all about how he was figuring out

909
00:45:05,880 --> 00:45:08,160
Speaker 1: who he was. And he was frightening looking a bit

910
00:45:08,160 --> 00:45:11,840
Speaker 1: of a monster, right, And Tom said, I like this story,

911
00:45:12,520 --> 00:45:15,719
Speaker 1: but I would have a suggestion. The animal world is

912
00:45:15,800 --> 00:45:18,759
Speaker 1: in a sense already alien to us, so placing this

913
00:45:18,800 --> 00:45:21,480
Speaker 1: alien being in the animal world doesn't get you the

914
00:45:21,560 --> 00:45:24,760
Speaker 1: kind of contrast that you might want. I would suggest

915
00:45:24,800 --> 00:45:27,480
Speaker 1: you placed this monster in the human world. Boom, there

916
00:45:27,480 --> 00:45:29,520
Speaker 1: it was. I thought that was a great idea. So

917
00:45:29,600 --> 00:45:31,840
Speaker 1: that was the first biggest note that Lelo and Stitch

918
00:45:31,880 --> 00:45:34,360
Speaker 1: ever got. Now this is before it was Lelo and Stitch,

919
00:45:34,480 --> 00:45:37,160
Speaker 1: before they were in Hawaii. That was when I left

920
00:45:37,560 --> 00:45:41,120
Speaker 1: and started working on the idea once I returned to California,

921
00:45:41,280 --> 00:45:43,880
Speaker 1: and that's where I got. I got this uh motel

922
00:45:43,960 --> 00:45:46,600
Speaker 1: room out in Palm Springs at this resort, and I

923
00:45:46,680 --> 00:45:49,080
Speaker 1: locked on myself in this room for three days and

924
00:45:49,120 --> 00:45:51,440
Speaker 1: all I did was draw and write because I wanted

925
00:45:51,440 --> 00:45:53,799
Speaker 1: to create a bit of a document because it was

926
00:45:53,800 --> 00:45:55,600
Speaker 1: going to be about an alien. And I thought, you

927
00:45:55,640 --> 00:45:57,359
Speaker 1: know what, those are the days where people were making

928
00:45:57,400 --> 00:46:00,000
Speaker 1: a lot of monstery kind of alien movies. And I thought,

929
00:46:00,320 --> 00:46:02,920
Speaker 1: if you say the word alien in a development meeting

930
00:46:03,080 --> 00:46:04,840
Speaker 1: or a pitch, a lot of people are going to

931
00:46:04,880 --> 00:46:07,759
Speaker 1: get this instant idea of what an alien is. And

932
00:46:07,800 --> 00:46:10,319
Speaker 1: I thought, Okay, if I don't draw this, they're gonna

933
00:46:10,320 --> 00:46:12,520
Speaker 1: get maybe the wrong idea. So if I draw this

934
00:46:12,560 --> 00:46:15,480
Speaker 1: whole thing out and they say no to it, at

935
00:46:15,520 --> 00:46:18,080
Speaker 1: least they're saying no to the idea that was my idea,

936
00:46:18,200 --> 00:46:22,040
Speaker 1: so it's a legitimate no. So um So, after those

937
00:46:22,040 --> 00:46:25,200
Speaker 1: three days, what occurred to me was that, in a sense,

938
00:46:25,239 --> 00:46:28,160
Speaker 1: I had finally created that children's book that I had

939
00:46:28,200 --> 00:46:31,799
Speaker 1: tried to create so many years before and had abandoned.

940
00:46:32,000 --> 00:46:34,520
Speaker 1: That's really interesting to me because I was rewatching it,

941
00:46:34,880 --> 00:46:37,239
Speaker 1: and I realized how hard it must have been to

942
00:46:37,440 --> 00:46:40,719
Speaker 1: pitch an idea about this alien creature doesn't really say

943
00:46:40,760 --> 00:46:43,279
Speaker 1: a whole lot of words. So to hear you say

944
00:46:43,320 --> 00:46:46,640
Speaker 1: that you took that idea, placed it into Hawaii and

945
00:46:46,680 --> 00:46:49,520
Speaker 1: suddenly it made sense. You know, this is where you've

946
00:46:49,560 --> 00:46:52,440
Speaker 1: really got to understand, like how important the producer and

947
00:46:52,520 --> 00:46:55,839
Speaker 1: ahead of a studio are to your future. They can

948
00:46:55,880 --> 00:46:59,200
Speaker 1: make or break an idea, and in this case, Tom Schumacher,

949
00:46:59,239 --> 00:47:02,960
Speaker 1: he wanted to make this film and he that was

950
00:47:03,040 --> 00:47:04,640
Speaker 1: the next big thing was that it's a It's the

951
00:47:04,680 --> 00:47:07,120
Speaker 1: thing I'm going to put on a TikTok really soon,

952
00:47:07,160 --> 00:47:09,600
Speaker 1: and I'm working on that one right now. He told

953
00:47:09,640 --> 00:47:11,640
Speaker 1: me after the development department looked at it that they

954
00:47:11,640 --> 00:47:14,719
Speaker 1: all like universally liked the idea. And he said I

955
00:47:14,760 --> 00:47:17,560
Speaker 1: watched into his office, into his office, and he said,

956
00:47:17,640 --> 00:47:20,640
Speaker 1: I will make this film on one condition that it

957
00:47:20,719 --> 00:47:23,560
Speaker 1: looked like you drew it. And that was, you know,

958
00:47:23,680 --> 00:47:26,720
Speaker 1: very exciting and flattering. But at that point I didn't

959
00:47:26,719 --> 00:47:28,120
Speaker 1: even know what to do because I thought, well, what

960
00:47:28,160 --> 00:47:30,400
Speaker 1: do I even draw? Like? I just draw like everybody else.

961
00:47:30,800 --> 00:47:33,280
Speaker 1: A girl who was working at the studios to Nichols,

962
00:47:33,280 --> 00:47:36,040
Speaker 1: who was an amazing artist. She also came from cal Arts.

963
00:47:36,080 --> 00:47:39,360
Speaker 1: She did a two week analysis of my art style

964
00:47:39,800 --> 00:47:43,840
Speaker 1: and she created two documents called Surfing the Sanders Style,

965
00:47:44,280 --> 00:47:47,200
Speaker 1: and it explained how I drew well. Nobody was more

966
00:47:47,280 --> 00:47:50,200
Speaker 1: interested to read these than I was, and I was

967
00:47:50,280 --> 00:47:54,040
Speaker 1: absolutely fascinated. It turns out there were things that were

968
00:47:54,080 --> 00:47:57,359
Speaker 1: governing my style that existed that I didn't really even

969
00:47:57,440 --> 00:47:59,799
Speaker 1: realize that I was doing. But she saw them and

970
00:47:59,840 --> 00:48:02,640
Speaker 1: she had like dissected the whole thing. So that began.

971
00:48:03,120 --> 00:48:05,040
Speaker 1: And that's one of the reasons that Lelo and Stitch

972
00:48:05,120 --> 00:48:08,839
Speaker 1: is a highly unusual film. It is more unusual than

973
00:48:08,960 --> 00:48:13,279
Speaker 1: people really, I think may may realize, because it is

974
00:48:13,320 --> 00:48:17,360
Speaker 1: not only a very Miyazaki style story that is extremely

975
00:48:17,400 --> 00:48:20,120
Speaker 1: hard to mail down. You know, it's a smaller story,

976
00:48:20,239 --> 00:48:23,480
Speaker 1: and it's really kind of strange, based very very much

977
00:48:23,520 --> 00:48:28,560
Speaker 1: on quirky, unusual characters. Really, you know, these personalities are

978
00:48:28,600 --> 00:48:30,600
Speaker 1: the are the whole movie. But also that it's in

979
00:48:30,600 --> 00:48:34,839
Speaker 1: an individual artist's style, and that's I don't think there's

980
00:48:34,840 --> 00:48:37,279
Speaker 1: anything that has happened really before or since, at least

981
00:48:37,320 --> 00:48:39,799
Speaker 1: with an artist inside the studio. They've based films on,

982
00:48:39,960 --> 00:48:44,279
Speaker 1: say like Isaac Isaac Ivan Girl. Sleeping Beauty is based

983
00:48:44,360 --> 00:48:46,880
Speaker 1: very much on Ivan Girl, for example. Um but he

984
00:48:47,000 --> 00:48:49,360
Speaker 1: was an outside creator. So it's one of the reasons

985
00:48:49,400 --> 00:48:52,200
Speaker 1: that that's such an unusual film. So when do you

986
00:48:52,239 --> 00:48:55,839
Speaker 1: sit down to create what is going to be Lelo

987
00:48:55,880 --> 00:48:58,320
Speaker 1: and Stitch, You have to create Lilo. When did it

988
00:48:58,400 --> 00:49:00,600
Speaker 1: get that title? When did they get that art? It

989
00:49:00,640 --> 00:49:02,520
Speaker 1: was Lelo and Stitch by the time it was in

990
00:49:02,560 --> 00:49:04,640
Speaker 1: that first pitch book. So when I went away to

991
00:49:04,640 --> 00:49:07,640
Speaker 1: Palm Springs, by that point I had made the decision

992
00:49:07,640 --> 00:49:09,759
Speaker 1: to place the film in Hawaii. I had named the

993
00:49:09,840 --> 00:49:12,600
Speaker 1: characters Lelo and Stitch, and I had no connections to

994
00:49:12,640 --> 00:49:16,439
Speaker 1: Hawaii at that point. So I pulled Lelo's name off

995
00:49:16,480 --> 00:49:19,719
Speaker 1: of a roadmap that I had from Hawaii. There's a

996
00:49:19,920 --> 00:49:23,000
Speaker 1: Lil Lane and I saw that. So this is one

997
00:49:23,040 --> 00:49:25,480
Speaker 1: of the strange things. I didn't know what that word meant.

998
00:49:25,760 --> 00:49:29,799
Speaker 1: It sounded like a name. It turns out it's not

999
00:49:29,880 --> 00:49:32,600
Speaker 1: a name, but it's the It's the word for lost.

1000
00:49:33,320 --> 00:49:36,640
Speaker 1: So in a really strange way, I found the right

1001
00:49:36,680 --> 00:49:39,759
Speaker 1: word to make that her name. The same with Nanny,

1002
00:49:39,840 --> 00:49:42,880
Speaker 1: I just again I looked around for names on a roadmap.

1003
00:49:43,040 --> 00:49:45,640
Speaker 1: Later on in the making of the film. We did

1004
00:49:45,880 --> 00:49:49,320
Speaker 1: engage as many people as we could from Hawaii because

1005
00:49:49,360 --> 00:49:53,200
Speaker 1: we're toughing about it. We're trotting into a culture that

1006
00:49:53,280 --> 00:49:54,840
Speaker 1: we are not part of, and if you're going to

1007
00:49:54,920 --> 00:49:57,880
Speaker 1: do that, you really have to connect with people that

1008
00:49:58,080 --> 00:50:00,600
Speaker 1: know what the deal is that no what they're doing

1009
00:50:00,719 --> 00:50:02,880
Speaker 1: for the music, for the culture, for the dialogue, for

1010
00:50:02,960 --> 00:50:05,680
Speaker 1: your voices, as much as you can so um and

1011
00:50:05,719 --> 00:50:08,640
Speaker 1: so we did. We met a huge number of people

1012
00:50:08,640 --> 00:50:13,440
Speaker 1: who became our guides to making the film. Be respectful

1013
00:50:13,560 --> 00:50:16,080
Speaker 1: going into the start of making this movie, at what

1014
00:50:16,120 --> 00:50:18,160
Speaker 1: point did you become the voice of Stitch? Were you

1015
00:50:18,200 --> 00:50:20,879
Speaker 1: always going to be Stitch? Or was that a voice

1016
00:50:20,920 --> 00:50:23,000
Speaker 1: that just existed in your head? Where did that come from?

1017
00:50:23,120 --> 00:50:24,919
Speaker 1: It's sort of both. It was it was a voice

1018
00:50:25,000 --> 00:50:26,759
Speaker 1: I had used this up to that point to call

1019
00:50:26,840 --> 00:50:30,080
Speaker 1: people on the telephone with and annoy them. Um and

1020
00:50:30,080 --> 00:50:32,560
Speaker 1: it was actually Dean, my co director. So along the

1021
00:50:32,560 --> 00:50:34,640
Speaker 1: lines of your last question, one of the first things

1022
00:50:34,640 --> 00:50:37,120
Speaker 1: you do is you find a co director that you trust,

1023
00:50:37,280 --> 00:50:39,760
Speaker 1: and I had learned to trust Dean into partment, into

1024
00:50:39,800 --> 00:50:43,239
Speaker 1: partner with Dean during the making of Mulan and Dean

1025
00:50:43,360 --> 00:50:46,719
Speaker 1: was extremely smart and amazing, a natural and it came

1026
00:50:46,760 --> 00:50:49,839
Speaker 1: to storytelling, he was a natural storyteller, a great writer,

1027
00:50:50,160 --> 00:50:53,200
Speaker 1: a wonderful story artist. UM, and he has very good

1028
00:50:53,280 --> 00:50:58,239
Speaker 1: structural knowledge and structural instincts. So so I partnered with

1029
00:50:58,320 --> 00:51:01,560
Speaker 1: him immediately. UM as soon as we decided to do

1030
00:51:01,600 --> 00:51:05,560
Speaker 1: the project, I saw out and we agreed to codirect

1031
00:51:06,280 --> 00:51:09,439
Speaker 1: on the film. Dean's suggested that I be the voice

1032
00:51:09,440 --> 00:51:11,759
Speaker 1: of Stitch. One of the main reasons was that we wanted.

1033
00:51:11,960 --> 00:51:15,080
Speaker 1: Originally we didn't want Stitch to even speak. We were like, oh,

1034
00:51:15,120 --> 00:51:17,279
Speaker 1: it's gonna be like dumb, will do the whole film

1035
00:51:17,320 --> 00:51:19,600
Speaker 1: and he will just be a character that works in pandomime.

1036
00:51:20,200 --> 00:51:22,680
Speaker 1: Later on, it became obvious that he was going to

1037
00:51:22,719 --> 00:51:25,160
Speaker 1: have to speak, and in fact, he would have some

1038
00:51:25,360 --> 00:51:29,120
Speaker 1: key lines during the film. Well, at that point we thought, okay,

1039
00:51:29,160 --> 00:51:31,000
Speaker 1: we're gonna we're gonna have to get a voice, but

1040
00:51:31,040 --> 00:51:33,720
Speaker 1: you don't want to necessarily hire somebody like Robert Redford

1041
00:51:33,760 --> 00:51:36,160
Speaker 1: or Danny DeVito and then worry about like, well, how's

1042
00:51:36,200 --> 00:51:38,960
Speaker 1: the studio going to react when they realized this character

1043
00:51:39,040 --> 00:51:41,759
Speaker 1: only says like fifteen things and will They then start

1044
00:51:41,800 --> 00:51:43,160
Speaker 1: to push for like, well, if you know, if we're

1045
00:51:43,160 --> 00:51:45,239
Speaker 1: gonna hire Robert Redford. We wanted, you know, we want

1046
00:51:45,320 --> 00:51:47,880
Speaker 1: Robert Redford. We want like a lot of lines. And

1047
00:51:47,920 --> 00:51:50,120
Speaker 1: we were afraid that that might begin to really be

1048
00:51:50,200 --> 00:51:52,799
Speaker 1: the tail that wagged the dog as far as the

1049
00:51:52,880 --> 00:51:55,160
Speaker 1: making of the film. So Dean suggested, He's like, you

1050
00:51:55,160 --> 00:51:57,160
Speaker 1: know what, why didn't you just do the voice? You

1051
00:51:57,320 --> 00:51:59,719
Speaker 1: used that voice when you pitch your boards. So what

1052
00:52:00,040 --> 00:52:02,160
Speaker 1: you just do it and then we'll avoid any problem

1053
00:52:02,200 --> 00:52:05,480
Speaker 1: because you know you're not a real actor. Noways, no

1054
00:52:05,480 --> 00:52:08,080
Speaker 1: one's going to ask for more of you. Right. So

1055
00:52:08,120 --> 00:52:10,320
Speaker 1: we didn't do that, and there came up a moment.

1056
00:52:10,600 --> 00:52:12,239
Speaker 1: There was only one moment that I felt a little

1057
00:52:12,239 --> 00:52:15,680
Speaker 1: stressed about it, and that was when we realized that

1058
00:52:15,800 --> 00:52:17,680
Speaker 1: near the very end of the film, Stitch would have

1059
00:52:17,760 --> 00:52:21,200
Speaker 1: this one very important line where he talks about this

1060
00:52:21,239 --> 00:52:23,279
Speaker 1: family that he found. And it was little and it

1061
00:52:23,360 --> 00:52:26,400
Speaker 1: was broken, but it was still good and that verged

1062
00:52:26,520 --> 00:52:29,480
Speaker 1: on real acting, and so I thought, I don't know

1063
00:52:29,480 --> 00:52:31,719
Speaker 1: if I can do this. On that day, I came

1064
00:52:31,719 --> 00:52:34,319
Speaker 1: to Dean and I said, today, I'm an actor, and

1065
00:52:34,360 --> 00:52:37,600
Speaker 1: you're going to be the director, the only director, and

1066
00:52:37,640 --> 00:52:39,359
Speaker 1: I'm going to go in that booth and you tell

1067
00:52:39,400 --> 00:52:41,080
Speaker 1: me what to do, and I'll do it. And if

1068
00:52:41,080 --> 00:52:43,560
Speaker 1: I can't pull this off, then we'll find somebody else

1069
00:52:43,600 --> 00:52:46,399
Speaker 1: to do the voice. And so we did. Like Dean

1070
00:52:46,480 --> 00:52:49,879
Speaker 1: directed me, I did everything he asked, and before long

1071
00:52:49,920 --> 00:52:51,600
Speaker 1: he said, Okay, I think we got it. And I said,

1072
00:52:51,640 --> 00:52:53,480
Speaker 1: are you sure? And he said, yeah, I think we

1073
00:52:53,520 --> 00:52:55,880
Speaker 1: got it. And it worked. Okay, you brought up my

1074
00:52:55,920 --> 00:52:58,760
Speaker 1: favorite scene in the entire movie. I think it's because

1075
00:52:58,760 --> 00:53:01,080
Speaker 1: of that. It's that moment in the movie where everything

1076
00:53:01,160 --> 00:53:03,600
Speaker 1: kind of hits me emotionally, and I remember watching it

1077
00:53:03,600 --> 00:53:06,080
Speaker 1: as a kid and having that same kind of feeling

1078
00:53:06,080 --> 00:53:08,680
Speaker 1: of stitch, of being that person who was filled with

1079
00:53:08,800 --> 00:53:11,880
Speaker 1: rage in a place that he didn't understand, didn't understand himself,

1080
00:53:11,880 --> 00:53:13,680
Speaker 1: but all of a sudden he had this family. Now

1081
00:53:13,960 --> 00:53:16,280
Speaker 1: I think that's the most perfect scene in any Disney

1082
00:53:16,280 --> 00:53:18,360
Speaker 1: movie I've seen. So it's cool how that came together.

1083
00:53:18,440 --> 00:53:20,920
Speaker 1: And now you had to go dig out your acting

1084
00:53:20,920 --> 00:53:24,640
Speaker 1: abilities in that. I did my best. I really tried

1085
00:53:24,719 --> 00:53:27,640
Speaker 1: hard that day. I still remember that day. This this

1086
00:53:27,760 --> 00:53:32,919
Speaker 1: is my family. I found it on my own. That's

1087
00:53:33,000 --> 00:53:39,880
Speaker 1: little and broken, but still good. Yeah, still good. So

1088
00:53:39,920 --> 00:53:42,120
Speaker 1: when people find out you're the voice of stitch do

1089
00:53:42,200 --> 00:53:44,520
Speaker 1: they immediately ask you to do it. I get asked

1090
00:53:44,560 --> 00:53:47,560
Speaker 1: to do it a lot. They had some surgery on

1091
00:53:47,719 --> 00:53:50,160
Speaker 1: my neck at one point period of time about a year,

1092
00:53:50,239 --> 00:53:51,840
Speaker 1: I couldn't do it, but then I got back to

1093
00:53:51,880 --> 00:53:54,160
Speaker 1: doing it, and I still do it. I get called

1094
00:53:54,239 --> 00:53:56,880
Speaker 1: up about at least once a month to come in

1095
00:53:56,920 --> 00:54:00,560
Speaker 1: and do I do voices for toys and for like raids,

1096
00:54:01,160 --> 00:54:04,040
Speaker 1: things for cruise ships, all Disney stuff. It's fun. I

1097
00:54:04,080 --> 00:54:06,120
Speaker 1: told myself if I ever had you on the podcast,

1098
00:54:06,160 --> 00:54:08,840
Speaker 1: I would show you my voice. And it's actually that

1099
00:54:08,920 --> 00:54:10,520
Speaker 1: scene that I do. So I would like to let

1100
00:54:10,560 --> 00:54:13,759
Speaker 1: you hear this and then judge my abilities afterwards and

1101
00:54:13,800 --> 00:54:16,200
Speaker 1: let me know how I can make it better. All right, okay, alright,

1102
00:54:16,239 --> 00:54:20,320
Speaker 1: So it's that scene this lis my family. I found

1103
00:54:20,320 --> 00:54:25,239
Speaker 1: it all on my own. It's little. I'm broken, but

1104
00:54:25,440 --> 00:54:31,280
Speaker 1: still good. Yeah, still good. How's that? That's really good?

1105
00:54:31,440 --> 00:54:33,839
Speaker 1: That's very nice. How do you get the laugh though?

1106
00:54:33,880 --> 00:54:35,759
Speaker 1: Because I've been trying this impression for a while, but

1107
00:54:35,880 --> 00:54:38,000
Speaker 1: that laugh is and like it's hard to do. The

1108
00:54:38,040 --> 00:54:42,279
Speaker 1: big laugh is painful. That that is one. If you're

1109
00:54:42,280 --> 00:54:44,640
Speaker 1: doing a recording specion, you save that for the very end,

1110
00:54:44,920 --> 00:54:46,880
Speaker 1: like Okay, we'll save all the screaming and the laughs

1111
00:54:46,920 --> 00:54:49,160
Speaker 1: for the end, and then we'll do Then you can

1112
00:54:49,239 --> 00:54:51,479
Speaker 1: just take it to the wall and if you blow

1113
00:54:51,520 --> 00:54:53,759
Speaker 1: your voice to out, you're fine. Back to the being

1114
00:54:53,760 --> 00:54:57,120
Speaker 1: the twentieth anniversary of the movie. When you go back

1115
00:54:57,520 --> 00:55:00,880
Speaker 1: and remember the entire making of them movie, what moment

1116
00:55:00,920 --> 00:55:03,000
Speaker 1: sticks out to you as being like that was the

1117
00:55:03,040 --> 00:55:05,560
Speaker 1: most fun part of the entire process. I mean, the

1118
00:55:05,560 --> 00:55:08,760
Speaker 1: part of the process that I've always loved is music.

1119
00:55:09,000 --> 00:55:12,160
Speaker 1: Dean and I and Leoo and Stitch was a big

1120
00:55:12,200 --> 00:55:15,239
Speaker 1: part of this. Have really I've always loved music, and

1121
00:55:15,440 --> 00:55:17,759
Speaker 1: and I listened to music. I have never written a

1122
00:55:17,840 --> 00:55:20,279
Speaker 1: scene in a movie without listening to music while I

1123
00:55:20,320 --> 00:55:23,239
Speaker 1: worked on that scene. I have also boarded pieces of

1124
00:55:23,280 --> 00:55:26,719
Speaker 1: movies to music. And there are still there are still

1125
00:55:26,800 --> 00:55:28,759
Speaker 1: pieces of music that if you play them while you

1126
00:55:28,760 --> 00:55:31,319
Speaker 1: watch a piece of a Disney movie, it lines up

1127
00:55:31,360 --> 00:55:34,160
Speaker 1: pretty much exactly. Um, Like, if you go to the

1128
00:55:34,320 --> 00:55:37,120
Speaker 1: soundtrack for a movie called The Mission, there's a there's

1129
00:55:37,160 --> 00:55:39,080
Speaker 1: a track from that. I believe it. I believe the

1130
00:55:39,080 --> 00:55:41,640
Speaker 1: track is The Mission. And um, if you listen to

1131
00:55:41,640 --> 00:55:44,640
Speaker 1: that while you watch the scene where Moue Foster's ghost

1132
00:55:45,040 --> 00:55:49,320
Speaker 1: speaks to Simba. It works really, really well because that's

1133
00:55:49,400 --> 00:55:52,560
Speaker 1: the that's the music I I listened to when I

1134
00:55:52,640 --> 00:55:56,279
Speaker 1: boarded the scene and I pitched that scene to the

1135
00:55:56,280 --> 00:55:58,360
Speaker 1: directors with that music. There are scenes in Beauty and

1136
00:55:58,400 --> 00:55:59,920
Speaker 1: the Beast. I can show you the music that the

1137
00:56:00,000 --> 00:56:02,520
Speaker 1: as we're done too. So anyway, so same with leland Stitch.

1138
00:56:02,520 --> 00:56:04,160
Speaker 1: I would listen to music because I write these scenes.

1139
00:56:04,320 --> 00:56:06,680
Speaker 1: And nothing was more exciting to us than we would

1140
00:56:06,760 --> 00:56:09,399
Speaker 1: when we would partner with somebody like Allen Sylvestri who

1141
00:56:09,440 --> 00:56:11,320
Speaker 1: is going to be writing a score. And one of

1142
00:56:11,360 --> 00:56:14,000
Speaker 1: the things that Leland Stitch was made for a lower

1143
00:56:14,040 --> 00:56:16,560
Speaker 1: budget than movies were being made for at the time.

1144
00:56:16,800 --> 00:56:20,200
Speaker 1: We felt we could buy our story freedom by lowering

1145
00:56:20,200 --> 00:56:22,440
Speaker 1: the budget, which is exactly what happened. But one of

1146
00:56:22,480 --> 00:56:25,040
Speaker 1: the things that both you and I told the producers

1147
00:56:25,080 --> 00:56:28,640
Speaker 1: going to ask the studio carve off enough money to

1148
00:56:28,800 --> 00:56:31,799
Speaker 1: buy the best score money can buy, and we will

1149
00:56:31,840 --> 00:56:33,719
Speaker 1: make the film for whatever is left over. And that's

1150
00:56:33,760 --> 00:56:36,360
Speaker 1: exactly what they did. So we got Allen Sylvestr and

1151
00:56:36,400 --> 00:56:39,480
Speaker 1: it was this really important day um where we were

1152
00:56:39,480 --> 00:56:42,279
Speaker 1: looking at the boards and Allen Sylvester was looking at

1153
00:56:42,280 --> 00:56:44,960
Speaker 1: the whole film on boards and looking at the outline,

1154
00:56:45,080 --> 00:56:46,880
Speaker 1: and he said, I really like this movie, and he

1155
00:56:46,880 --> 00:56:49,480
Speaker 1: had a few suggestions, but he said, there's one thing

1156
00:56:49,560 --> 00:56:52,600
Speaker 1: I didn't see. I didn't see the moment we're Stitch

1157
00:56:52,680 --> 00:56:55,040
Speaker 1: turns from bad to good, because Stitch is a villain

1158
00:56:55,080 --> 00:56:57,440
Speaker 1: that becomes a hero, and that was what the baseis.

1159
00:56:57,560 --> 00:57:00,160
Speaker 1: That was really the basis of the whole story is

1160
00:57:00,200 --> 00:57:02,600
Speaker 1: the first and I think at this point still the

1161
00:57:02,640 --> 00:57:05,560
Speaker 1: only Disney villain who then becomes the hero of the story.

1162
00:57:05,719 --> 00:57:07,759
Speaker 1: And Alan was like, well, where does that happen? And

1163
00:57:07,800 --> 00:57:10,640
Speaker 1: both Dean and I at that point we're like, oh, well, yeah,

1164
00:57:10,920 --> 00:57:13,239
Speaker 1: we tried to write it. We couldn't really figure it out,

1165
00:57:13,440 --> 00:57:15,640
Speaker 1: and it sort of happens here kind of between these

1166
00:57:15,680 --> 00:57:18,160
Speaker 1: two shots, and suddenly both did and I think were

1167
00:57:18,200 --> 00:57:21,560
Speaker 1: confronted with the reality that we hadn't really been able

1168
00:57:21,560 --> 00:57:24,000
Speaker 1: to put it up there on the boards. And I'll

1169
00:57:24,000 --> 00:57:27,000
Speaker 1: never forget what Allen said. We we basically told Alan

1170
00:57:27,040 --> 00:57:29,160
Speaker 1: we didn't know how to do it, and he said,

1171
00:57:29,240 --> 00:57:31,720
Speaker 1: put her on screen and I'll do it. And I

1172
00:57:31,720 --> 00:57:33,240
Speaker 1: guess we were saying we couldn't, we didn't know how

1173
00:57:33,240 --> 00:57:35,160
Speaker 1: to say it, and he said, put it on screen

1174
00:57:35,240 --> 00:57:37,000
Speaker 1: and I'll say it, and he said it with music.

1175
00:57:37,040 --> 00:57:40,160
Speaker 1: And so there's a moment where Nannie realizes that they

1176
00:57:40,200 --> 00:57:44,160
Speaker 1: can't retrieve Lilo, and she's crying and Stitches watching her,

1177
00:57:44,720 --> 00:57:47,080
Speaker 1: and if you listen, there's a subtle change in the

1178
00:57:47,200 --> 00:57:50,800
Speaker 1: music and Stitch walks up to her and he speaks

1179
00:57:50,840 --> 00:57:53,960
Speaker 1: to her, and that's the moment of change. And what

1180
00:57:54,040 --> 00:57:57,880
Speaker 1: we realized at that point was that music does the

1181
00:57:57,920 --> 00:58:01,760
Speaker 1: heaviest lifting of all when it comes to story, and

1182
00:58:02,360 --> 00:58:05,480
Speaker 1: music is unassailable. No one's going to laugh at music.

1183
00:58:05,680 --> 00:58:07,760
Speaker 1: You can. You can throw an awkward line in or

1184
00:58:07,800 --> 00:58:10,920
Speaker 1: an awkward shot and it gets an inadvertent laugh and

1185
00:58:10,920 --> 00:58:13,200
Speaker 1: you've kind of blown it. But nobody laughs at music.

1186
00:58:13,320 --> 00:58:15,920
Speaker 1: And um, so Alan just like taught us such an

1187
00:58:15,960 --> 00:58:18,560
Speaker 1: incredibly important lesson that day, and we really took that

1188
00:58:18,640 --> 00:58:20,480
Speaker 1: to heart. So later on, when Dan and I were

1189
00:58:20,520 --> 00:58:22,880
Speaker 1: working on How to Train Your Dragon, one of the

1190
00:58:22,920 --> 00:58:25,960
Speaker 1: first things we do now is we carve out a

1191
00:58:26,000 --> 00:58:28,640
Speaker 1: house for music in different places in the film. So

1192
00:58:28,760 --> 00:58:30,560
Speaker 1: in How to Train Your Dragon, in that scene where

1193
00:58:30,920 --> 00:58:35,960
Speaker 1: Hiccup is going to um bond and and and and um,

1194
00:58:36,000 --> 00:58:39,040
Speaker 1: he's going to cross this divide and form a connection

1195
00:58:39,040 --> 00:58:42,760
Speaker 1: to this dragon. No dialogue, it's all music and we

1196
00:58:42,920 --> 00:58:46,880
Speaker 1: just the characters shut up. All the characters shut up

1197
00:58:47,040 --> 00:58:50,840
Speaker 1: and music takes over. And that's just something that Dina

1198
00:58:50,840 --> 00:58:52,840
Speaker 1: and I really believe in now and we learned that

1199
00:58:52,840 --> 00:58:55,360
Speaker 1: on Levean Stitch. It's amazing to see that all come

1200
00:58:55,440 --> 00:58:58,800
Speaker 1: together and I can't wait to see what comes next

1201
00:58:58,880 --> 00:59:01,600
Speaker 1: and hopefully to talk to you again once that comes around.

1202
00:59:01,680 --> 00:59:04,439
Speaker 1: I really appreciate the time absolutely. If you ever wanted

1203
00:59:04,480 --> 00:59:06,200
Speaker 1: to a follow up, I'm so sorry we were late

1204
00:59:06,240 --> 00:59:09,320
Speaker 1: on this because but yeah, let's do that. That would

1205
00:59:09,320 --> 00:59:11,880
Speaker 1: be fantastic. I really enjoyed chatting with you so much.

1206
00:59:12,120 --> 00:59:14,040
Speaker 1: Thanks Chris, have a good day you too. I'll talk

1207
00:59:14,080 --> 00:59:16,120
Speaker 1: to you soon, all right, talk to you soon. And

1208
00:59:16,160 --> 00:59:19,040
Speaker 1: there you have it. Those are the top five interviews

1209
00:59:19,360 --> 00:59:23,240
Speaker 1: for Movie Mix Movie Podcast for two. Thank you for

1210
00:59:23,320 --> 00:59:26,160
Speaker 1: being a part of this podcast. Thank you for being

1211
00:59:26,200 --> 00:59:29,360
Speaker 1: a part of the Monday Morning movie crew. This has

1212
00:59:29,400 --> 00:59:32,680
Speaker 1: been a really great year for the podcast. As we

1213
00:59:32,760 --> 00:59:35,960
Speaker 1: continue to grow here and go into another year, I

1214
00:59:36,080 --> 00:59:39,280
Speaker 1: have some actors and some directors on my list as

1215
00:59:39,440 --> 00:59:42,360
Speaker 1: bucket list interviews. There are a lot of great movies

1216
00:59:42,440 --> 00:59:46,120
Speaker 1: coming out in three so there's a possibility, some of

1217
00:59:46,120 --> 00:59:48,920
Speaker 1: those happen. I'm always working hard to bring you guys

1218
00:59:48,960 --> 00:59:51,840
Speaker 1: the best content, so thank you for being so supportive.

1219
00:59:52,040 --> 00:59:54,200
Speaker 1: And if you haven't at this point, please subscribe to

1220
00:59:54,240 --> 00:59:57,120
Speaker 1: the podcast wherever you listen to podcasts, tag me in

1221
00:59:57,120 --> 01:00:00,560
Speaker 1: your Instagram stories. I love reposting you guys over the there,

1222
01:00:00,560 --> 01:00:02,800
Speaker 1: so just thank you for another awesome year. I will

1223
01:00:02,800 --> 01:00:04,640
Speaker 1: talk to you next week here on the podcast, and

1224
01:00:04,720 --> 01:00:07,960
Speaker 1: until then, go out and watch good movies. Later m