WEBVTT - Ep19 Carter Swan

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<v Speaker 1>Welcome back to another episode of Car Stories with some

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<v Speaker 1>and Amelia Hartford.

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<v Speaker 2>Hey Amelia, Hey, soorry? What's up?

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<v Speaker 1>Hi?

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<v Speaker 2>Do you play the lottery?

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<v Speaker 3>No? Ever, when I.

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<v Speaker 1>Was younger, I like to play because I thought it

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<v Speaker 1>was fun, specifically the scratchers. I don't like the idea

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<v Speaker 1>of gambling personally, and I don't like losing money, oh,

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<v Speaker 1>because I think I struggled to have it for so

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<v Speaker 1>long in my life. So a long answer to your

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<v Speaker 1>question is.

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<v Speaker 2>Not so much probably a good idea.

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<v Speaker 1>Do you play the lottery?

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

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<v Speaker 2>Right then I started doing the math. I go, at

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<v Speaker 2>the end of the day, after billion Texas, blah blah blah,

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

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<v Speaker 2>And then I started like fantasizing, and usually I'll played

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<v Speaker 2>like one, you know, like I'll just one pick a ball,

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

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<v Speaker 2>and literally pick the numbers because I realized I love

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<v Speaker 2>the fantasy of the idea of winning. Okay, I go,

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<v Speaker 2>so if I want a billion dollars, what would I do?

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<v Speaker 2>I would keep it like super quiet, not tell anybody.

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<v Speaker 1>I think in the state of California, you have to

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<v Speaker 1>identify yourself.

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<v Speaker 2>Oh you do, I think so, well, that would suck.

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<v Speaker 3>It.

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<v Speaker 2>Yeah, yeah, I guess I would leave. I'd just leave town.

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<v Speaker 2>I'd like leave town, right, yeah, because I don't want

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<v Speaker 2>to deal with all the nonsense, yeah.

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<v Speaker 1>Or the family you haven't heard from and that you

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<v Speaker 1>didn't know you had reaching out.

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<v Speaker 2>Yeah. But then I think about, like what would I

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<v Speaker 2>do with that. I would open a school, I would

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<v Speaker 2>donate this, I would buy this, I would do that.

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<v Speaker 2>And then it's interesting because most of the time I

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

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<v Speaker 2>and I'm like, you know, I think I'll keep playing

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<v Speaker 2>when it gets to a billion, because the fantasy is

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<v Speaker 2>a lot of fun. Sure, right the can I drive

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<v Speaker 2>around like I'll pick up the number and I'll be

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<v Speaker 2>driving home and I'm going just thinking about, yeah, I

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<v Speaker 2>can buy this gas station and the giveaway gas to

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<v Speaker 2>all the guys with cool cars every Sunday.

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<v Speaker 3>Right. Yeah.

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<v Speaker 2>I'll drive once in a while, you know, and you

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<v Speaker 2>pass a gas station or whatever store and they'll say,

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<v Speaker 2>you know, like nine hundred and eighty three million, and

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

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<v Speaker 2>I'll drive to some obscure convenience store gas station, because

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<v Speaker 2>you always hear that the winning number came from some

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<v Speaker 2>podunk town, some obscure liquor store or something, and I'll

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<v Speaker 2>walk in and I'll give the guy two bucks, play

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<v Speaker 2>the power ball, and then walk out.

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<v Speaker 1>Have you heard of the lottery curse? Though?

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<v Speaker 2>Yes?

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<v Speaker 1>Because most people end up going bankrupt and losing all

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<v Speaker 1>the money and more than what they had before, and

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<v Speaker 1>friends and families start using them and they end up

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<v Speaker 1>being miserable and not happy.

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<v Speaker 2>I think I would do something good with What would

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<v Speaker 2>you do? Okay, so if you want the billion dollar lottery,

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<v Speaker 2>what would you do with them? What was the first

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<v Speaker 2>thing you would spend that money on?

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<v Speaker 1>I thought, like, in my head, immediately comes free mental

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<v Speaker 1>health care. But I don't I don't know what that

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<v Speaker 1>would cost.

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<v Speaker 2>I mean for yourself, for.

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<v Speaker 1>Myself, like selfishly, if I buy something to help people with.

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<v Speaker 2>It, no, just for yourself, just to put into your

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<v Speaker 2>garage and f forty forty ferrari? Yeah, which are.

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<v Speaker 1>Those two six three million?

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<v Speaker 2>That's a good one.

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<v Speaker 1>Yeah, what about you?

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<v Speaker 2>I have no idea. I don't want anything nothing.

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<v Speaker 3>Nothing.

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<v Speaker 2>I don't know.

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<v Speaker 3>Car, no jet, no, no, no, no way.

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

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

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<v Speaker 1>That's the last thing I'd be worried about.

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<v Speaker 2>I mean, going to the number two and a private

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<v Speaker 2>jet with people in there is very.

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<v Speaker 1>Very It's not like a dick thing to do. What

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<v Speaker 1>go poop in someone's plane?

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<v Speaker 2>Well, they have to, like at least the one I

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<v Speaker 2>rode right the fluid.

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<v Speaker 1>Do you know what kind of jet it was.

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<v Speaker 2>I think it was like a G four or G

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<v Speaker 2>five or something like that. Anyway, the interior, the flight

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<v Speaker 2>attendant had to come in and basically create the doors. Oh,

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<v Speaker 2>so is you have to announce like, hey, I need

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<v Speaker 2>to go pooh. And I was like, but this is

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<v Speaker 2>so inconvenient. Man, Like the private jetman, you have privacy.

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<v Speaker 2>But it's like at least the one that I wrote,

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<v Speaker 2>So I was like, I don't know about that. And

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<v Speaker 2>also I think it's a complete waste of money.

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<v Speaker 1>It's a lot of money.

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<v Speaker 2>I mean, I'm not balder enough where I need a

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<v Speaker 2>private jet to hop around the world, right, I don't

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<v Speaker 2>know what I would buy I used to think I

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<v Speaker 2>would buy like a big building to put like a

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<v Speaker 2>whole bunch of cars and have a man cave and

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<v Speaker 2>have like an apartment so friends could come from out

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

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<v Speaker 2>That's like, that's I consider that like a waste of

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<v Speaker 2>money paying utilities on the place I'm not really using

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

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<v Speaker 2>to to something nothing.

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<v Speaker 1>You'll have any answer next week.

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<v Speaker 2>Next week.

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<v Speaker 1>Yeah, I believe it.

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

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<v Speaker 2>I would love to wear an original pair of Jordan ones.

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<v Speaker 1>That would be cool. I would feel so bad wearing them.

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<v Speaker 2>Though, because I that's something as a kid that I

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<v Speaker 2>always wanted was a pair of Jordan ones. And of

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<v Speaker 2>course my family can never afford to buy that for me.

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<v Speaker 2>And I think about today, like, I'd love to get

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<v Speaker 2>a pair of like Jordan one at least maybe not

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<v Speaker 2>from the original here, but something that I look like

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<v Speaker 2>that mm hmm. But I think I would never wear them. Yeah,

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<v Speaker 2>but I would go and buy a pair of knockoffs and.

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<v Speaker 1>Wear those, yeah, and just keep the real ones.

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<v Speaker 2>Yeah, but then what's the point of having them? Yeah,

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<v Speaker 2>Jordan Ones. Okay, anyway, let's let's do this intro, tell

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<v Speaker 2>you nonsense, all right, we want to start this. Who

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<v Speaker 2>do we have today?

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<v Speaker 1>Yeah, today's guest. We have Carter Swan coming on. Carter

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<v Speaker 1>is a huge inspiration to mine and I'm sure many

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

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<v Speaker 1>Last of Us, Twisted Metal, and so many other incredible projects.

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<v Speaker 1>He's a producer at PlayStation's production and a big part

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<v Speaker 1>of why you guys are seeing his incredible adaptions come

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<v Speaker 1>to play And we had such a cool conversation that

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<v Speaker 1>I hope inspires many and I learned a lot from

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<v Speaker 1>And it's.

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<v Speaker 2>So refreshing to have a conversation with somebody in the

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<v Speaker 2>business that's just sincere and honest about like who they

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<v Speaker 2>are and their perspective. And it's always something to learn

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<v Speaker 2>every time you stay with Carter. So yeah, good, good conversation. Yeah,

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

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<v Speaker 3>Seattle?

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<v Speaker 2>Seattle, came to LA for the Hollywood Dream. Yes, yes,

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<v Speaker 2>And you give us a little context, like, yes, the

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<v Speaker 2>history of the Carter history.

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<v Speaker 3>I'm trying to make it quick. Yeah, So I went

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<v Speaker 3>to the Seattle Film Institute, which was the only film

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<v Speaker 3>school we had in Seattle at the time, and it

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<v Speaker 3>was in basically like the basement of a Kiwanis, two

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<v Speaker 3>nights a week. It's like an it's kind of like

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<v Speaker 3>an American Legion. It's like an old club, like one

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<v Speaker 3>of those hall kind of places where they would have memberships.

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<v Speaker 3>So finished that, went to USC summer Production Workshop with Universal,

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<v Speaker 3>which was awesome. I had a really great time at that,

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<v Speaker 3>was right at the top of my class and that

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<v Speaker 3>so I was thinking about going to film school, either

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<v Speaker 3>at USC or perhaps really old Merrimount, where our professor

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<v Speaker 3>at the time was sort of like starting his own

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<v Speaker 3>film course. And then my cousin I sat down with him.

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<v Speaker 3>So my cousin is directors get named John Dahl who

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<v Speaker 3>did Rounders and joy Ride and he's big TV director

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

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<v Speaker 3>You're gonna spend twenty years making no money and you're

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<v Speaker 3>gonna have the six figure dead over your head and

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<v Speaker 3>it's gonna crush you. And just I've talked to you

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<v Speaker 3>enough to know that, like the film school, the stuff

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<v Speaker 3>you're gonna get education wise, you know it. You're good,

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<v Speaker 3>You've got it. You read the books, you do the reading.

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<v Speaker 3>You're like obsessed with this stuff. What you need now

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

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<v Speaker 3>you get inside, no one cares about your education. They

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<v Speaker 3>just care about your resume once you start. And so

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<v Speaker 3>he said, I'll get you a job. I'll get you

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<v Speaker 3>a job on my next movie, which turned out being

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<v Speaker 3>joy Ride, which was this jj Abram's kind of horror

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<v Speaker 3>movie for Fox a long time ago. That's probably most

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<v Speaker 3>notable because it stars Paul Walker, and that was in

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<v Speaker 3>ninety nine. I started that the shoot started in Nevada,

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<v Speaker 3>So I packed up my Cherokee everything I own, went

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<v Speaker 3>to Nevada, drove around working on the movie, got back

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<v Speaker 3>to La got an apartment, and been here like ever since.

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<v Speaker 3>And in that time, I did every kind of development

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<v Speaker 3>job you could do. I wrote. I just tried to

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<v Speaker 3>keep doing different jobs and having different experiences and just

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<v Speaker 3>trying to wear a lot of hats. So I just

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<v Speaker 3>felt like I just kind of like a like a

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<v Speaker 3>basketball player, just trying to like make sure my game

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<v Speaker 3>was complete. So whether it was writing or production or development,

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<v Speaker 3>just any of those phases, post production, just having a

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<v Speaker 3>grasp of what it was and like seeing it firsthand

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<v Speaker 3>as much as I could and trying it myself. So

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<v Speaker 3>I did that for the next sixteen seventeen years, just

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<v Speaker 3>bounced around. I mean, the best job in that time

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<v Speaker 3>that I could probably talk to you about was obviously

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<v Speaker 3>an interesting experience was working for Paul Walker, because I,

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<v Speaker 3>after Joyride, became good friends with him. I've worked with

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<v Speaker 3>a lot of actors now over the years, and I

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<v Speaker 3>tell people, you know, I think the thing that was

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<v Speaker 3>special about him held it in the obvious things. He

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<v Speaker 3>was more he's in real life. He was exactly who

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<v Speaker 3>you would expect him to be in the best way

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<v Speaker 3>as possible, judging from just you know, because I always

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

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<v Speaker 3>so people kind of think they get to know you,

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<v Speaker 3>and you're a lot different usually than the people that

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<v Speaker 3>you're playing on screen, and it can be kind of

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<v Speaker 3>weird for them and for you obviously, But for him,

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<v Speaker 3>he was exactly who you thought he'd be. The person

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<v Speaker 3>he portrayed himself as, or he came off as. He

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<v Speaker 3>was exactly that guy in like again, the best way

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<v Speaker 3>as possible. So miss him all the time, think about

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<v Speaker 3>him all the time.

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<v Speaker 2>I agree with you, you know, I mean he was

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<v Speaker 2>a teacher for me too, because when you know, being

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<v Speaker 2>able to watch and hang out with somebody that is

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<v Speaker 2>famous in the public at that level was a great

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<v Speaker 2>education for me. And the way he carried himself, the

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<v Speaker 2>things that we did together, there was no movie star nonsense.

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<v Speaker 2>It was we drove to the mall to go buy underwear,

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<v Speaker 2>yeah you know, and go buy flannel shirts that like

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<v Speaker 2>the old navy yeah right, and stopped anyone who would ask,

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<v Speaker 2>you know, for a picture or an autograph, stop, engage,

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<v Speaker 2>say hello, smile And I could see like there were

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<v Speaker 2>times where you know, it was inconvenience. There was just

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<v Speaker 2>not appropriate. It was such a struggle for him to

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

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<v Speaker 2>you know, without the fans, like we do not have,

0:11:43.559 --> 0:11:45.840
<v Speaker 2>you know, food on the table. They are the reason

0:11:45.880 --> 0:11:49.640
<v Speaker 2>why we're here. We exist for them, right, And and

0:11:49.679 --> 0:11:51.880
<v Speaker 2>he meant it. I mean, he believed in his heart

0:11:52.000 --> 0:11:54.040
<v Speaker 2>was just so kind, you know.

0:11:54.160 --> 0:11:57.679
<v Speaker 3>It's like no, yeah, that's exactly him. He always had

0:11:57.720 --> 0:12:01.160
<v Speaker 3>time for everyone. Yeah, like even though he didn't, you

0:12:01.200 --> 0:12:03.880
<v Speaker 3>know what I mean, he would make time.

0:12:04.720 --> 0:12:04.880
<v Speaker 1>You know.

0:12:04.960 --> 0:12:07.840
<v Speaker 3>The thing that he provided me the most. What we

0:12:07.960 --> 0:12:11.320
<v Speaker 3>all need when you're starting out in Hollywood is somebody

0:12:11.360 --> 0:12:14.000
<v Speaker 3>who's successful to point at you and go, you can

0:12:14.040 --> 0:12:18.000
<v Speaker 3>do this, like trust me, I'm look at me, I'm

0:12:18.000 --> 0:12:20.560
<v Speaker 3>at the top. I know you can do this. I

0:12:20.600 --> 0:12:22.520
<v Speaker 3>believe in you, and I'll help you if I can't.

0:12:23.200 --> 0:12:25.400
<v Speaker 3>And he was really one of the first people to

0:12:25.440 --> 0:12:28.640
<v Speaker 3>do that for me. Getting that kind of assurance early

0:12:28.679 --> 0:12:30.920
<v Speaker 3>on was really helpful because I think a lot of

0:12:30.920 --> 0:12:34.120
<v Speaker 3>people can go years without it and then it becomes

0:12:34.120 --> 0:12:38.040
<v Speaker 3>difficult because it's just you in your own head going

0:12:38.080 --> 0:12:39.280
<v Speaker 3>I know I'm going to make it. I know I'm

0:12:39.280 --> 0:12:42.520
<v Speaker 3>going to make this happen. Sure how yet, but you

0:12:42.679 --> 0:12:45.600
<v Speaker 3>just need along the way enough good role models and

0:12:46.240 --> 0:12:49.640
<v Speaker 3>people that come across you, be it luck or whatever,

0:12:49.920 --> 0:12:52.800
<v Speaker 3>that can just point at you and say what you're

0:12:52.800 --> 0:12:55.000
<v Speaker 3>doing is right, you made the right decisions here in

0:12:55.040 --> 0:12:59.079
<v Speaker 3>your life, and keep pursuing it, agreed. And then now,

0:12:59.120 --> 0:13:03.439
<v Speaker 3>of course working for PlayStation, which is like the double

0:13:03.520 --> 0:13:05.600
<v Speaker 3>dream come true because I get to work you know,

0:13:05.720 --> 0:13:08.240
<v Speaker 3>with the video game properties which I grew up loving

0:13:08.280 --> 0:13:12.079
<v Speaker 3>myself and of course, uh, you know, working on movies

0:13:12.160 --> 0:13:15.760
<v Speaker 3>and making adaptations, which is something I'm very passionate about,

0:13:15.920 --> 0:13:18.360
<v Speaker 3>my favorite thing to do in the world. And I

0:13:18.400 --> 0:13:20.000
<v Speaker 3>finally got Graham Turisma made.

0:13:20.600 --> 0:13:21.560
<v Speaker 2>That's how you know each other.

0:13:21.720 --> 0:13:24.280
<v Speaker 3>Yeah, we know each other over a decade. Yeah, I

0:13:24.320 --> 0:13:25.079
<v Speaker 3>worked a decade.

0:13:25.080 --> 0:13:29.520
<v Speaker 2>It took ten years. I think everything happens overnight, I know, right.

0:13:29.679 --> 0:13:32.280
<v Speaker 3>No, No, it certainly does.

0:13:32.480 --> 0:13:33.160
<v Speaker 2>Ten years.

0:13:33.880 --> 0:13:36.120
<v Speaker 3>That's another one. You know, you go like, there were

0:13:36.120 --> 0:13:38.320
<v Speaker 3>so many times where I was like, am I just crazy?

0:13:39.280 --> 0:13:41.640
<v Speaker 3>Like I just because I was sort of one of

0:13:41.640 --> 0:13:43.839
<v Speaker 3>the people who just never gave up on it because

0:13:43.880 --> 0:13:46.000
<v Speaker 3>it died a few years And.

0:13:46.400 --> 0:13:49.880
<v Speaker 2>Why though, just what I mean, Yeah, explain to the

0:13:50.000 --> 0:13:53.080
<v Speaker 2>layman out there, like why people say that to make

0:13:53.080 --> 0:13:56.160
<v Speaker 2>a movie, it's it's actually harder than winning the lottery.

0:13:58.320 --> 0:14:01.000
<v Speaker 3>Yeah, you line up a lot of and a lot

0:14:01.040 --> 0:14:03.880
<v Speaker 3>of the things that line up to help get it made.

0:14:04.080 --> 0:14:06.760
<v Speaker 3>They're out of your control. There are things you don't

0:14:06.760 --> 0:14:09.079
<v Speaker 3>even see coming. And I think this is this story

0:14:09.120 --> 0:14:11.560
<v Speaker 3>is a good example of that. Because the idea that

0:14:11.600 --> 0:14:15.840
<v Speaker 3>somebody could play video games and become a professional race

0:14:15.880 --> 0:14:20.000
<v Speaker 3>car driver, to your average human being walking around doesn't

0:14:20.080 --> 0:14:23.600
<v Speaker 3>understand the sim world doesn't understand what's going on there

0:14:23.640 --> 0:14:26.440
<v Speaker 3>and what's been happening in the last decade or so.

0:14:27.200 --> 0:14:31.880
<v Speaker 3>That is a ridiculous premise. And so when you wrote

0:14:31.880 --> 0:14:35.960
<v Speaker 3>a story that was fictionalized based on something so outlandish,

0:14:36.600 --> 0:14:40.080
<v Speaker 3>it doesn't feel like something that actually happened. It feels

0:14:40.160 --> 0:14:43.480
<v Speaker 3>like a movie. The first writer I hired when I

0:14:43.520 --> 0:14:46.640
<v Speaker 3>got to PlayStation was my friend Jason Hall, who wrote

0:14:46.840 --> 0:14:49.360
<v Speaker 3>American Sniper and Thank You for Your Service. He wrote

0:14:49.400 --> 0:14:54.480
<v Speaker 3>and directed Thank You for Your Service. And my logic was, Okay,

0:14:54.600 --> 0:14:59.280
<v Speaker 3>let's get somebody who writes real life dramas to try this,

0:14:59.360 --> 0:15:02.280
<v Speaker 3>because I I don't think we need an action writer here.

0:15:02.320 --> 0:15:04.040
<v Speaker 3>I don't think the racing and all that's going to

0:15:04.080 --> 0:15:06.440
<v Speaker 3>take care of itself. You've got to really care about

0:15:06.840 --> 0:15:09.960
<v Speaker 3>these characters in this guy's life and these kind of

0:15:10.040 --> 0:15:12.680
<v Speaker 3>dramatic elements. That's what's going to make this fly. It's

0:15:12.760 --> 0:15:15.600
<v Speaker 3>kind of like Rocky, Right. When you talk about Rocky,

0:15:15.640 --> 0:15:18.600
<v Speaker 3>you don't go, oh, it's the fight scenes. The fight

0:15:18.640 --> 0:15:21.400
<v Speaker 3>scenes are what make that movie so good. No, it's

0:15:21.400 --> 0:15:25.840
<v Speaker 3>the character stuff exactly. So one of the producers that

0:15:25.920 --> 0:15:28.480
<v Speaker 3>worked on it with me all these years was Dana

0:15:28.520 --> 0:15:32.680
<v Speaker 3>Burnetti and he recommended to me. He said, have you

0:15:32.880 --> 0:15:38.800
<v Speaker 3>ever seen this kid's story Jon Martinborough And I hadn't.

0:15:39.360 --> 0:15:41.000
<v Speaker 2>Lean is the real life character.

0:15:41.080 --> 0:15:44.400
<v Speaker 3>Yeah. Jan Marninborough, who the movie is based on, met

0:15:44.600 --> 0:15:48.160
<v Speaker 3>Yan through his manager, flew out to London, sat with them,

0:15:48.200 --> 0:15:51.480
<v Speaker 3>both explained what it is. Jason came with me what

0:15:51.520 --> 0:15:54.040
<v Speaker 3>it is we were trying to do and asked John

0:15:54.080 --> 0:15:56.240
<v Speaker 3>as many questions as we could and the time we

0:15:56.320 --> 0:15:59.880
<v Speaker 3>had with him, and so I think you take those

0:16:00.080 --> 0:16:04.040
<v Speaker 3>two things and then you sort of look at what

0:16:04.080 --> 0:16:06.600
<v Speaker 3>we were trying to do with the movie, right, which

0:16:06.800 --> 0:16:11.080
<v Speaker 3>was to do a video game racing movie that was

0:16:11.120 --> 0:16:14.640
<v Speaker 3>real at the time, was totally groundbreaking. Tetris I think

0:16:14.680 --> 0:16:18.160
<v Speaker 3>beat us a little bit to the to the pot,

0:16:18.200 --> 0:16:22.480
<v Speaker 3>which I was so upset about. But and then you

0:16:22.560 --> 0:16:27.960
<v Speaker 3>think about what Grand Turismo is the real racing simulator,

0:16:28.000 --> 0:16:31.400
<v Speaker 3>and you think about Kasnori's sort of obsession with reality

0:16:32.360 --> 0:16:36.040
<v Speaker 3>and why that game has become what it is, and

0:16:36.560 --> 0:16:41.080
<v Speaker 3>those two themes really marry well together, right of like

0:16:41.240 --> 0:16:44.160
<v Speaker 3>doing a real life story, doing this kid's true story,

0:16:44.680 --> 0:16:47.440
<v Speaker 3>marrying it to this adaptation, and then it just kind

0:16:47.440 --> 0:16:51.160
<v Speaker 3>of clicked for everybody, like, oh, this is a great idea.

0:16:51.240 --> 0:16:55.200
<v Speaker 3>This is a great movie. And then I think getting

0:16:55.240 --> 0:16:57.840
<v Speaker 3>Neil blanc Caamp obviously was a big deal for.

0:16:57.880 --> 0:17:02.160
<v Speaker 2>US South African director direct The District nine.

0:17:02.040 --> 0:17:08.000
<v Speaker 3>Yes, Chappie, Cheppie, Chappie, and Elysium, which was that was

0:17:08.040 --> 0:17:11.560
<v Speaker 3>interesting too because you know, first of all, how many

0:17:11.720 --> 0:17:14.800
<v Speaker 3>skylines has he owned? He's owned like three or four.

0:17:14.920 --> 0:17:17.320
<v Speaker 3>As a car guy, yeah, he's a huge car guy.

0:17:18.400 --> 0:17:22.560
<v Speaker 3>And then you know, he said, I've wanted to for

0:17:22.760 --> 0:17:27.080
<v Speaker 3>years do something hopeful, and every time I try to

0:17:27.160 --> 0:17:32.160
<v Speaker 3>generate my own material, it's hopeful, but it's still really

0:17:32.200 --> 0:17:36.000
<v Speaker 3>really really dark getting there. And then I read this,

0:17:36.000 --> 0:17:38.480
<v Speaker 3>this is exactly the kind of thing I've wanted to do.

0:17:38.640 --> 0:17:41.360
<v Speaker 1>A lot of his films have like this raw element

0:17:41.440 --> 0:17:43.280
<v Speaker 1>to it too, which I feel like was perfect to

0:17:43.359 --> 0:17:46.200
<v Speaker 1>tell this true story in this cool space.

0:17:46.560 --> 0:17:48.919
<v Speaker 3>Yeah, he's very I think he's very grounded in his

0:17:49.000 --> 0:17:51.879
<v Speaker 3>approach to storytelling. Like I don't think he likes big,

0:17:51.920 --> 0:17:56.800
<v Speaker 3>like theatrical performances, and I think he likes his characters

0:17:56.880 --> 0:17:58.919
<v Speaker 3>to feel real. I think he likes to kind of

0:17:58.960 --> 0:18:03.160
<v Speaker 3>create elevations and then have real people in habit of them.

0:18:03.280 --> 0:18:06.040
<v Speaker 3>If you look at sort of his resume and the

0:18:06.040 --> 0:18:08.720
<v Speaker 3>things that he's done. I think that that sort of

0:18:09.359 --> 0:18:12.119
<v Speaker 3>fits well in looking back with what it was that

0:18:12.160 --> 0:18:14.760
<v Speaker 3>we were trying to do, because this isn't sort of

0:18:14.800 --> 0:18:18.000
<v Speaker 3>elevated world in some ways, but it's skin how the

0:18:18.040 --> 0:18:21.600
<v Speaker 3>real people react to it that makes it really interesting. Right.

0:18:21.760 --> 0:18:25.000
<v Speaker 1>I know I'm biased, but I genuinely like I get

0:18:25.040 --> 0:18:27.240
<v Speaker 1>so many messages and I hear so much about how

0:18:27.480 --> 0:18:29.399
<v Speaker 1>it inspired a lot of people too, And I feel like,

0:18:29.400 --> 0:18:32.040
<v Speaker 1>if you can tell those stories that makes people feel something,

0:18:32.560 --> 0:18:34.800
<v Speaker 1>I feel like that's hugely important.

0:18:34.880 --> 0:18:37.040
<v Speaker 3>No, me too. I'm so proud of it. And I

0:18:37.080 --> 0:18:39.960
<v Speaker 3>mean I worked on it longer than anybody, so you

0:18:40.000 --> 0:18:42.000
<v Speaker 3>know there's always that oh my god, what if I

0:18:42.040 --> 0:18:45.080
<v Speaker 3>spent ten years on something I don't even really like, right,

0:18:45.200 --> 0:18:47.800
<v Speaker 3>But that's not the case. I really love it, and

0:18:47.840 --> 0:18:50.960
<v Speaker 3>I think it fits well in our library of things

0:18:50.960 --> 0:18:55.160
<v Speaker 3>that we've done because I sort of obsess on always

0:18:55.200 --> 0:18:57.919
<v Speaker 3>making sure that every one of them is different in

0:18:57.960 --> 0:19:00.800
<v Speaker 3>its own thing, and I think that's if you look

0:19:00.840 --> 0:19:03.840
<v Speaker 3>at what we've done so far, like that's one of

0:19:03.920 --> 0:19:05.840
<v Speaker 3>the things I'm the most proud of. If you take

0:19:06.200 --> 0:19:08.920
<v Speaker 3>Uncharted and Twisted Metal and Last of Us in Grand

0:19:08.960 --> 0:19:12.560
<v Speaker 3>Turismo and you hold them all up. They're all so different.

0:19:13.160 --> 0:19:16.959
<v Speaker 3>The tones are different, the looks are different, the vibe

0:19:17.000 --> 0:19:20.520
<v Speaker 3>is different. And so we really try to make sure

0:19:20.600 --> 0:19:23.520
<v Speaker 3>that every single one of our projects it's just its

0:19:23.600 --> 0:19:26.640
<v Speaker 3>own thing, and we're not like falling into this kind

0:19:26.680 --> 0:19:30.160
<v Speaker 3>of formula that's going to be boring and not fun,

0:19:30.920 --> 0:19:34.320
<v Speaker 3>not really an interesting experience for anybody. So being able

0:19:34.359 --> 0:19:37.280
<v Speaker 3>to do something really different and still make the fans

0:19:37.280 --> 0:19:41.639
<v Speaker 3>feel good, it's always this like really careful balancing.

0:19:41.040 --> 0:19:58.439
<v Speaker 2>Act for us. I think in anything spoiled, especially in

0:19:58.560 --> 0:20:01.440
<v Speaker 2>our business of Hollywood. You know, I've always been told

0:20:01.440 --> 0:20:04.760
<v Speaker 2>it's not a sprint man, it's this long yeah marathon,

0:20:04.760 --> 0:20:06.400
<v Speaker 2>it's like an ultra marathon.

0:20:06.680 --> 0:20:07.200
<v Speaker 3>Yeah.

0:20:07.240 --> 0:20:10.320
<v Speaker 2>When I think the listeners here, like Grant's MO took

0:20:10.359 --> 0:20:13.680
<v Speaker 2>ten years to make, Like what right? Like I mean,

0:20:13.760 --> 0:20:17.600
<v Speaker 2>how do you keep like the flame burning like opposed

0:20:17.640 --> 0:20:18.840
<v Speaker 2>to just like giving up?

0:20:20.240 --> 0:20:23.120
<v Speaker 3>You know, you just think something's a good idea, you know,

0:20:23.440 --> 0:20:25.600
<v Speaker 3>you just have to believe in it. I mean, every

0:20:25.640 --> 0:20:30.159
<v Speaker 3>one of these movies or shows that gets made has somebody,

0:20:31.200 --> 0:20:35.040
<v Speaker 3>sometimes multiple people who thought let's not give up on this.

0:20:35.600 --> 0:20:38.080
<v Speaker 3>They're not always super easy and fast.

0:20:38.320 --> 0:20:41.040
<v Speaker 1>Were there times where you wanted to give up or

0:20:41.040 --> 0:20:41.920
<v Speaker 1>you're about.

0:20:41.560 --> 0:20:46.199
<v Speaker 3>To oh yeah, oh yeah. I mean people ask me

0:20:46.280 --> 0:20:48.639
<v Speaker 3>like for Hollywood, like it took you so long to

0:20:48.680 --> 0:20:51.800
<v Speaker 3>make it, Like what's what's the key to success in Hollywood?

0:20:51.880 --> 0:20:54.879
<v Speaker 3>And honestly, my big thing I tell like the film

0:20:54.920 --> 0:20:58.760
<v Speaker 3>students and stuff is I'll go back to Rocky. I'm like,

0:20:58.800 --> 0:21:00.639
<v Speaker 3>you just got to be able to keep getting up

0:21:00.640 --> 0:21:03.399
<v Speaker 3>when you get knocked down. And if you can just

0:21:03.480 --> 0:21:06.680
<v Speaker 3>keep getting up and learn every time you get knocked

0:21:06.680 --> 0:21:09.720
<v Speaker 3>down why you got knocked down, and like how you're

0:21:09.760 --> 0:21:11.800
<v Speaker 3>not going to make the same mistakes the next time.

0:21:12.720 --> 0:21:17.080
<v Speaker 3>Eventually some opportunity will arise for you. But you just

0:21:17.160 --> 0:21:19.360
<v Speaker 3>have to be willing to keep getting up, even though

0:21:19.600 --> 0:21:21.479
<v Speaker 3>a lot of times it won't even make any sense.

0:21:23.119 --> 0:21:23.479
<v Speaker 2>Agree.

0:21:24.359 --> 0:21:27.200
<v Speaker 3>That's why I would always produce short films. I'd write

0:21:27.240 --> 0:21:30.960
<v Speaker 3>scripts too. I would just just get those failures out

0:21:30.960 --> 0:21:35.720
<v Speaker 3>of you, learn those hard lessons anytime you can, and

0:21:35.840 --> 0:21:38.320
<v Speaker 3>just keep getting better and stronger. And there are ways

0:21:38.359 --> 0:21:41.520
<v Speaker 3>to improve yourself even when you're just sitting there in

0:21:41.520 --> 0:21:44.840
<v Speaker 3>your apartment thinking they're not well. Just start writing a script.

0:21:45.040 --> 0:21:47.560
<v Speaker 3>You know, that's an easy way to get better. Go

0:21:47.880 --> 0:21:50.720
<v Speaker 3>just do a free pa job on Craigslist and just

0:21:50.880 --> 0:21:53.880
<v Speaker 3>learn something crazy, because I swear to God you'll learn

0:21:53.960 --> 0:21:56.399
<v Speaker 3>one thing on every shoot, no matter how small or

0:21:56.440 --> 0:22:00.920
<v Speaker 3>weird or obscure it seems to you at the time,

0:22:01.560 --> 0:22:05.240
<v Speaker 3>you know, and just take it seriously, like if you

0:22:05.320 --> 0:22:08.199
<v Speaker 3>really care that much about it, try to do the

0:22:08.240 --> 0:22:11.440
<v Speaker 3>best work that you can. It doesn't matter how small

0:22:11.520 --> 0:22:14.560
<v Speaker 3>something you're doing is. It doesn't matter, like you should

0:22:14.600 --> 0:22:17.320
<v Speaker 3>treat it the same way you would treat working on

0:22:17.359 --> 0:22:19.720
<v Speaker 3>a two hundred million dollars James Cameron movie. You know,

0:22:19.880 --> 0:22:22.760
<v Speaker 3>take it all seriously, have fun doing it. But like

0:22:23.600 --> 0:22:26.320
<v Speaker 3>understand there's no such thing as like a small opportunity

0:22:26.440 --> 0:22:28.520
<v Speaker 3>or just always what you make of it.

0:22:28.600 --> 0:22:31.080
<v Speaker 2>You just got to get up and go. Yeah, Like

0:22:31.320 --> 0:22:35.080
<v Speaker 2>I use like running as a great analogy and a

0:22:35.119 --> 0:22:38.879
<v Speaker 2>discipline to like this business as an actor and as

0:22:38.920 --> 0:22:42.800
<v Speaker 2>a filmmaker, because I would say, you know, most of

0:22:42.840 --> 0:22:47.480
<v Speaker 2>my career has been knows and still every day it's

0:22:47.480 --> 0:22:47.920
<v Speaker 2>like a no.

0:22:48.880 --> 0:22:49.200
<v Speaker 3>Me too.

0:22:49.240 --> 0:22:53.840
<v Speaker 2>Yeah they said no, you're in those movies. Yeah, but

0:22:53.920 --> 0:22:56.800
<v Speaker 2>they still say no to me every day, right, And

0:22:57.080 --> 0:23:00.080
<v Speaker 2>it's like like it's like running up you know, mountains

0:23:00.240 --> 0:23:03.400
<v Speaker 2>right first till is so hard and that's like first stage.

0:23:03.440 --> 0:23:05.960
<v Speaker 2>It's like, yeah, you've got an audition or you got

0:23:05.960 --> 0:23:08.640
<v Speaker 2>a meeting, and it's like to get that is so hard.

0:23:08.640 --> 0:23:10.399
<v Speaker 2>You got to run up that hill, right, and then

0:23:10.400 --> 0:23:12.480
<v Speaker 2>you get there and you're like did it. It's like, hey,

0:23:12.800 --> 0:23:15.159
<v Speaker 2>there's another one over there, because you've got to go

0:23:15.200 --> 0:23:18.200
<v Speaker 2>do the job. And even then that is a whole

0:23:18.359 --> 0:23:21.639
<v Speaker 2>journey and a hill climb. You get the job, and

0:23:21.680 --> 0:23:25.320
<v Speaker 2>then there's this like waiting for like post production. Is

0:23:25.520 --> 0:23:27.040
<v Speaker 2>the movie ever going to be finished?

0:23:27.240 --> 0:23:27.600
<v Speaker 3>Yeah?

0:23:27.680 --> 0:23:30.000
<v Speaker 2>I did like four movies last year. I think maybe

0:23:30.000 --> 0:23:31.800
<v Speaker 2>two of them will never even no.

0:23:31.680 --> 0:23:34.040
<v Speaker 3>One will ever ever see.

0:23:34.200 --> 0:23:35.360
<v Speaker 2>You're like, how has that happened?

0:23:35.560 --> 0:23:35.760
<v Speaker 3>Right?

0:23:36.359 --> 0:23:39.359
<v Speaker 2>And then you got to go promote the movie right exactly,

0:23:39.400 --> 0:23:40.600
<v Speaker 2>and do people even care?

0:23:41.320 --> 0:23:43.800
<v Speaker 3>No, It's it's that thing, right if people always say this,

0:23:43.960 --> 0:23:46.119
<v Speaker 3>and I mean I'm a cliche saying this myself, but

0:23:46.200 --> 0:23:48.800
<v Speaker 3>there's never that day where it all turns around. Yeah,

0:23:48.840 --> 0:23:50.919
<v Speaker 3>and you can point back at it and go, that

0:23:51.119 --> 0:23:52.800
<v Speaker 3>was the day it all starts.

0:23:52.880 --> 0:23:53.040
<v Speaker 1>Yeah.

0:23:53.160 --> 0:23:53.360
<v Speaker 2>Yeah.

0:23:53.680 --> 0:23:56.560
<v Speaker 3>After that it was smooth sailor because I was on

0:23:56.600 --> 0:23:59.680
<v Speaker 3>a whole other level and it's like, no, that day's

0:23:59.720 --> 0:24:02.159
<v Speaker 3>never coming. And anytime you do have those days, it

0:24:02.320 --> 0:24:05.120
<v Speaker 3>just means a lot more work. Yeah, that's coming your way.

0:24:05.280 --> 0:24:08.200
<v Speaker 1>I think people hope for an overnight success story because

0:24:08.240 --> 0:24:11.040
<v Speaker 1>I think sometimes it makes them feel like it's an

0:24:11.040 --> 0:24:13.399
<v Speaker 1>easy finger to point out of, like, oh, well, that's

0:24:13.440 --> 0:24:16.760
<v Speaker 1>why you know versus like the hard work, the trials,

0:24:16.840 --> 0:24:19.280
<v Speaker 1>the tribulations and everything that goes into it. And I

0:24:19.320 --> 0:24:22.520
<v Speaker 1>think too, as I get older, I now understand why

0:24:23.119 --> 0:24:25.600
<v Speaker 1>I would always have And I hear often people saying

0:24:25.640 --> 0:24:27.200
<v Speaker 1>that's why you have to find happiness in your day

0:24:27.240 --> 0:24:30.080
<v Speaker 1>to day because you can't always control everything. It's trying

0:24:30.119 --> 0:24:32.160
<v Speaker 1>to find peace and happiness and what you can't control

0:24:32.200 --> 0:24:35.320
<v Speaker 1>and knowing that you know, hopefully you can do one

0:24:35.400 --> 0:24:37.960
<v Speaker 1>day what you love for what you've always wanted to do,

0:24:38.280 --> 0:24:39.960
<v Speaker 1>and even then you know it's going to have its

0:24:40.000 --> 0:24:40.440
<v Speaker 1>own herds.

0:24:40.720 --> 0:24:43.959
<v Speaker 3>You have moments like I remember being in Hungry on

0:24:44.040 --> 0:24:47.760
<v Speaker 3>Grand Turismo, like one in the in the first week,

0:24:48.680 --> 0:24:51.960
<v Speaker 3>and like sitting there and realizing, like we own this

0:24:52.119 --> 0:24:55.960
<v Speaker 3>f one track and looking at all these trailers. Right

0:24:55.960 --> 0:24:58.600
<v Speaker 3>if there's like thirty trailers, there's the movie trailers, and

0:24:58.600 --> 0:25:00.760
<v Speaker 3>then there's the trailers for the car for the movie.

0:25:00.840 --> 0:25:03.640
<v Speaker 3>It was pretty cool and all these people and cars

0:25:03.680 --> 0:25:08.119
<v Speaker 3>flying everywhere and realizing like wow, I did it. And

0:25:08.200 --> 0:25:09.840
<v Speaker 3>there was like a moment where I kind of sat

0:25:09.880 --> 0:25:12.239
<v Speaker 3>over on a pit wall and was like watching all

0:25:12.280 --> 0:25:16.119
<v Speaker 3>this and like I made this happen. Like if I wouldn't,

0:25:16.160 --> 0:25:17.879
<v Speaker 3>if I would have given up this, none of this

0:25:17.920 --> 0:25:21.320
<v Speaker 3>would be here. And that was fun watching Amelia get to,

0:25:21.440 --> 0:25:24.000
<v Speaker 3>you know, sort of like spread her wings and act

0:25:24.040 --> 0:25:24.640
<v Speaker 3>in a big movie.

0:25:24.680 --> 0:25:27.080
<v Speaker 2>But which is your biggest movie up to up to

0:25:27.119 --> 0:25:27.840
<v Speaker 2>that point? Right?

0:25:27.960 --> 0:25:32.560
<v Speaker 1>Yeah, I I'm so grateful to you for that opportunity

0:25:33.160 --> 0:25:34.480
<v Speaker 1>to try to dismiss.

0:25:34.080 --> 0:25:40.399
<v Speaker 3>It because I'll let you. Yeah, I don't want to

0:25:40.440 --> 0:25:42.919
<v Speaker 3>like talk over your here. No no, no, no no. She

0:25:43.480 --> 0:25:45.680
<v Speaker 3>we didn't have a lot of car people, believe it

0:25:45.760 --> 0:25:49.960
<v Speaker 3>or not, in the mix of Neil's definitely knows cars,

0:25:49.960 --> 0:25:52.679
<v Speaker 3>but it's like from a technical standpoint, he's very much

0:25:52.680 --> 0:25:56.359
<v Speaker 3>like an engineer. I know a little bit more about

0:25:56.400 --> 0:26:00.760
<v Speaker 3>like influencers and YouTube channels and things like that. So

0:26:01.280 --> 0:26:05.000
<v Speaker 3>I'd become a fan of Amelia's when I watched Fastest

0:26:05.040 --> 0:26:08.760
<v Speaker 3>Car And so we were just talking with the casting

0:26:08.800 --> 0:26:11.280
<v Speaker 3>people one day on all these zooms. When it comes

0:26:11.359 --> 0:26:12.960
<v Speaker 3>to the car stuff, they kind of all just like

0:26:13.000 --> 0:26:16.920
<v Speaker 3>look at me throughout a few names. Yours was definitely

0:26:16.960 --> 0:26:20.680
<v Speaker 3>one of them, and they said great. And then next

0:26:20.680 --> 0:26:23.119
<v Speaker 3>thing I knew, like a couple of weeks later, the

0:26:23.200 --> 0:26:26.879
<v Speaker 3>audition tapes came in and they were all like, she's

0:26:27.000 --> 0:26:30.240
<v Speaker 3>really really great, she's really great. We got to put

0:26:30.240 --> 0:26:33.240
<v Speaker 3>her in this. I was like, of course, yeah, that'd

0:26:33.240 --> 0:26:36.960
<v Speaker 3>be awesome. And so, you know, Amelia likes to say

0:26:37.000 --> 0:26:39.000
<v Speaker 3>that I got this for but I didn't do anything.

0:26:39.040 --> 0:26:41.920
<v Speaker 3>She got it for herself. But I was really thrilled

0:26:41.920 --> 0:26:44.160
<v Speaker 3>because I mean even from day one, I don't even

0:26:44.160 --> 0:26:46.120
<v Speaker 3>know if you know this, Like I got emails from

0:26:46.119 --> 0:26:49.639
<v Speaker 3>the other producers and stuff saying like, wow, so great.

0:26:49.800 --> 0:26:53.240
<v Speaker 3>She brought so much to this kind of thankless character

0:26:53.400 --> 0:26:56.159
<v Speaker 3>within the academy. We're going to try to bolster her

0:26:56.240 --> 0:26:58.960
<v Speaker 3>character a little bit more. Great, great job, yeah for

0:26:59.080 --> 0:27:00.200
<v Speaker 3>day one. Yeah.

0:27:00.280 --> 0:27:03.720
<v Speaker 2>The lesson is is that you can't find these people

0:27:03.760 --> 0:27:06.560
<v Speaker 2>if they're not laced up and running up that hill. Yeah,

0:27:06.920 --> 0:27:09.920
<v Speaker 2>if you're looking for runners. That's why she was out

0:27:09.960 --> 0:27:13.679
<v Speaker 2>there like being proactive and doing her thing. Is it

0:27:13.720 --> 0:27:16.640
<v Speaker 2>wasn't luck or you make your own luck, right, So

0:27:17.160 --> 0:27:20.440
<v Speaker 2>for young folks out there, or actually anybody, because even

0:27:20.600 --> 0:27:23.520
<v Speaker 2>you know I'm learning from this too, is that it's

0:27:23.560 --> 0:27:26.239
<v Speaker 2>been said that there is no small role, right, Like

0:27:26.320 --> 0:27:29.080
<v Speaker 2>it's what you make of it, right, Is that what

0:27:29.119 --> 0:27:32.000
<v Speaker 2>Carter's talking about It is like you approached it that way.

0:27:32.200 --> 0:27:36.920
<v Speaker 1>So the role was it was an under five and

0:27:37.160 --> 0:27:41.960
<v Speaker 1>I see under five lines, and I remember being so

0:27:42.600 --> 0:27:46.239
<v Speaker 1>excited for this opportunity, and I felt like I'd been

0:27:46.280 --> 0:27:49.160
<v Speaker 1>preparing for this role my entire life, being you know,

0:27:49.400 --> 0:27:52.679
<v Speaker 1>in the car world. I felt like I had this

0:27:52.760 --> 0:27:56.040
<v Speaker 1>fresh perspective on especially being a female in the space.

0:27:56.480 --> 0:27:59.520
<v Speaker 1>So I was really excited to tell that story. Regardless

0:27:59.560 --> 0:28:02.800
<v Speaker 1>of what the word said on the paper. I feel

0:28:02.840 --> 0:28:05.639
<v Speaker 1>like I got to bring this energy to this part.

0:28:06.280 --> 0:28:09.800
<v Speaker 1>And I guess the feedback was good enough where you

0:28:09.840 --> 0:28:12.000
<v Speaker 1>guys put me into more of the movie and had

0:28:12.000 --> 0:28:15.040
<v Speaker 1>me fly back and come back for another month to

0:28:15.080 --> 0:28:18.040
<v Speaker 1>be part of the ending, which was really cool, really

0:28:18.080 --> 0:28:22.080
<v Speaker 1>special and really humbling it And I guess I did

0:28:22.080 --> 0:28:22.600
<v Speaker 1>something right.

0:28:22.840 --> 0:28:25.240
<v Speaker 3>No, you earned all that you earned, all that that

0:28:25.359 --> 0:28:28.640
<v Speaker 3>was all you. You know, when I talk to young actors,

0:28:29.119 --> 0:28:32.320
<v Speaker 3>I look at like Johnny Depp, right, and I think

0:28:32.640 --> 0:28:35.240
<v Speaker 3>one of the things that's made him special over the

0:28:35.320 --> 0:28:39.640
<v Speaker 3>years is that it seems to me like he kind

0:28:39.680 --> 0:28:42.920
<v Speaker 3>of reads a script and goes, all right, there's the

0:28:42.920 --> 0:28:46.479
<v Speaker 3>obvious qualities that this character has that seems like they

0:28:46.520 --> 0:28:48.880
<v Speaker 3>should be like no brainers when you read them. I'm

0:28:48.880 --> 0:28:50.920
<v Speaker 3>going to cross all those out and I'm going to

0:28:51.000 --> 0:28:53.440
<v Speaker 3>do this in a totally different way where I throw

0:28:53.480 --> 0:28:58.400
<v Speaker 3>out all those obvious traits and characteristics. More often than

0:28:58.480 --> 0:29:02.240
<v Speaker 3>not in the past, I've looked at auditions and we've

0:29:02.320 --> 0:29:06.480
<v Speaker 3>cast people. It's just the person who just found something

0:29:06.560 --> 0:29:09.520
<v Speaker 3>different than everybody else where. It's like, oh, you know,

0:29:09.600 --> 0:29:13.040
<v Speaker 3>we didn't really think of this. This person found something

0:29:13.440 --> 0:29:16.480
<v Speaker 3>we didn't even realize about this character.

0:29:16.720 --> 0:29:20.480
<v Speaker 1>It's funny you say that, because for Gran Turismo, I

0:29:20.600 --> 0:29:24.680
<v Speaker 1>was like, why does every woman who plays a card

0:29:24.680 --> 0:29:29.760
<v Speaker 1>shiok have to be this like bitchy, badass, tough, And

0:29:29.960 --> 0:29:33.520
<v Speaker 1>it's funny. When I read for the audition, I consciously

0:29:33.520 --> 0:29:34.720
<v Speaker 1>made a note of that. I was like, no, I

0:29:34.760 --> 0:29:38.680
<v Speaker 1>don't think that's you know, you have to like stereotype that, yeah,

0:29:38.720 --> 0:29:41.760
<v Speaker 1>that person and try to bring some new life to

0:29:41.840 --> 0:29:45.200
<v Speaker 1>it of like, you know, this isn't once in a lifetime,

0:29:45.240 --> 0:29:47.000
<v Speaker 1>I mean for a real Emeli and then also for

0:29:47.240 --> 0:29:51.160
<v Speaker 1>the character of like going out and making a dream

0:29:51.160 --> 0:29:52.160
<v Speaker 1>of something, right.

0:29:52.080 --> 0:29:55.040
<v Speaker 3>So that was that's great because that's you too, right, And.

0:29:55.040 --> 0:29:56.800
<v Speaker 1>I'm not trying to think about myself. I'm second, oh.

0:29:58.200 --> 0:30:00.640
<v Speaker 3>No, but please do. But like that's true, like you're

0:30:01.080 --> 0:30:04.000
<v Speaker 3>you were that person in real life, so you knew that, right,

0:30:04.080 --> 0:30:06.800
<v Speaker 3>So you were able to bring that to the character

0:30:06.880 --> 0:30:09.160
<v Speaker 3>and say, like, we're not all like this and so

0:30:09.320 --> 0:30:12.320
<v Speaker 3>obvious way that most girls would come in and play

0:30:12.360 --> 0:30:15.880
<v Speaker 3>this part, I'm gonna play it like exactly the opposite.

0:30:16.040 --> 0:30:18.880
<v Speaker 3>I remember seeing this, like Ryan Gosling interview that he

0:30:18.920 --> 0:30:22.200
<v Speaker 3>did for some documentary about how bad auditioning sucks. But

0:30:22.240 --> 0:30:24.280
<v Speaker 3>he said, like, you walk in and you know you're

0:30:24.280 --> 0:30:30.400
<v Speaker 3>wearing the cowboy hat. Every guy's I thought, I thought

0:30:30.400 --> 0:30:33.640
<v Speaker 3>the cowboy hat, so you have to. It's a it's

0:30:33.680 --> 0:30:37.600
<v Speaker 3>a next level layer of thinking like that. But I

0:30:37.640 --> 0:30:42.000
<v Speaker 3>do think try things and be different when I'd say,

0:30:42.120 --> 0:30:45.440
<v Speaker 3>is like what makes people stand out and get roles.

0:30:46.320 --> 0:30:49.160
<v Speaker 3>I remember talking to you about fast and furious. It's

0:30:49.200 --> 0:30:52.480
<v Speaker 3>the eating thing, right, and how much that changes the

0:30:52.560 --> 0:30:57.640
<v Speaker 3>dynamics of that character, right, instead of being a bitter, smoking,

0:30:57.800 --> 0:31:01.120
<v Speaker 3>older guy, like being so many that people would like

0:31:01.600 --> 0:31:03.920
<v Speaker 3>and like look for that and think that that's cool,

0:31:03.920 --> 0:31:05.040
<v Speaker 3>and again relate to that.

0:31:05.400 --> 0:31:07.560
<v Speaker 2>I remember when I was doing that, I'm fast and

0:31:07.680 --> 0:31:10.480
<v Speaker 2>Tokyo drift. People are looking at me like I was crazy. Yeah,

0:31:10.560 --> 0:31:13.000
<v Speaker 2>I remember, you know, one producer grabbed the snacks out

0:31:13.000 --> 0:31:16.360
<v Speaker 2>of my hand. Really, you know, I like, do that snacks?

0:31:16.560 --> 0:31:16.720
<v Speaker 1>Right?

0:31:16.800 --> 0:31:19.239
<v Speaker 2>Like what are you doing? But I felt like I

0:31:19.360 --> 0:31:22.480
<v Speaker 2>was a five and under character. I probably was really

0:31:22.520 --> 0:31:24.440
<v Speaker 2>if you think about it, because I probably spoke like

0:31:24.520 --> 0:31:26.160
<v Speaker 2>three lines in the film, you.

0:31:26.040 --> 0:31:28.400
<v Speaker 1>Know, and with that character choice.

0:31:28.080 --> 0:31:31.160
<v Speaker 2>I need an activity. So you can use the snacks

0:31:31.200 --> 0:31:33.760
<v Speaker 2>to act, you know, like you could. You can emote

0:31:34.360 --> 0:31:37.360
<v Speaker 2>you know, some type of like you know, inner dialogue

0:31:37.360 --> 0:31:40.560
<v Speaker 2>with the snack. If you're like curious to slow it

0:31:40.600 --> 0:31:43.880
<v Speaker 2>down and disgusted, you can throw the snack down, right

0:31:44.040 --> 0:31:46.080
<v Speaker 2>I was, you know, And it's like and I didn't

0:31:46.120 --> 0:31:50.200
<v Speaker 2>make that up. Like I watched Steve McQueen behind the

0:31:50.240 --> 0:31:55.560
<v Speaker 2>scenes with Magnificent Seven, and he was like the youngest

0:31:55.640 --> 0:31:58.800
<v Speaker 2>and like least famous actor in this movie. And he

0:31:58.880 --> 0:32:01.760
<v Speaker 2>was always next to You'll Brenner. Yeah, and he's like, hey,

0:32:01.920 --> 0:32:04.440
<v Speaker 2>they had no lines, so he always had something. He

0:32:04.520 --> 0:32:07.000
<v Speaker 2>was always doing something, and You'll Brenda would get all

0:32:07.000 --> 0:32:09.320
<v Speaker 2>pissed off He's like, what are you doing, man, You're

0:32:09.360 --> 0:32:12.240
<v Speaker 2>just supposed to stand there and do nothing. It's like, well,

0:32:12.920 --> 0:32:14.760
<v Speaker 2>I'm in his mind. He's like, I'm gonna steal this

0:32:14.840 --> 0:32:18.640
<v Speaker 2>fucking scene, right, and and so people start focusing on

0:32:18.680 --> 0:32:20.080
<v Speaker 2>what's this guy doing in the back?

0:32:20.600 --> 0:32:23.320
<v Speaker 3>No exactly, So I heard that story too. And then

0:32:23.360 --> 0:32:26.640
<v Speaker 3>you told him like, just remember that you're you're behind

0:32:26.680 --> 0:32:27.959
<v Speaker 3>me in the frame, and all I have to do

0:32:28.000 --> 0:32:29.080
<v Speaker 3>is lean my head this way.

0:32:32.960 --> 0:32:34.720
<v Speaker 2>You know, you gotta do it with respect, you know,

0:32:35.280 --> 0:32:39.040
<v Speaker 2>you know, there's you can't ever come off like thirsty, right,

0:32:39.120 --> 0:32:41.640
<v Speaker 2>like you have to go to class. And yeah, because

0:32:41.680 --> 0:32:45.040
<v Speaker 2>I another old timer gaming great advice is like, hey, man,

0:32:45.120 --> 0:32:47.440
<v Speaker 2>you know, did you know that there's a tree in

0:32:47.480 --> 0:32:50.000
<v Speaker 2>the Mona Lisa painting? And I was like what, And

0:32:50.040 --> 0:32:53.240
<v Speaker 2>he goes, yeah, there's a tree. Yeah right, you didn't

0:32:53.240 --> 0:32:55.400
<v Speaker 2>know that, right, he goes because everyone's focused on the

0:32:55.400 --> 0:32:58.360
<v Speaker 2>Mona Lisa and he's like, that's the star of the movie.

0:33:00.800 --> 0:33:06.360
<v Speaker 2>So make sure you're the best fucking tree. We should

0:33:06.360 --> 0:33:09.440
<v Speaker 2>put an apple on that tree. But you know, make

0:33:09.480 --> 0:33:11.680
<v Speaker 2>sure that people don't go, oh, it's a it's a

0:33:11.720 --> 0:33:15.520
<v Speaker 2>painting about a tree and a lady be careful because

0:33:15.560 --> 0:33:36.120
<v Speaker 2>that right, you know, I had a prospective change to

0:33:36.560 --> 0:33:41.360
<v Speaker 2>auditions when I auditioned for Christopher Nolan years ago. He

0:33:41.520 --> 0:33:43.959
<v Speaker 2>was one of his Batman movies. I don't know how

0:33:43.960 --> 0:33:45.920
<v Speaker 2>men he did, but I think it was his first one.

0:33:46.600 --> 0:33:49.600
<v Speaker 2>And the casting director was like very supportive of me, right,

0:33:49.800 --> 0:33:52.440
<v Speaker 2>and he's like, hey, you know, I think you know,

0:33:52.480 --> 0:33:56.040
<v Speaker 2>he's very interested in you. So this is a role

0:33:56.080 --> 0:33:59.160
<v Speaker 2>for you to lose basically, you know, and I'm like okay,

0:33:59.720 --> 0:34:02.040
<v Speaker 2>And it was still at a time where like I

0:34:02.240 --> 0:34:07.160
<v Speaker 2>wasn't like one hundred percent sure of like my choices

0:34:07.320 --> 0:34:09.960
<v Speaker 2>and even like what I had to offer, right, like

0:34:10.040 --> 0:34:12.360
<v Speaker 2>you know, why me? And so I walked into the

0:34:12.440 --> 0:34:14.920
<v Speaker 2>audition and I was prepared. But then my first question

0:34:15.040 --> 0:34:16.840
<v Speaker 2>and he was he was so chip where he was

0:34:16.880 --> 0:34:19.520
<v Speaker 2>like so welcoming, and it was like it was really cool,

0:34:19.560 --> 0:34:22.319
<v Speaker 2>you know, like you know, I'm actually getting to meet

0:34:22.400 --> 0:34:26.279
<v Speaker 2>him in person, and he was like very charming and

0:34:26.400 --> 0:34:29.239
<v Speaker 2>very warm, very gracious, and then you know, we had

0:34:29.239 --> 0:34:32.560
<v Speaker 2>our brief conversation and I was like, oh, so, you

0:34:32.600 --> 0:34:34.719
<v Speaker 2>know when I ask you first, is you know, do

0:34:34.800 --> 0:34:39.600
<v Speaker 2>you think this character has a you know, Hong Kong dialect?

0:34:40.400 --> 0:34:41.960
<v Speaker 2>You know, like, what do you think he sounds like,

0:34:42.040 --> 0:34:45.120
<v Speaker 2>and he just switched and he's like, I don't know,

0:34:45.160 --> 0:34:48.319
<v Speaker 2>that's your job. And then I didn't get the role

0:34:48.840 --> 0:34:52.200
<v Speaker 2>right and and I walked out of there and I

0:34:52.280 --> 0:34:56.240
<v Speaker 2>was like, dude, like that was a great, great lesson

0:34:56.640 --> 0:34:59.799
<v Speaker 2>to go in with strong choices. I don't need to

0:34:59.800 --> 0:35:03.080
<v Speaker 2>be asking him what do you think? He's not that

0:35:03.239 --> 0:35:06.120
<v Speaker 2>He's like, I'm not the actor, like, that's your job, man, right,

0:35:06.200 --> 0:35:08.600
<v Speaker 2>and made me realize like I can't be doing that,

0:35:08.719 --> 0:35:11.200
<v Speaker 2>like I can take direction if you don't like this

0:35:11.320 --> 0:35:14.520
<v Speaker 2>choice or if you're like, hey, let's adjust this, right,

0:35:14.600 --> 0:35:18.240
<v Speaker 2>but it may It totally changed the way I approach

0:35:18.320 --> 0:35:20.839
<v Speaker 2>my work is like I'm not asking your opinion. I'm

0:35:20.840 --> 0:35:22.880
<v Speaker 2>going to go do my work because that's my job.

0:35:23.239 --> 0:35:23.479
<v Speaker 3>Yeah.

0:35:23.560 --> 0:35:25.879
<v Speaker 2>Right, So that as it's like you know, the tire

0:35:26.080 --> 0:35:28.759
<v Speaker 2>you're going to the tire guy when you're the transmission

0:35:28.840 --> 0:35:33.080
<v Speaker 2>dude going hey, what do you think? Like, I know

0:35:33.320 --> 0:35:38.000
<v Speaker 2>that's your job. You put it into that like analogy.

0:35:38.040 --> 0:35:39.560
<v Speaker 2>I was like, what am I doing? Why did I

0:35:39.680 --> 0:35:40.080
<v Speaker 2>do that?

0:35:40.200 --> 0:35:43.880
<v Speaker 1>Well? How much in your career have you worked with

0:35:43.960 --> 0:35:46.960
<v Speaker 1>a director to help craft a character together or does

0:35:47.000 --> 0:35:49.319
<v Speaker 1>it usually fall where you take the initiative on that

0:35:49.400 --> 0:35:52.360
<v Speaker 1>and if there's guidance and it's less of a collaboration

0:35:52.480 --> 0:35:53.520
<v Speaker 1>with the director.

0:35:53.320 --> 0:35:57.040
<v Speaker 2>I would say, like beginner directors, they want to be

0:35:57.440 --> 0:36:00.120
<v Speaker 2>doing that. They want like their fingerprints on everything.

0:36:00.400 --> 0:36:00.920
<v Speaker 1>Hm.

0:36:00.920 --> 0:36:05.839
<v Speaker 2>But on the professional side, right, like I've barely ever

0:36:05.880 --> 0:36:08.480
<v Speaker 2>even done table reads like you're a pro athlete. You

0:36:08.520 --> 0:36:10.440
<v Speaker 2>show up and you're like you're supposed to go hit

0:36:10.480 --> 0:36:13.719
<v Speaker 2>a home run, right, and and that is up. That

0:36:13.840 --> 0:36:16.200
<v Speaker 2>is your job to do, right. I realize that. So

0:36:16.320 --> 0:36:19.800
<v Speaker 2>like the directors, we don't talk about like, hey, this

0:36:20.040 --> 0:36:22.960
<v Speaker 2>is you know I would I when I was younger,

0:36:22.960 --> 0:36:25.000
<v Speaker 2>I wanted that. I was like, hey, here's here's here's

0:36:25.040 --> 0:36:28.319
<v Speaker 2>my book of like the backstory, the biography of this

0:36:28.440 --> 0:36:31.120
<v Speaker 2>character that has three lines in this film. But I

0:36:31.200 --> 0:36:33.960
<v Speaker 2>wrote a whole you know, biography of who they're like,

0:36:34.000 --> 0:36:37.839
<v Speaker 2>good for you. I'm busy, dude, right, So I still

0:36:37.880 --> 0:36:40.360
<v Speaker 2>do that work, but I keep it to myself and

0:36:40.440 --> 0:36:43.240
<v Speaker 2>if they have a question, they know that I'm ready

0:36:43.280 --> 0:36:45.880
<v Speaker 2>because I can fire off, like where you know the

0:36:45.960 --> 0:36:49.239
<v Speaker 2>character was born, what his blood type is, what his

0:36:49.480 --> 0:36:52.640
<v Speaker 2>favorite like pizza is, what is video favorite video game

0:36:52.680 --> 0:36:56.920
<v Speaker 2>with colors underwear? And that's I think the difference between

0:36:56.920 --> 0:37:00.400
<v Speaker 2>like a student film and then when you get into

0:37:00.560 --> 0:37:02.920
<v Speaker 2>the studio systems, like no one has time for that.

0:37:03.400 --> 0:37:06.120
<v Speaker 2>You know, they can tell you like, oh, this is

0:37:07.000 --> 0:37:09.759
<v Speaker 2>you know, based off of like their personal experience if

0:37:09.760 --> 0:37:11.920
<v Speaker 2>they wrote it. They're like, hey, this is where this

0:37:12.080 --> 0:37:15.719
<v Speaker 2>character was inspired from and share some antidotes, and a

0:37:15.760 --> 0:37:18.680
<v Speaker 2>good director will go, now it's yours. You're the ingredients.

0:37:18.719 --> 0:37:21.000
<v Speaker 2>Now it's yours. Yeah, right, No, I.

0:37:20.920 --> 0:37:23.880
<v Speaker 3>Mean right, And that's it's funny because that's really the

0:37:23.920 --> 0:37:27.520
<v Speaker 3>skill of a professional movie star actor. But what it

0:37:27.560 --> 0:37:30.280
<v Speaker 3>boils down to is you're supposed to be like somebody

0:37:30.320 --> 0:37:32.880
<v Speaker 3>who can come out and do it right away. Because

0:37:32.880 --> 0:37:35.280
<v Speaker 3>we're spending a lot of money closing down the street

0:37:35.800 --> 0:37:38.920
<v Speaker 3>and all these people and having like lights up and

0:37:39.000 --> 0:37:41.440
<v Speaker 3>all these things. We need people who can come in

0:37:41.480 --> 0:37:44.719
<v Speaker 3>and deliver quickly, like and not somebody who's supposed to

0:37:44.800 --> 0:37:47.239
<v Speaker 3>come in and it's going to take two hours to

0:37:47.239 --> 0:37:49.080
<v Speaker 3>get you that take that you want.

0:37:48.880 --> 0:37:51.920
<v Speaker 2>And they can make adjustments quickly, right, and they're not

0:37:51.960 --> 0:37:54.080
<v Speaker 2>there to argue with you, but they've done the work.

0:37:54.360 --> 0:37:58.239
<v Speaker 2>Like when I was younger, like I had so much sympathy, right,

0:37:58.400 --> 0:38:01.520
<v Speaker 2>or empathy for like younger, there's not being prepared, and

0:38:01.560 --> 0:38:04.680
<v Speaker 2>now it's like, well, go do the student film first,

0:38:05.160 --> 0:38:06.879
<v Speaker 2>a whole bunch of them, and then when you get here,

0:38:06.920 --> 0:38:09.359
<v Speaker 2>you better hit home runs because if you're not, it's

0:38:09.600 --> 0:38:13.440
<v Speaker 2>cold man, if people just stop talking to you, and

0:38:13.600 --> 0:38:15.640
<v Speaker 2>you better come and deliver and.

0:38:15.680 --> 0:38:19.359
<v Speaker 3>Care like I've worked with multiple Academy Award winners Now

0:38:19.520 --> 0:38:21.280
<v Speaker 3>they care about every take. Yeah.

0:38:21.440 --> 0:38:26.160
<v Speaker 2>And it's also I've learned from hiran directors right that

0:38:26.440 --> 0:38:29.759
<v Speaker 2>are screaming at people. Great advice I got. I got

0:38:29.880 --> 0:38:33.239
<v Speaker 2>from this legendary director and he was like, you know

0:38:33.920 --> 0:38:36.759
<v Speaker 2>why I never yell at you? And I'm like why,

0:38:36.840 --> 0:38:39.960
<v Speaker 2>He's like, you never leave set. You're not looking for

0:38:40.160 --> 0:38:43.160
<v Speaker 2>your chair. I know you smoke, but you don't leave

0:38:43.239 --> 0:38:46.480
<v Speaker 2>to go have a bunch of cigarettes. You're there, you're watching.

0:38:46.880 --> 0:38:48.560
<v Speaker 2>It's like, you know that dude over there. You know

0:38:48.600 --> 0:38:51.560
<v Speaker 2>why I'm screaming at that dude is that he can't

0:38:51.600 --> 0:38:54.920
<v Speaker 2>wait to go and have a cigarette. And then you

0:38:54.960 --> 0:38:58.080
<v Speaker 2>know why I'm screaming at the ades, like because she

0:38:58.160 --> 0:39:01.440
<v Speaker 2>doesn't know what the two next setups are are. They're like,

0:39:01.480 --> 0:39:03.200
<v Speaker 2>but how does she got to know? That's like, that's

0:39:03.239 --> 0:39:05.080
<v Speaker 2>our job. She needs to care.

0:39:05.640 --> 0:39:09.000
<v Speaker 3>Yeah, right, there's the word. There's a word, you care.

0:39:09.280 --> 0:39:12.320
<v Speaker 3>The best directors they care the most, and they want

0:39:12.719 --> 0:39:16.480
<v Speaker 3>They were forceful personalities that do anything they can to

0:39:16.560 --> 0:39:20.360
<v Speaker 3>achieve that vision that's in their head already. Right. I

0:39:20.400 --> 0:39:22.480
<v Speaker 3>also say, you know, like whenever you see an actor

0:39:22.560 --> 0:39:26.080
<v Speaker 3>freak out like on set, I like, well, first of all,

0:39:26.320 --> 0:39:30.120
<v Speaker 3>you know, their tool is their emotions. They're buying large

0:39:30.120 --> 0:39:33.759
<v Speaker 3>emotional people, some of them more internally emotional, some of

0:39:33.760 --> 0:39:38.080
<v Speaker 3>them are more external. But when you see emotion like that, one,

0:39:38.239 --> 0:39:41.520
<v Speaker 3>it's just who they are a lot of times. But two,

0:39:42.239 --> 0:39:43.960
<v Speaker 3>let's take a look at that project that they're on,

0:39:44.440 --> 0:39:47.240
<v Speaker 3>and I'm pretty sure that nine out of ten times

0:39:47.239 --> 0:39:50.360
<v Speaker 3>it's a pretty terrible wor And what has happened is

0:39:51.640 --> 0:39:54.120
<v Speaker 3>they're in the middle of something they didn't sign up for, right,

0:39:54.800 --> 0:39:58.000
<v Speaker 3>and they realize it, and they realize that this bad

0:39:58.080 --> 0:40:01.680
<v Speaker 3>movie there's is going to be on the screen and

0:40:01.719 --> 0:40:05.920
<v Speaker 3>on the posters, and you know they've they've tried it

0:40:05.960 --> 0:40:08.800
<v Speaker 3>in their own ways, push it in directions that the people,

0:40:08.920 --> 0:40:11.440
<v Speaker 3>you know, the director and the producers didn't listen to.

0:40:12.280 --> 0:40:14.680
<v Speaker 3>And so now you know they're in a place where

0:40:14.719 --> 0:40:18.439
<v Speaker 3>they're frustrated and they can't just show up and go, well,

0:40:18.480 --> 0:40:21.799
<v Speaker 3>this thing sucks, but they want you to know that

0:40:21.840 --> 0:40:25.160
<v Speaker 3>they're not happy, and so they will look for other

0:40:25.320 --> 0:40:28.360
<v Speaker 3>things to vent about. But when you hear one of

0:40:28.400 --> 0:40:30.920
<v Speaker 3>these tapes of one of them yelling on set or something,

0:40:31.400 --> 0:40:36.040
<v Speaker 3>I'm like, it's probably not because of exactly what they're

0:40:36.080 --> 0:40:40.600
<v Speaker 3>screaming about. It's probably more of an indictment of the

0:40:40.680 --> 0:40:41.759
<v Speaker 3>process that they're in.

0:40:42.040 --> 0:40:43.640
<v Speaker 2>That's such great perspective.

0:40:43.680 --> 0:40:46.719
<v Speaker 3>Carter. It's I mean, it's just the way it is.

0:40:46.680 --> 0:40:49.160
<v Speaker 2>And it's just such a whyse you know. It's like

0:40:49.520 --> 0:40:52.080
<v Speaker 2>because it's coming back to like they care so much,

0:40:52.080 --> 0:40:53.680
<v Speaker 2>because if they ain't cared, they but I don't care.

0:40:53.960 --> 0:40:55.480
<v Speaker 2>I'm going to go to a craft service, go eat

0:40:55.480 --> 0:40:58.920
<v Speaker 2>the doughnut. Right. Yeah. I've been doing a lot of

0:40:58.920 --> 0:41:02.440
<v Speaker 2>soul searching on what we just spoke about, because if

0:41:02.480 --> 0:41:06.000
<v Speaker 2>I do like four or five projects, like maybe one

0:41:06.080 --> 0:41:08.480
<v Speaker 2>of them is something that I go, oh, this is

0:41:08.800 --> 0:41:11.720
<v Speaker 2>I'm very proud of this. And the people I've worked

0:41:11.760 --> 0:41:15.799
<v Speaker 2>with like they all are, you know, potential masters of

0:41:15.840 --> 0:41:19.840
<v Speaker 2>their craft and they care. And then there are projects

0:41:19.880 --> 0:41:22.600
<v Speaker 2>that I've been on I'm like, Yo, they don't give

0:41:22.960 --> 0:41:27.319
<v Speaker 2>a flying f at all. They're like as soon as

0:41:27.360 --> 0:41:30.320
<v Speaker 2>it's like, you know, called like the martini, they're already

0:41:30.320 --> 0:41:32.759
<v Speaker 2>at the bar. Yeah, you know, and I'm like, why

0:41:32.760 --> 0:41:35.480
<v Speaker 2>are you here? Like what are you guys doing? Right?

0:41:35.600 --> 0:41:38.360
<v Speaker 1>And it makes me sad to see that because I

0:41:38.400 --> 0:41:42.080
<v Speaker 1>just think of how many people would kill for the opportunity.

0:41:42.280 --> 0:41:45.560
<v Speaker 3>No, I know. And it's it's hard, and that's something

0:41:45.560 --> 0:41:48.720
<v Speaker 3>you learn in the filmmaking process. It's like, it's really hard,

0:41:49.840 --> 0:41:52.359
<v Speaker 3>and I have to struggle every time you give up

0:41:52.400 --> 0:41:55.759
<v Speaker 3>something you realize like, oh, it just went from being

0:41:55.800 --> 0:41:57.840
<v Speaker 3>like one hundred percent of what I wanted to ninety

0:41:57.920 --> 0:42:02.040
<v Speaker 3>nine and I'm never getting it back. Like if you

0:42:02.120 --> 0:42:04.600
<v Speaker 3>give up on quality or something you believe in or

0:42:04.680 --> 0:42:07.400
<v Speaker 3>like allow like, oh you know what, I'm not going

0:42:07.480 --> 0:42:09.799
<v Speaker 3>to fight on this. I'm just gonna just do it

0:42:09.840 --> 0:42:13.040
<v Speaker 3>this way, the cheaper way, the easier way. You have

0:42:13.120 --> 0:42:15.200
<v Speaker 3>this percentage of how good the movie is and you're

0:42:15.239 --> 0:42:18.719
<v Speaker 3>just watching it drop and you're never getting it back. Yeah,

0:42:18.719 --> 0:42:21.319
<v Speaker 3>And in order to keep it really, really high, you

0:42:21.360 --> 0:42:25.040
<v Speaker 3>got to fight for every little single battle that you

0:42:25.120 --> 0:42:29.480
<v Speaker 3>can all along the way because any of these compromises,

0:42:29.719 --> 0:42:33.200
<v Speaker 3>once you start compromising, once it's just it tends to

0:42:33.280 --> 0:42:36.799
<v Speaker 3>like waterfall after that. So it's it's really tough. And

0:42:36.840 --> 0:42:39.920
<v Speaker 3>that's why I understand and like I always do say,

0:42:40.000 --> 0:42:44.000
<v Speaker 3>a lot of the best directors in history are not cuddly,

0:42:44.120 --> 0:42:47.640
<v Speaker 3>understanding people. Yeah, they don't have that reputation of being

0:42:47.680 --> 0:42:54.400
<v Speaker 3>like just the friendliest, nicest, listens to everything. They're forceful

0:42:56.840 --> 0:43:01.520
<v Speaker 3>visionmongers who are not going to like be your best

0:43:01.560 --> 0:43:02.640
<v Speaker 3>friend a lot of time.

0:43:02.719 --> 0:43:06.080
<v Speaker 2>But most people that are like great at something, they're not.

0:43:06.040 --> 0:43:09.440
<v Speaker 3>Like, yeah, all the greatest basketball players pretty much jerks.

0:43:09.600 --> 0:43:14.120
<v Speaker 2>Yeah, it makes me question, you know. I think that's

0:43:14.120 --> 0:43:16.880
<v Speaker 2>why I've been questioning lately, like, you know, do I

0:43:16.920 --> 0:43:19.279
<v Speaker 2>want to stay an actor because I don't know if

0:43:19.320 --> 0:43:23.040
<v Speaker 2>I have the tolerance to do it anymore. That's that's

0:43:23.040 --> 0:43:25.759
<v Speaker 2>why I love directing. Yeah, right, It's like I can

0:43:25.800 --> 0:43:28.160
<v Speaker 2>be the first one there and the last one to leave,

0:43:28.200 --> 0:43:32.160
<v Speaker 2>and I can like really like set a tone and

0:43:32.200 --> 0:43:35.160
<v Speaker 2>like really make a difference. Right, And as an actor,

0:43:35.200 --> 0:43:37.080
<v Speaker 2>you can do your part on one movie you're the

0:43:37.120 --> 0:43:39.760
<v Speaker 2>tire guy, like you do the tire You just your job.

0:43:39.640 --> 0:43:42.399
<v Speaker 3>Is just replace the tires man, that's all.

0:43:42.680 --> 0:43:44.880
<v Speaker 2>Don't be messing with the turbos.

0:43:44.520 --> 0:43:47.880
<v Speaker 3>Right now, you know, I get it. That's my favorite.

0:43:47.960 --> 0:43:50.960
<v Speaker 3>My favorite part of this job is helping directors tell

0:43:51.000 --> 0:43:54.799
<v Speaker 3>their vision. Yeah, Like I love directors and filmmakers, and

0:43:54.880 --> 0:43:59.080
<v Speaker 3>so the thing that always helps me, even when it

0:43:59.080 --> 0:44:02.080
<v Speaker 3>gets hard, is when I have that director that I'm

0:44:02.120 --> 0:44:05.000
<v Speaker 3>working with and I'm like, I don't care. I'm trying

0:44:05.000 --> 0:44:07.760
<v Speaker 3>to help them do this vision, create this vision of theirs.

0:44:07.840 --> 0:44:09.480
<v Speaker 3>I see it, I get it. I want to be

0:44:09.520 --> 0:44:12.000
<v Speaker 3>a part of it. I want to help them, And

0:44:12.080 --> 0:44:14.880
<v Speaker 3>so fighting any of those battles to help them is

0:44:14.920 --> 0:44:16.360
<v Speaker 3>always fine with me.

0:44:16.600 --> 0:44:19.319
<v Speaker 2>What do you think makes a great director in your

0:44:19.360 --> 0:44:21.640
<v Speaker 2>expense that you've worked with, Because it doesn't mean that

0:44:21.680 --> 0:44:24.480
<v Speaker 2>they're always going to make hit movies, right, Yeah, because

0:44:24.520 --> 0:44:27.359
<v Speaker 2>the movies like it's subjective, so it could be an

0:44:27.440 --> 0:44:29.360
<v Speaker 2>amazing film, but it doesn't mean that it's going to

0:44:29.360 --> 0:44:32.440
<v Speaker 2>go make a billion dollars. But in terms of directors

0:44:32.480 --> 0:44:35.360
<v Speaker 2>that you go, this is a person that should be directing.

0:44:35.719 --> 0:44:39.439
<v Speaker 3>I just think, you know, whatever process they have, there's

0:44:39.440 --> 0:44:41.879
<v Speaker 3>somebody who just has a strong vision in their head

0:44:42.080 --> 0:44:44.040
<v Speaker 3>and knows how to get a group of people together

0:44:44.160 --> 0:44:47.600
<v Speaker 3>to execute it. And whether that's they start using the

0:44:47.640 --> 0:44:52.200
<v Speaker 3>same people and fine tune the process, whether they're forceful personalities.

0:44:52.960 --> 0:44:56.680
<v Speaker 3>Whatever that is, it's just that idea that they know

0:44:57.200 --> 0:44:59.120
<v Speaker 3>that story well, they see it in their head and

0:44:59.160 --> 0:45:00.920
<v Speaker 3>they know how to get it out in like a

0:45:01.000 --> 0:45:04.040
<v Speaker 3>way that everyone else will see it and understand it

0:45:04.080 --> 0:45:06.640
<v Speaker 3>the same way that they did. Right. And again, there's

0:45:06.719 --> 0:45:09.759
<v Speaker 3>different ways that people go about that. You know, the

0:45:09.800 --> 0:45:14.000
<v Speaker 3>best ones are either geniuses themselves, so they see like

0:45:14.080 --> 0:45:16.400
<v Speaker 3>a vision like James Cameron of like how to do

0:45:16.480 --> 0:45:20.520
<v Speaker 3>things technically different nobody else has even thought of yet,

0:45:21.239 --> 0:45:24.480
<v Speaker 3>and he's able to go out and execute that, or

0:45:24.560 --> 0:45:27.520
<v Speaker 3>you know, in some cases, just being really smart about

0:45:27.520 --> 0:45:30.560
<v Speaker 3>who they hire and who they listen to and piecing

0:45:30.640 --> 0:45:34.480
<v Speaker 3>together like, you know, the best ideas from a bunch

0:45:34.480 --> 0:45:36.840
<v Speaker 3>of people that they were able to put together. And

0:45:36.920 --> 0:45:39.879
<v Speaker 3>I think, again, just having a clear vision and good

0:45:39.920 --> 0:45:43.480
<v Speaker 3>taste of what's different. You know, I was point the

0:45:43.520 --> 0:45:46.840
<v Speaker 3>original Halloween movie. I love that movie so much. I

0:45:46.840 --> 0:45:50.320
<v Speaker 3>love Johnny Carpenter, and I think, you know what's cool

0:45:50.320 --> 0:45:53.080
<v Speaker 3>about that movie and people have tried to do like

0:45:53.160 --> 0:45:57.240
<v Speaker 3>slasher movies and copy that movie millions of times since

0:45:57.280 --> 0:46:00.719
<v Speaker 3>it first came out in nineteen seventy seven, I think

0:46:01.080 --> 0:46:04.400
<v Speaker 3>is that you know, you had these kids out of

0:46:04.520 --> 0:46:08.080
<v Speaker 3>usc that basically were like, we're gonna take this story

0:46:08.200 --> 0:46:12.400
<v Speaker 3>about a guy in a mask on Halloween night just

0:46:12.520 --> 0:46:16.840
<v Speaker 3>stabbing babysitters to death. Right, there's a million ways to

0:46:16.880 --> 0:46:20.160
<v Speaker 3>make that movie like terrible or like you've seen it

0:46:20.200 --> 0:46:23.400
<v Speaker 3>a million times even at that point, we're gonna make

0:46:23.440 --> 0:46:26.279
<v Speaker 3>it like an Alfred Hitchcock with me. We're gonna make

0:46:26.320 --> 0:46:29.480
<v Speaker 3>it super suspenseful. We're gonna drag it out. We're gonna

0:46:29.520 --> 0:46:33.200
<v Speaker 3>like make you like want him to strike because he's

0:46:33.200 --> 0:46:36.279
<v Speaker 3>hovering around them so much, and it's not gonna have

0:46:36.320 --> 0:46:39.399
<v Speaker 3>all these bodies and gore shots and things like that.

0:46:40.160 --> 0:46:44.360
<v Speaker 3>And just that approach and that idea and actually pulled

0:46:44.400 --> 0:46:47.280
<v Speaker 3>it off is what makes that movie timeless and special

0:46:47.760 --> 0:46:49.920
<v Speaker 3>and still to this day. Why when you watch it

0:46:50.640 --> 0:46:53.719
<v Speaker 3>with any other guy with a mask killing teenagers somewhere

0:46:53.760 --> 0:46:57.239
<v Speaker 3>like that movie, there's something more quality about it and

0:46:57.280 --> 0:46:59.560
<v Speaker 3>a little higher brown why it's still like looked at

0:46:59.640 --> 0:47:03.200
<v Speaker 3>as like the ultimate movie in its space. Right, And

0:47:03.239 --> 0:47:05.120
<v Speaker 3>it's been very easily for them to just take the

0:47:05.200 --> 0:47:10.759
<v Speaker 3>money make a stabby movie. Some sex scenes like give

0:47:10.800 --> 0:47:13.600
<v Speaker 3>the audience to know exactly what they expect out of

0:47:13.600 --> 0:47:15.880
<v Speaker 3>something like that took a lot of guts to be like,

0:47:15.960 --> 0:47:18.080
<v Speaker 3>we're not going to have a lot of stabbing and murder,

0:47:18.160 --> 0:47:20.839
<v Speaker 3>and but again them being able to pull it off,

0:47:20.840 --> 0:47:23.600
<v Speaker 3>like that's we're going to make this specially good. So

0:47:23.640 --> 0:47:26.200
<v Speaker 3>I think you always got to have a good take

0:47:26.239 --> 0:47:29.719
<v Speaker 3>on the material too, that makes it different and makes

0:47:29.760 --> 0:47:32.480
<v Speaker 3>it cool. As you get more up in Hollywood, it's

0:47:32.719 --> 0:47:35.520
<v Speaker 3>easier to like just make things that seem like other

0:47:35.560 --> 0:47:38.759
<v Speaker 3>things that are successful, and you don't want to.

0:47:38.719 --> 0:47:42.640
<v Speaker 2>Do that, Carter, this has been just a fantastic conversation.

0:47:42.760 --> 0:47:45.480
<v Speaker 1>We could talk with you forever, I know, no like

0:47:45.600 --> 0:47:46.040
<v Speaker 1>me too.

0:47:46.280 --> 0:47:48.120
<v Speaker 3>I hope I can come back and we'll actually tell

0:47:48.160 --> 0:47:51.399
<v Speaker 3>more car stories. Yeah, the next time. But I really

0:47:51.480 --> 0:47:54.439
<v Speaker 3>enjoy talking about the business with you and just such

0:47:54.480 --> 0:47:57.560
<v Speaker 3>big fans of both of you, and I like this

0:47:57.600 --> 0:47:59.759
<v Speaker 3>podcast so much. It's such an honor to be here.

0:48:00.080 --> 0:48:01.719
<v Speaker 3>Really really cool. Thank you for having me.

0:48:01.840 --> 0:48:05.040
<v Speaker 2>It was a great conversation because not only it's so

0:48:05.200 --> 0:48:08.120
<v Speaker 2>sincere and it's a window into I think a lot

0:48:08.160 --> 0:48:11.640
<v Speaker 2>of what the listeners are not aware of, the lessons

0:48:11.680 --> 0:48:15.239
<v Speaker 2>of you know, this is a this is a long marathon,

0:48:15.360 --> 0:48:17.560
<v Speaker 2>and you got to love what you're doing and try

0:48:17.600 --> 0:48:21.880
<v Speaker 2>to be different right with class with class right.

0:48:21.960 --> 0:48:27.240
<v Speaker 3>Yeah, yeah, absolutely everything is never stop learning, like every

0:48:27.280 --> 0:48:30.600
<v Speaker 3>single day, like I learned something new all the time still,

0:48:31.320 --> 0:48:32.840
<v Speaker 3>and I'm always grateful when I do.

0:48:33.719 --> 0:48:37.880
<v Speaker 1>Amen to that. Yeah, well, you're a huge inspiration and

0:48:37.960 --> 0:48:39.840
<v Speaker 1>look forward to seeing you continue to kick ass and

0:48:39.880 --> 0:48:43.960
<v Speaker 1>take over this world and the stories that you tell.

0:48:43.160 --> 0:48:47.320
<v Speaker 3>Right back at you, right back at you. No, thanks again,

0:48:47.400 --> 0:48:50.239
<v Speaker 3>and I love being on this and any other time

0:48:50.320 --> 0:48:54.560
<v Speaker 3>you guys need a time filler, I'm here. Appreciate you,

0:48:54.560 --> 0:48:55.359
<v Speaker 3>Thank you so much.