WEBVTT - Mini Crush #132 0:00:00.640 --> 0:00:03.680 Welcome to Movie Crush, a production of I Heart Radio. 0:00:28.960 --> 0:00:32.840 Hey everybody, and welcome to Minni Crush Monday with Me, 0:00:34.000 --> 0:00:39.680 Charles W. Bryant and musical guests. No, Brown, is that 0:00:39.720 --> 0:00:42.800 a Kermit the Frog boys? John, No, that's not Kermit 0:00:42.880 --> 0:00:46.479 the Frog? Who is it? It's down part of SNL. 0:00:47.000 --> 0:00:48.919 It kind of sounded like Kermit Chuck a little bit 0:00:49.120 --> 0:00:52.279 ain going Kermit the Frog. Here. We okay, it's you're 0:00:52.280 --> 0:00:55.320 doing a different cadence now. But the voice, I argue, 0:00:55.400 --> 0:01:01.360 was that big frog. Oh, we could get a little 0:01:01.360 --> 0:01:06.160 bit going nol from now on. We should do the 0:01:06.200 --> 0:01:11.759 show in the characters of of of Frog. We're going 0:01:11.800 --> 0:01:17.440 to start out with a stream this frog. Is that 0:01:17.480 --> 0:01:19.559 the only thing you can do? I can't, I can't 0:01:19.560 --> 0:01:23.080 say other words? Uh yeah, No, We're gonna do a 0:01:23.120 --> 0:01:25.040 little reverse order and start out with a little stream 0:01:25.080 --> 0:01:27.400 this action before we get into things. I watched a 0:01:27.440 --> 0:01:31.600 couple of music documentaries last week that are highly recommended 0:01:31.720 --> 0:01:34.399 by Moah. I guess you gotta like the musicians though 0:01:34.440 --> 0:01:37.360 to like the docks. But I watched the David Crosby 0:01:37.560 --> 0:01:42.120 documentary Remember My Name, that was out last year. Fantastic, 0:01:43.280 --> 0:01:48.840 really good space. It was just very brutally raw, like 0:01:48.920 --> 0:01:52.240 he's a guy who in his old age, he's he's 0:01:52.320 --> 0:01:55.240 dying soon and he knows that and as any end 0:01:55.280 --> 0:01:58.559 of his life, basically saying, all the people I worked 0:01:58.600 --> 0:02:04.040 with hate me because I'm a big asshole. Yeah, has 0:02:04.080 --> 0:02:06.840 a lot of regrets and it's just very somber. He's 0:02:06.920 --> 0:02:11.520 very frank about it all um, good stuff, complicated man, 0:02:12.160 --> 0:02:16.000 but just you know, he said it was his adrenaline 0:02:16.080 --> 0:02:18.720 and his anger management. He said, you know I was 0:02:19.160 --> 0:02:21.639 when I got mad, adrenaline kicked in, and he said 0:02:21.720 --> 0:02:25.120 it was instant asshole. And I think he's just one 0:02:25.120 --> 0:02:27.200 of those guys, you know, the at least the trail 0:02:27.280 --> 0:02:29.840 of pain in their wake. He's the one that looks 0:02:29.880 --> 0:02:36.040 like Gallagher kind of right. Uh sure, yeah, yeah. He 0:02:36.160 --> 0:02:39.480 does a little bit really good documentary though, and it 0:02:39.600 --> 0:02:41.760 got me to listen. I did not really know this. 0:02:42.280 --> 0:02:47.120 Um he did a solo record, uh kind of in 0:02:47.200 --> 0:02:50.080 the midst of all that what's it called here? If 0:02:50.120 --> 0:02:52.480 only I could remember my name, which I didn't know about. 0:02:53.200 --> 0:02:55.160 And they said that it was like a stoner classic 0:02:55.240 --> 0:03:00.519 and just such a weird, psychedelic, bizarre um thing in 0:03:00.600 --> 0:03:03.000 that in that the studio was just open and all 0:03:03.080 --> 0:03:05.760 his friends would just drop by and like like, hey, 0:03:05.880 --> 0:03:07.720 let me add this, let me put in a vocal part, 0:03:07.800 --> 0:03:10.280 let me throw in a lap steel, and it just 0:03:10.520 --> 0:03:12.520 was this layered like you should check it out, man, 0:03:12.560 --> 0:03:14.239 And uh yeah, I'd love to sit around with the 0:03:14.320 --> 0:03:16.440 candles on in the dark. And you know, I don't 0:03:16.480 --> 0:03:18.040 know if you have to have a joint that that 0:03:18.160 --> 0:03:22.280 might help. Sure, sure, always have you speaking of you know, 0:03:22.639 --> 0:03:26.720 legends potentially on their last and their twilight days, I guess, 0:03:26.760 --> 0:03:28.720 and making cool work. Have you heard the new Bob 0:03:28.800 --> 0:03:32.680 Dylan record, Rough and Rowdy Ways? Of course that's been 0:03:32.720 --> 0:03:34.960 good man, it is good. Yeah. The first song in 0:03:35.000 --> 0:03:40.920 particular that I contain multitudes all these like it's got 0:03:40.960 --> 0:03:45.160 all these really interesting like modern pop culture references. Yeah, 0:03:45.320 --> 0:03:46.880 that that they I am not used to hear and 0:03:46.960 --> 0:03:49.560 coming from him. I have a great toin of charming. 0:03:50.040 --> 0:03:53.240 Also that lost Um Nearly Young record that they came 0:03:53.240 --> 0:03:55.920 out similarly at the same time. I've been listening to 0:03:55.960 --> 0:03:59.040 that one. Toolan's also good. It's great. Um. The first 0:03:59.080 --> 0:04:03.600 time I saw Dylan was I think it was maybe 0:04:03.680 --> 0:04:05.680 during college. He was doing one of these tours and 0:04:05.760 --> 0:04:08.120 he does this sometimes where he plays like just like 0:04:08.320 --> 0:04:12.600 very off the beaten path places. And he played in Gainesville, Georgia. 0:04:13.680 --> 0:04:15.800 And if you know, I mean, if you're listening, you 0:04:15.840 --> 0:04:18.080 don't know. Gainesville. It's a just sort of at the 0:04:18.120 --> 0:04:21.320 foothills where the North Georgia Mountains begin, and it's, um, 0:04:21.480 --> 0:04:24.720 it's a sizeable town for North Georgia, but it is very, 0:04:24.839 --> 0:04:29.400 very small. And he played the Gainesville Civic Center, I guess, 0:04:29.520 --> 0:04:31.600 which I don't know. It's probably like three or four 0:04:31.600 --> 0:04:34.440 thousand people. And my buddy Eddie and I who's a 0:04:34.520 --> 0:04:38.440 Dylan freak um went and camped out nearby and then 0:04:38.480 --> 0:04:39.880 went to the Dylan show and then went back to 0:04:39.920 --> 0:04:42.360 our campsite, which is kind of the perfect first way 0:04:42.400 --> 0:04:44.400 to see Dylan. And it was in the nineties, so 0:04:44.480 --> 0:04:45.680 it was a while ago he was he was a 0:04:45.760 --> 0:04:48.160 bit younger. But it was really cool, man. It was 0:04:48.200 --> 0:04:51.560 like a town event, like everybody in the town of 0:04:51.600 --> 0:04:53.800 Gainesville came out for the show. Like there were the 0:04:53.839 --> 0:04:55.680 people that traveled to see Dylan. But then you could 0:04:55.680 --> 0:04:59.360 just see these families like a grandma and grandpa and 0:04:59.440 --> 0:05:01.560 parents and aids who probably don't ever go to see 0:05:01.600 --> 0:05:04.240 live music. They came out because Bob Dylan came to town. 0:05:04.279 --> 0:05:08.880 It was really really neat. Highly recommend checking out Bob Dylan. 0:05:08.920 --> 0:05:12.640 Emily hated it live. We took another time to Eddie 0:05:12.640 --> 0:05:14.720 and I saw them we drug our wives and they 0:05:14.760 --> 0:05:19.560 were both just not too impressed. More recently, Dylan's been 0:05:19.640 --> 0:05:21.600 doing this bit where he just kind of sits behind 0:05:21.680 --> 0:05:25.680 the piano and he's kind of croony like Frank Sinatra 0:05:25.800 --> 0:05:28.200 e type numbers, and people are like, I came to 0:05:28.320 --> 0:05:32.039 hear fucking blowing in the wind. That's a song, right, 0:05:32.279 --> 0:05:35.080 Sure he didn't he didn't do it. I mean, he 0:05:35.120 --> 0:05:37.360 does some of the hits, but he he's always been 0:05:37.480 --> 0:05:41.120 famous for just rearranging things on the fly. And his 0:05:41.240 --> 0:05:44.200 band is like he might be on stage and oll 0:05:44.279 --> 0:05:46.520 and he'll go to do all along the watch Tower 0:05:46.560 --> 0:05:49.640 and he'll turn around and switch the key right before 0:05:49.680 --> 0:05:51.880 he says one, two, three, four, And the band has 0:05:51.920 --> 0:05:53.280 got to be so good they can just go with 0:05:53.360 --> 0:05:56.360 whatever he wants to do. Wow, he's just have to 0:05:56.440 --> 0:06:00.200 like eyeball it. Yeah, very interesting performer, love it. Agen 0:06:00.800 --> 0:06:03.280 And then the other doctor I watched last night Nol 0:06:03.960 --> 0:06:07.440 was Heaven Adores You. The Elliott Smithwin that's been out 0:06:07.520 --> 0:06:10.560 for a while and it uh I wanted to see 0:06:10.600 --> 0:06:12.120 in the theater when it came out, but it had 0:06:12.120 --> 0:06:15.720 a very short limited run and just sort of got 0:06:15.800 --> 0:06:17.800 by me. But it popped up on Amazon Prime. It 0:06:17.920 --> 0:06:22.320 was really just so great. Yeah to watch that's a 0:06:22.400 --> 0:06:24.360 sad one. I think I maybe mentioned this in the 0:06:24.400 --> 0:06:28.000 show before. I saw him live weeks before he died, 0:06:29.160 --> 0:06:31.360 and he was not well, Like he was just very 0:06:31.400 --> 0:06:37.240 clearly quite drug added was. Yeah, he was just slurring 0:06:37.440 --> 0:06:39.880 and I couldn't find his capo when he was like 0:06:39.960 --> 0:06:42.160 sitting on in It was just this whole kind of 0:06:42.279 --> 0:06:46.680 like seeing somebody sort of like quiet, quietly melting down. Man. 0:06:46.960 --> 0:06:50.120 It was, Yeah, that is tough stuff. He his audience 0:06:50.160 --> 0:06:52.560 cared so much about him, and I remember I saw 0:06:52.640 --> 0:06:54.520 him a few times with the band and then a 0:06:54.600 --> 0:06:57.400 couple of times by himself, and people would yell out 0:06:57.720 --> 0:07:00.760 these solo shows by himself things like you know, we 0:07:00.880 --> 0:07:03.720 hope you're okay and stuff like that, Like he was 0:07:03.800 --> 0:07:06.080 so cherished by his his fan base. It was just 0:07:06.200 --> 0:07:09.680 so fucking sad the way he went out. I missed 0:07:09.720 --> 0:07:13.240 that that music. Man, We we get cheated when these 0:07:13.280 --> 0:07:15.520 people the Jeff Buckley's and the Elliott Smith's leave us 0:07:15.560 --> 0:07:18.200 so early. You know, I had a Jeff Buckley into 0:07:18.280 --> 0:07:22.040 Elliott smith sash last night. Actually, um that record that 0:07:22.200 --> 0:07:25.120 Buckley was working on before, Right before he died. They 0:07:25.200 --> 0:07:28.080 put out his sketches from My Sweethearts to Drunk, which 0:07:28.160 --> 0:07:30.640 is phenomenal. It was one disc of it is more 0:07:30.720 --> 0:07:33.320 polished what they did in the studio. The second disc 0:07:33.440 --> 0:07:37.240 is all these really dope, weird uh uh four track 0:07:37.320 --> 0:07:40.320 type recordings, and one of them he does this song, 0:07:40.560 --> 0:07:43.360 this Genesis song called Back in New York City that's 0:07:43.480 --> 0:07:46.440 really weird and like trippy, and you know, um with 0:07:46.520 --> 0:07:48.520 all these loops and stuff, and it's just he's just 0:07:49.000 --> 0:07:52.240 he was such a creative guy. And Grace is incredible. 0:07:52.800 --> 0:07:55.440 That's such a straightforward record like I wanted to I would. 0:07:55.480 --> 0:07:57.200 That really showed that, Oh man, he's he's got some 0:07:57.280 --> 0:07:59.120 weird ship up his sleeve, like he was gonna ye, 0:07:59.480 --> 0:08:01.920 who knows where he was going. His was even more 0:08:01.960 --> 0:08:05.560 sad too, because it wasn't like addiction or he didn't 0:08:05.600 --> 0:08:08.200 die by suicide. It was like he died living life. 0:08:08.480 --> 0:08:10.440 You know, you want to go swimming. He jumped to 0:08:10.480 --> 0:08:14.240 the river to swim never came back. You know, he's 0:08:14.240 --> 0:08:16.120 the kind of guy that takes his shirt off and 0:08:16.200 --> 0:08:19.040 jumps in the Mississippi River at midnight after total recording 0:08:19.080 --> 0:08:22.440 session and yeah, it's sucking. So sad man. There was 0:08:22.880 --> 0:08:26.360 your buddy. Uh. Matt Gorley had this podcast where he 0:08:26.400 --> 0:08:27.840 would interview I can remember the name of it. It 0:08:27.920 --> 0:08:31.119 just ended, but he would interview like kind of behind 0:08:31.280 --> 0:08:34.840 like like second second tier players from big movies. Yeah, 0:08:34.960 --> 0:08:37.480 I was there too, that's the one. And he interviewed 0:08:37.640 --> 0:08:42.319 the woman who played the senator's daughter in Silence of 0:08:42.360 --> 0:08:44.319 the Lambs who was stuck in the pit, you know 0:08:44.559 --> 0:08:47.200 with the with the dog and all that ship. Um, 0:08:47.440 --> 0:08:49.560 really really great, really cool lady. But she was talking 0:08:49.559 --> 0:08:52.720 about how she used to be Jeff Buckley's roommates. Um, 0:08:52.840 --> 0:08:56.520 and just a really weird, like totally unexpected twist to 0:08:56.559 --> 0:08:59.079 the story. I was talking about how like he needed 0:08:59.080 --> 0:09:01.000 a place to stay and he lets you let him 0:09:01.000 --> 0:09:02.880 stay with her for he was like the door guy 0:09:02.960 --> 0:09:05.360 at this club that she liked and or something like that, 0:09:05.440 --> 0:09:07.360 and they just became best of friends. And it was 0:09:07.360 --> 0:09:09.720 just a really really touching little story that was expected. 0:09:10.280 --> 0:09:12.320 It was it was literally the last episode of that series. 0:09:12.559 --> 0:09:14.240 He wrapped it. So if you guys want to check 0:09:14.280 --> 0:09:16.520 out that story, it's the it's the the last episode 0:09:16.600 --> 0:09:18.760 of I was there too. I think it's the name 0:09:18.800 --> 0:09:28.760 of it. Yeah, okay, alright, everyone, we're gonna do grip this. 0:09:29.120 --> 0:09:32.160 It's been a while. I got some ship on Facebook 0:09:32.200 --> 0:09:35.280 for not doing stuff like this anymore, specifically grip this. 0:09:35.600 --> 0:09:37.800 So I'm doing it and all we're gonna talk about 0:09:37.840 --> 0:09:42.640 script supervisors. Nice. They call him script e s. Back 0:09:42.679 --> 0:09:45.400 in the day they would call them continuity clerks or 0:09:46.080 --> 0:09:49.400 U script girl, of course because it was old Hollywood. 0:09:50.200 --> 0:09:54.040 And uh, his historically been a job that a woman performs. 0:09:54.679 --> 0:09:57.040 I don't think in all of my days on any set, 0:09:57.160 --> 0:10:00.640 I ever worked with a man as a script supervisor. 0:10:01.400 --> 0:10:05.520 And perhaps one of the reasons is that, uh, you 0:10:05.640 --> 0:10:10.559 have to blend in and just sort of be ever 0:10:10.720 --> 0:10:15.280 present but not loud and obnoxious about things that are 0:10:15.320 --> 0:10:19.680 going on. And the script supervisor is the right hand 0:10:19.760 --> 0:10:23.760 person of the director, um, almost as much as I 0:10:23.800 --> 0:10:26.880 would say as the assistant director. Uh. And if you 0:10:26.920 --> 0:10:28.800 don't know what a script he does, the scripty oversees 0:10:28.840 --> 0:10:31.240 a continuity. UM. They do a lot of things. They 0:10:31.320 --> 0:10:34.520 oversee the continuity of a movie. So when they go 0:10:34.600 --> 0:10:37.760 to shoot a scene, like a few minutes beforehand, when 0:10:37.760 --> 0:10:40.440 they're prepping, you will see everyone from the wardrobe person 0:10:40.960 --> 0:10:44.040 to the prop person, and especially if it's a carry overseene, 0:10:44.080 --> 0:10:45.800 like if you broke for lunch or if you're coming 0:10:45.840 --> 0:10:48.600 back to it, come over to the scripty and be like, hey, 0:10:48.640 --> 0:10:51.079 which hand was the was the gun in? Was the 0:10:51.120 --> 0:10:53.679 gun cocked? Was the collar? Was the collar up on 0:10:53.760 --> 0:10:55.280 the side like it is right now? Or did they 0:10:55.360 --> 0:10:57.880 do that during lunch? Because it's got all match and 0:10:57.960 --> 0:11:01.000 that's all on scripty, And won't they take colect polaroids 0:11:01.040 --> 0:11:03.480 and stuff too to like do when they do like 0:11:03.600 --> 0:11:06.280 last looks or whatever. They'll make sure that they know 0:11:06.440 --> 0:11:08.240 and they keep that filed away and they're a little 0:11:08.280 --> 0:11:10.800 folder and pull out that thing and see because it's 0:11:10.840 --> 0:11:12.560 not like they can make notes that all that by 0:11:12.640 --> 0:11:14.439 hand and remember it. They have to like have some 0:11:14.559 --> 0:11:17.000 kind of visual you get a reference. These days, I 0:11:17.080 --> 0:11:19.520 think they're using the old iPhones and iPads for that 0:11:19.640 --> 0:11:21.920 kind of thing. That makes perfect. But back in the day, 0:11:21.920 --> 0:11:24.559 it was a big stack of polaroids. Uh. And then 0:11:24.720 --> 0:11:28.120 during the scene they record what's going on and how 0:11:28.160 --> 0:11:30.839 a line may be said. They mark. They're sort of 0:11:30.920 --> 0:11:33.200 the the aison between the director and the editor who 0:11:33.280 --> 0:11:35.760 was obviously not on set, And a lot of times 0:11:35.800 --> 0:11:38.320 they'll be sending not a lot of times, always they'll 0:11:38.320 --> 0:11:40.719 be sending footage to the editor because they kind of 0:11:40.760 --> 0:11:42.400 get to work right away. It's not like they shoot 0:11:42.440 --> 0:11:45.319 the movie then send it to the editor and they 0:11:45.920 --> 0:11:48.000 so they'll be making notes and they will hand those 0:11:48.080 --> 0:11:51.559 notes over to the editor. Um, like we did eighteen takes. 0:11:51.679 --> 0:11:54.640 The director really loved to six and nine and a 0:11:54.720 --> 0:11:57.079 double star next to nine because he thought that was 0:11:57.160 --> 0:12:03.199 the best take. Um or maybe this director, um, maybe 0:12:03.280 --> 0:12:05.959 she thought that, uh, they didn't get it at all. 0:12:06.559 --> 0:12:09.400 So she was she wants you to look at these 0:12:09.679 --> 0:12:12.440 to see if you can marry these three takes instead 0:12:12.480 --> 0:12:14.360 of using what we thought was going to be one take. 0:12:14.840 --> 0:12:17.000 So just sort of notes like that that director is 0:12:17.080 --> 0:12:21.319 constantly giving to the script supervisor to pass along. Um 0:12:22.080 --> 0:12:26.000 what else they're watching the script obviously they're reading along. Uh. 0:12:26.080 --> 0:12:29.559 If it's a movie where you, um, where the dialogue is, 0:12:29.760 --> 0:12:31.640 you really have to nail and it's not like you're 0:12:32.160 --> 0:12:35.599 improving and doing whatever. Um, they make sure that you 0:12:35.760 --> 0:12:38.400 get it right. If it is improv stuff, they have 0:12:38.480 --> 0:12:42.000 to keep up with that because Christopher guest five takes 0:12:42.080 --> 0:12:44.240 later might be like, oh wait, what was that? That 0:12:44.360 --> 0:12:46.920 was great? What you were doing before? And the actor goes, 0:12:46.920 --> 0:12:48.160 I don't even know what I was doing. I was 0:12:48.240 --> 0:12:50.760 just sat on the zone. That's where script he comes 0:12:50.800 --> 0:12:52.440 in say, oh, you did a little bit about your 0:12:52.520 --> 0:12:57.120 fly being down or whatever. So also like is that 0:12:57.240 --> 0:13:02.839 the person that someone yells line ye, script supervisor will 0:13:02.880 --> 0:13:04.640 yell out the line, or not yell out. They will 0:13:04.760 --> 0:13:07.640 very quietly tell you the line. Uh. They will time 0:13:07.880 --> 0:13:11.920 the script of the stopwatch if it's required. I think 0:13:11.960 --> 0:13:13.959 for movies you don't see that as much unless it's 0:13:13.960 --> 0:13:16.679 a really sort of timed thing that has to be 0:13:16.840 --> 0:13:20.320 a certain length. But on commercials, especially in music videos, 0:13:20.880 --> 0:13:23.040 where timing is everything you have, they sit there with 0:13:23.080 --> 0:13:26.200 a stopwatch because they know, like, you've only got three 0:13:26.320 --> 0:13:29.560 seconds to do this bit, because the commercial is only 0:13:29.600 --> 0:13:32.720 thirty seconds long or whatever, what else and all they 0:13:32.800 --> 0:13:35.520 keep in It's called the access of the scene. It's 0:13:35.520 --> 0:13:38.040 sort of where the camera position sits in relation to 0:13:38.160 --> 0:13:42.079 the actors and the actor's eye lines. So they'll keep 0:13:42.160 --> 0:13:43.640 up with all of that and be like, no, you 0:13:43.679 --> 0:13:45.240 were over the shoulder in the scene and you were 0:13:45.280 --> 0:13:49.160 looking from left to right because that's where the horses 0:13:49.200 --> 0:13:52.679 galloping away. Because you know, some actors are great at that, 0:13:52.840 --> 0:13:55.720 and other actors are so into their performance they really 0:13:55.760 --> 0:13:58.320 really rely on scripty to kind of point out this stuff. 0:13:59.559 --> 0:14:02.199 There's a really great Instagram account that I follow, and 0:14:02.240 --> 0:14:03.839 it's gonna be so useless because I can't remember the 0:14:03.880 --> 0:14:05.360 name of it, but I'll try to remember for next time. 0:14:05.400 --> 0:14:09.640 But it shows like split screens of like this, like 0:14:09.760 --> 0:14:12.520 really awesome sequences in movies, and it shows like the 0:14:12.720 --> 0:14:16.800 on set version versus the the actual, you know, finished edit. 0:14:17.200 --> 0:14:18.760 And that one that I saw recently was like, I 0:14:18.760 --> 0:14:21.000 don't remember what movie was from, but it was I've 0:14:21.000 --> 0:14:22.720 seen it. I've seen it done for Children of Men 0:14:22.800 --> 0:14:24.360 as well, a big scene where it was a one 0:14:24.560 --> 0:14:27.280 shot tracking thing and then something blows up, like one 0:14:27.320 --> 0:14:30.200 of the buildings explodes, and everyone likes running screaming, but 0:14:30.520 --> 0:14:33.360 it shows them having like firing all those you know, 0:14:33.640 --> 0:14:36.400 those explosives and all of the like the things that 0:14:36.560 --> 0:14:39.120 have to happen to make us a scene like that 0:14:39.240 --> 0:14:41.440 go off without a hitch, and probably so much budget 0:14:41.520 --> 0:14:44.200 lined up in that an extra personnel and I don't know, 0:14:44.360 --> 0:14:46.080 it's really cool. Also, I'll send it to you and 0:14:46.120 --> 0:14:48.240 on Instagram. I think you'd dig it. I'll totally dig 0:14:48.320 --> 0:14:50.920 that and all. Uh well else, I guess the final 0:14:51.000 --> 0:14:52.520 thing they do or I mean they do a lot more, 0:14:52.600 --> 0:14:55.760 but they keep track of the uh the takes. As 0:14:55.840 --> 0:14:59.040 in the camera department. They work closely with the camera department, 0:14:59.160 --> 0:15:02.040 so they have to you know, the clapper. The loader 0:15:02.120 --> 0:15:05.120 comes in and claps the old clapper down, and on 0:15:05.280 --> 0:15:08.360 that slate it says who the director is, what take 0:15:08.440 --> 0:15:11.080 it is, what's scene it is? Maybe who the camera 0:15:11.480 --> 0:15:14.440 uh cinematographer is, and and the script he is watching 0:15:14.480 --> 0:15:16.600 that thing and they will say like it's take four, 0:15:16.760 --> 0:15:19.000 not take three, until they'll quickly erase it and put 0:15:19.080 --> 0:15:21.440 take three before anyone notices. So script is kind of 0:15:21.440 --> 0:15:23.840 the best friend of a lot of departments. That sounds 0:15:23.920 --> 0:15:28.960 like it. Yeah, very important job. If you I always 0:15:29.000 --> 0:15:30.600 thought this was a job my mom could have done 0:15:30.640 --> 0:15:34.400 in retirement. It's a great gig. Like you show up. 0:15:34.920 --> 0:15:37.640 You don't have to be there super early. Um you 0:15:37.720 --> 0:15:39.720 know you you you kind of have the director's hour, 0:15:39.840 --> 0:15:42.320 So you show up when they show up, and as 0:15:42.360 --> 0:15:45.560 soon as they call cut, you make your copies of 0:15:45.600 --> 0:15:46.960 the stuff that you got to send out, and you 0:15:47.040 --> 0:15:50.120 go home and you're just sort of quietly always there. 0:15:50.120 --> 0:15:52.120 You gotta have a really good handwriting, have to have 0:15:52.120 --> 0:15:55.160 a nice demeanor. You get paid very well, like all 0:15:55.240 --> 0:15:57.800 film jobs. So if you if you were someone who 0:15:57.880 --> 0:15:59.920 is comfortable not being the center of attention and come 0:16:00.160 --> 0:16:03.320 both being seen and not heard and has a great 0:16:03.400 --> 0:16:07.600 eye for detail, nice penmanship, uh, script supervisor might be 0:16:07.680 --> 0:16:09.880 the job for you. But how do you work your 0:16:09.880 --> 0:16:11.520 way up to that? I mean it seems like such 0:16:11.560 --> 0:16:15.320 a rarefying there isn't because there's no assistant. It's not 0:16:15.440 --> 0:16:17.840 like you can start out in a department and work 0:16:17.880 --> 0:16:21.040 your way up. It's one person. So you just kind 0:16:21.040 --> 0:16:24.720 of have to make that decision like this is what 0:16:24.840 --> 0:16:27.800 I want to do, and try and just get in 0:16:27.840 --> 0:16:30.400 there any way you can, because it's all about like 0:16:30.560 --> 0:16:33.240 who you know. I mean, like the reason David, my 0:16:33.440 --> 0:16:36.040 my ex husband, got this job is because he works 0:16:36.120 --> 0:16:39.200 with this crew, and like they every time a gig 0:16:39.280 --> 0:16:41.720 comes up, they hire out the people they want. That's right, 0:16:42.200 --> 0:16:45.000 And it's not even like the production, it's the production 0:16:45.080 --> 0:16:47.920 hires the guy, and then the guy hires the team. 0:16:48.400 --> 0:16:50.600 So it's like you really just have to get in 0:16:50.720 --> 0:16:52.880 there and like get you know, your your foot in 0:16:52.920 --> 0:16:54.640 the door, and then get in the union, I guess, 0:16:54.680 --> 0:16:56.240 and that's a big part of it too. Yeah, I'm 0:16:56.280 --> 0:16:59.200 not sure what union they're in, but I know that personnelity. 0:16:59.200 --> 0:17:00.400 I like, you've got to be good at your job 0:17:00.440 --> 0:17:02.840 obviously and have that great eye for your detail, but 0:17:02.920 --> 0:17:06.080 your personality goes a long way as a script. If 0:17:06.119 --> 0:17:08.879 the director really likes working with you, she might just 0:17:09.119 --> 0:17:13.240 be like, you know, you're my my person forever. I 0:17:13.320 --> 0:17:16.560 like having your round. You've got my back, and you know, uh, 0:17:17.080 --> 0:17:18.440 you know how to do your job in a in 0:17:18.480 --> 0:17:20.760 a nice kind of quiet, unassuming way, which is a 0:17:20.800 --> 0:17:24.600 big part of it. So that's it. No, that's a 0:17:24.600 --> 0:17:29.960 grip this. Hope everybody learned something. I sure did, check, 0:17:30.480 --> 0:17:32.639 I sure did. I'm wondering if I should go get 0:17:32.680 --> 0:17:35.159 my computer charger. I think I should because I'm a 0:17:36.400 --> 0:17:39.000 Skype just eats it up. Yeah, I came down here 0:17:39.040 --> 0:17:42.080 with a percent and noll. Yeah. Man, alright, always plug in, 0:17:42.160 --> 0:17:44.399 always plug in, all right, I'll be right back. Okay, 0:17:45.440 --> 0:17:47.480 all this entertain the people. We can leave that part in. 0:17:48.520 --> 0:17:59.199 But do do do do do do? Okay, Noel, I'm 0:17:59.240 --> 0:18:01.480 back through the magic of editing me. Running up two 0:18:01.480 --> 0:18:04.720 flights of stairs took no time at all. I know 0:18:04.840 --> 0:18:08.639 you don't seem WinDD or anything. Strangely, I'm not. Actually 0:18:08.720 --> 0:18:10.880 we experienced that in real time, Chuck. I was entertaining 0:18:10.920 --> 0:18:12.320 the folks at home while you were away. I was 0:18:12.359 --> 0:18:14.920 singing little muppet type songs. So, oh well, should we 0:18:14.960 --> 0:18:16.840 could leave all that in? If you want some of that? 0:18:17.520 --> 0:18:20.680 I think it'll be clear to super producer Ramsey where 0:18:20.880 --> 0:18:23.440 where to where to institute the cut? So no, we're 0:18:23.440 --> 0:18:27.600 gonna move on to uh a little thing called casting couch. 0:18:28.240 --> 0:18:31.800 Oh sexy. That is where I get you on the 0:18:31.880 --> 0:18:34.359 couch and hol and make sweet sweet love. I do 0:18:34.560 --> 0:18:37.639 have a couch right here. How do you Where do 0:18:37.680 --> 0:18:39.520 you want me? Huh? Well, and I don't look I 0:18:39.600 --> 0:18:42.720 can make anything work. No, okay, all right, I know 0:18:42.840 --> 0:18:47.560 your holes. Oh no, all right, So we're gonna go 0:18:47.640 --> 0:18:50.560 to casting couch. And with all these and music biopics 0:18:50.680 --> 0:18:54.320 biopics that are out and have been out, everyone's talking 0:18:54.359 --> 0:18:58.200 about what's who's next? You know what? Movies are next. 0:18:58.440 --> 0:19:00.879 I know you don't like those movies. No, but pretend 0:19:00.960 --> 0:19:04.160 for a minute you do. What do you want to see? Um? Well, 0:19:04.240 --> 0:19:06.600 I actually do want to see the Elton John one. 0:19:06.640 --> 0:19:09.399 I really liked Bohemian Rhapsody quite a bit, and I 0:19:09.480 --> 0:19:12.359 know there's some some some of the same personnel, right 0:19:12.440 --> 0:19:14.560 that did those two? Am I am? I mistaken about 0:19:14.600 --> 0:19:20.720 that rocket Man in Bohemian Rhapsody. I don't know was there. 0:19:21.000 --> 0:19:22.840 I thought there was. I thought it was the same director. 0:19:23.560 --> 0:19:28.520 Oh maybe the first singer got fired and then took over. Yeah, 0:19:28.640 --> 0:19:31.800 I think he went on to do Rocket Man, which 0:19:31.800 --> 0:19:33.240 every one that I've talked to you about said is 0:19:33.320 --> 0:19:36.760 so awesome and dream like and fantastic. And did you 0:19:36.800 --> 0:19:40.399 see it rocket Man several times? It kicks. Liked it 0:19:40.600 --> 0:19:43.399 a lot. Let's see. I don't know. I think the 0:19:43.480 --> 0:19:45.480 Bowie one would be cool. I know there's one in 0:19:45.560 --> 0:19:48.240 the works, but it looks a little twee honestly like 0:19:48.320 --> 0:19:51.360 it doesn't look like it's gonna be hard hitting cinema 0:19:52.520 --> 0:19:59.840 actually happening. Yeah, yeah, let's see Bowie bio pic. What's his? 0:20:00.080 --> 0:20:03.600 He's he's somebody I hadn't heard of. Uh, well, then 0:20:03.680 --> 0:20:09.400 I was errant because it's about the young David Bowie. Yeah, 0:20:09.440 --> 0:20:14.120 star Dust, Oh it's already out. Yeah, it doesn't look good. 0:20:15.960 --> 0:20:17.800 Why do you got to mess up a Bowie movie? Aloy, 0:20:17.800 --> 0:20:19.760 isn't that crazy? Like? How does that even? How is 0:20:19.800 --> 0:20:24.480 that allowed to happen? Johnny Flynn, Yeah, I don't know 0:20:24.640 --> 0:20:26.960 that person. He just seems kind of like a little 0:20:27.000 --> 0:20:29.960 sweet pop star from South Africa kind of well. I 0:20:30.080 --> 0:20:33.719 missed the memo nol because I asked to cast, uh 0:20:33.840 --> 0:20:36.119 the Billy Joel movie, the Stevie Nicks movie, and the 0:20:36.200 --> 0:20:38.280 David Bowie movie, so I did not realize there was 0:20:39.160 --> 0:20:40.920 I think we can count this one as a wash, like, 0:20:41.000 --> 0:20:43.400 let's just pretend this will never happened. Maybe it's great. 0:20:43.640 --> 0:20:45.560 I'm sorry. I don't want to mean to Malina before 0:20:45.600 --> 0:20:48.000 having seen it, but based on the casting and the 0:20:48.359 --> 0:20:50.080 look of it, they kind of came and went. Does 0:20:50.160 --> 0:20:53.160 not bode well. Um, but I love dude. Tildas Winton 0:20:53.240 --> 0:20:55.320 always comes up and I just think that's so clever. 0:20:56.000 --> 0:20:58.600 I would love to see that. Sure, might it might 0:20:58.680 --> 0:21:00.720 be tough to sustain for a whole I don't think so. 0:21:01.200 --> 0:21:04.120