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Speaker 1: Welcome back to another episode of Car Stories with some

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Speaker 1: and Amelia Hartford.

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Speaker 2: Hey Amelia, Hey, soorry? What's up?

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Speaker 1: Hi?

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Speaker 2: Do you play the lottery?

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Speaker 3: No? Ever, when I.

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Speaker 1: Was younger, I like to play because I thought it

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Speaker 1: was fun, specifically the scratchers. I don't like the idea

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Speaker 1: of gambling personally, and I don't like losing money, oh,

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Speaker 1: because I think I struggled to have it for so

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Speaker 1: long in my life. So a long answer to your

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Speaker 1: question is.

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Speaker 2: Not so much probably a good idea.

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Speaker 1: Do you play the lottery?

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Speaker 2: I only play when it's close to a billion dollars, okay.

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Speaker 2: Right then I started doing the math. I go, at

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Speaker 2: the end of the day, after billion Texas, blah blah blah,

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Speaker 2: maybe you'll bring home like three hundred million plus, right.

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Speaker 2: And then I started like fantasizing, and usually I'll played

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Speaker 2: like one, you know, like I'll just one pick a ball,

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Speaker 2: it's like two dollars, right, and then I'll go in

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Speaker 2: and literally pick the numbers because I realized I love

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Speaker 2: the fantasy of the idea of winning. Okay, I go,

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Speaker 2: so if I want a billion dollars, what would I do?

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Speaker 2: I would keep it like super quiet, not tell anybody.

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Speaker 1: I think in the state of California, you have to

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Speaker 1: identify yourself.

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Speaker 2: Oh you do, I think so, well, that would suck.

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Speaker 3: It.

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Speaker 2: Yeah, yeah, I guess I would leave. I'd just leave town.

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Speaker 2: I'd like leave town, right, yeah, because I don't want

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Speaker 2: to deal with all the nonsense, yeah.

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Speaker 1: Or the family you haven't heard from and that you

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Speaker 1: didn't know you had reaching out.

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Speaker 2: Yeah. But then I think about, like what would I

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Speaker 2: do with that. I would open a school, I would

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Speaker 2: donate this, I would buy this, I would do that.

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Speaker 2: And then it's interesting because most of the time I

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Speaker 2: don't even get one number. But then I thought about it,

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Speaker 2: and I'm like, you know, I think I'll keep playing

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Speaker 2: when it gets to a billion, because the fantasy is

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Speaker 2: a lot of fun. Sure, right the can I drive

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Speaker 2: around like I'll pick up the number and I'll be

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Speaker 2: driving home and I'm going just thinking about, yeah, I

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Speaker 2: can buy this gas station and the giveaway gas to

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Speaker 2: all the guys with cool cars every Sunday.

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Speaker 3: Right. Yeah.

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Speaker 2: I'll drive once in a while, you know, and you

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Speaker 2: pass a gas station or whatever store and they'll say,

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Speaker 2: you know, like nine hundred and eighty three million, and

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Speaker 2: You're like, Okay, it's time to walk in, and then

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Speaker 2: I'll drive to some obscure convenience store gas station, because

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Speaker 2: you always hear that the winning number came from some

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Speaker 2: podunk town, some obscure liquor store or something, and I'll

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Speaker 2: walk in and I'll give the guy two bucks, play

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Speaker 2: the power ball, and then walk out.

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Speaker 1: Have you heard of the lottery curse? Though?

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Speaker 2: Yes?

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Speaker 1: Because most people end up going bankrupt and losing all

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Speaker 1: the money and more than what they had before, and

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Speaker 1: friends and families start using them and they end up

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Speaker 1: being miserable and not happy.

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Speaker 2: I think I would do something good with What would

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Speaker 2: you do? Okay, so if you want the billion dollar lottery,

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Speaker 2: what would you do with them? What was the first

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Speaker 2: thing you would spend that money on?

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Speaker 1: I thought, like, in my head, immediately comes free mental

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Speaker 1: health care. But I don't I don't know what that

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Speaker 1: would cost.

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Speaker 2: I mean for yourself, for.

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Speaker 1: Myself, like selfishly, if I buy something to help people with.

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Speaker 2: It, no, just for yourself, just to put into your

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Speaker 2: garage and f forty forty ferrari? Yeah, which are.

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Speaker 1: Those two six three million?

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Speaker 2: That's a good one.

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Speaker 1: Yeah, what about you?

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Speaker 2: I have no idea. I don't want anything nothing.

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Speaker 3: Nothing.

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Speaker 2: I don't know.

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Speaker 3: Car, no jet, no, no, no, no way.

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Speaker 2: Have you ever ridden in a private jet? No, it's

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Speaker 2: it's the bathrooms are very inconvenient. It's not what you think.

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Speaker 1: That's the last thing I'd be worried about.

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Speaker 2: I mean, going to the number two and a private

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Speaker 2: jet with people in there is very.

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Speaker 1: Very It's not like a dick thing to do. What

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Speaker 1: go poop in someone's plane?

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Speaker 2: Well, they have to, like at least the one I

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Speaker 2: rode right the fluid.

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Speaker 1: Do you know what kind of jet it was.

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Speaker 2: I think it was like a G four or G

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Speaker 2: five or something like that. Anyway, the interior, the flight

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Speaker 2: attendant had to come in and basically create the doors. Oh,

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Speaker 2: so is you have to announce like, hey, I need

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Speaker 2: to go pooh. And I was like, but this is

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Speaker 2: so inconvenient. Man, Like the private jetman, you have privacy.

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Speaker 2: But it's like at least the one that I wrote,

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Speaker 2: So I was like, I don't know about that. And

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Speaker 2: also I think it's a complete waste of money.

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Speaker 1: It's a lot of money.

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Speaker 2: I mean, I'm not balder enough where I need a

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Speaker 2: private jet to hop around the world, right, I don't

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Speaker 2: know what I would buy I used to think I

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Speaker 2: would buy like a big building to put like a

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Speaker 2: whole bunch of cars and have a man cave and

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Speaker 2: have like an apartment so friends could come from out

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Speaker 2: of town and visit. I don't want to do that now.

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Speaker 2: That's like, that's I consider that like a waste of

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Speaker 2: money paying utilities on the place I'm not really using

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Speaker 2: all the time. You know, it's like I don't want

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Speaker 2: to to something nothing.

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Speaker 1: You'll have any answer next week.

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Speaker 2: Next week.

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Speaker 1: Yeah, I believe it.

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Speaker 2: I've been thinking about it though. Really, Yeah, there's zero oh, okay, okay, okay.

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Speaker 2: I would love to wear an original pair of Jordan ones.

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Speaker 1: That would be cool. I would feel so bad wearing them.

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Speaker 2: Though, because I that's something as a kid that I

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Speaker 2: always wanted was a pair of Jordan ones. And of

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Speaker 2: course my family can never afford to buy that for me.

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Speaker 2: And I think about today, like, I'd love to get

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Speaker 2: a pair of like Jordan one at least maybe not

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Speaker 2: from the original here, but something that I look like

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Speaker 2: that mm hmm. But I think I would never wear them. Yeah,

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Speaker 2: but I would go and buy a pair of knockoffs and.

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Speaker 1: Wear those, yeah, and just keep the real ones.

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Speaker 2: Yeah, but then what's the point of having them? Yeah,

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Speaker 2: Jordan Ones. Okay, anyway, let's let's do this intro, tell

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Speaker 2: you nonsense, all right, we want to start this. Who

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Speaker 2: do we have today?

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Speaker 1: Yeah, today's guest. We have Carter Swan coming on. Carter

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Speaker 1: is a huge inspiration to mine and I'm sure many

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Speaker 1: others as well. He's the producer of Grind Tarismo, The

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Speaker 1: Last of Us, Twisted Metal, and so many other incredible projects.

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Speaker 1: He's a producer at PlayStation's production and a big part

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Speaker 1: of why you guys are seeing his incredible adaptions come

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Speaker 1: to play And we had such a cool conversation that

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Speaker 1: I hope inspires many and I learned a lot from

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Speaker 1: And it's.

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Speaker 2: So refreshing to have a conversation with somebody in the

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Speaker 2: business that's just sincere and honest about like who they

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Speaker 2: are and their perspective. And it's always something to learn

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Speaker 2: every time you stay with Carter. So yeah, good, good conversation. Yeah,

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Speaker 2: all right, here we go. Where'd you come from, Carter?

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Speaker 3: Seattle?

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Speaker 2: Seattle, came to LA for the Hollywood Dream. Yes, yes,

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Speaker 2: And you give us a little context, like, yes, the

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Speaker 2: history of the Carter history.

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Speaker 3: I'm trying to make it quick. Yeah, So I went

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Speaker 3: to the Seattle Film Institute, which was the only film

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Speaker 3: school we had in Seattle at the time, and it

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Speaker 3: was in basically like the basement of a Kiwanis, two

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Speaker 3: nights a week. It's like an it's kind of like

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Speaker 3: an American Legion. It's like an old club, like one

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Speaker 3: of those hall kind of places where they would have memberships.

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Speaker 3: So finished that, went to USC summer Production Workshop with Universal,

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Speaker 3: which was awesome. I had a really great time at that,

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Speaker 3: was right at the top of my class and that

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Speaker 3: so I was thinking about going to film school, either

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Speaker 3: at USC or perhaps really old Merrimount, where our professor

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Speaker 3: at the time was sort of like starting his own

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Speaker 3: film course. And then my cousin I sat down with him.

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Speaker 3: So my cousin is directors get named John Dahl who

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Speaker 3: did Rounders and joy Ride and he's big TV director

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Speaker 3: to this day, and he's like, don't go to film school.

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Speaker 3: You're gonna spend twenty years making no money and you're

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Speaker 3: gonna have the six figure dead over your head and

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Speaker 3: it's gonna crush you. And just I've talked to you

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Speaker 3: enough to know that, like the film school, the stuff

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Speaker 3: you're gonna get education wise, you know it. You're good,

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Speaker 3: You've got it. You read the books, you do the reading.

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Speaker 3: You're like obsessed with this stuff. What you need now

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Speaker 3: is jobs on your resume. And he's like, and once

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Speaker 3: you get inside, no one cares about your education. They

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Speaker 3: just care about your resume once you start. And so

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Speaker 3: he said, I'll get you a job. I'll get you

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Speaker 3: a job on my next movie, which turned out being

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Speaker 3: joy Ride, which was this jj Abram's kind of horror

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Speaker 3: movie for Fox a long time ago. That's probably most

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Speaker 3: notable because it stars Paul Walker, and that was in

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Speaker 3: ninety nine. I started that the shoot started in Nevada,

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Speaker 3: So I packed up my Cherokee everything I own, went

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Speaker 3: to Nevada, drove around working on the movie, got back

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Speaker 3: to La got an apartment, and been here like ever since.

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Speaker 3: And in that time, I did every kind of development

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Speaker 3: job you could do. I wrote. I just tried to

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Speaker 3: keep doing different jobs and having different experiences and just

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Speaker 3: trying to wear a lot of hats. So I just

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Speaker 3: felt like I just kind of like a like a

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Speaker 3: basketball player, just trying to like make sure my game

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Speaker 3: was complete. So whether it was writing or production or development,

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Speaker 3: just any of those phases, post production, just having a

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Speaker 3: grasp of what it was and like seeing it firsthand

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Speaker 3: as much as I could and trying it myself. So

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Speaker 3: I did that for the next sixteen seventeen years, just

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Speaker 3: bounced around. I mean, the best job in that time

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Speaker 3: that I could probably talk to you about was obviously

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Speaker 3: an interesting experience was working for Paul Walker, because I,

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Speaker 3: after Joyride, became good friends with him. I've worked with

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Speaker 3: a lot of actors now over the years, and I

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Speaker 3: tell people, you know, I think the thing that was

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Speaker 3: special about him held it in the obvious things. He

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Speaker 3: was more he's in real life. He was exactly who

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Speaker 3: you would expect him to be in the best way

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Speaker 3: as possible, judging from just you know, because I always

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Speaker 3: find that weird. It's like, you guys are playing these characters,

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Speaker 3: so people kind of think they get to know you,

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Speaker 3: and you're a lot different usually than the people that

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Speaker 3: you're playing on screen, and it can be kind of

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Speaker 3: weird for them and for you obviously, But for him,

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Speaker 3: he was exactly who you thought he'd be. The person

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Speaker 3: he portrayed himself as, or he came off as. He

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Speaker 3: was exactly that guy in like again, the best way

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Speaker 3: as possible. So miss him all the time, think about

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Speaker 3: him all the time.

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Speaker 2: I agree with you, you know, I mean he was

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Speaker 2: a teacher for me too, because when you know, being

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Speaker 2: able to watch and hang out with somebody that is

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Speaker 2: famous in the public at that level was a great

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Speaker 2: education for me. And the way he carried himself, the

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Speaker 2: things that we did together, there was no movie star nonsense.

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Speaker 2: It was we drove to the mall to go buy underwear,

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Speaker 2: yeah you know, and go buy flannel shirts that like

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Speaker 2: the old navy yeah right, and stopped anyone who would ask,

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Speaker 2: you know, for a picture or an autograph, stop, engage,

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Speaker 2: say hello, smile And I could see like there were

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Speaker 2: times where you know, it was inconvenience. There was just

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Speaker 2: not appropriate. It was such a struggle for him to

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Speaker 2: not be able to provide that he taught me. It's like,

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Speaker 2: you know, without the fans, like we do not have,

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Speaker 2: you know, food on the table. They are the reason

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Speaker 2: why we're here. We exist for them, right, And and

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Speaker 2: he meant it. I mean, he believed in his heart

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Speaker 2: was just so kind, you know.

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Speaker 3: It's like no, yeah, that's exactly him. He always had

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Speaker 3: time for everyone. Yeah, like even though he didn't, you

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Speaker 3: know what I mean, he would make time.

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Speaker 1: You know.

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Speaker 3: The thing that he provided me the most. What we

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Speaker 3: all need when you're starting out in Hollywood is somebody

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Speaker 3: who's successful to point at you and go, you can

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Speaker 3: do this, like trust me, I'm look at me, I'm

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Speaker 3: at the top. I know you can do this. I

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Speaker 3: believe in you, and I'll help you if I can't.

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Speaker 3: And he was really one of the first people to

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Speaker 3: do that for me. Getting that kind of assurance early

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Speaker 3: on was really helpful because I think a lot of

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Speaker 3: people can go years without it and then it becomes

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Speaker 3: difficult because it's just you in your own head going

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Speaker 3: I know I'm going to make it. I know I'm

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Speaker 3: going to make this happen. Sure how yet, but you

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Speaker 3: just need along the way enough good role models and

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Speaker 3: people that come across you, be it luck or whatever,

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Speaker 3: that can just point at you and say what you're

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Speaker 3: doing is right, you made the right decisions here in

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Speaker 3: your life, and keep pursuing it, agreed. And then now,

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Speaker 3: of course working for PlayStation, which is like the double

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Speaker 3: dream come true because I get to work you know,

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Speaker 3: with the video game properties which I grew up loving

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Speaker 3: myself and of course, uh, you know, working on movies

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Speaker 3: and making adaptations, which is something I'm very passionate about,

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Speaker 3: my favorite thing to do in the world. And I

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Speaker 3: finally got Graham Turisma made.

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Speaker 2: That's how you know each other.

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Speaker 3: Yeah, we know each other over a decade. Yeah, I

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Speaker 3: worked a decade.

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Speaker 2: It took ten years. I think everything happens overnight, I know, right.

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Speaker 3: No, No, it certainly does.

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Speaker 2: Ten years.

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Speaker 3: That's another one. You know, you go like, there were

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Speaker 3: so many times where I was like, am I just crazy?

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Speaker 3: Like I just because I was sort of one of

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Speaker 3: the people who just never gave up on it because

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Speaker 3: it died a few years And.

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Speaker 2: Why though, just what I mean, Yeah, explain to the

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Speaker 2: layman out there, like why people say that to make

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Speaker 2: a movie, it's it's actually harder than winning the lottery.

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Speaker 3: Yeah, you line up a lot of and a lot

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Speaker 3: of the things that line up to help get it made.

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Speaker 3: They're out of your control. There are things you don't

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Speaker 3: even see coming. And I think this is this story

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Speaker 3: is a good example of that. Because the idea that

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Speaker 3: somebody could play video games and become a professional race

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Speaker 3: car driver, to your average human being walking around doesn't

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Speaker 3: understand the sim world doesn't understand what's going on there

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Speaker 3: and what's been happening in the last decade or so.

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Speaker 3: That is a ridiculous premise. And so when you wrote

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Speaker 3: a story that was fictionalized based on something so outlandish,

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Speaker 3: it doesn't feel like something that actually happened. It feels

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Speaker 3: like a movie. The first writer I hired when I

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Speaker 3: got to PlayStation was my friend Jason Hall, who wrote

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Speaker 3: American Sniper and Thank You for Your Service. He wrote

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Speaker 3: and directed Thank You for Your Service. And my logic was, Okay,

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Speaker 3: let's get somebody who writes real life dramas to try this,

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Speaker 3: because I I don't think we need an action writer here.

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Speaker 3: I don't think the racing and all that's going to

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Speaker 3: take care of itself. You've got to really care about

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Speaker 3: these characters in this guy's life and these kind of

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Speaker 3: dramatic elements. That's what's going to make this fly. It's

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Speaker 3: kind of like Rocky, Right. When you talk about Rocky,

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Speaker 3: you don't go, oh, it's the fight scenes. The fight

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Speaker 3: scenes are what make that movie so good. No, it's

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Speaker 3: the character stuff exactly. So one of the producers that

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Speaker 3: worked on it with me all these years was Dana

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Speaker 3: Burnetti and he recommended to me. He said, have you

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Speaker 3: ever seen this kid's story Jon Martinborough And I hadn't.

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Speaker 2: Lean is the real life character.

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Speaker 3: Yeah. Jan Marninborough, who the movie is based on, met

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Speaker 3: Yan through his manager, flew out to London, sat with them,

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Speaker 3: both explained what it is. Jason came with me what

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Speaker 3: it is we were trying to do and asked John

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Speaker 3: as many questions as we could and the time we

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Speaker 3: had with him, and so I think you take those

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Speaker 3: two things and then you sort of look at what

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Speaker 3: we were trying to do with the movie, right, which

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Speaker 3: was to do a video game racing movie that was

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Speaker 3: real at the time, was totally groundbreaking. Tetris I think

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Speaker 3: beat us a little bit to the to the pot,

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Speaker 3: which I was so upset about. But and then you

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Speaker 3: think about what Grand Turismo is the real racing simulator,

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Speaker 3: and you think about Kasnori's sort of obsession with reality

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Speaker 3: and why that game has become what it is, and

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Speaker 3: those two themes really marry well together, right of like

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Speaker 3: doing a real life story, doing this kid's true story,

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Speaker 3: marrying it to this adaptation, and then it just kind

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Speaker 3: of clicked for everybody, like, oh, this is a great idea.

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Speaker 3: This is a great movie. And then I think getting

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Speaker 3: Neil blanc Caamp obviously was a big deal for.

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Speaker 2: US South African director direct The District nine.

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Speaker 3: Yes, Chappie, Cheppie, Chappie, and Elysium, which was that was

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Speaker 3: interesting too because you know, first of all, how many

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Speaker 3: skylines has he owned? He's owned like three or four.

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Speaker 3: As a car guy, yeah, he's a huge car guy.

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Speaker 3: And then you know, he said, I've wanted to for

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Speaker 3: years do something hopeful, and every time I try to

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Speaker 3: generate my own material, it's hopeful, but it's still really

337
00:17:32,200 --> 00:17:36,000
Speaker 3: really really dark getting there. And then I read this,

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Speaker 3: this is exactly the kind of thing I've wanted to do.

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Speaker 1: A lot of his films have like this raw element

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Speaker 1: to it too, which I feel like was perfect to

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Speaker 1: tell this true story in this cool space.

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Speaker 3: Yeah, he's very I think he's very grounded in his

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Speaker 3: approach to storytelling. Like I don't think he likes big,

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Speaker 3: like theatrical performances, and I think he likes his characters

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Speaker 3: to feel real. I think he likes to kind of

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Speaker 3: create elevations and then have real people in habit of them.

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Speaker 3: If you look at sort of his resume and the

348
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Speaker 3: things that he's done. I think that that sort of

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00:18:09,359 --> 00:18:12,119
Speaker 3: fits well in looking back with what it was that

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Speaker 3: we were trying to do, because this isn't sort of

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Speaker 3: elevated world in some ways, but it's skin how the

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Speaker 3: real people react to it that makes it really interesting. Right.

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Speaker 1: I know I'm biased, but I genuinely like I get

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Speaker 1: so many messages and I hear so much about how

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Speaker 1: it inspired a lot of people too, And I feel like,

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Speaker 1: if you can tell those stories that makes people feel something,

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Speaker 1: I feel like that's hugely important.

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Speaker 3: No, me too. I'm so proud of it. And I

359
00:18:37,080 --> 00:18:39,960
Speaker 3: mean I worked on it longer than anybody, so you

360
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Speaker 3: know there's always that oh my god, what if I

361
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Speaker 3: spent ten years on something I don't even really like, right,

362
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Speaker 3: But that's not the case. I really love it, and

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Speaker 3: I think it fits well in our library of things

364
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Speaker 3: that we've done because I sort of obsess on always

365
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Speaker 3: making sure that every one of them is different in

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Speaker 3: its own thing, and I think that's if you look

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Speaker 3: at what we've done so far, like that's one of

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Speaker 3: the things I'm the most proud of. If you take

369
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Speaker 3: Uncharted and Twisted Metal and Last of Us in Grand

370
00:19:08,960 --> 00:19:12,560
Speaker 3: Turismo and you hold them all up. They're all so different.

371
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Speaker 3: The tones are different, the looks are different, the vibe

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Speaker 3: is different. And so we really try to make sure

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Speaker 3: that every single one of our projects it's just its

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Speaker 3: own thing, and we're not like falling into this kind

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Speaker 3: of formula that's going to be boring and not fun,

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Speaker 3: not really an interesting experience for anybody. So being able

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Speaker 3: to do something really different and still make the fans

378
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Speaker 3: feel good, it's always this like really careful balancing.

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Speaker 2: Act for us. I think in anything spoiled, especially in

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Speaker 2: our business of Hollywood. You know, I've always been told

381
00:20:01,440 --> 00:20:04,760
Speaker 2: it's not a sprint man, it's this long yeah marathon,

382
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Speaker 2: it's like an ultra marathon.

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Speaker 3: Yeah.

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Speaker 2: When I think the listeners here, like Grant's MO took

385
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Speaker 2: ten years to make, Like what right? Like I mean,

386
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Speaker 2: how do you keep like the flame burning like opposed

387
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Speaker 2: to just like giving up?

388
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Speaker 3: You know, you just think something's a good idea, you know,

389
00:20:23,440 --> 00:20:25,600
Speaker 3: you just have to believe in it. I mean, every

390
00:20:25,640 --> 00:20:30,159
Speaker 3: one of these movies or shows that gets made has somebody,

391
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Speaker 3: sometimes multiple people who thought let's not give up on this.

392
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Speaker 3: They're not always super easy and fast.

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Speaker 1: Were there times where you wanted to give up or

394
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Speaker 1: you're about.

395
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Speaker 3: To oh yeah, oh yeah. I mean people ask me

396
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Speaker 3: like for Hollywood, like it took you so long to

397
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Speaker 3: make it, Like what's what's the key to success in Hollywood?

398
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Speaker 3: And honestly, my big thing I tell like the film

399
00:20:54,920 --> 00:20:58,760
Speaker 3: students and stuff is I'll go back to Rocky. I'm like,

400
00:20:58,800 --> 00:21:00,639
Speaker 3: you just got to be able to keep getting up

401
00:21:00,640 --> 00:21:03,399
Speaker 3: when you get knocked down. And if you can just

402
00:21:03,480 --> 00:21:06,680
Speaker 3: keep getting up and learn every time you get knocked

403
00:21:06,680 --> 00:21:09,720
Speaker 3: down why you got knocked down, and like how you're

404
00:21:09,760 --> 00:21:11,800
Speaker 3: not going to make the same mistakes the next time.

405
00:21:12,720 --> 00:21:17,080
Speaker 3: Eventually some opportunity will arise for you. But you just

406
00:21:17,160 --> 00:21:19,360
Speaker 3: have to be willing to keep getting up, even though

407
00:21:19,600 --> 00:21:21,479
Speaker 3: a lot of times it won't even make any sense.

408
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Speaker 2: Agree.

409
00:21:24,359 --> 00:21:27,200
Speaker 3: That's why I would always produce short films. I'd write

410
00:21:27,240 --> 00:21:30,960
Speaker 3: scripts too. I would just just get those failures out

411
00:21:30,960 --> 00:21:35,720
Speaker 3: of you, learn those hard lessons anytime you can, and

412
00:21:35,840 --> 00:21:38,320
Speaker 3: just keep getting better and stronger. And there are ways

413
00:21:38,359 --> 00:21:41,520
Speaker 3: to improve yourself even when you're just sitting there in

414
00:21:41,520 --> 00:21:44,840
Speaker 3: your apartment thinking they're not well. Just start writing a script.

415
00:21:45,040 --> 00:21:47,560
Speaker 3: You know, that's an easy way to get better. Go

416
00:21:47,880 --> 00:21:50,720
Speaker 3: just do a free pa job on Craigslist and just

417
00:21:50,880 --> 00:21:53,880
Speaker 3: learn something crazy, because I swear to God you'll learn

418
00:21:53,960 --> 00:21:56,399
Speaker 3: one thing on every shoot, no matter how small or

419
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Speaker 3: weird or obscure it seems to you at the time,

420
00:22:01,560 --> 00:22:05,240
Speaker 3: you know, and just take it seriously, like if you

421
00:22:05,320 --> 00:22:08,199
Speaker 3: really care that much about it, try to do the

422
00:22:08,240 --> 00:22:11,440
Speaker 3: best work that you can. It doesn't matter how small

423
00:22:11,520 --> 00:22:14,560
Speaker 3: something you're doing is. It doesn't matter, like you should

424
00:22:14,600 --> 00:22:17,320
Speaker 3: treat it the same way you would treat working on

425
00:22:17,359 --> 00:22:19,720
Speaker 3: a two hundred million dollars James Cameron movie. You know,

426
00:22:19,880 --> 00:22:22,760
Speaker 3: take it all seriously, have fun doing it. But like

427
00:22:23,600 --> 00:22:26,320
Speaker 3: understand there's no such thing as like a small opportunity

428
00:22:26,440 --> 00:22:28,520
Speaker 3: or just always what you make of it.

429
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Speaker 2: You just got to get up and go. Yeah, Like

430
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Speaker 2: I use like running as a great analogy and a

431
00:22:35,119 --> 00:22:38,879
Speaker 2: discipline to like this business as an actor and as

432
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Speaker 2: a filmmaker, because I would say, you know, most of

433
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Speaker 2: my career has been knows and still every day it's

434
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Speaker 2: like a no.

435
00:22:48,880 --> 00:22:49,200
Speaker 3: Me too.

436
00:22:49,240 --> 00:22:53,840
Speaker 2: Yeah they said no, you're in those movies. Yeah, but

437
00:22:53,920 --> 00:22:56,800
Speaker 2: they still say no to me every day, right, And

438
00:22:57,080 --> 00:23:00,080
Speaker 2: it's like like it's like running up you know, mountains

439
00:23:00,240 --> 00:23:03,400
Speaker 2: right first till is so hard and that's like first stage.

440
00:23:03,440 --> 00:23:05,960
Speaker 2: It's like, yeah, you've got an audition or you got

441
00:23:05,960 --> 00:23:08,640
Speaker 2: a meeting, and it's like to get that is so hard.

442
00:23:08,640 --> 00:23:10,399
Speaker 2: You got to run up that hill, right, and then

443
00:23:10,400 --> 00:23:12,480
Speaker 2: you get there and you're like did it. It's like, hey,

444
00:23:12,800 --> 00:23:15,159
Speaker 2: there's another one over there, because you've got to go

445
00:23:15,200 --> 00:23:18,200
Speaker 2: do the job. And even then that is a whole

446
00:23:18,359 --> 00:23:21,639
Speaker 2: journey and a hill climb. You get the job, and

447
00:23:21,680 --> 00:23:25,320
Speaker 2: then there's this like waiting for like post production. Is

448
00:23:25,520 --> 00:23:27,040
Speaker 2: the movie ever going to be finished?

449
00:23:27,240 --> 00:23:27,600
Speaker 3: Yeah?

450
00:23:27,680 --> 00:23:30,000
Speaker 2: I did like four movies last year. I think maybe

451
00:23:30,000 --> 00:23:31,800
Speaker 2: two of them will never even no.

452
00:23:31,680 --> 00:23:34,040
Speaker 3: One will ever ever see.

453
00:23:34,200 --> 00:23:35,360
Speaker 2: You're like, how has that happened?

454
00:23:35,560 --> 00:23:35,760
Speaker 3: Right?

455
00:23:36,359 --> 00:23:39,359
Speaker 2: And then you got to go promote the movie right exactly,

456
00:23:39,400 --> 00:23:40,600
Speaker 2: and do people even care?

457
00:23:41,320 --> 00:23:43,800
Speaker 3: No, It's it's that thing, right if people always say this,

458
00:23:43,960 --> 00:23:46,119
Speaker 3: and I mean I'm a cliche saying this myself, but

459
00:23:46,200 --> 00:23:48,800
Speaker 3: there's never that day where it all turns around. Yeah,

460
00:23:48,840 --> 00:23:50,919
Speaker 3: and you can point back at it and go, that

461
00:23:51,119 --> 00:23:52,800
Speaker 3: was the day it all starts.

462
00:23:52,880 --> 00:23:53,040
Speaker 1: Yeah.

463
00:23:53,160 --> 00:23:53,360
Speaker 2: Yeah.

464
00:23:53,680 --> 00:23:56,560
Speaker 3: After that it was smooth sailor because I was on

465
00:23:56,600 --> 00:23:59,680
Speaker 3: a whole other level and it's like, no, that day's

466
00:23:59,720 --> 00:24:02,159
Speaker 3: never coming. And anytime you do have those days, it

467
00:24:02,320 --> 00:24:05,120
Speaker 3: just means a lot more work. Yeah, that's coming your way.

468
00:24:05,280 --> 00:24:08,200
Speaker 1: I think people hope for an overnight success story because

469
00:24:08,240 --> 00:24:11,040
Speaker 1: I think sometimes it makes them feel like it's an

470
00:24:11,040 --> 00:24:13,399
Speaker 1: easy finger to point out of, like, oh, well, that's

471
00:24:13,440 --> 00:24:16,760
Speaker 1: why you know versus like the hard work, the trials,

472
00:24:16,840 --> 00:24:19,280
Speaker 1: the tribulations and everything that goes into it. And I

473
00:24:19,320 --> 00:24:22,520
Speaker 1: think too, as I get older, I now understand why

474
00:24:23,119 --> 00:24:25,600
Speaker 1: I would always have And I hear often people saying

475
00:24:25,640 --> 00:24:27,200
Speaker 1: that's why you have to find happiness in your day

476
00:24:27,240 --> 00:24:30,080
Speaker 1: to day because you can't always control everything. It's trying

477
00:24:30,119 --> 00:24:32,160
Speaker 1: to find peace and happiness and what you can't control

478
00:24:32,200 --> 00:24:35,320
Speaker 1: and knowing that you know, hopefully you can do one

479
00:24:35,400 --> 00:24:37,960
Speaker 1: day what you love for what you've always wanted to do,

480
00:24:38,280 --> 00:24:39,960
Speaker 1: and even then you know it's going to have its

481
00:24:40,000 --> 00:24:40,440
Speaker 1: own herds.

482
00:24:40,720 --> 00:24:43,959
Speaker 3: You have moments like I remember being in Hungry on

483
00:24:44,040 --> 00:24:47,760
Speaker 3: Grand Turismo, like one in the in the first week,

484
00:24:48,680 --> 00:24:51,960
Speaker 3: and like sitting there and realizing, like we own this

485
00:24:52,119 --> 00:24:55,960
Speaker 3: f one track and looking at all these trailers. Right

486
00:24:55,960 --> 00:24:58,600
Speaker 3: if there's like thirty trailers, there's the movie trailers, and

487
00:24:58,600 --> 00:25:00,760
Speaker 3: then there's the trailers for the car for the movie.

488
00:25:00,840 --> 00:25:03,640
Speaker 3: It was pretty cool and all these people and cars

489
00:25:03,680 --> 00:25:08,119
Speaker 3: flying everywhere and realizing like wow, I did it. And

490
00:25:08,200 --> 00:25:09,840
Speaker 3: there was like a moment where I kind of sat

491
00:25:09,880 --> 00:25:12,239
Speaker 3: over on a pit wall and was like watching all

492
00:25:12,280 --> 00:25:16,119
Speaker 3: this and like I made this happen. Like if I wouldn't,

493
00:25:16,160 --> 00:25:17,879
Speaker 3: if I would have given up this, none of this

494
00:25:17,920 --> 00:25:21,320
Speaker 3: would be here. And that was fun watching Amelia get to,

495
00:25:21,440 --> 00:25:24,000
Speaker 3: you know, sort of like spread her wings and act

496
00:25:24,040 --> 00:25:24,640
Speaker 3: in a big movie.

497
00:25:24,680 --> 00:25:27,080
Speaker 2: But which is your biggest movie up to up to

498
00:25:27,119 --> 00:25:27,840
Speaker 2: that point? Right?

499
00:25:27,960 --> 00:25:32,560
Speaker 1: Yeah, I I'm so grateful to you for that opportunity

500
00:25:33,160 --> 00:25:34,480
Speaker 1: to try to dismiss.

501
00:25:34,080 --> 00:25:40,399
Speaker 3: It because I'll let you. Yeah, I don't want to

502
00:25:40,440 --> 00:25:42,919
Speaker 3: like talk over your here. No no, no, no no. She

503
00:25:43,480 --> 00:25:45,680
Speaker 3: we didn't have a lot of car people, believe it

504
00:25:45,760 --> 00:25:49,960
Speaker 3: or not, in the mix of Neil's definitely knows cars,

505
00:25:49,960 --> 00:25:52,679
Speaker 3: but it's like from a technical standpoint, he's very much

506
00:25:52,680 --> 00:25:56,359
Speaker 3: like an engineer. I know a little bit more about

507
00:25:56,400 --> 00:26:00,760
Speaker 3: like influencers and YouTube channels and things like that. So

508
00:26:01,280 --> 00:26:05,000
Speaker 3: I'd become a fan of Amelia's when I watched Fastest

509
00:26:05,040 --> 00:26:08,760
Speaker 3: Car And so we were just talking with the casting

510
00:26:08,800 --> 00:26:11,280
Speaker 3: people one day on all these zooms. When it comes

511
00:26:11,359 --> 00:26:12,960
Speaker 3: to the car stuff, they kind of all just like

512
00:26:13,000 --> 00:26:16,920
Speaker 3: look at me throughout a few names. Yours was definitely

513
00:26:16,960 --> 00:26:20,680
Speaker 3: one of them, and they said great. And then next

514
00:26:20,680 --> 00:26:23,119
Speaker 3: thing I knew, like a couple of weeks later, the

515
00:26:23,200 --> 00:26:26,879
Speaker 3: audition tapes came in and they were all like, she's

516
00:26:27,000 --> 00:26:30,240
Speaker 3: really really great, she's really great. We got to put

517
00:26:30,240 --> 00:26:33,240
Speaker 3: her in this. I was like, of course, yeah, that'd

518
00:26:33,240 --> 00:26:36,960
Speaker 3: be awesome. And so, you know, Amelia likes to say

519
00:26:37,000 --> 00:26:39,000
Speaker 3: that I got this for but I didn't do anything.

520
00:26:39,040 --> 00:26:41,920
Speaker 3: She got it for herself. But I was really thrilled

521
00:26:41,920 --> 00:26:44,160
Speaker 3: because I mean even from day one, I don't even

522
00:26:44,160 --> 00:26:46,120
Speaker 3: know if you know this, Like I got emails from

523
00:26:46,119 --> 00:26:49,639
Speaker 3: the other producers and stuff saying like, wow, so great.

524
00:26:49,800 --> 00:26:53,240
Speaker 3: She brought so much to this kind of thankless character

525
00:26:53,400 --> 00:26:56,159
Speaker 3: within the academy. We're going to try to bolster her

526
00:26:56,240 --> 00:26:58,960
Speaker 3: character a little bit more. Great, great job, yeah for

527
00:26:59,080 --> 00:27:00,200
Speaker 3: day one. Yeah.

528
00:27:00,280 --> 00:27:03,720
Speaker 2: The lesson is is that you can't find these people

529
00:27:03,760 --> 00:27:06,560
Speaker 2: if they're not laced up and running up that hill. Yeah,

530
00:27:06,920 --> 00:27:09,920
Speaker 2: if you're looking for runners. That's why she was out

531
00:27:09,960 --> 00:27:13,679
Speaker 2: there like being proactive and doing her thing. Is it

532
00:27:13,720 --> 00:27:16,640
Speaker 2: wasn't luck or you make your own luck, right, So

533
00:27:17,160 --> 00:27:20,440
Speaker 2: for young folks out there, or actually anybody, because even

534
00:27:20,600 --> 00:27:23,520
Speaker 2: you know I'm learning from this too, is that it's

535
00:27:23,560 --> 00:27:26,239
Speaker 2: been said that there is no small role, right, Like

536
00:27:26,320 --> 00:27:29,080
Speaker 2: it's what you make of it, right, Is that what

537
00:27:29,119 --> 00:27:32,000
Speaker 2: Carter's talking about It is like you approached it that way.

538
00:27:32,200 --> 00:27:36,920
Speaker 1: So the role was it was an under five and

539
00:27:37,160 --> 00:27:41,960
Speaker 1: I see under five lines, and I remember being so

540
00:27:42,600 --> 00:27:46,239
Speaker 1: excited for this opportunity, and I felt like I'd been

541
00:27:46,280 --> 00:27:49,160
Speaker 1: preparing for this role my entire life, being you know,

542
00:27:49,400 --> 00:27:52,679
Speaker 1: in the car world. I felt like I had this

543
00:27:52,760 --> 00:27:56,040
Speaker 1: fresh perspective on especially being a female in the space.

544
00:27:56,480 --> 00:27:59,520
Speaker 1: So I was really excited to tell that story. Regardless

545
00:27:59,560 --> 00:28:02,800
Speaker 1: of what the word said on the paper. I feel

546
00:28:02,840 --> 00:28:05,639
Speaker 1: like I got to bring this energy to this part.

547
00:28:06,280 --> 00:28:09,800
Speaker 1: And I guess the feedback was good enough where you

548
00:28:09,840 --> 00:28:12,000
Speaker 1: guys put me into more of the movie and had

549
00:28:12,000 --> 00:28:15,040
Speaker 1: me fly back and come back for another month to

550
00:28:15,080 --> 00:28:18,040
Speaker 1: be part of the ending, which was really cool, really

551
00:28:18,080 --> 00:28:22,080
Speaker 1: special and really humbling it And I guess I did

552
00:28:22,080 --> 00:28:22,600
Speaker 1: something right.

553
00:28:22,840 --> 00:28:25,240
Speaker 3: No, you earned all that you earned, all that that

554
00:28:25,359 --> 00:28:28,640
Speaker 3: was all you. You know, when I talk to young actors,

555
00:28:29,119 --> 00:28:32,320
Speaker 3: I look at like Johnny Depp, right, and I think

556
00:28:32,640 --> 00:28:35,240
Speaker 3: one of the things that's made him special over the

557
00:28:35,320 --> 00:28:39,640
Speaker 3: years is that it seems to me like he kind

558
00:28:39,680 --> 00:28:42,920
Speaker 3: of reads a script and goes, all right, there's the

559
00:28:42,920 --> 00:28:46,479
Speaker 3: obvious qualities that this character has that seems like they

560
00:28:46,520 --> 00:28:48,880
Speaker 3: should be like no brainers when you read them. I'm

561
00:28:48,880 --> 00:28:50,920
Speaker 3: going to cross all those out and I'm going to

562
00:28:51,000 --> 00:28:53,440
Speaker 3: do this in a totally different way where I throw

563
00:28:53,480 --> 00:28:58,400
Speaker 3: out all those obvious traits and characteristics. More often than

564
00:28:58,480 --> 00:29:02,240
Speaker 3: not in the past, I've looked at auditions and we've

565
00:29:02,320 --> 00:29:06,480
Speaker 3: cast people. It's just the person who just found something

566
00:29:06,560 --> 00:29:09,520
Speaker 3: different than everybody else where. It's like, oh, you know,

567
00:29:09,600 --> 00:29:13,040
Speaker 3: we didn't really think of this. This person found something

568
00:29:13,440 --> 00:29:16,480
Speaker 3: we didn't even realize about this character.

569
00:29:16,720 --> 00:29:20,480
Speaker 1: It's funny you say that, because for Gran Turismo, I

570
00:29:20,600 --> 00:29:24,680
Speaker 1: was like, why does every woman who plays a card

571
00:29:24,680 --> 00:29:29,760
Speaker 1: shiok have to be this like bitchy, badass, tough, And

572
00:29:29,960 --> 00:29:33,520
Speaker 1: it's funny. When I read for the audition, I consciously

573
00:29:33,520 --> 00:29:34,720
Speaker 1: made a note of that. I was like, no, I

574
00:29:34,760 --> 00:29:38,680
Speaker 1: don't think that's you know, you have to like stereotype that, yeah,

575
00:29:38,720 --> 00:29:41,760
Speaker 1: that person and try to bring some new life to

576
00:29:41,840 --> 00:29:45,200
Speaker 1: it of like, you know, this isn't once in a lifetime,

577
00:29:45,240 --> 00:29:47,000
Speaker 1: I mean for a real Emeli and then also for

578
00:29:47,240 --> 00:29:51,160
Speaker 1: the character of like going out and making a dream

579
00:29:51,160 --> 00:29:52,160
Speaker 1: of something, right.

580
00:29:52,080 --> 00:29:55,040
Speaker 3: So that was that's great because that's you too, right, And.

581
00:29:55,040 --> 00:29:56,800
Speaker 1: I'm not trying to think about myself. I'm second, oh.

582
00:29:58,200 --> 00:30:00,640
Speaker 3: No, but please do. But like that's true, like you're

583
00:30:01,080 --> 00:30:04,000
Speaker 3: you were that person in real life, so you knew that, right,

584
00:30:04,080 --> 00:30:06,800
Speaker 3: So you were able to bring that to the character

585
00:30:06,880 --> 00:30:09,160
Speaker 3: and say, like, we're not all like this and so

586
00:30:09,320 --> 00:30:12,320
Speaker 3: obvious way that most girls would come in and play

587
00:30:12,360 --> 00:30:15,880
Speaker 3: this part, I'm gonna play it like exactly the opposite.

588
00:30:16,040 --> 00:30:18,880
Speaker 3: I remember seeing this, like Ryan Gosling interview that he

589
00:30:18,920 --> 00:30:22,200
Speaker 3: did for some documentary about how bad auditioning sucks. But

590
00:30:22,240 --> 00:30:24,280
Speaker 3: he said, like, you walk in and you know you're

591
00:30:24,280 --> 00:30:30,400
Speaker 3: wearing the cowboy hat. Every guy's I thought, I thought

592
00:30:30,400 --> 00:30:33,640
Speaker 3: the cowboy hat, so you have to. It's a it's

593
00:30:33,680 --> 00:30:37,600
Speaker 3: a next level layer of thinking like that. But I

594
00:30:37,640 --> 00:30:42,000
Speaker 3: do think try things and be different when I'd say,

595
00:30:42,120 --> 00:30:45,440
Speaker 3: is like what makes people stand out and get roles.

596
00:30:46,320 --> 00:30:49,160
Speaker 3: I remember talking to you about fast and furious. It's

597
00:30:49,200 --> 00:30:52,480
Speaker 3: the eating thing, right, and how much that changes the

598
00:30:52,560 --> 00:30:57,640
Speaker 3: dynamics of that character, right, instead of being a bitter, smoking,

599
00:30:57,800 --> 00:31:01,120
Speaker 3: older guy, like being so many that people would like

600
00:31:01,600 --> 00:31:03,920
Speaker 3: and like look for that and think that that's cool,

601
00:31:03,920 --> 00:31:05,040
Speaker 3: and again relate to that.

602
00:31:05,400 --> 00:31:07,560
Speaker 2: I remember when I was doing that, I'm fast and

603
00:31:07,680 --> 00:31:10,480
Speaker 2: Tokyo drift. People are looking at me like I was crazy. Yeah,

604
00:31:10,560 --> 00:31:13,000
Speaker 2: I remember, you know, one producer grabbed the snacks out

605
00:31:13,000 --> 00:31:16,360
Speaker 2: of my hand. Really, you know, I like, do that snacks?

606
00:31:16,560 --> 00:31:16,720
Speaker 1: Right?

607
00:31:16,800 --> 00:31:19,239
Speaker 2: Like what are you doing? But I felt like I

608
00:31:19,360 --> 00:31:22,480
Speaker 2: was a five and under character. I probably was really

609
00:31:22,520 --> 00:31:24,440
Speaker 2: if you think about it, because I probably spoke like

610
00:31:24,520 --> 00:31:26,160
Speaker 2: three lines in the film, you.

611
00:31:26,040 --> 00:31:28,400
Speaker 1: Know, and with that character choice.

612
00:31:28,080 --> 00:31:31,160
Speaker 2: I need an activity. So you can use the snacks

613
00:31:31,200 --> 00:31:33,760
Speaker 2: to act, you know, like you could. You can emote

614
00:31:34,360 --> 00:31:37,360
Speaker 2: you know, some type of like you know, inner dialogue

615
00:31:37,360 --> 00:31:40,560
Speaker 2: with the snack. If you're like curious to slow it

616
00:31:40,600 --> 00:31:43,880
Speaker 2: down and disgusted, you can throw the snack down, right

617
00:31:44,040 --> 00:31:46,080
Speaker 2: I was, you know, And it's like and I didn't

618
00:31:46,120 --> 00:31:50,200
Speaker 2: make that up. Like I watched Steve McQueen behind the

619
00:31:50,240 --> 00:31:55,560
Speaker 2: scenes with Magnificent Seven, and he was like the youngest

620
00:31:55,640 --> 00:31:58,800
Speaker 2: and like least famous actor in this movie. And he

621
00:31:58,880 --> 00:32:01,760
Speaker 2: was always next to You'll Brenner. Yeah, and he's like, hey,

622
00:32:01,920 --> 00:32:04,440
Speaker 2: they had no lines, so he always had something. He

623
00:32:04,520 --> 00:32:07,000
Speaker 2: was always doing something, and You'll Brenda would get all

624
00:32:07,000 --> 00:32:09,320
Speaker 2: pissed off He's like, what are you doing, man, You're

625
00:32:09,360 --> 00:32:12,240
Speaker 2: just supposed to stand there and do nothing. It's like, well,

626
00:32:12,920 --> 00:32:14,760
Speaker 2: I'm in his mind. He's like, I'm gonna steal this

627
00:32:14,840 --> 00:32:18,640
Speaker 2: fucking scene, right, and and so people start focusing on

628
00:32:18,680 --> 00:32:20,080
Speaker 2: what's this guy doing in the back?

629
00:32:20,600 --> 00:32:23,320
Speaker 3: No exactly, So I heard that story too. And then

630
00:32:23,360 --> 00:32:26,640
Speaker 3: you told him like, just remember that you're you're behind

631
00:32:26,680 --> 00:32:27,959
Speaker 3: me in the frame, and all I have to do

632
00:32:28,000 --> 00:32:29,080
Speaker 3: is lean my head this way.

633
00:32:32,960 --> 00:32:34,720
Speaker 2: You know, you gotta do it with respect, you know,

634
00:32:35,280 --> 00:32:39,040
Speaker 2: you know, there's you can't ever come off like thirsty, right,

635
00:32:39,120 --> 00:32:41,640
Speaker 2: like you have to go to class. And yeah, because

636
00:32:41,680 --> 00:32:45,040
Speaker 2: I another old timer gaming great advice is like, hey, man,

637
00:32:45,120 --> 00:32:47,440
Speaker 2: you know, did you know that there's a tree in

638
00:32:47,480 --> 00:32:50,000
Speaker 2: the Mona Lisa painting? And I was like what, And

639
00:32:50,040 --> 00:32:53,240
Speaker 2: he goes, yeah, there's a tree. Yeah right, you didn't

640
00:32:53,240 --> 00:32:55,400
Speaker 2: know that, right, he goes because everyone's focused on the

641
00:32:55,400 --> 00:32:58,360
Speaker 2: Mona Lisa and he's like, that's the star of the movie.

642
00:33:00,800 --> 00:33:06,360
Speaker 2: So make sure you're the best fucking tree. We should

643
00:33:06,360 --> 00:33:09,440
Speaker 2: put an apple on that tree. But you know, make

644
00:33:09,480 --> 00:33:11,680
Speaker 2: sure that people don't go, oh, it's a it's a

645
00:33:11,720 --> 00:33:15,520
Speaker 2: painting about a tree and a lady be careful because

646
00:33:15,560 --> 00:33:36,120
Speaker 2: that right, you know, I had a prospective change to

647
00:33:36,560 --> 00:33:41,360
Speaker 2: auditions when I auditioned for Christopher Nolan years ago. He

648
00:33:41,520 --> 00:33:43,959
Speaker 2: was one of his Batman movies. I don't know how

649
00:33:43,960 --> 00:33:45,920
Speaker 2: men he did, but I think it was his first one.

650
00:33:46,600 --> 00:33:49,600
Speaker 2: And the casting director was like very supportive of me, right,

651
00:33:49,800 --> 00:33:52,440
Speaker 2: and he's like, hey, you know, I think you know,

652
00:33:52,480 --> 00:33:56,040
Speaker 2: he's very interested in you. So this is a role

653
00:33:56,080 --> 00:33:59,160
Speaker 2: for you to lose basically, you know, and I'm like okay,

654
00:33:59,720 --> 00:34:02,040
Speaker 2: And it was still at a time where like I

655
00:34:02,240 --> 00:34:07,160
Speaker 2: wasn't like one hundred percent sure of like my choices

656
00:34:07,320 --> 00:34:09,960
Speaker 2: and even like what I had to offer, right, like

657
00:34:10,040 --> 00:34:12,360
Speaker 2: you know, why me? And so I walked into the

658
00:34:12,440 --> 00:34:14,920
Speaker 2: audition and I was prepared. But then my first question

659
00:34:15,040 --> 00:34:16,840
Speaker 2: and he was he was so chip where he was

660
00:34:16,880 --> 00:34:19,520
Speaker 2: like so welcoming, and it was like it was really cool,

661
00:34:19,560 --> 00:34:22,319
Speaker 2: you know, like you know, I'm actually getting to meet

662
00:34:22,400 --> 00:34:26,279
Speaker 2: him in person, and he was like very charming and

663
00:34:26,400 --> 00:34:29,239
Speaker 2: very warm, very gracious, and then you know, we had

664
00:34:29,239 --> 00:34:32,560
Speaker 2: our brief conversation and I was like, oh, so, you

665
00:34:32,600 --> 00:34:34,719
Speaker 2: know when I ask you first, is you know, do

666
00:34:34,800 --> 00:34:39,600
Speaker 2: you think this character has a you know, Hong Kong dialect?

667
00:34:40,400 --> 00:34:41,960
Speaker 2: You know, like, what do you think he sounds like,

668
00:34:42,040 --> 00:34:45,120
Speaker 2: and he just switched and he's like, I don't know,

669
00:34:45,160 --> 00:34:48,319
Speaker 2: that's your job. And then I didn't get the role

670
00:34:48,840 --> 00:34:52,200
Speaker 2: right and and I walked out of there and I

671
00:34:52,280 --> 00:34:56,240
Speaker 2: was like, dude, like that was a great, great lesson

672
00:34:56,640 --> 00:34:59,799
Speaker 2: to go in with strong choices. I don't need to

673
00:34:59,800 --> 00:35:03,080
Speaker 2: be asking him what do you think? He's not that

674
00:35:03,239 --> 00:35:06,120
Speaker 2: He's like, I'm not the actor, like, that's your job, man, right,

675
00:35:06,200 --> 00:35:08,600
Speaker 2: and made me realize like I can't be doing that,

676
00:35:08,719 --> 00:35:11,200
Speaker 2: like I can take direction if you don't like this

677
00:35:11,320 --> 00:35:14,520
Speaker 2: choice or if you're like, hey, let's adjust this, right,

678
00:35:14,600 --> 00:35:18,240
Speaker 2: but it may It totally changed the way I approach

679
00:35:18,320 --> 00:35:20,839
Speaker 2: my work is like I'm not asking your opinion. I'm

680
00:35:20,840 --> 00:35:22,880
Speaker 2: going to go do my work because that's my job.

681
00:35:23,239 --> 00:35:23,479
Speaker 3: Yeah.

682
00:35:23,560 --> 00:35:25,879
Speaker 2: Right, So that as it's like you know, the tire

683
00:35:26,080 --> 00:35:28,759
Speaker 2: you're going to the tire guy when you're the transmission

684
00:35:28,840 --> 00:35:33,080
Speaker 2: dude going hey, what do you think? Like, I know

685
00:35:33,320 --> 00:35:38,000
Speaker 2: that's your job. You put it into that like analogy.

686
00:35:38,040 --> 00:35:39,560
Speaker 2: I was like, what am I doing? Why did I

687
00:35:39,680 --> 00:35:40,080
Speaker 2: do that?

688
00:35:40,200 --> 00:35:43,880
Speaker 1: Well? How much in your career have you worked with

689
00:35:43,960 --> 00:35:46,960
Speaker 1: a director to help craft a character together or does

690
00:35:47,000 --> 00:35:49,319
Speaker 1: it usually fall where you take the initiative on that

691
00:35:49,400 --> 00:35:52,360
Speaker 1: and if there's guidance and it's less of a collaboration

692
00:35:52,480 --> 00:35:53,520
Speaker 1: with the director.

693
00:35:53,320 --> 00:35:57,040
Speaker 2: I would say, like beginner directors, they want to be

694
00:35:57,440 --> 00:36:00,120
Speaker 2: doing that. They want like their fingerprints on everything.

695
00:36:00,400 --> 00:36:00,920
Speaker 1: Hm.

696
00:36:00,920 --> 00:36:05,839
Speaker 2: But on the professional side, right, like I've barely ever

697
00:36:05,880 --> 00:36:08,480
Speaker 2: even done table reads like you're a pro athlete. You

698
00:36:08,520 --> 00:36:10,440
Speaker 2: show up and you're like you're supposed to go hit

699
00:36:10,480 --> 00:36:13,719
Speaker 2: a home run, right, and and that is up. That

700
00:36:13,840 --> 00:36:16,200
Speaker 2: is your job to do, right. I realize that. So

701
00:36:16,320 --> 00:36:19,800
Speaker 2: like the directors, we don't talk about like, hey, this

702
00:36:20,040 --> 00:36:22,960
Speaker 2: is you know I would I when I was younger,

703
00:36:22,960 --> 00:36:25,000
Speaker 2: I wanted that. I was like, hey, here's here's here's

704
00:36:25,040 --> 00:36:28,319
Speaker 2: my book of like the backstory, the biography of this

705
00:36:28,440 --> 00:36:31,120
Speaker 2: character that has three lines in this film. But I

706
00:36:31,200 --> 00:36:33,960
Speaker 2: wrote a whole you know, biography of who they're like,

707
00:36:34,000 --> 00:36:37,839
Speaker 2: good for you. I'm busy, dude, right, So I still

708
00:36:37,880 --> 00:36:40,360
Speaker 2: do that work, but I keep it to myself and

709
00:36:40,440 --> 00:36:43,240
Speaker 2: if they have a question, they know that I'm ready

710
00:36:43,280 --> 00:36:45,880
Speaker 2: because I can fire off, like where you know the

711
00:36:45,960 --> 00:36:49,239
Speaker 2: character was born, what his blood type is, what his

712
00:36:49,480 --> 00:36:52,640
Speaker 2: favorite like pizza is, what is video favorite video game

713
00:36:52,680 --> 00:36:56,920
Speaker 2: with colors underwear? And that's I think the difference between

714
00:36:56,920 --> 00:37:00,400
Speaker 2: like a student film and then when you get into

715
00:37:00,560 --> 00:37:02,920
Speaker 2: the studio systems, like no one has time for that.

716
00:37:03,400 --> 00:37:06,120
Speaker 2: You know, they can tell you like, oh, this is

717
00:37:07,000 --> 00:37:09,759
Speaker 2: you know, based off of like their personal experience if

718
00:37:09,760 --> 00:37:11,920
Speaker 2: they wrote it. They're like, hey, this is where this

719
00:37:12,080 --> 00:37:15,719
Speaker 2: character was inspired from and share some antidotes, and a

720
00:37:15,760 --> 00:37:18,680
Speaker 2: good director will go, now it's yours. You're the ingredients.

721
00:37:18,719 --> 00:37:21,000
Speaker 2: Now it's yours. Yeah, right, No, I.

722
00:37:20,920 --> 00:37:23,880
Speaker 3: Mean right, And that's it's funny because that's really the

723
00:37:23,920 --> 00:37:27,520
Speaker 3: skill of a professional movie star actor. But what it

724
00:37:27,560 --> 00:37:30,280
Speaker 3: boils down to is you're supposed to be like somebody

725
00:37:30,320 --> 00:37:32,880
Speaker 3: who can come out and do it right away. Because

726
00:37:32,880 --> 00:37:35,280
Speaker 3: we're spending a lot of money closing down the street

727
00:37:35,800 --> 00:37:38,920
Speaker 3: and all these people and having like lights up and

728
00:37:39,000 --> 00:37:41,440
Speaker 3: all these things. We need people who can come in

729
00:37:41,480 --> 00:37:44,719
Speaker 3: and deliver quickly, like and not somebody who's supposed to

730
00:37:44,800 --> 00:37:47,239
Speaker 3: come in and it's going to take two hours to

731
00:37:47,239 --> 00:37:49,080
Speaker 3: get you that take that you want.

732
00:37:48,880 --> 00:37:51,920
Speaker 2: And they can make adjustments quickly, right, and they're not

733
00:37:51,960 --> 00:37:54,080
Speaker 2: there to argue with you, but they've done the work.

734
00:37:54,360 --> 00:37:58,239
Speaker 2: Like when I was younger, like I had so much sympathy, right,

735
00:37:58,400 --> 00:38:01,520
Speaker 2: or empathy for like younger, there's not being prepared, and

736
00:38:01,560 --> 00:38:04,680
Speaker 2: now it's like, well, go do the student film first,

737
00:38:05,160 --> 00:38:06,879
Speaker 2: a whole bunch of them, and then when you get here,

738
00:38:06,920 --> 00:38:09,359
Speaker 2: you better hit home runs because if you're not, it's

739
00:38:09,600 --> 00:38:13,440
Speaker 2: cold man, if people just stop talking to you, and

740
00:38:13,600 --> 00:38:15,640
Speaker 2: you better come and deliver and.

741
00:38:15,680 --> 00:38:19,359
Speaker 3: Care like I've worked with multiple Academy Award winners Now

742
00:38:19,520 --> 00:38:21,280
Speaker 3: they care about every take. Yeah.

743
00:38:21,440 --> 00:38:26,160
Speaker 2: And it's also I've learned from hiran directors right that

744
00:38:26,440 --> 00:38:29,759
Speaker 2: are screaming at people. Great advice I got. I got

745
00:38:29,880 --> 00:38:33,239
Speaker 2: from this legendary director and he was like, you know

746
00:38:33,920 --> 00:38:36,759
Speaker 2: why I never yell at you? And I'm like why,

747
00:38:36,840 --> 00:38:39,960
Speaker 2: He's like, you never leave set. You're not looking for

748
00:38:40,160 --> 00:38:43,160
Speaker 2: your chair. I know you smoke, but you don't leave

749
00:38:43,239 --> 00:38:46,480
Speaker 2: to go have a bunch of cigarettes. You're there, you're watching.

750
00:38:46,880 --> 00:38:48,560
Speaker 2: It's like, you know that dude over there. You know

751
00:38:48,600 --> 00:38:51,560
Speaker 2: why I'm screaming at that dude is that he can't

752
00:38:51,600 --> 00:38:54,920
Speaker 2: wait to go and have a cigarette. And then you

753
00:38:54,960 --> 00:38:58,080
Speaker 2: know why I'm screaming at the ades, like because she

754
00:38:58,160 --> 00:39:01,440
Speaker 2: doesn't know what the two next setups are are. They're like,

755
00:39:01,480 --> 00:39:03,200
Speaker 2: but how does she got to know? That's like, that's

756
00:39:03,239 --> 00:39:05,080
Speaker 2: our job. She needs to care.

757
00:39:05,640 --> 00:39:09,000
Speaker 3: Yeah, right, there's the word. There's a word, you care.

758
00:39:09,280 --> 00:39:12,320
Speaker 3: The best directors they care the most, and they want

759
00:39:12,719 --> 00:39:16,480
Speaker 3: They were forceful personalities that do anything they can to

760
00:39:16,560 --> 00:39:20,360
Speaker 3: achieve that vision that's in their head already. Right. I

761
00:39:20,400 --> 00:39:22,480
Speaker 3: also say, you know, like whenever you see an actor

762
00:39:22,560 --> 00:39:26,080
Speaker 3: freak out like on set, I like, well, first of all,

763
00:39:26,320 --> 00:39:30,120
Speaker 3: you know, their tool is their emotions. They're buying large

764
00:39:30,120 --> 00:39:33,759
Speaker 3: emotional people, some of them more internally emotional, some of

765
00:39:33,760 --> 00:39:38,080
Speaker 3: them are more external. But when you see emotion like that, one,

766
00:39:38,239 --> 00:39:41,520
Speaker 3: it's just who they are a lot of times. But two,

767
00:39:42,239 --> 00:39:43,960
Speaker 3: let's take a look at that project that they're on,

768
00:39:44,440 --> 00:39:47,240
Speaker 3: and I'm pretty sure that nine out of ten times

769
00:39:47,239 --> 00:39:50,360
Speaker 3: it's a pretty terrible wor And what has happened is

770
00:39:51,640 --> 00:39:54,120
Speaker 3: they're in the middle of something they didn't sign up for, right,

771
00:39:54,800 --> 00:39:58,000
Speaker 3: and they realize it, and they realize that this bad

772
00:39:58,080 --> 00:40:01,680
Speaker 3: movie there's is going to be on the screen and

773
00:40:01,719 --> 00:40:05,920
Speaker 3: on the posters, and you know they've they've tried it

774
00:40:05,960 --> 00:40:08,800
Speaker 3: in their own ways, push it in directions that the people,

775
00:40:08,920 --> 00:40:11,440
Speaker 3: you know, the director and the producers didn't listen to.

776
00:40:12,280 --> 00:40:14,680
Speaker 3: And so now you know they're in a place where

777
00:40:14,719 --> 00:40:18,439
Speaker 3: they're frustrated and they can't just show up and go, well,

778
00:40:18,480 --> 00:40:21,799
Speaker 3: this thing sucks, but they want you to know that

779
00:40:21,840 --> 00:40:25,160
Speaker 3: they're not happy, and so they will look for other

780
00:40:25,320 --> 00:40:28,360
Speaker 3: things to vent about. But when you hear one of

781
00:40:28,400 --> 00:40:30,920
Speaker 3: these tapes of one of them yelling on set or something,

782
00:40:31,400 --> 00:40:36,040
Speaker 3: I'm like, it's probably not because of exactly what they're

783
00:40:36,080 --> 00:40:40,600
Speaker 3: screaming about. It's probably more of an indictment of the

784
00:40:40,680 --> 00:40:41,759
Speaker 3: process that they're in.

785
00:40:42,040 --> 00:40:43,640
Speaker 2: That's such great perspective.

786
00:40:43,680 --> 00:40:46,719
Speaker 3: Carter. It's I mean, it's just the way it is.

787
00:40:46,680 --> 00:40:49,160
Speaker 2: And it's just such a whyse you know. It's like

788
00:40:49,520 --> 00:40:52,080
Speaker 2: because it's coming back to like they care so much,

789
00:40:52,080 --> 00:40:53,680
Speaker 2: because if they ain't cared, they but I don't care.

790
00:40:53,960 --> 00:40:55,480
Speaker 2: I'm going to go to a craft service, go eat

791
00:40:55,480 --> 00:40:58,920
Speaker 2: the doughnut. Right. Yeah. I've been doing a lot of

792
00:40:58,920 --> 00:41:02,440
Speaker 2: soul searching on what we just spoke about, because if

793
00:41:02,480 --> 00:41:06,000
Speaker 2: I do like four or five projects, like maybe one

794
00:41:06,080 --> 00:41:08,480
Speaker 2: of them is something that I go, oh, this is

795
00:41:08,800 --> 00:41:11,720
Speaker 2: I'm very proud of this. And the people I've worked

796
00:41:11,760 --> 00:41:15,799
Speaker 2: with like they all are, you know, potential masters of

797
00:41:15,840 --> 00:41:19,840
Speaker 2: their craft and they care. And then there are projects

798
00:41:19,880 --> 00:41:22,600
Speaker 2: that I've been on I'm like, Yo, they don't give

799
00:41:22,960 --> 00:41:27,319
Speaker 2: a flying f at all. They're like as soon as

800
00:41:27,360 --> 00:41:30,320
Speaker 2: it's like, you know, called like the martini, they're already

801
00:41:30,320 --> 00:41:32,759
Speaker 2: at the bar. Yeah, you know, and I'm like, why

802
00:41:32,760 --> 00:41:35,480
Speaker 2: are you here? Like what are you guys doing? Right?

803
00:41:35,600 --> 00:41:38,360
Speaker 1: And it makes me sad to see that because I

804
00:41:38,400 --> 00:41:42,080
Speaker 1: just think of how many people would kill for the opportunity.

805
00:41:42,280 --> 00:41:45,560
Speaker 3: No, I know. And it's it's hard, and that's something

806
00:41:45,560 --> 00:41:48,720
Speaker 3: you learn in the filmmaking process. It's like, it's really hard,

807
00:41:49,840 --> 00:41:52,359
Speaker 3: and I have to struggle every time you give up

808
00:41:52,400 --> 00:41:55,759
Speaker 3: something you realize like, oh, it just went from being

809
00:41:55,800 --> 00:41:57,840
Speaker 3: like one hundred percent of what I wanted to ninety

810
00:41:57,920 --> 00:42:02,040
Speaker 3: nine and I'm never getting it back. Like if you

811
00:42:02,120 --> 00:42:04,600
Speaker 3: give up on quality or something you believe in or

812
00:42:04,680 --> 00:42:07,400
Speaker 3: like allow like, oh you know what, I'm not going

813
00:42:07,480 --> 00:42:09,799
Speaker 3: to fight on this. I'm just gonna just do it

814
00:42:09,840 --> 00:42:13,040
Speaker 3: this way, the cheaper way, the easier way. You have

815
00:42:13,120 --> 00:42:15,200
Speaker 3: this percentage of how good the movie is and you're

816
00:42:15,239 --> 00:42:18,719
Speaker 3: just watching it drop and you're never getting it back. Yeah,

817
00:42:18,719 --> 00:42:21,319
Speaker 3: And in order to keep it really, really high, you

818
00:42:21,360 --> 00:42:25,040
Speaker 3: got to fight for every little single battle that you

819
00:42:25,120 --> 00:42:29,480
Speaker 3: can all along the way because any of these compromises,

820
00:42:29,719 --> 00:42:33,200
Speaker 3: once you start compromising, once it's just it tends to

821
00:42:33,280 --> 00:42:36,799
Speaker 3: like waterfall after that. So it's it's really tough. And

822
00:42:36,840 --> 00:42:39,920
Speaker 3: that's why I understand and like I always do say,

823
00:42:40,000 --> 00:42:44,000
Speaker 3: a lot of the best directors in history are not cuddly,

824
00:42:44,120 --> 00:42:47,640
Speaker 3: understanding people. Yeah, they don't have that reputation of being

825
00:42:47,680 --> 00:42:54,400
Speaker 3: like just the friendliest, nicest, listens to everything. They're forceful

826
00:42:56,840 --> 00:43:01,520
Speaker 3: visionmongers who are not going to like be your best

827
00:43:01,560 --> 00:43:02,640
Speaker 3: friend a lot of time.

828
00:43:02,719 --> 00:43:06,080
Speaker 2: But most people that are like great at something, they're not.

829
00:43:06,040 --> 00:43:09,440
Speaker 3: Like, yeah, all the greatest basketball players pretty much jerks.

830
00:43:09,600 --> 00:43:14,120
Speaker 2: Yeah, it makes me question, you know. I think that's

831
00:43:14,120 --> 00:43:16,880
Speaker 2: why I've been questioning lately, like, you know, do I

832
00:43:16,920 --> 00:43:19,279
Speaker 2: want to stay an actor because I don't know if

833
00:43:19,320 --> 00:43:23,040
Speaker 2: I have the tolerance to do it anymore. That's that's

834
00:43:23,040 --> 00:43:25,759
Speaker 2: why I love directing. Yeah, right, It's like I can

835
00:43:25,800 --> 00:43:28,160
Speaker 2: be the first one there and the last one to leave,

836
00:43:28,200 --> 00:43:32,160
Speaker 2: and I can like really like set a tone and

837
00:43:32,200 --> 00:43:35,160
Speaker 2: like really make a difference. Right, And as an actor,

838
00:43:35,200 --> 00:43:37,080
Speaker 2: you can do your part on one movie you're the

839
00:43:37,120 --> 00:43:39,760
Speaker 2: tire guy, like you do the tire You just your job.

840
00:43:39,640 --> 00:43:42,399
Speaker 3: Is just replace the tires man, that's all.

841
00:43:42,680 --> 00:43:44,880
Speaker 2: Don't be messing with the turbos.

842
00:43:44,520 --> 00:43:47,880
Speaker 3: Right now, you know, I get it. That's my favorite.

843
00:43:47,960 --> 00:43:50,960
Speaker 3: My favorite part of this job is helping directors tell

844
00:43:51,000 --> 00:43:54,799
Speaker 3: their vision. Yeah, Like I love directors and filmmakers, and

845
00:43:54,880 --> 00:43:59,080
Speaker 3: so the thing that always helps me, even when it

846
00:43:59,080 --> 00:44:02,080
Speaker 3: gets hard, is when I have that director that I'm

847
00:44:02,120 --> 00:44:05,000
Speaker 3: working with and I'm like, I don't care. I'm trying

848
00:44:05,000 --> 00:44:07,760
Speaker 3: to help them do this vision, create this vision of theirs.

849
00:44:07,840 --> 00:44:09,480
Speaker 3: I see it, I get it. I want to be

850
00:44:09,520 --> 00:44:12,000
Speaker 3: a part of it. I want to help them, And

851
00:44:12,080 --> 00:44:14,880
Speaker 3: so fighting any of those battles to help them is

852
00:44:14,920 --> 00:44:16,360
Speaker 3: always fine with me.

853
00:44:16,600 --> 00:44:19,319
Speaker 2: What do you think makes a great director in your

854
00:44:19,360 --> 00:44:21,640
Speaker 2: expense that you've worked with, Because it doesn't mean that

855
00:44:21,680 --> 00:44:24,480
Speaker 2: they're always going to make hit movies, right, Yeah, because

856
00:44:24,520 --> 00:44:27,359
Speaker 2: the movies like it's subjective, so it could be an

857
00:44:27,440 --> 00:44:29,360
Speaker 2: amazing film, but it doesn't mean that it's going to

858
00:44:29,360 --> 00:44:32,440
Speaker 2: go make a billion dollars. But in terms of directors

859
00:44:32,480 --> 00:44:35,360
Speaker 2: that you go, this is a person that should be directing.

860
00:44:35,719 --> 00:44:39,439
Speaker 3: I just think, you know, whatever process they have, there's

861
00:44:39,440 --> 00:44:41,879
Speaker 3: somebody who just has a strong vision in their head

862
00:44:42,080 --> 00:44:44,040
Speaker 3: and knows how to get a group of people together

863
00:44:44,160 --> 00:44:47,600
Speaker 3: to execute it. And whether that's they start using the

864
00:44:47,640 --> 00:44:52,200
Speaker 3: same people and fine tune the process, whether they're forceful personalities.

865
00:44:52,960 --> 00:44:56,680
Speaker 3: Whatever that is, it's just that idea that they know

866
00:44:57,200 --> 00:44:59,120
Speaker 3: that story well, they see it in their head and

867
00:44:59,160 --> 00:45:00,920
Speaker 3: they know how to get it out in like a

868
00:45:01,000 --> 00:45:04,040
Speaker 3: way that everyone else will see it and understand it

869
00:45:04,080 --> 00:45:06,640
Speaker 3: the same way that they did. Right. And again, there's

870
00:45:06,719 --> 00:45:09,759
Speaker 3: different ways that people go about that. You know, the

871
00:45:09,800 --> 00:45:14,000
Speaker 3: best ones are either geniuses themselves, so they see like

872
00:45:14,080 --> 00:45:16,400
Speaker 3: a vision like James Cameron of like how to do

873
00:45:16,480 --> 00:45:20,520
Speaker 3: things technically different nobody else has even thought of yet,

874
00:45:21,239 --> 00:45:24,480
Speaker 3: and he's able to go out and execute that, or

875
00:45:24,560 --> 00:45:27,520
Speaker 3: you know, in some cases, just being really smart about

876
00:45:27,520 --> 00:45:30,560
Speaker 3: who they hire and who they listen to and piecing

877
00:45:30,640 --> 00:45:34,480
Speaker 3: together like, you know, the best ideas from a bunch

878
00:45:34,480 --> 00:45:36,840
Speaker 3: of people that they were able to put together. And

879
00:45:36,920 --> 00:45:39,879
Speaker 3: I think, again, just having a clear vision and good

880
00:45:39,920 --> 00:45:43,480
Speaker 3: taste of what's different. You know, I was point the

881
00:45:43,520 --> 00:45:46,840
Speaker 3: original Halloween movie. I love that movie so much. I

882
00:45:46,840 --> 00:45:50,320
Speaker 3: love Johnny Carpenter, and I think, you know what's cool

883
00:45:50,320 --> 00:45:53,080
Speaker 3: about that movie and people have tried to do like

884
00:45:53,160 --> 00:45:57,240
Speaker 3: slasher movies and copy that movie millions of times since

885
00:45:57,280 --> 00:46:00,719
Speaker 3: it first came out in nineteen seventy seven, I think

886
00:46:01,080 --> 00:46:04,400
Speaker 3: is that you know, you had these kids out of

887
00:46:04,520 --> 00:46:08,080
Speaker 3: usc that basically were like, we're gonna take this story

888
00:46:08,200 --> 00:46:12,400
Speaker 3: about a guy in a mask on Halloween night just

889
00:46:12,520 --> 00:46:16,840
Speaker 3: stabbing babysitters to death. Right, there's a million ways to

890
00:46:16,880 --> 00:46:20,160
Speaker 3: make that movie like terrible or like you've seen it

891
00:46:20,200 --> 00:46:23,400
Speaker 3: a million times even at that point, we're gonna make

892
00:46:23,440 --> 00:46:26,279
Speaker 3: it like an Alfred Hitchcock with me. We're gonna make

893
00:46:26,320 --> 00:46:29,480
Speaker 3: it super suspenseful. We're gonna drag it out. We're gonna

894
00:46:29,520 --> 00:46:33,200
Speaker 3: like make you like want him to strike because he's

895
00:46:33,200 --> 00:46:36,279
Speaker 3: hovering around them so much, and it's not gonna have

896
00:46:36,320 --> 00:46:39,399
Speaker 3: all these bodies and gore shots and things like that.

897
00:46:40,160 --> 00:46:44,360
Speaker 3: And just that approach and that idea and actually pulled

898
00:46:44,400 --> 00:46:47,280
Speaker 3: it off is what makes that movie timeless and special

899
00:46:47,760 --> 00:46:49,920
Speaker 3: and still to this day. Why when you watch it

900
00:46:50,640 --> 00:46:53,719
Speaker 3: with any other guy with a mask killing teenagers somewhere

901
00:46:53,760 --> 00:46:57,239
Speaker 3: like that movie, there's something more quality about it and

902
00:46:57,280 --> 00:46:59,560
Speaker 3: a little higher brown why it's still like looked at

903
00:46:59,640 --> 00:47:03,200
Speaker 3: as like the ultimate movie in its space. Right, And

904
00:47:03,239 --> 00:47:05,120
Speaker 3: it's been very easily for them to just take the

905
00:47:05,200 --> 00:47:10,759
Speaker 3: money make a stabby movie. Some sex scenes like give

906
00:47:10,800 --> 00:47:13,600
Speaker 3: the audience to know exactly what they expect out of

907
00:47:13,600 --> 00:47:15,880
Speaker 3: something like that took a lot of guts to be like,

908
00:47:15,960 --> 00:47:18,080
Speaker 3: we're not going to have a lot of stabbing and murder,

909
00:47:18,160 --> 00:47:20,839
Speaker 3: and but again them being able to pull it off,

910
00:47:20,840 --> 00:47:23,600
Speaker 3: like that's we're going to make this specially good. So

911
00:47:23,640 --> 00:47:26,200
Speaker 3: I think you always got to have a good take

912
00:47:26,239 --> 00:47:29,719
Speaker 3: on the material too, that makes it different and makes

913
00:47:29,760 --> 00:47:32,480
Speaker 3: it cool. As you get more up in Hollywood, it's

914
00:47:32,719 --> 00:47:35,520
Speaker 3: easier to like just make things that seem like other

915
00:47:35,560 --> 00:47:38,759
Speaker 3: things that are successful, and you don't want to.

916
00:47:38,719 --> 00:47:42,640
Speaker 2: Do that, Carter, this has been just a fantastic conversation.

917
00:47:42,760 --> 00:47:45,480
Speaker 1: We could talk with you forever, I know, no like

918
00:47:45,600 --> 00:47:46,040
Speaker 1: me too.

919
00:47:46,280 --> 00:47:48,120
Speaker 3: I hope I can come back and we'll actually tell

920
00:47:48,160 --> 00:47:51,399
Speaker 3: more car stories. Yeah, the next time. But I really

921
00:47:51,480 --> 00:47:54,439
Speaker 3: enjoy talking about the business with you and just such

922
00:47:54,480 --> 00:47:57,560
Speaker 3: big fans of both of you, and I like this

923
00:47:57,600 --> 00:47:59,759
Speaker 3: podcast so much. It's such an honor to be here.

924
00:48:00,080 --> 00:48:01,719
Speaker 3: Really really cool. Thank you for having me.

925
00:48:01,840 --> 00:48:05,040
Speaker 2: It was a great conversation because not only it's so

926
00:48:05,200 --> 00:48:08,120
Speaker 2: sincere and it's a window into I think a lot

927
00:48:08,160 --> 00:48:11,640
Speaker 2: of what the listeners are not aware of, the lessons

928
00:48:11,680 --> 00:48:15,239
Speaker 2: of you know, this is a this is a long marathon,

929
00:48:15,360 --> 00:48:17,560
Speaker 2: and you got to love what you're doing and try

930
00:48:17,600 --> 00:48:21,880
Speaker 2: to be different right with class with class right.

931
00:48:21,960 --> 00:48:27,240
Speaker 3: Yeah, yeah, absolutely everything is never stop learning, like every

932
00:48:27,280 --> 00:48:30,600
Speaker 3: single day, like I learned something new all the time still,

933
00:48:31,320 --> 00:48:32,840
Speaker 3: and I'm always grateful when I do.

934
00:48:33,719 --> 00:48:37,880
Speaker 1: Amen to that. Yeah, well, you're a huge inspiration and

935
00:48:37,960 --> 00:48:39,840
Speaker 1: look forward to seeing you continue to kick ass and

936
00:48:39,880 --> 00:48:43,960
Speaker 1: take over this world and the stories that you tell.

937
00:48:43,160 --> 00:48:47,320
Speaker 3: Right back at you, right back at you. No, thanks again,

938
00:48:47,400 --> 00:48:50,239
Speaker 3: and I love being on this and any other time

939
00:48:50,320 --> 00:48:54,560
Speaker 3: you guys need a time filler, I'm here. Appreciate you,

940
00:48:54,560 --> 00:48:55,359
Speaker 3: Thank you so much.