1 00:00:00,120 --> 00:00:03,200 Speaker 1: Hello, and welcome back to Movie Mike's Movie Podcast, your 2 00:00:03,240 --> 00:00:05,560 Speaker 1: go to source for all things movies, and I am 3 00:00:05,559 --> 00:00:08,600 Speaker 1: your host Movie Mike a k A. Mike Destro very 4 00:00:08,760 --> 00:00:12,280 Speaker 1: special episode for you today. I'm joined by Matthew Lunn. 5 00:00:12,600 --> 00:00:15,880 Speaker 1: He is a former Pixar story artist and animator. He's 6 00:00:15,960 --> 00:00:19,640 Speaker 1: the story guy behind Pixar movies like Toy Story, Monsters 7 00:00:19,680 --> 00:00:23,239 Speaker 1: In Finding Nemo, Up Cars, Monsters, University, Right It Too. 8 00:00:23,239 --> 00:00:25,680 Speaker 1: He's so many more movies. And we're gonna break down 9 00:00:25,720 --> 00:00:28,640 Speaker 1: all the emotional moments from these Pixar movies, because that's 10 00:00:28,640 --> 00:00:31,120 Speaker 1: what Pixar movies do. They make you feel and they 11 00:00:31,160 --> 00:00:34,040 Speaker 1: make you cry. If you love Pixar, you'll really enjoy 12 00:00:34,120 --> 00:00:37,360 Speaker 1: this conversation. We'll get into a movie later with my wife, 13 00:00:37,440 --> 00:00:40,519 Speaker 1: Kelsey of the Kissing Boost three. Appreciate you listening to 14 00:00:40,520 --> 00:00:44,800 Speaker 1: the podcast every single week being subscribed without any further ado, 15 00:00:45,080 --> 00:00:47,879 Speaker 1: Let's get started. In a world where everyone and their 16 00:00:47,960 --> 00:00:52,559 Speaker 1: mother has a podcast, one man stands to infiltrate the 17 00:00:52,600 --> 00:00:56,320 Speaker 1: ears of listeners like never before in a movie podcast, 18 00:00:57,120 --> 00:01:00,440 Speaker 1: a man with so much movie knowledge, piece based were 19 00:01:00,520 --> 00:01:04,679 Speaker 1: like a walking audim TV which Glass from the Nashville 20 00:01:04,720 --> 00:01:11,720 Speaker 1: Podcast Networks Movie Movie Podcast. I'm joined now by Matthew Lunn. 21 00:01:11,800 --> 00:01:15,840 Speaker 1: He's a former Pixar story artist and animator. He's the 22 00:01:15,880 --> 00:01:19,399 Speaker 1: guy behind movies like the Toy Story films, the Monsters, Things, Whearing, 23 00:01:19,440 --> 00:01:22,880 Speaker 1: His Monsters, ding Cat right now, actually finding Nemo up, 24 00:01:23,080 --> 00:01:25,399 Speaker 1: all these movies that just make us feel all of 25 00:01:25,400 --> 00:01:27,600 Speaker 1: these emotions. And that was kind of your job, right, 26 00:01:27,720 --> 00:01:31,200 Speaker 1: Oh yeah, still is, but yes, it was for for 27 00:01:31,360 --> 00:01:34,560 Speaker 1: over ten films to Pixar. Ten films. That's a lot 28 00:01:34,640 --> 00:01:38,120 Speaker 1: of movies. So what I wanted to do is I 29 00:01:38,120 --> 00:01:40,839 Speaker 1: put together a list of the five times you've really 30 00:01:40,880 --> 00:01:44,160 Speaker 1: made me feel things in the Pixar movies you've worked through, 31 00:01:44,200 --> 00:01:46,039 Speaker 1: and just kind of go through some of these of 32 00:01:46,080 --> 00:01:49,760 Speaker 1: the stories behind how these moments came to be and 33 00:01:49,800 --> 00:01:52,480 Speaker 1: just what's kind of the process of making people feel 34 00:01:52,480 --> 00:01:56,160 Speaker 1: these emotions for these animated characters. Absolutely, this sounds fun 35 00:01:56,200 --> 00:01:58,400 Speaker 1: to me, all right. So let's start first at the 36 00:01:58,520 --> 00:02:01,560 Speaker 1: very beginning, the first Pixar of the Toy Story, and 37 00:02:01,600 --> 00:02:04,240 Speaker 1: I think just the overall premise of Toy Story, it's 38 00:02:04,280 --> 00:02:08,239 Speaker 1: these toys that when nobody's around, they come to life. 39 00:02:08,320 --> 00:02:10,760 Speaker 1: And being able to take that and create this kind 40 00:02:10,800 --> 00:02:13,960 Speaker 1: of connection with the audience of like, oh, I identified 41 00:02:14,080 --> 00:02:17,360 Speaker 1: with these you know these characters now, and it's that 42 00:02:17,480 --> 00:02:20,920 Speaker 1: moment for me whenever Woody gets replaced and you see 43 00:02:20,919 --> 00:02:24,280 Speaker 1: all the Woody posters come down and the buzz light 44 00:02:24,320 --> 00:02:26,919 Speaker 1: your stuff go up, that I as a kid felt like, man, 45 00:02:27,040 --> 00:02:29,160 Speaker 1: I really feel for Woody right now. What was the 46 00:02:29,240 --> 00:02:32,280 Speaker 1: kind of idea behind that? Well, you know what that's 47 00:02:33,160 --> 00:02:35,560 Speaker 1: I haven't been asked that before, but that is a 48 00:02:35,680 --> 00:02:38,760 Speaker 1: very good question, just for anybody out there that doesn't know. 49 00:02:38,800 --> 00:02:41,600 Speaker 1: There are four of these story toy story films. I've 50 00:02:41,600 --> 00:02:45,160 Speaker 1: worked on all of them. And one of the secrets 51 00:02:45,200 --> 00:02:49,680 Speaker 1: to why these stories all work, because seldom do sequels work, 52 00:02:50,000 --> 00:02:53,720 Speaker 1: is because we kept going back to Woody's greatest fear, 53 00:02:54,280 --> 00:02:58,079 Speaker 1: which is being abandoned. Now, that is a universal theme 54 00:02:58,760 --> 00:03:03,519 Speaker 1: that all people fear in light, all ages, all genders, 55 00:03:03,520 --> 00:03:08,359 Speaker 1: all cultures. We all fear being replaced, We fear getting old, 56 00:03:08,560 --> 00:03:13,160 Speaker 1: not loved anymore. Um, it's that fear of abandon there, 57 00:03:21,639 --> 00:03:24,320 Speaker 1: and it really strikes a chord in the audience and 58 00:03:24,400 --> 00:03:27,600 Speaker 1: toy story because it's something we can all relate to. 59 00:03:28,120 --> 00:03:30,040 Speaker 1: And that's one of those those things you want in 60 00:03:30,080 --> 00:03:33,640 Speaker 1: a story. You wanted to be relatable and connect with 61 00:03:33,840 --> 00:03:39,760 Speaker 1: an audience, even if the characters are toys, rafts, cars, robots, whatever. 62 00:03:40,680 --> 00:03:43,480 Speaker 1: So that is the reason why that made such an 63 00:03:43,520 --> 00:03:48,880 Speaker 1: impact on audiences. Um was because of Woody Spear being abandoned. 64 00:03:48,880 --> 00:03:51,360 Speaker 1: And how did the idea of would you like become like, Okay, 65 00:03:51,360 --> 00:03:54,320 Speaker 1: we're gonna kind of base it around Woody, Like why 66 00:03:54,400 --> 00:03:56,480 Speaker 1: why was it a cowboy? Why was he going to 67 00:03:56,520 --> 00:03:59,360 Speaker 1: be the leader? Well, that's that's another great question. You know, 68 00:03:59,440 --> 00:04:02,200 Speaker 1: at first he was going to be a been triloquist 69 00:04:02,280 --> 00:04:04,360 Speaker 1: all you know, one of those puppets that you put 70 00:04:04,400 --> 00:04:06,240 Speaker 1: your hand in you kind of operate the mouth and 71 00:04:06,240 --> 00:04:09,680 Speaker 1: they look creepy, like the goose bumps kind of you 72 00:04:09,720 --> 00:04:14,400 Speaker 1: know character TV show, UM, which first off is really creepy. 73 00:04:15,000 --> 00:04:17,880 Speaker 1: People make a decision within the first couple of seconds 74 00:04:17,960 --> 00:04:21,040 Speaker 1: whether they like a character, and if your main characters 75 00:04:21,080 --> 00:04:25,200 Speaker 1: have been triloquist, all that's bad. So really it turned 76 00:04:25,360 --> 00:04:29,440 Speaker 1: into we knew it was going to be a buddy story. 77 00:04:29,600 --> 00:04:31,880 Speaker 1: And usually in a buddy story, two characters in the 78 00:04:31,920 --> 00:04:34,400 Speaker 1: beginning don't like each other, but then they become best 79 00:04:34,400 --> 00:04:39,200 Speaker 1: friends at the end, and it's always nice when not 80 00:04:39,320 --> 00:04:42,880 Speaker 1: only do the characters not blend together because of their 81 00:04:42,920 --> 00:04:47,160 Speaker 1: personalities but also because of their physical appearance, And there 82 00:04:47,240 --> 00:04:50,040 Speaker 1: was nothing better than to do kind of the future 83 00:04:50,400 --> 00:04:54,480 Speaker 1: in the past, stuck together a cowboy and a spaceman, 84 00:04:55,480 --> 00:04:58,400 Speaker 1: and so that was that was really the idea. And 85 00:04:58,440 --> 00:05:02,480 Speaker 1: then also, you know, the whole idea for Toy Story 86 00:05:02,760 --> 00:05:08,760 Speaker 1: really starts years before with the animated short UM that 87 00:05:08,880 --> 00:05:14,080 Speaker 1: was called Knickknack, the one with the little toy that 88 00:05:14,200 --> 00:05:17,920 Speaker 1: is the that has the symbols and drums, the very 89 00:05:17,920 --> 00:05:21,520 Speaker 1: first toy story. He the idea it was that guy 90 00:05:21,600 --> 00:05:24,159 Speaker 1: was going to be the main character. It was going 91 00:05:24,240 --> 00:05:27,960 Speaker 1: to always be a toy, but then it evolved into 92 00:05:28,240 --> 00:05:33,279 Speaker 1: being Woody the cowboy because of the Buddy's story. Two 93 00:05:33,360 --> 00:05:36,560 Speaker 1: character respect together that are completely different. So that that 94 00:05:36,680 --> 00:05:38,359 Speaker 1: was the origin of all of it. And then the 95 00:05:38,440 --> 00:05:40,680 Speaker 1: idea of the story go back to you as a 96 00:05:40,760 --> 00:05:43,120 Speaker 1: kid working in a toy store, your parents toy store, 97 00:05:43,560 --> 00:05:46,400 Speaker 1: like being around that. Well, when I came when I 98 00:05:46,440 --> 00:05:50,760 Speaker 1: came in on Toy Story many years ago, I was 99 00:05:50,960 --> 00:05:55,520 Speaker 1: only liked twenty one years old. So this this was 100 00:05:55,680 --> 00:06:02,200 Speaker 1: really my second job in animation UM. But I came 101 00:06:02,240 --> 00:06:05,880 Speaker 1: in as one of the first twelve animators on Toy Story, 102 00:06:06,240 --> 00:06:10,120 Speaker 1: I was able to give story input. But um, as 103 00:06:10,120 --> 00:06:15,279 Speaker 1: an animator, you are usually focusing on animating shots instead 104 00:06:15,320 --> 00:06:18,800 Speaker 1: of writing or doing storyboards. So yes, I did grow 105 00:06:18,880 --> 00:06:21,320 Speaker 1: up in a family that owns toy stores and still do. 106 00:06:22,000 --> 00:06:25,599 Speaker 1: But my main job was to bring the characters to life, 107 00:06:26,200 --> 00:06:29,320 Speaker 1: um and animate them. It wasn't until Toy Story two, 108 00:06:29,520 --> 00:06:33,640 Speaker 1: three and four that I worked as you know, one 109 00:06:33,680 --> 00:06:37,039 Speaker 1: of the people who writes the story and comes up 110 00:06:37,080 --> 00:06:39,960 Speaker 1: with the plot and all that stuff. So that's kind 111 00:06:39,960 --> 00:06:43,520 Speaker 1: of my journey through that Toy Story saga. Next up 112 00:06:43,520 --> 00:06:47,520 Speaker 1: on my list, I have Finding Nemo, which very opening 113 00:06:47,520 --> 00:06:50,919 Speaker 1: of the movie a parent is killed off immediately. Was 114 00:06:50,960 --> 00:06:52,800 Speaker 1: that ever an idea of like, man, maybe this is 115 00:06:52,800 --> 00:06:55,320 Speaker 1: a too too heavy of a thing for kids, Like 116 00:06:55,560 --> 00:06:57,880 Speaker 1: can we really do this and pull this off? Yeah? 117 00:06:57,960 --> 00:07:03,080 Speaker 1: You know, Um, you would be surprised how many kid films, 118 00:07:03,839 --> 00:07:08,280 Speaker 1: how many animated or live action or children's books for kids, 119 00:07:08,560 --> 00:07:13,400 Speaker 1: start off with the kid being a an orphan or 120 00:07:13,640 --> 00:07:17,600 Speaker 1: their parents are killed off or one of them. It's 121 00:07:17,640 --> 00:07:21,080 Speaker 1: it's it's a sure fire way to get the audience 122 00:07:21,800 --> 00:07:26,560 Speaker 1: to have empathy for the main character, because if the 123 00:07:26,640 --> 00:07:29,240 Speaker 1: character is an orphan, where their parents just died. You 124 00:07:29,240 --> 00:07:34,000 Speaker 1: were immediately like, oh my gosh, I totally care for 125 00:07:34,040 --> 00:07:37,200 Speaker 1: this kid. So when you watch you watch so many 126 00:07:37,200 --> 00:07:40,240 Speaker 1: of the Pixar films, and even if you go through 127 00:07:40,280 --> 00:07:43,240 Speaker 1: all those like Rall Doll stories like James and the 128 00:07:43,280 --> 00:07:47,040 Speaker 1: Giant Peach and you know, Charlie and the Chocolate Factory 129 00:07:47,400 --> 00:07:51,200 Speaker 1: Rall Doll, he always had you know, parents dead or 130 00:07:51,360 --> 00:07:54,160 Speaker 1: dying in the beginning to be able to get the 131 00:07:54,200 --> 00:07:57,120 Speaker 1: audience to root for the for the main character. And 132 00:07:57,160 --> 00:08:00,480 Speaker 1: then when you look at Toy Story or a lot 133 00:08:00,520 --> 00:08:04,280 Speaker 1: of the other Pixar films, there is um it's pretty 134 00:08:04,280 --> 00:08:08,720 Speaker 1: consistent that there's only one parent or both parents are 135 00:08:08,800 --> 00:08:11,760 Speaker 1: disposed up the lack of parents that kind of kind 136 00:08:11,760 --> 00:08:13,840 Speaker 1: of shine sometimes like all right, I'm into this now. 137 00:08:14,080 --> 00:08:15,840 Speaker 1: You know, I gotta tell you one of the reasons 138 00:08:15,880 --> 00:08:18,880 Speaker 1: why we also do that. And you know it's not 139 00:08:19,000 --> 00:08:21,360 Speaker 1: just Pixar. You know, you look at Frozen, they wiped 140 00:08:21,400 --> 00:08:23,920 Speaker 1: out the parents before. Right, It's a great way to 141 00:08:23,960 --> 00:08:27,520 Speaker 1: just get empathy for the main character. And that's basically 142 00:08:27,560 --> 00:08:29,000 Speaker 1: what I want to say. The next movie I have 143 00:08:29,160 --> 00:08:32,200 Speaker 1: up is Toy Story two, and it's the moment again 144 00:08:32,240 --> 00:08:34,640 Speaker 1: going back to the abandonment thing. When Jesse gets abandon 145 00:08:34,720 --> 00:08:38,160 Speaker 1: you learned about her and paars perfectly well with the 146 00:08:38,160 --> 00:08:42,480 Speaker 1: Sarah mclaughling song like moment was the song already like already, 147 00:08:42,480 --> 00:08:44,439 Speaker 1: are already gonna have this song for the movie? Or 148 00:08:44,520 --> 00:08:48,560 Speaker 1: a moment that was a sequence that was a last 149 00:08:48,640 --> 00:08:51,360 Speaker 1: minute decision on the film we had worked on. I 150 00:08:51,400 --> 00:08:53,920 Speaker 1: had worked on Toy Story too for almost three years 151 00:08:54,040 --> 00:08:58,200 Speaker 1: and it took so many different story iterations. But one 152 00:08:58,240 --> 00:09:01,600 Speaker 1: of the things that was a pivotal moment for us 153 00:09:01,600 --> 00:09:05,200 Speaker 1: in the story was when we decided that Jesse, Jesse 154 00:09:05,360 --> 00:09:08,760 Speaker 1: has gone through this before, She's been abandoned by a kid, 155 00:09:09,120 --> 00:09:11,840 Speaker 1: and we don't want her just to talk about it. 156 00:09:11,960 --> 00:09:13,680 Speaker 1: We feel that it would be great to a seed 157 00:09:13,720 --> 00:09:17,000 Speaker 1: in a flashback. And the song was written by Randy Newman, 158 00:09:17,000 --> 00:09:18,880 Speaker 1: who you know wrote most of the Pixar stuff, and 159 00:09:18,920 --> 00:09:24,240 Speaker 1: he was gonna sing it, yeah, you know, but it 160 00:09:24,280 --> 00:09:28,679 Speaker 1: was just a perfect move for when uh, you know, 161 00:09:28,720 --> 00:09:31,920 Speaker 1: would fit better to have a female voice for Jesse singing. 162 00:09:32,400 --> 00:09:35,480 Speaker 1: But man, that is a tear jerker, even for me 163 00:09:35,520 --> 00:09:39,080 Speaker 1: who worked on that. It gets me too and somebody 164 00:09:39,480 --> 00:09:48,560 Speaker 1: love me. Everything was beautiful, every was spun together. This 165 00:09:49,120 --> 00:09:52,760 Speaker 1: within my home. One of my favorite parts of that 166 00:09:52,840 --> 00:09:55,839 Speaker 1: movie is whenever they're having to cross the street and 167 00:09:56,480 --> 00:09:59,760 Speaker 1: they take the traffic cons and hide underneath them. Is 168 00:09:59,800 --> 00:10:01,360 Speaker 1: that just a thing? Like, all right, what's the most 169 00:10:01,440 --> 00:10:03,960 Speaker 1: entertaining way they could get across the street, Like is 170 00:10:03,960 --> 00:10:07,280 Speaker 1: there different pitches for that? Well? Oh, you know that? 171 00:10:07,280 --> 00:10:12,400 Speaker 1: That was that was my idea, okay, And so my 172 00:10:12,400 --> 00:10:15,120 Speaker 1: my assignment from the director was essentially, we need to 173 00:10:15,160 --> 00:10:18,640 Speaker 1: get these toys across the street somehow, Alice toy Barnt, 174 00:10:18,920 --> 00:10:21,959 Speaker 1: how are we going to do it? And I sat 175 00:10:22,200 --> 00:10:25,640 Speaker 1: down and I kind of drew up ideas, and then 176 00:10:25,679 --> 00:10:28,040 Speaker 1: I finally said, you know what, I need to just 177 00:10:28,080 --> 00:10:30,320 Speaker 1: go to a freeway. I need to pull my car 178 00:10:30,600 --> 00:10:33,480 Speaker 1: to the side of the street of US cars driving 179 00:10:33,520 --> 00:10:36,040 Speaker 1: by me, and I just need to look around and 180 00:10:36,240 --> 00:10:38,960 Speaker 1: what is around me and say if I was a toy, 181 00:10:39,040 --> 00:10:42,360 Speaker 1: what would I use? And just by chance that day, 182 00:10:42,400 --> 00:10:46,160 Speaker 1: there was like a minute work kind of orange sign 183 00:10:46,280 --> 00:10:49,200 Speaker 1: and orange pylon cones and stuff, and I was like, 184 00:10:49,960 --> 00:10:52,760 Speaker 1: I would totally hide under that orange cone and I 185 00:10:52,880 --> 00:10:55,320 Speaker 1: sneak across and then if a car got close to me, 186 00:10:56,080 --> 00:10:59,800 Speaker 1: maybe they would just weave around me. And so on. 187 00:11:00,000 --> 00:11:04,240 Speaker 1: Twitter just recently, I put the first drawing I had 188 00:11:04,280 --> 00:11:08,360 Speaker 1: done that I showed the director that made him go, okay, 189 00:11:08,400 --> 00:11:11,040 Speaker 1: we're doing that. So that was that was how that 190 00:11:11,120 --> 00:11:13,120 Speaker 1: idea came about. So when you see something like that, 191 00:11:13,200 --> 00:11:15,520 Speaker 1: you immediately start making a sketch or do you just 192 00:11:15,559 --> 00:11:16,960 Speaker 1: make a note of it? Or how how does that 193 00:11:17,000 --> 00:11:22,320 Speaker 1: come together? I remember I did, um uh, bring my 194 00:11:22,679 --> 00:11:25,280 Speaker 1: sketch book in the car, and I went right back 195 00:11:25,320 --> 00:11:27,680 Speaker 1: into the car and I did that sketch and I 196 00:11:28,200 --> 00:11:30,920 Speaker 1: and I and that was the one that that kind 197 00:11:30,920 --> 00:11:34,640 Speaker 1: of created what that whole scene was going to be about. 198 00:11:34,840 --> 00:11:37,240 Speaker 1: I know that Toy Story two was almost deleted right 199 00:11:38,640 --> 00:11:41,400 Speaker 1: it was how did that affect your job? Like when 200 00:11:41,440 --> 00:11:44,160 Speaker 1: you heard about that? Like what went on in your world? Well, 201 00:11:44,360 --> 00:11:46,640 Speaker 1: this was the first film Toy Straight two was the 202 00:11:46,640 --> 00:11:49,040 Speaker 1: first film that I was going to be that I 203 00:11:49,080 --> 00:11:52,840 Speaker 1: got moved into a story artist role. So this was 204 00:11:52,920 --> 00:11:56,680 Speaker 1: my first time working as doing writing and story boarding. 205 00:11:57,559 --> 00:11:59,480 Speaker 1: And at first Toy Straight two was going to be 206 00:11:59,480 --> 00:12:03,680 Speaker 1: directed video. Way back when when the Disney Company was 207 00:12:03,720 --> 00:12:06,679 Speaker 1: putting out like Return of Jaffar, Lady the Tramp two 208 00:12:06,880 --> 00:12:11,080 Speaker 1: and stuff, they were just making these really quick sequels 209 00:12:11,120 --> 00:12:14,880 Speaker 1: to animated films that you would basically buy this VHS 210 00:12:14,960 --> 00:12:19,600 Speaker 1: tape at like a grocery store. And at the time 211 00:12:20,520 --> 00:12:23,319 Speaker 1: we kind of said, oh, we'll just do what the 212 00:12:23,320 --> 00:12:25,760 Speaker 1: Disney does and we'll make a sequel to Toy Story 213 00:12:25,840 --> 00:12:30,680 Speaker 1: that way. But the story kept getting better, and once 214 00:12:30,760 --> 00:12:34,280 Speaker 1: we were finished with Bugs Life, that's when we really 215 00:12:34,280 --> 00:12:36,800 Speaker 1: step back and said, you know, people still love those 216 00:12:36,840 --> 00:12:40,800 Speaker 1: Toy Story characters. We cannot just be putting out something 217 00:12:40,840 --> 00:12:42,839 Speaker 1: that's just going to be sold in the grocery store. 218 00:12:42,880 --> 00:12:45,720 Speaker 1: This has got to be good. So then they put 219 00:12:45,720 --> 00:12:49,640 Speaker 1: more money into it, gave us another year, and then 220 00:12:50,120 --> 00:12:55,480 Speaker 1: we ended up really um expanding that that that world 221 00:12:55,559 --> 00:12:58,240 Speaker 1: and that story, and I'm so happy we did because 222 00:12:59,040 --> 00:13:03,079 Speaker 1: it if if we wouldn't have made it, um yeah, 223 00:13:03,120 --> 00:13:06,280 Speaker 1: I may have been out of a job. But but 224 00:13:06,440 --> 00:13:09,760 Speaker 1: also when it sucks because you know, people love those 225 00:13:09,760 --> 00:13:17,600 Speaker 1: Toy Story characters and that that world. So I want 226 00:13:17,600 --> 00:13:20,559 Speaker 1: to move on now to up again. First ten minutes 227 00:13:20,600 --> 00:13:24,199 Speaker 1: of the movie you learn all about Ellian Carl and 228 00:13:24,720 --> 00:13:27,120 Speaker 1: not only that, but it's all there's not a whole 229 00:13:27,160 --> 00:13:30,320 Speaker 1: there's not dialogue. It's all just through the images, through 230 00:13:30,360 --> 00:13:33,600 Speaker 1: what we see from them losing the baby to ultimately 231 00:13:33,640 --> 00:13:39,000 Speaker 1: losing her Like, how did that come together? Well, you know, 232 00:13:39,800 --> 00:13:42,640 Speaker 1: first off, I would say that when I'm making a film, 233 00:13:42,920 --> 00:13:44,920 Speaker 1: and this is one of the things I learned early 234 00:13:45,000 --> 00:13:47,400 Speaker 1: on when I was at film school. You need to 235 00:13:47,480 --> 00:13:51,240 Speaker 1: always be able to understand what's going on in a 236 00:13:51,280 --> 00:13:53,839 Speaker 1: movie with a volume off. You should always be able 237 00:13:53,880 --> 00:13:55,640 Speaker 1: to turn the volume off in a movie and be 238 00:13:55,679 --> 00:13:58,839 Speaker 1: able to tell what's going on through the visual storytelling. 239 00:13:59,080 --> 00:14:02,680 Speaker 1: So to be able to pull off ten minutes with 240 00:14:02,840 --> 00:14:09,680 Speaker 1: just music, some sound effects, no dialogue, and visuals that 241 00:14:09,840 --> 00:14:14,240 Speaker 1: bring people to tears, it's not easy, but it is possible. 242 00:14:14,920 --> 00:14:17,240 Speaker 1: But one of the things that that really made that 243 00:14:17,280 --> 00:14:21,680 Speaker 1: work is many iterations. You know, if you ever watch 244 00:14:21,760 --> 00:14:24,840 Speaker 1: a Jackie Chan movie, and I love Jackie Chan movies, 245 00:14:25,680 --> 00:14:28,800 Speaker 1: he is like you know, you'll see him jump up 246 00:14:28,840 --> 00:14:32,240 Speaker 1: to a spin kick, He'll kick some you know, some 247 00:14:32,920 --> 00:14:35,760 Speaker 1: cup out of somebody's hand that goes and knocks another 248 00:14:36,000 --> 00:14:38,840 Speaker 1: person out and there's no special effects. He just did it. 249 00:14:39,000 --> 00:14:42,520 Speaker 1: But you know, he did one hundred tries before they 250 00:14:42,560 --> 00:14:45,320 Speaker 1: caught on camera that final one. But when people watch 251 00:14:45,360 --> 00:14:48,640 Speaker 1: the film, they go, wow, he's amazing. But it's the 252 00:14:48,680 --> 00:14:51,880 Speaker 1: same thing in an animation and film we do so 253 00:14:51,920 --> 00:14:55,120 Speaker 1: many iterations until we get the best version, and then 254 00:14:55,160 --> 00:14:57,280 Speaker 1: that's what you get to see in the end. And so, 255 00:14:57,880 --> 00:14:59,720 Speaker 1: you know, it was a little bit of a risk, 256 00:15:00,120 --> 00:15:02,640 Speaker 1: so of having something so emotional in the beginning of 257 00:15:02,640 --> 00:15:06,200 Speaker 1: the film would people be into it, But you know, 258 00:15:06,480 --> 00:15:09,480 Speaker 1: it hooked people so much that they couldn't stop watching 259 00:15:09,520 --> 00:15:11,760 Speaker 1: that film. That's for the first ten minutes out and 260 00:15:11,840 --> 00:15:14,680 Speaker 1: it's and I got to work on the movie up 261 00:15:14,720 --> 00:15:17,600 Speaker 1: as a story person, and uh, I'm very proud of 262 00:15:17,640 --> 00:15:20,280 Speaker 1: that film as well. Yeah, I think out of every 263 00:15:20,320 --> 00:15:23,400 Speaker 1: Pixar film, that is my favorite opening. It just still 264 00:15:23,440 --> 00:15:27,280 Speaker 1: gets me every single time. It is great. The last 265 00:15:27,280 --> 00:15:28,640 Speaker 1: one I want to talk to you about is Toy 266 00:15:28,640 --> 00:15:32,440 Speaker 1: Story three. The most emotional I've ever felt watching an 267 00:15:32,480 --> 00:15:34,960 Speaker 1: animated movie. The scene where you think everybody's going to 268 00:15:35,000 --> 00:15:39,480 Speaker 1: die going into the generator. Yeah, Like, how do you 269 00:15:39,520 --> 00:15:42,440 Speaker 1: get to that level of like, Okay, we're going for 270 00:15:42,560 --> 00:15:46,600 Speaker 1: it here. I know, well, you know, I think even 271 00:15:46,640 --> 00:15:49,720 Speaker 1: in the very beginning when we started pitching around this idea, 272 00:15:50,080 --> 00:15:53,040 Speaker 1: we knew that there needed to be this they're they're 273 00:15:53,080 --> 00:15:56,560 Speaker 1: going to be so close to death moment. But when 274 00:15:56,600 --> 00:15:59,520 Speaker 1: I got the assignment from the director of what that 275 00:15:59,600 --> 00:16:02,920 Speaker 1: was gonna look like. Before we do the storyboards. We 276 00:16:02,960 --> 00:16:05,160 Speaker 1: do things called the boards, which is kind of like, 277 00:16:05,200 --> 00:16:07,640 Speaker 1: what are those t images going to be? Now? I 278 00:16:07,680 --> 00:16:12,000 Speaker 1: had never been to a garbage dump or an incinerator, 279 00:16:12,480 --> 00:16:15,640 Speaker 1: and I saw a few images online, but there's not 280 00:16:15,720 --> 00:16:17,400 Speaker 1: a lot of photos of what the inside of a 281 00:16:17,400 --> 00:16:19,880 Speaker 1: garbage dump looks like. So I had to make a 282 00:16:19,880 --> 00:16:24,440 Speaker 1: lot of this stuff up. And you know, I did 283 00:16:24,480 --> 00:16:27,240 Speaker 1: these key images. I put them up on on on 284 00:16:27,360 --> 00:16:31,440 Speaker 1: Instagram and Twitter just recently, but those were the images 285 00:16:31,480 --> 00:16:35,680 Speaker 1: that were the the key inspiration visuals for what that 286 00:16:35,720 --> 00:16:38,880 Speaker 1: moment is gonna look like. But I gotta tell you, 287 00:16:39,680 --> 00:16:42,960 Speaker 1: the thing that I remember in this one meeting that 288 00:16:43,080 --> 00:16:45,320 Speaker 1: I brought up that I'm so happy we stuck with, 289 00:16:46,160 --> 00:16:48,800 Speaker 1: was that when they're all ready to die in the incinerator, 290 00:16:49,000 --> 00:16:50,720 Speaker 1: there was going to be a moment where someone just 291 00:16:50,840 --> 00:16:53,000 Speaker 1: kind of finds a lever and switches it off and 292 00:16:53,080 --> 00:16:57,920 Speaker 1: it stops. But it felt so anti climatic. And in 293 00:16:58,040 --> 00:17:00,160 Speaker 1: those images I had looked at in the incinerator or 294 00:17:00,280 --> 00:17:03,400 Speaker 1: there was a claw, those clothing, the graft metal, the 295 00:17:03,520 --> 00:17:06,199 Speaker 1: garbage stops, and I was like, what if those aliens 296 00:17:07,200 --> 00:17:10,480 Speaker 1: they used that giant claw and it was reminiscent of 297 00:17:10,520 --> 00:17:14,880 Speaker 1: the claw and the first one, and it was such 298 00:17:14,920 --> 00:17:16,520 Speaker 1: a you know, it's such a good feeling when you 299 00:17:16,560 --> 00:17:19,760 Speaker 1: see people near death and then like the heavens open 300 00:17:19,920 --> 00:17:23,760 Speaker 1: up and it's like they get pulled out. It was 301 00:17:23,800 --> 00:17:31,040 Speaker 1: so great, you know, I can see, I don't think 302 00:17:31,119 --> 00:17:40,879 Speaker 1: that's daylight. So when you're working on a scene like 303 00:17:40,920 --> 00:17:44,960 Speaker 1: that and you're spending hours days, like, how do you 304 00:17:45,040 --> 00:17:47,480 Speaker 1: know that it's still an emotional moment You're you've just 305 00:17:47,520 --> 00:17:49,240 Speaker 1: been looking at it for so longer, like is this 306 00:17:49,320 --> 00:17:52,920 Speaker 1: even still good anymore? That is a very good question. Uh. 307 00:17:52,920 --> 00:17:55,720 Speaker 1: What I have learned to do is that whenever I'm 308 00:17:55,800 --> 00:18:00,800 Speaker 1: seeing current edits or at current iterations of a sequence 309 00:18:00,960 --> 00:18:04,080 Speaker 1: for the film as a whole, I always take notes. 310 00:18:04,960 --> 00:18:08,840 Speaker 1: So like today Friday's is the day that I see 311 00:18:08,960 --> 00:18:13,879 Speaker 1: the most current path of edit of the short film 312 00:18:13,880 --> 00:18:18,520 Speaker 1: I'm directing right now, And I take notes every Friday 313 00:18:18,640 --> 00:18:21,200 Speaker 1: so I can look back at them and always remind 314 00:18:21,240 --> 00:18:24,720 Speaker 1: myself like did I think that was a funny joke? 315 00:18:25,400 --> 00:18:27,560 Speaker 1: Did I think that was a sad moment? Because you know, 316 00:18:27,960 --> 00:18:31,640 Speaker 1: you end up after a while forgetting, um that that 317 00:18:31,840 --> 00:18:33,919 Speaker 1: is a great sad moment and then you change it. 318 00:18:34,840 --> 00:18:37,800 Speaker 1: So you need to really think about that moment, just 319 00:18:37,840 --> 00:18:40,840 Speaker 1: like you're having a filmmaking diary, and write it down 320 00:18:41,040 --> 00:18:45,280 Speaker 1: so you don't you don't trick yourself into thinking, what's 321 00:18:45,280 --> 00:18:47,639 Speaker 1: it's not funny or emotional anymore and you remove it. 322 00:18:47,720 --> 00:18:51,480 Speaker 1: A lot of people fall into that mistake. So yeah, 323 00:18:51,800 --> 00:18:55,000 Speaker 1: that's what that's my kind of method of not losing it. 324 00:18:55,080 --> 00:18:57,359 Speaker 1: So you're working on a short film, now, when do 325 00:18:57,560 --> 00:18:59,640 Speaker 1: we expect to say? That's going to come out October 326 00:18:59,680 --> 00:19:02,520 Speaker 1: thirty first? And um, it's going to come out October 327 00:19:02,880 --> 00:19:06,360 Speaker 1: one because this UM. I love all the films I've 328 00:19:06,400 --> 00:19:09,639 Speaker 1: worked on, UM, and I'm so happy that they've been 329 00:19:09,680 --> 00:19:13,000 Speaker 1: able to connect with just such a wide audience from like, 330 00:19:13,200 --> 00:19:17,240 Speaker 1: you know, three years old till a hundred years old. 331 00:19:17,800 --> 00:19:22,080 Speaker 1: The one I'm working on right now is I would say, well, 332 00:19:22,119 --> 00:19:25,080 Speaker 1: it all depends on the parents, but it's more falls 333 00:19:25,080 --> 00:19:29,879 Speaker 1: in the realm of a Gremlins or kind of audience. 334 00:19:30,480 --> 00:19:33,880 Speaker 1: So it is going to be very funny, but there 335 00:19:34,119 --> 00:19:37,800 Speaker 1: is still going to be a little bit more scary 336 00:19:37,840 --> 00:19:41,040 Speaker 1: things in it. So um, but it's very all the 337 00:19:41,080 --> 00:19:44,720 Speaker 1: designs are very cartoony. It's still fun, but there is 338 00:19:44,760 --> 00:19:49,200 Speaker 1: some depth. So so when you work on a short film, 339 00:19:49,320 --> 00:19:51,760 Speaker 1: what what comes first? Is it the title, is it 340 00:19:51,840 --> 00:19:55,200 Speaker 1: the story, or is it the characters? For me, um 341 00:19:55,200 --> 00:19:58,480 Speaker 1: I had a set of characters that um I was 342 00:19:58,560 --> 00:20:02,040 Speaker 1: looking to make a TV show at one point and 343 00:20:02,680 --> 00:20:05,120 Speaker 1: it just wasn't clicking and I wasn't getting a response 344 00:20:05,160 --> 00:20:08,360 Speaker 1: from a lot of people. And so then I decided 345 00:20:08,400 --> 00:20:12,000 Speaker 1: to age it up a bit and also think about it, uh, 346 00:20:12,040 --> 00:20:15,040 Speaker 1: if it could fit into a short form or a 347 00:20:15,119 --> 00:20:19,080 Speaker 1: full length film form. And this is a really great 348 00:20:19,680 --> 00:20:21,760 Speaker 1: piece of advice that I've learned along the way, is 349 00:20:21,800 --> 00:20:25,400 Speaker 1: that you may have a great story, but it may 350 00:20:25,440 --> 00:20:30,119 Speaker 1: not be great as a ninety minute film or as 351 00:20:30,160 --> 00:20:33,960 Speaker 1: a fifteen minute short. It may be really great. Is 352 00:20:34,040 --> 00:20:37,639 Speaker 1: just like a Saturday Night live skit. So you may 353 00:20:37,680 --> 00:20:39,880 Speaker 1: have a great story, but you always need to ask 354 00:20:39,960 --> 00:20:43,760 Speaker 1: yourself what is the perfect time duration for it? And 355 00:20:43,840 --> 00:20:48,359 Speaker 1: for this short called Sprite Fright, the perfect length for 356 00:20:48,480 --> 00:20:51,440 Speaker 1: it was that ten minutes. It was just enough so 357 00:20:51,520 --> 00:20:54,000 Speaker 1: it doesn't get too long or boring and not too 358 00:20:54,040 --> 00:20:58,600 Speaker 1: short that it's too confusing. And but for me, this 359 00:20:58,640 --> 00:21:01,960 Speaker 1: particular one started off with the characters, and so I 360 00:21:02,320 --> 00:21:05,000 Speaker 1: won't give too much away of it. But as a 361 00:21:05,119 --> 00:21:08,439 Speaker 1: kid growing up as in a toy store, having whatever 362 00:21:08,480 --> 00:21:11,760 Speaker 1: toys I wanted. My favorite toys were the Smurfs. They 363 00:21:11,800 --> 00:21:14,480 Speaker 1: were the Smurfs. And then when I got a little 364 00:21:14,480 --> 00:21:17,159 Speaker 1: bit older and things like Gremlins came out and Evil 365 00:21:17,240 --> 00:21:20,920 Speaker 1: Dead and I was, you know, seeing movies like American 366 00:21:20,960 --> 00:21:26,320 Speaker 1: Werewolf in London. I definitely liked the creepiness of those films, 367 00:21:26,359 --> 00:21:29,760 Speaker 1: but that they were still funny. And so my short 368 00:21:29,800 --> 00:21:33,000 Speaker 1: film is a combination of kind of like this world 369 00:21:33,040 --> 00:21:38,320 Speaker 1: of two lovable type smirks um kind of doused with 370 00:21:38,440 --> 00:21:42,399 Speaker 1: some creepiness. We'll look forward to seeing that. Yeah. So 371 00:21:42,520 --> 00:21:46,480 Speaker 1: I'm a huge Symptons fan, and you animated on some 372 00:21:46,600 --> 00:21:49,200 Speaker 1: of my favorite episodes from season four, Like I was 373 00:21:49,240 --> 00:21:52,440 Speaker 1: actually just watching Camp Trusty last night. Oh yeah, so 374 00:21:52,520 --> 00:21:56,159 Speaker 1: I love that episode two. Who is the hardest character 375 00:21:56,200 --> 00:21:59,760 Speaker 1: to animate? When you did that, you know I would 376 00:22:00,359 --> 00:22:03,480 Speaker 1: that When I came into Simpson's. That was my first 377 00:22:03,520 --> 00:22:07,040 Speaker 1: animation job. I was nineteen years old, just crazy. But 378 00:22:07,840 --> 00:22:12,360 Speaker 1: the family, of all the family, they were all they 379 00:22:12,359 --> 00:22:15,359 Speaker 1: didn't give me too much trouble drawing Bart and Homer 380 00:22:15,400 --> 00:22:20,320 Speaker 1: and Lisa, Marge and Maggie. I think it was later 381 00:22:20,440 --> 00:22:24,359 Speaker 1: on some of the other characters would get a little 382 00:22:24,400 --> 00:22:27,920 Speaker 1: more challenging. But but I think being that the style 383 00:22:28,160 --> 00:22:31,760 Speaker 1: was cartoony and and it was very you know, that 384 00:22:31,840 --> 00:22:34,320 Speaker 1: style was set up. I met Braining, the creator. But 385 00:22:34,400 --> 00:22:36,760 Speaker 1: the challenging thing was when you got a shot to 386 00:22:36,800 --> 00:22:39,960 Speaker 1: animate and you had something like a hundred characters in it, 387 00:22:40,119 --> 00:22:43,719 Speaker 1: and so I remember one of the first shots I got, well, 388 00:22:44,080 --> 00:22:46,080 Speaker 1: one of those that was a difficult one was there 389 00:22:46,080 --> 00:22:49,959 Speaker 1: was an episode with Magic Johnson in it, and I 390 00:22:50,000 --> 00:22:54,919 Speaker 1: had to animate not just Magic Johnson and these cheerleaders 391 00:22:55,080 --> 00:22:58,160 Speaker 1: and and there's these doctors that come into to help him, 392 00:22:58,320 --> 00:23:01,320 Speaker 1: but there's also the whole cray out in the background 393 00:23:01,359 --> 00:23:04,520 Speaker 1: in the seat, and you know, I had to animate 394 00:23:04,560 --> 00:23:09,560 Speaker 1: twenty five shots a week through this character layout of them. 395 00:23:09,600 --> 00:23:11,439 Speaker 1: And when you have a shot without any characters, oh 396 00:23:11,520 --> 00:23:15,800 Speaker 1: my gosh, yeah, I would take forever. But now it 397 00:23:15,880 --> 00:23:18,720 Speaker 1: was such an awesome experience. It was before you know, 398 00:23:18,800 --> 00:23:23,760 Speaker 1: we were animating on computers, so everything was paper um 399 00:23:23,880 --> 00:23:26,800 Speaker 1: very much like the traditional way that we would animate. 400 00:23:27,200 --> 00:23:30,680 Speaker 1: UM animators would animate all the way back to snow white. 401 00:23:31,160 --> 00:23:35,240 Speaker 1: So it was paper, the pencil light table, so I'm 402 00:23:35,240 --> 00:23:39,080 Speaker 1: happy I got to do that before everything TRANSI transitioned 403 00:23:39,080 --> 00:23:43,000 Speaker 1: over to CG. One final question for you, And in 404 00:23:43,080 --> 00:23:45,360 Speaker 1: recent years, you know, Disney has gone and taking their 405 00:23:45,359 --> 00:23:48,840 Speaker 1: biggest movies and made them live action movies. It's Pixar 406 00:23:48,960 --> 00:23:51,760 Speaker 1: where to get that same kind of treatment. Of the 407 00:23:51,800 --> 00:23:53,960 Speaker 1: films you worked on, which do you think would translate 408 00:23:54,000 --> 00:23:58,280 Speaker 1: the best? Oh my god, Oh you know, I guess 409 00:23:58,400 --> 00:24:05,560 Speaker 1: one day this will happen. Uh. So I would say, um, gosh, 410 00:24:05,960 --> 00:24:07,600 Speaker 1: I kind of don't want it to to happen to any 411 00:24:07,600 --> 00:24:10,560 Speaker 1: of them. But I would say the one that I 412 00:24:10,600 --> 00:24:15,280 Speaker 1: think would would be most interesting. I think would probably 413 00:24:15,280 --> 00:24:19,720 Speaker 1: be The Incredibles. I could see that working with the Incredibles. Um, 414 00:24:19,800 --> 00:24:22,960 Speaker 1: and uh, that's that's the one that I think I 415 00:24:22,960 --> 00:24:25,520 Speaker 1: would be into seeing with live action. I think that 416 00:24:25,520 --> 00:24:27,679 Speaker 1: would that would probably translate the best. Just a super 417 00:24:27,680 --> 00:24:32,320 Speaker 1: big superhero movie. It could work. Um. But you know, 418 00:24:32,400 --> 00:24:36,359 Speaker 1: there's something about the appeal of those character designs in 419 00:24:36,440 --> 00:24:40,840 Speaker 1: the Pixar films and that get a little bit lost 420 00:24:41,080 --> 00:24:44,480 Speaker 1: when it moves into a live action world. And so 421 00:24:45,119 --> 00:24:47,200 Speaker 1: you know, but obviously I worked on these. I don't 422 00:24:47,200 --> 00:24:50,280 Speaker 1: want this. I agree with you. It's the heart of 423 00:24:50,320 --> 00:24:55,080 Speaker 1: the Animal Incredible. Incredible would be my choice. Well, Matthew 424 00:24:55,080 --> 00:24:57,159 Speaker 1: appreciate the time. Everybody listening. If you want to go 425 00:24:57,200 --> 00:24:59,720 Speaker 1: follow him on Twitter, he's a great follow at Matthew Lunn. 426 00:24:59,760 --> 00:25:02,680 Speaker 1: That's l u H And I really appreciate the time. 427 00:25:02,720 --> 00:25:04,359 Speaker 1: I felt like I learned so much and it was 428 00:25:04,400 --> 00:25:07,040 Speaker 1: just great to learn how these movies were made. Hey, well, 429 00:25:07,080 --> 00:25:10,639 Speaker 1: thanks for loving these films and um and thanks for 430 00:25:10,680 --> 00:25:13,159 Speaker 1: everybody else out there for having those those films that 431 00:25:13,160 --> 00:25:16,560 Speaker 1: I've worked on. Thanks, appreciate you. Have a good day. Okay, bye, 432 00:25:16,720 --> 00:25:23,600 Speaker 1: thank you. Joined now by my wife Kelsey. How are 433 00:25:23,640 --> 00:25:26,760 Speaker 1: you today? We're about to talk about the trilogy that 434 00:25:26,840 --> 00:25:29,440 Speaker 1: nobody ever wanted or asked for. Yeah, I was gonna 435 00:25:29,480 --> 00:25:31,399 Speaker 1: say that was how you described it. The Kissing Booth 436 00:25:31,440 --> 00:25:34,000 Speaker 1: three came out on Netflix. We've seen one and two, 437 00:25:35,040 --> 00:25:38,560 Speaker 1: and for some reason we were kind of excited about this. Yeah, 438 00:25:38,560 --> 00:25:40,720 Speaker 1: it was just because two kind of left it so 439 00:25:40,840 --> 00:25:44,000 Speaker 1: open ended. I just needed some closure. So if you 440 00:25:44,080 --> 00:25:46,199 Speaker 1: haven't seen the trailer for this yet or seeing it 441 00:25:46,200 --> 00:25:48,280 Speaker 1: pop on blood your Netflix, here's just a little bit 442 00:25:48,320 --> 00:25:51,520 Speaker 1: of that booking list. A long time ago, Lee and 443 00:25:51,520 --> 00:25:53,720 Speaker 1: I put together a list of all the crazy things 444 00:25:53,760 --> 00:25:55,760 Speaker 1: we wanted to do together before going to college. You 445 00:25:55,760 --> 00:26:01,399 Speaker 1: got arrested for that one. Yeah, we actually could. So 446 00:26:01,560 --> 00:26:04,000 Speaker 1: The Kissing Booth. If you had to describe the first 447 00:26:04,000 --> 00:26:06,200 Speaker 1: two movies leading up to this, what would you say 448 00:26:06,200 --> 00:26:09,920 Speaker 1: about them? They're very cheesy, very cheesy. I like, honestly, 449 00:26:09,920 --> 00:26:12,960 Speaker 1: how to even remember why it's called the Kissing Booth? Yes, 450 00:26:13,040 --> 00:26:15,919 Speaker 1: because this one did not set the stage whatsoever. I 451 00:26:16,000 --> 00:26:18,600 Speaker 1: was confused first, kind of have to watch the first two, 452 00:26:18,720 --> 00:26:22,040 Speaker 1: you really do. I think these movies were made to 453 00:26:22,160 --> 00:26:25,159 Speaker 1: binge them, Like basically, they put him out so fast 454 00:26:25,240 --> 00:26:28,400 Speaker 1: that you basically have to watch one, two, and then 455 00:26:28,400 --> 00:26:30,320 Speaker 1: now three all at the same time for it to 456 00:26:30,400 --> 00:26:32,560 Speaker 1: kind of fit. Yeah, I had forgotten what had happened 457 00:26:32,600 --> 00:26:35,399 Speaker 1: since the last one. So this one does not stand 458 00:26:35,440 --> 00:26:38,840 Speaker 1: alone in any way. They basically jumped right into it 459 00:26:38,920 --> 00:26:41,680 Speaker 1: after the second one ended, you jump into this one. 460 00:26:41,720 --> 00:26:44,240 Speaker 1: They don't re establish any of the characters, any of 461 00:26:44,359 --> 00:26:48,320 Speaker 1: their relationships. You're just like, here, here's this next movie. 462 00:26:48,359 --> 00:26:51,480 Speaker 1: Here we go, and it's just as cheesy. Would you say, 463 00:26:51,520 --> 00:26:55,400 Speaker 1: in any way better or do you think they get 464 00:26:55,440 --> 00:26:57,960 Speaker 1: worse from one to two to three? Yeah? This one 465 00:26:58,080 --> 00:27:00,480 Speaker 1: was I know we talked about it on last excepisode 466 00:27:00,480 --> 00:27:03,240 Speaker 1: talking about movie links. This one was like right under 467 00:27:03,280 --> 00:27:05,760 Speaker 1: two hours, and it needed to be way shorter. Like 468 00:27:05,800 --> 00:27:08,120 Speaker 1: we've we've established a rule. We're trying to be really 469 00:27:08,119 --> 00:27:09,960 Speaker 1: good about putting our phones in the other room. We 470 00:27:10,000 --> 00:27:13,040 Speaker 1: watch a movie because I'm worst out of it, I'll 471 00:27:13,080 --> 00:27:15,919 Speaker 1: start aimlessly scrolling and I don't know why. But this one, 472 00:27:15,960 --> 00:27:17,480 Speaker 1: I was like, I gotta go get my phone, Like 473 00:27:17,560 --> 00:27:19,280 Speaker 1: I can't make it through this if I'm not like 474 00:27:19,760 --> 00:27:22,520 Speaker 1: half watching it. It was too long. So what do 475 00:27:22,560 --> 00:27:25,760 Speaker 1: you think a movie in this genre that people like 476 00:27:25,840 --> 00:27:27,800 Speaker 1: because they do really well, they made three of them 477 00:27:27,840 --> 00:27:31,159 Speaker 1: and people like these movies. What do you think it 478 00:27:31,240 --> 00:27:34,600 Speaker 1: is about this genre that people gravitate towards. It's like 479 00:27:34,920 --> 00:27:37,840 Speaker 1: comfort food in a movie. It's like a homework or 480 00:27:37,880 --> 00:27:40,080 Speaker 1: lifetime Christmas movie. That's a great way to put it. 481 00:27:40,080 --> 00:27:43,159 Speaker 1: It just it's not it doesn't really require brain power. 482 00:27:43,480 --> 00:27:47,480 Speaker 1: You kind of get to just zone out watch a 483 00:27:47,520 --> 00:27:49,880 Speaker 1: mindless movie. You like movies where you have to think. 484 00:27:49,960 --> 00:27:52,080 Speaker 1: I don't if I'm watching a movie, I don't want 485 00:27:52,080 --> 00:27:54,560 Speaker 1: to have to think I'm watching it for entertainment value. 486 00:27:54,680 --> 00:27:57,320 Speaker 1: I've thought all day, I am thought out by the 487 00:27:57,320 --> 00:27:59,840 Speaker 1: time I watch a movie. I think that's a pretty 488 00:27:59,840 --> 00:28:02,680 Speaker 1: good way to put it. I think also with me, 489 00:28:02,760 --> 00:28:06,720 Speaker 1: I like to forget about the real world for a 490 00:28:06,800 --> 00:28:09,760 Speaker 1: little bit and escape into a world I've never really 491 00:28:09,760 --> 00:28:12,800 Speaker 1: seen before. But I also like to think and take 492 00:28:12,840 --> 00:28:16,280 Speaker 1: something away from a movie. But I find it hard 493 00:28:16,320 --> 00:28:19,120 Speaker 1: to get into movies where it it's the complete opposite. 494 00:28:19,160 --> 00:28:21,400 Speaker 1: I think the only franchise I can do that with 495 00:28:21,680 --> 00:28:24,800 Speaker 1: are The Fast and the Furious movies. Like those movies, 496 00:28:24,840 --> 00:28:26,679 Speaker 1: I get it you want to watch something big and 497 00:28:26,760 --> 00:28:29,720 Speaker 1: dumb and completely turn your brain off. But when it 498 00:28:29,720 --> 00:28:32,280 Speaker 1: comes to like Hallmark movies and Christmas movies that you 499 00:28:32,400 --> 00:28:35,359 Speaker 1: like love them, it pains me to watch those. And 500 00:28:35,359 --> 00:28:37,200 Speaker 1: I'll watch them because you want to watch them because 501 00:28:37,200 --> 00:28:39,040 Speaker 1: you love them. I've only ever made you watch like 502 00:28:39,080 --> 00:28:42,160 Speaker 1: two and that's a lot for me. It's hard for 503 00:28:42,200 --> 00:28:44,120 Speaker 1: me to watch those kind of movies. Okay, how many 504 00:28:44,160 --> 00:28:46,200 Speaker 1: movies have I gone to see with you? Tons of movies, 505 00:28:46,280 --> 00:28:49,760 Speaker 1: and they're much longer than an hour minutes. This is true, 506 00:28:49,960 --> 00:28:53,200 Speaker 1: So I will watch those with you. I won't complain 507 00:28:53,200 --> 00:28:55,960 Speaker 1: about them, but just know that it's hard for me 508 00:28:56,000 --> 00:28:58,800 Speaker 1: to watch those kind of movies. They pain me to. 509 00:28:58,880 --> 00:29:01,400 Speaker 1: There's certain ones I can't watch, Like sometimes I'll read 510 00:29:01,440 --> 00:29:03,480 Speaker 1: the description, I'm like, this is too dumb even for me. 511 00:29:03,800 --> 00:29:07,239 Speaker 1: So if somebody hasn't seen one and two, would you 512 00:29:07,280 --> 00:29:10,600 Speaker 1: recommend they started? If they're into like Hallmark movies, into 513 00:29:10,640 --> 00:29:13,320 Speaker 1: that genre. If you have nothing else to do with 514 00:29:13,360 --> 00:29:16,760 Speaker 1: your life, it's like a rainy Saturday and you just 515 00:29:16,800 --> 00:29:19,320 Speaker 1: want to spend like six hours on the couch with 516 00:29:19,360 --> 00:29:23,200 Speaker 1: some take out? Sure, sure do? I suggest you run 517 00:29:23,280 --> 00:29:25,400 Speaker 1: over to Netflix and hit play right at this moment. 518 00:29:25,760 --> 00:29:29,120 Speaker 1: Absolutely not. If you had to rank The Kissing Booth three, 519 00:29:29,400 --> 00:29:33,160 Speaker 1: what would you give it two and a half out 520 00:29:33,200 --> 00:29:36,440 Speaker 1: of five? Motorcycles two and a half? I would give 521 00:29:36,440 --> 00:29:41,280 Speaker 1: it one and a half out of five Summer bucket lists. Also, 522 00:29:41,400 --> 00:29:44,880 Speaker 1: just the acting is not great. It is not great whatsoever. 523 00:29:45,520 --> 00:29:51,000 Speaker 1: It's almost soap opera like acting. Yeah, teen drama ish 524 00:29:51,560 --> 00:29:56,560 Speaker 1: all put together, so very cheesy, very And I feel 525 00:29:56,600 --> 00:29:58,880 Speaker 1: like this isn't a it's not spoiler because if you've 526 00:29:58,880 --> 00:30:00,760 Speaker 1: watched one and two, but just well I won't say 527 00:30:00,760 --> 00:30:02,920 Speaker 1: which character, but one of the male characters is just 528 00:30:02,960 --> 00:30:06,120 Speaker 1: super problematic, and that he's so dramatic. He is not 529 00:30:06,280 --> 00:30:08,880 Speaker 1: mature enough to be in a relationship. Every time they 530 00:30:08,880 --> 00:30:12,280 Speaker 1: have an argument, he's like, Okay, we're done. The movie 531 00:30:12,400 --> 00:30:16,080 Speaker 1: is very unrealistic and an example of ways not to 532 00:30:16,120 --> 00:30:20,400 Speaker 1: handle situations and overall doesn't promote very great values. Can 533 00:30:20,440 --> 00:30:22,600 Speaker 1: you imagine like if we were done every time we 534 00:30:22,960 --> 00:30:26,040 Speaker 1: had a small argument. Yeah, it's very dramatic, it would 535 00:30:26,040 --> 00:30:28,360 Speaker 1: be insane to do. Like I don't think we would 536 00:30:28,360 --> 00:30:30,360 Speaker 1: have lasted more than like a month. And it's also 537 00:30:30,400 --> 00:30:34,040 Speaker 1: weird that this is and more so geared towards a 538 00:30:34,120 --> 00:30:37,440 Speaker 1: younger audience. But yet the things they do in one 539 00:30:37,440 --> 00:30:40,160 Speaker 1: way or another are illegal. They are always drinking, They're 540 00:30:40,160 --> 00:30:45,360 Speaker 1: always always underage drinking. Somehow, they are served everywhere they go. 541 00:30:45,520 --> 00:30:48,920 Speaker 1: There are no ideas, and they don't look twenty one. 542 00:30:49,080 --> 00:30:52,080 Speaker 1: And for reference, they just graduated high school in this movie, 543 00:30:52,640 --> 00:30:55,720 Speaker 1: about to go to college. But yet every party there's 544 00:30:55,760 --> 00:30:58,200 Speaker 1: tons of booze. They go to bars, they do and 545 00:30:58,200 --> 00:31:00,000 Speaker 1: it's not just like going out to dinner with their 546 00:31:00,120 --> 00:31:02,200 Speaker 1: parents and like their parents given them a glass wine. 547 00:31:02,200 --> 00:31:04,680 Speaker 1: It's like they go to a bar and the bartenders like, 548 00:31:04,720 --> 00:31:08,400 Speaker 1: what do you want? And I'm just like, okay, what 549 00:31:08,480 --> 00:31:11,400 Speaker 1: world is this movie existing? Meanwhile, I'm twenty seven and 550 00:31:11,400 --> 00:31:15,440 Speaker 1: get carded on the regular everywhere we go here. Yeah, yeah, 551 00:31:15,600 --> 00:31:21,920 Speaker 1: I would say, don't watch them, just don't know. Yeah, 552 00:31:22,000 --> 00:31:23,760 Speaker 1: we watched him. Last year were like when no one 553 00:31:23,840 --> 00:31:26,640 Speaker 1: had really been able to like safely film new content yet, 554 00:31:27,080 --> 00:31:29,040 Speaker 1: so we were just kind of going through the rolodex 555 00:31:29,120 --> 00:31:31,840 Speaker 1: of what haven't we seen? And that was it, and 556 00:31:31,880 --> 00:31:35,440 Speaker 1: then this one came out and we felt like closing 557 00:31:35,440 --> 00:31:38,160 Speaker 1: the trilogy. I'm glad we have watched them and have 558 00:31:38,240 --> 00:31:40,600 Speaker 1: them under our belts until we can tell people you 559 00:31:40,680 --> 00:31:43,040 Speaker 1: don't need to spend your time on them. That's the 560 00:31:43,080 --> 00:31:46,320 Speaker 1: way think about the Kissing Booth trilogy. Let's get into 561 00:31:46,400 --> 00:31:48,600 Speaker 1: some movie news now. The biggest thing in Marvel news 562 00:31:48,720 --> 00:31:52,880 Speaker 1: is that Anthony Mackie will officially return for Captain America four, 563 00:31:53,360 --> 00:31:56,040 Speaker 1: basically coming off the Disney Plus series and The Falcon 564 00:31:56,080 --> 00:31:58,920 Speaker 1: and the Winter Soldier, which I liked al right, It 565 00:31:58,960 --> 00:32:01,640 Speaker 1: wasn't my favorite of them Marvel shows, but I kind 566 00:32:01,680 --> 00:32:04,640 Speaker 1: of felt like that whole series should have been a movie. 567 00:32:05,040 --> 00:32:08,320 Speaker 1: It was almost kind of the in between going from 568 00:32:08,360 --> 00:32:10,920 Speaker 1: that phase of Marvel into the New Marvel phase, and 569 00:32:10,960 --> 00:32:13,800 Speaker 1: it was kind of the introduction of Anthony Mackie taking 570 00:32:13,800 --> 00:32:16,880 Speaker 1: over for Chris Evans is Captain America, so I like 571 00:32:17,000 --> 00:32:19,120 Speaker 1: it in that regard, but I think overall the story 572 00:32:19,160 --> 00:32:21,160 Speaker 1: would have made for a much better movie. But I 573 00:32:21,240 --> 00:32:24,160 Speaker 1: am excited to see him do Captain America four. There's 574 00:32:24,200 --> 00:32:26,400 Speaker 1: no director attached to get to this movie, and he's 575 00:32:26,440 --> 00:32:28,960 Speaker 1: the only one signed onto this film so far. So 576 00:32:29,600 --> 00:32:33,080 Speaker 1: curious to see how they take the story of Captain America. 577 00:32:33,360 --> 00:32:35,360 Speaker 1: Kind of going into this new phase I'm not the 578 00:32:35,480 --> 00:32:39,560 Speaker 1: most excited about I've admitted to aside from the Spider 579 00:32:39,560 --> 00:32:42,240 Speaker 1: Man movie that's coming out later this year. I'm waiting 580 00:32:42,240 --> 00:32:44,320 Speaker 1: to see how all these new Marvel movies play out. 581 00:32:44,360 --> 00:32:46,880 Speaker 1: But I do like him as Captain America, so I 582 00:32:46,920 --> 00:32:49,800 Speaker 1: will be checking that one out. Also in movie news, 583 00:32:49,880 --> 00:32:52,880 Speaker 1: Fast and Furious ten officially has a release date. I 584 00:32:52,920 --> 00:32:57,040 Speaker 1: know everybody's been waiting for this, saying that sarcastically, and 585 00:32:57,080 --> 00:32:59,120 Speaker 1: I kind of feel like I'm out of the Fast 586 00:32:59,120 --> 00:33:01,120 Speaker 1: and the Furious movies after the last one. I think 587 00:33:01,120 --> 00:33:03,520 Speaker 1: I got what I wanted out of that one, but 588 00:33:03,560 --> 00:33:05,640 Speaker 1: I don't really need that experience again for a while. 589 00:33:05,880 --> 00:33:09,320 Speaker 1: The Universal did announce that April seven, three, Fast in 590 00:33:09,320 --> 00:33:11,800 Speaker 1: the Furious Tendant comes out, and I just don't know 591 00:33:11,840 --> 00:33:14,680 Speaker 1: how they're going to top the last one they did. 592 00:33:14,720 --> 00:33:17,400 Speaker 1: All these crazy things went through such extreme links, Like 593 00:33:18,040 --> 00:33:20,840 Speaker 1: I really think that I've had what I needed to 594 00:33:20,880 --> 00:33:22,880 Speaker 1: out of that series. I don't know many series that 595 00:33:22,960 --> 00:33:26,000 Speaker 1: get to ten movies in the franchise and still kind 596 00:33:26,040 --> 00:33:27,960 Speaker 1: of go as strong as they do. But they're still 597 00:33:27,960 --> 00:33:30,800 Speaker 1: one of the highest grossing franchises of all time, so 598 00:33:30,920 --> 00:33:32,720 Speaker 1: you got to give it up to them. Also in 599 00:33:32,800 --> 00:33:35,480 Speaker 1: movie news, Kevin Hart and Mark Wahlberg will start in 600 00:33:35,520 --> 00:33:38,560 Speaker 1: a new Netflix comedy called Me Time, and I think 601 00:33:38,600 --> 00:33:41,280 Speaker 1: those are two really great actors that have a bigger 602 00:33:41,360 --> 00:33:45,040 Speaker 1: range than you would really expect. Kevin Hart and Fatherhood 603 00:33:45,080 --> 00:33:46,880 Speaker 1: really kind of showed me that, hey, he can go 604 00:33:46,920 --> 00:33:49,400 Speaker 1: a little bit further. And I know he's not exactly 605 00:33:49,480 --> 00:33:51,760 Speaker 1: on the same level as Mark Wahlberg of how long 606 00:33:51,800 --> 00:33:54,840 Speaker 1: he's been acting, but Mark Wahlberg also has that tendency 607 00:33:54,880 --> 00:33:58,200 Speaker 1: to also dabble into comedic stuff, so they're almost opposites 608 00:33:58,200 --> 00:33:59,920 Speaker 1: in a way. Mark Wahlberg is known for a little 609 00:33:59,920 --> 00:34:02,600 Speaker 1: bit more of the action serious roles, but when he 610 00:34:02,640 --> 00:34:05,880 Speaker 1: does comedy, I really like Mark Wahlberg in that space, 611 00:34:05,920 --> 00:34:08,080 Speaker 1: So I think them together will be an interesting pairing. 612 00:34:08,320 --> 00:34:10,440 Speaker 1: The movie is about Kevin Hart's character who is to 613 00:34:10,480 --> 00:34:12,920 Speaker 1: stay at home dad and he reconnects with his former 614 00:34:12,960 --> 00:34:16,000 Speaker 1: best friend played by Mark Wahlberg for a wild weekend. 615 00:34:16,239 --> 00:34:19,000 Speaker 1: So that sounds fun to me. And finally, in movie news, 616 00:34:19,000 --> 00:34:21,319 Speaker 1: Scarlett Joe Hanson has joined the cast of this new 617 00:34:21,320 --> 00:34:24,879 Speaker 1: West Anderson movie that has what I've seen so far 618 00:34:25,120 --> 00:34:28,319 Speaker 1: as the most stacked a list cast in a very 619 00:34:28,320 --> 00:34:31,320 Speaker 1: long time. Already signed onto the movie is Adrian Brodie, 620 00:34:31,440 --> 00:34:35,200 Speaker 1: Jason Schwartzman, Bill Murray, Margot Robbie, and Tom Hanks. So far, 621 00:34:35,360 --> 00:34:37,600 Speaker 1: there's no word on the title. And I do like 622 00:34:37,680 --> 00:34:39,839 Speaker 1: a good West and Anderson movie. I'm more so into 623 00:34:39,880 --> 00:34:43,080 Speaker 1: his aesthetic than I am the overall like entertainment value. 624 00:34:43,760 --> 00:34:46,200 Speaker 1: Like I love the look of a Wes Anderson movie, 625 00:34:46,239 --> 00:34:48,640 Speaker 1: and he has a very distinct style. I don't think 626 00:34:48,640 --> 00:34:50,759 Speaker 1: he's one of my favorite directors, but when you take 627 00:34:50,800 --> 00:34:52,839 Speaker 1: all of these actors and put them into a Wes 628 00:34:52,920 --> 00:34:56,000 Speaker 1: Anderson movie, I'm not usually rushing to see or have 629 00:34:56,120 --> 00:34:58,040 Speaker 1: to see these West centers in movies when they do 630 00:34:58,080 --> 00:34:59,480 Speaker 1: come out, but I think this one is going to 631 00:34:59,560 --> 00:35:02,640 Speaker 1: be at the top of my list. That cast sounds amazing. 632 00:35:02,680 --> 00:35:04,560 Speaker 1: To me. So that'll do it for movie news. But 633 00:35:04,640 --> 00:35:06,640 Speaker 1: every single episode I give a listener shout out to 634 00:35:06,680 --> 00:35:09,000 Speaker 1: one of you guys listening who sends me a tweet, 635 00:35:09,040 --> 00:35:11,879 Speaker 1: a d M, or an email movie Mike d at 636 00:35:11,880 --> 00:35:14,160 Speaker 1: gmail dot com. And for this week, I'm going over 637 00:35:14,200 --> 00:35:16,439 Speaker 1: to my Twitter and this one came to me from 638 00:35:16,480 --> 00:35:20,040 Speaker 1: at Bulldog one eleven and his name is Jamie, and 639 00:35:20,160 --> 00:35:22,560 Speaker 1: Jamie writes, loved the pod. I am a trucker and 640 00:35:22,600 --> 00:35:25,279 Speaker 1: listen to your podcast and the Big Show, referring to 641 00:35:25,320 --> 00:35:27,359 Speaker 1: the Bobby Bones Show, and he asked, have you ever 642 00:35:27,400 --> 00:35:29,640 Speaker 1: watched Blood In and Blood Out? It's one of my 643 00:35:29,719 --> 00:35:32,359 Speaker 1: favorite movies, and I have. I actually watched that movie 644 00:35:32,400 --> 00:35:34,520 Speaker 1: as a kid, and it's probably a movie you shouldn't 645 00:35:34,520 --> 00:35:37,120 Speaker 1: watch as a kid, but all my cousins were super 646 00:35:37,160 --> 00:35:39,000 Speaker 1: into that movie, so I was exposed to that at 647 00:35:39,000 --> 00:35:41,560 Speaker 1: a very early age. And shout out to Jamie for 648 00:35:41,600 --> 00:35:43,799 Speaker 1: being a trucker. My dad is also a truck driver, 649 00:35:44,280 --> 00:35:48,160 Speaker 1: has been driving a big rig for over maybe almost 650 00:35:48,200 --> 00:35:50,320 Speaker 1: thirty years now, so I know how that life is 651 00:35:50,360 --> 00:35:53,600 Speaker 1: and I feel like it's a very underappreciated profession. I 652 00:35:53,640 --> 00:35:55,799 Speaker 1: remember as a kid going on trips with my dad. 653 00:35:56,080 --> 00:35:58,160 Speaker 1: He was always listening to the radio. It was long 654 00:35:58,160 --> 00:36:01,160 Speaker 1: before podcast. It's very isolated at times, so I appreciate 655 00:36:01,200 --> 00:36:03,200 Speaker 1: you listening to the podcast. Hopefully I can keep you 656 00:36:03,280 --> 00:36:05,799 Speaker 1: company for just a small portion of your hall. So 657 00:36:05,920 --> 00:36:08,560 Speaker 1: thanks Jamie, and thanks to you for listening, Thanks for 658 00:36:08,600 --> 00:36:11,040 Speaker 1: being subscribed. Hope you guys enjoyed this episode. Let me 659 00:36:11,040 --> 00:36:13,279 Speaker 1: know what you thought about it. Hopefully you'll learn something 660 00:36:13,320 --> 00:36:15,600 Speaker 1: you didn't know about Pixar movies. And if you have 661 00:36:15,640 --> 00:36:17,720 Speaker 1: a friend who you think would be into that interview 662 00:36:17,760 --> 00:36:21,319 Speaker 1: into Pixar movies, tag them in your Instagram story and 663 00:36:21,360 --> 00:36:23,080 Speaker 1: tag me to Just take a screenshot of your I 664 00:36:23,160 --> 00:36:26,960 Speaker 1: Heart radio app on Apple podcast or Spotify wherever you're listening, 665 00:36:27,000 --> 00:36:29,160 Speaker 1: or just take a picture of the radio in your 666 00:36:29,160 --> 00:36:31,240 Speaker 1: car and tag me in that. I'll repost some people 667 00:36:31,440 --> 00:36:33,960 Speaker 1: telling a friend really helps this podcast grow too, so 668 00:36:34,080 --> 00:36:37,600 Speaker 1: I would appreciate that. And until next time. Later,