Speaker 1: Welcome back to another episode of Car Stories with some
Speaker 1: and Amelia Hartford.
Speaker 2: Hey Amelia, Hey, soorry? What's up?
Speaker 1: Hi?
Speaker 2: Do you play the lottery?
Speaker 3: No? Ever, when I.
Speaker 1: Was younger, I like to play because I thought it
Speaker 1: was fun, specifically the scratchers. I don't like the idea
Speaker 1: of gambling personally, and I don't like losing money, oh,
Speaker 1: because I think I struggled to have it for so
Speaker 1: long in my life. So a long answer to your
Speaker 1: question is.
Speaker 2: Not so much probably a good idea.
Speaker 1: Do you play the lottery?
Speaker 2: I only play when it's close to a billion dollars, okay.
Speaker 2: Right then I started doing the math. I go, at
Speaker 2: the end of the day, after billion Texas, blah blah blah,
Speaker 2: maybe you'll bring home like three hundred million plus, right.
Speaker 2: And then I started like fantasizing, and usually I'll played
Speaker 2: like one, you know, like I'll just one pick a ball,
Speaker 2: it's like two dollars, right, and then I'll go in
Speaker 2: and literally pick the numbers because I realized I love
Speaker 2: the fantasy of the idea of winning. Okay, I go,
Speaker 2: so if I want a billion dollars, what would I do?
Speaker 2: I would keep it like super quiet, not tell anybody.
Speaker 1: I think in the state of California, you have to
Speaker 1: identify yourself.
Speaker 2: Oh you do, I think so, well, that would suck.
Speaker 3: It.
Speaker 2: Yeah, yeah, I guess I would leave. I'd just leave town.
Speaker 2: I'd like leave town, right, yeah, because I don't want
Speaker 2: to deal with all the nonsense, yeah.
Speaker 1: Or the family you haven't heard from and that you
Speaker 1: didn't know you had reaching out.
Speaker 2: Yeah. But then I think about, like what would I
Speaker 2: do with that. I would open a school, I would
Speaker 2: donate this, I would buy this, I would do that.
Speaker 2: And then it's interesting because most of the time I
Speaker 2: don't even get one number. But then I thought about it,
Speaker 2: and I'm like, you know, I think I'll keep playing
Speaker 2: when it gets to a billion, because the fantasy is
Speaker 2: a lot of fun. Sure, right the can I drive
Speaker 2: around like I'll pick up the number and I'll be
Speaker 2: driving home and I'm going just thinking about, yeah, I
Speaker 2: can buy this gas station and the giveaway gas to
Speaker 2: all the guys with cool cars every Sunday.
Speaker 3: Right. Yeah.
Speaker 2: I'll drive once in a while, you know, and you
Speaker 2: pass a gas station or whatever store and they'll say,
Speaker 2: you know, like nine hundred and eighty three million, and
Speaker 2: You're like, Okay, it's time to walk in, and then
Speaker 2: I'll drive to some obscure convenience store gas station, because
Speaker 2: you always hear that the winning number came from some
Speaker 2: podunk town, some obscure liquor store or something, and I'll
Speaker 2: walk in and I'll give the guy two bucks, play
Speaker 2: the power ball, and then walk out.
Speaker 1: Have you heard of the lottery curse? Though?
Speaker 2: Yes?
Speaker 1: Because most people end up going bankrupt and losing all
Speaker 1: the money and more than what they had before, and
Speaker 1: friends and families start using them and they end up
Speaker 1: being miserable and not happy.
Speaker 2: I think I would do something good with What would
Speaker 2: you do? Okay, so if you want the billion dollar lottery,
Speaker 2: what would you do with them? What was the first
Speaker 2: thing you would spend that money on?
Speaker 1: I thought, like, in my head, immediately comes free mental
Speaker 1: health care. But I don't I don't know what that
Speaker 1: would cost.
Speaker 2: I mean for yourself, for.
Speaker 1: Myself, like selfishly, if I buy something to help people with.
Speaker 2: It, no, just for yourself, just to put into your
Speaker 2: garage and f forty forty ferrari? Yeah, which are.
Speaker 1: Those two six three million?
Speaker 2: That's a good one.
Speaker 1: Yeah, what about you?
Speaker 2: I have no idea. I don't want anything nothing.
Speaker 3: Nothing.
Speaker 2: I don't know.
Speaker 3: Car, no jet, no, no, no, no way.
Speaker 2: Have you ever ridden in a private jet? No, it's
Speaker 2: it's the bathrooms are very inconvenient. It's not what you think.
Speaker 1: That's the last thing I'd be worried about.
Speaker 2: I mean, going to the number two and a private
Speaker 2: jet with people in there is very.
Speaker 1: Very It's not like a dick thing to do. What
Speaker 1: go poop in someone's plane?
Speaker 2: Well, they have to, like at least the one I
Speaker 2: rode right the fluid.
Speaker 1: Do you know what kind of jet it was.
Speaker 2: I think it was like a G four or G
Speaker 2: five or something like that. Anyway, the interior, the flight
Speaker 2: attendant had to come in and basically create the doors. Oh,
Speaker 2: so is you have to announce like, hey, I need
Speaker 2: to go pooh. And I was like, but this is
Speaker 2: so inconvenient. Man, Like the private jetman, you have privacy.
Speaker 2: But it's like at least the one that I wrote,
Speaker 2: So I was like, I don't know about that. And
Speaker 2: also I think it's a complete waste of money.
Speaker 1: It's a lot of money.
Speaker 2: I mean, I'm not balder enough where I need a
Speaker 2: private jet to hop around the world, right, I don't
Speaker 2: know what I would buy I used to think I
Speaker 2: would buy like a big building to put like a
Speaker 2: whole bunch of cars and have a man cave and
Speaker 2: have like an apartment so friends could come from out
Speaker 2: of town and visit. I don't want to do that now.
Speaker 2: That's like, that's I consider that like a waste of
Speaker 2: money paying utilities on the place I'm not really using
Speaker 2: all the time. You know, it's like I don't want
Speaker 2: to to something nothing.
Speaker 1: You'll have any answer next week.
Speaker 2: Next week.
Speaker 1: Yeah, I believe it.
Speaker 2: I've been thinking about it though. Really, Yeah, there's zero oh, okay, okay, okay.
Speaker 2: I would love to wear an original pair of Jordan ones.
Speaker 1: That would be cool. I would feel so bad wearing them.
Speaker 2: Though, because I that's something as a kid that I
Speaker 2: always wanted was a pair of Jordan ones. And of
Speaker 2: course my family can never afford to buy that for me.
Speaker 2: And I think about today, like, I'd love to get
Speaker 2: a pair of like Jordan one at least maybe not
Speaker 2: from the original here, but something that I look like
Speaker 2: that mm hmm. But I think I would never wear them. Yeah,
Speaker 2: but I would go and buy a pair of knockoffs and.
Speaker 1: Wear those, yeah, and just keep the real ones.
Speaker 2: Yeah, but then what's the point of having them? Yeah,
Speaker 2: Jordan Ones. Okay, anyway, let's let's do this intro, tell
Speaker 2: you nonsense, all right, we want to start this. Who
Speaker 2: do we have today?
Speaker 1: Yeah, today's guest. We have Carter Swan coming on. Carter
Speaker 1: is a huge inspiration to mine and I'm sure many
Speaker 1: others as well. He's the producer of Grind Tarismo, The
Speaker 1: Last of Us, Twisted Metal, and so many other incredible projects.
Speaker 1: He's a producer at PlayStation's production and a big part
Speaker 1: of why you guys are seeing his incredible adaptions come
Speaker 1: to play And we had such a cool conversation that
Speaker 1: I hope inspires many and I learned a lot from
Speaker 1: And it's.
Speaker 2: So refreshing to have a conversation with somebody in the
Speaker 2: business that's just sincere and honest about like who they
Speaker 2: are and their perspective. And it's always something to learn
Speaker 2: every time you stay with Carter. So yeah, good, good conversation. Yeah,
Speaker 2: all right, here we go. Where'd you come from, Carter?
Speaker 3: Seattle?
Speaker 2: Seattle, came to LA for the Hollywood Dream. Yes, yes,
Speaker 2: And you give us a little context, like, yes, the
Speaker 2: history of the Carter history.
Speaker 3: I'm trying to make it quick. Yeah, So I went
Speaker 3: to the Seattle Film Institute, which was the only film
Speaker 3: school we had in Seattle at the time, and it
Speaker 3: was in basically like the basement of a Kiwanis, two
Speaker 3: nights a week. It's like an it's kind of like
Speaker 3: an American Legion. It's like an old club, like one
Speaker 3: of those hall kind of places where they would have memberships.
Speaker 3: So finished that, went to USC summer Production Workshop with Universal,
Speaker 3: which was awesome. I had a really great time at that,
Speaker 3: was right at the top of my class and that
Speaker 3: so I was thinking about going to film school, either
Speaker 3: at USC or perhaps really old Merrimount, where our professor
Speaker 3: at the time was sort of like starting his own
Speaker 3: film course. And then my cousin I sat down with him.
Speaker 3: So my cousin is directors get named John Dahl who
Speaker 3: did Rounders and joy Ride and he's big TV director
Speaker 3: to this day, and he's like, don't go to film school.
Speaker 3: You're gonna spend twenty years making no money and you're
Speaker 3: gonna have the six figure dead over your head and
Speaker 3: it's gonna crush you. And just I've talked to you
Speaker 3: enough to know that, like the film school, the stuff
Speaker 3: you're gonna get education wise, you know it. You're good,
Speaker 3: You've got it. You read the books, you do the reading.
Speaker 3: You're like obsessed with this stuff. What you need now
Speaker 3: is jobs on your resume. And he's like, and once
Speaker 3: you get inside, no one cares about your education. They
Speaker 3: just care about your resume once you start. And so
Speaker 3: he said, I'll get you a job. I'll get you
Speaker 3: a job on my next movie, which turned out being
Speaker 3: joy Ride, which was this jj Abram's kind of horror
Speaker 3: movie for Fox a long time ago. That's probably most
Speaker 3: notable because it stars Paul Walker, and that was in
Speaker 3: ninety nine. I started that the shoot started in Nevada,
Speaker 3: So I packed up my Cherokee everything I own, went
Speaker 3: to Nevada, drove around working on the movie, got back
Speaker 3: to La got an apartment, and been here like ever since.
Speaker 3: And in that time, I did every kind of development
Speaker 3: job you could do. I wrote. I just tried to
Speaker 3: keep doing different jobs and having different experiences and just
Speaker 3: trying to wear a lot of hats. So I just
Speaker 3: felt like I just kind of like a like a
Speaker 3: basketball player, just trying to like make sure my game
Speaker 3: was complete. So whether it was writing or production or development,
Speaker 3: just any of those phases, post production, just having a
Speaker 3: grasp of what it was and like seeing it firsthand
Speaker 3: as much as I could and trying it myself. So
Speaker 3: I did that for the next sixteen seventeen years, just
Speaker 3: bounced around. I mean, the best job in that time
Speaker 3: that I could probably talk to you about was obviously
Speaker 3: an interesting experience was working for Paul Walker, because I,
Speaker 3: after Joyride, became good friends with him. I've worked with
Speaker 3: a lot of actors now over the years, and I
Speaker 3: tell people, you know, I think the thing that was
Speaker 3: special about him held it in the obvious things. He
Speaker 3: was more he's in real life. He was exactly who
Speaker 3: you would expect him to be in the best way
Speaker 3: as possible, judging from just you know, because I always
Speaker 3: find that weird. It's like, you guys are playing these characters,
Speaker 3: so people kind of think they get to know you,
Speaker 3: and you're a lot different usually than the people that
Speaker 3: you're playing on screen, and it can be kind of
Speaker 3: weird for them and for you obviously, But for him,
Speaker 3: he was exactly who you thought he'd be. The person
Speaker 3: he portrayed himself as, or he came off as. He
Speaker 3: was exactly that guy in like again, the best way
Speaker 3: as possible. So miss him all the time, think about
Speaker 3: him all the time.
Speaker 2: I agree with you, you know, I mean he was
Speaker 2: a teacher for me too, because when you know, being
Speaker 2: able to watch and hang out with somebody that is
Speaker 2: famous in the public at that level was a great
Speaker 2: education for me. And the way he carried himself, the
Speaker 2: things that we did together, there was no movie star nonsense.
Speaker 2: It was we drove to the mall to go buy underwear,
Speaker 2: yeah you know, and go buy flannel shirts that like
Speaker 2: the old navy yeah right, and stopped anyone who would ask,
Speaker 2: you know, for a picture or an autograph, stop, engage,
Speaker 2: say hello, smile And I could see like there were
Speaker 2: times where you know, it was inconvenience. There was just
Speaker 2: not appropriate. It was such a struggle for him to
Speaker 2: not be able to provide that he taught me. It's like,
Speaker 2: you know, without the fans, like we do not have,
Speaker 2: you know, food on the table. They are the reason
Speaker 2: why we're here. We exist for them, right, And and
Speaker 2: he meant it. I mean, he believed in his heart
Speaker 2: was just so kind, you know.
Speaker 3: It's like no, yeah, that's exactly him. He always had
Speaker 3: time for everyone. Yeah, like even though he didn't, you
Speaker 3: know what I mean, he would make time.
Speaker 1: You know.
Speaker 3: The thing that he provided me the most. What we
Speaker 3: all need when you're starting out in Hollywood is somebody
Speaker 3: who's successful to point at you and go, you can
Speaker 3: do this, like trust me, I'm look at me, I'm
Speaker 3: at the top. I know you can do this. I
Speaker 3: believe in you, and I'll help you if I can't.
Speaker 3: And he was really one of the first people to
Speaker 3: do that for me. Getting that kind of assurance early
Speaker 3: on was really helpful because I think a lot of
Speaker 3: people can go years without it and then it becomes
Speaker 3: difficult because it's just you in your own head going
Speaker 3: I know I'm going to make it. I know I'm
Speaker 3: going to make this happen. Sure how yet, but you
Speaker 3: just need along the way enough good role models and
Speaker 3: people that come across you, be it luck or whatever,
Speaker 3: that can just point at you and say what you're
Speaker 3: doing is right, you made the right decisions here in
Speaker 3: your life, and keep pursuing it, agreed. And then now,
Speaker 3: of course working for PlayStation, which is like the double
Speaker 3: dream come true because I get to work you know,
Speaker 3: with the video game properties which I grew up loving
Speaker 3: myself and of course, uh, you know, working on movies
Speaker 3: and making adaptations, which is something I'm very passionate about,
Speaker 3: my favorite thing to do in the world. And I
Speaker 3: finally got Graham Turisma made.
Speaker 2: That's how you know each other.
Speaker 3: Yeah, we know each other over a decade. Yeah, I
Speaker 3: worked a decade.
Speaker 2: It took ten years. I think everything happens overnight, I know, right.
Speaker 3: No, No, it certainly does.
Speaker 2: Ten years.
Speaker 3: That's another one. You know, you go like, there were
Speaker 3: so many times where I was like, am I just crazy?
Speaker 3: Like I just because I was sort of one of
Speaker 3: the people who just never gave up on it because
Speaker 3: it died a few years And.
Speaker 2: Why though, just what I mean, Yeah, explain to the
Speaker 2: layman out there, like why people say that to make
Speaker 2: a movie, it's it's actually harder than winning the lottery.
Speaker 3: Yeah, you line up a lot of and a lot
Speaker 3: of the things that line up to help get it made.
Speaker 3: They're out of your control. There are things you don't
Speaker 3: even see coming. And I think this is this story
Speaker 3: is a good example of that. Because the idea that
Speaker 3: somebody could play video games and become a professional race
Speaker 3: car driver, to your average human being walking around doesn't
Speaker 3: understand the sim world doesn't understand what's going on there
Speaker 3: and what's been happening in the last decade or so.
Speaker 3: That is a ridiculous premise. And so when you wrote
Speaker 3: a story that was fictionalized based on something so outlandish,
Speaker 3: it doesn't feel like something that actually happened. It feels
Speaker 3: like a movie. The first writer I hired when I
Speaker 3: got to PlayStation was my friend Jason Hall, who wrote
Speaker 3: American Sniper and Thank You for Your Service. He wrote
Speaker 3: and directed Thank You for Your Service. And my logic was, Okay,
Speaker 3: let's get somebody who writes real life dramas to try this,
Speaker 3: because I I don't think we need an action writer here.
Speaker 3: I don't think the racing and all that's going to
Speaker 3: take care of itself. You've got to really care about
Speaker 3: these characters in this guy's life and these kind of
Speaker 3: dramatic elements. That's what's going to make this fly. It's
Speaker 3: kind of like Rocky, Right. When you talk about Rocky,
Speaker 3: you don't go, oh, it's the fight scenes. The fight
Speaker 3: scenes are what make that movie so good. No, it's
Speaker 3: the character stuff exactly. So one of the producers that
Speaker 3: worked on it with me all these years was Dana
Speaker 3: Burnetti and he recommended to me. He said, have you
Speaker 3: ever seen this kid's story Jon Martinborough And I hadn't.
Speaker 2: Lean is the real life character.
Speaker 3: Yeah. Jan Marninborough, who the movie is based on, met
Speaker 3: Yan through his manager, flew out to London, sat with them,
Speaker 3: both explained what it is. Jason came with me what
Speaker 3: it is we were trying to do and asked John
Speaker 3: as many questions as we could and the time we
Speaker 3: had with him, and so I think you take those
Speaker 3: two things and then you sort of look at what
Speaker 3: we were trying to do with the movie, right, which
Speaker 3: was to do a video game racing movie that was
Speaker 3: real at the time, was totally groundbreaking. Tetris I think
Speaker 3: beat us a little bit to the to the pot,
Speaker 3: which I was so upset about. But and then you
Speaker 3: think about what Grand Turismo is the real racing simulator,
Speaker 3: and you think about Kasnori's sort of obsession with reality
Speaker 3: and why that game has become what it is, and
Speaker 3: those two themes really marry well together, right of like
Speaker 3: doing a real life story, doing this kid's true story,
Speaker 3: marrying it to this adaptation, and then it just kind
Speaker 3: of clicked for everybody, like, oh, this is a great idea.
Speaker 3: This is a great movie. And then I think getting
Speaker 3: Neil blanc Caamp obviously was a big deal for.
Speaker 2: US South African director direct The District nine.
Speaker 3: Yes, Chappie, Cheppie, Chappie, and Elysium, which was that was
Speaker 3: interesting too because you know, first of all, how many
Speaker 3: skylines has he owned? He's owned like three or four.
Speaker 3: As a car guy, yeah, he's a huge car guy.
Speaker 3: And then you know, he said, I've wanted to for
Speaker 3: years do something hopeful, and every time I try to
Speaker 3: generate my own material, it's hopeful, but it's still really
Speaker 3: really really dark getting there. And then I read this,
Speaker 3: this is exactly the kind of thing I've wanted to do.
Speaker 1: A lot of his films have like this raw element
Speaker 1: to it too, which I feel like was perfect to
Speaker 1: tell this true story in this cool space.
Speaker 3: Yeah, he's very I think he's very grounded in his
Speaker 3: approach to storytelling. Like I don't think he likes big,
Speaker 3: like theatrical performances, and I think he likes his characters
Speaker 3: to feel real. I think he likes to kind of
Speaker 3: create elevations and then have real people in habit of them.
Speaker 3: If you look at sort of his resume and the
Speaker 3: things that he's done. I think that that sort of
Speaker 3: fits well in looking back with what it was that
Speaker 3: we were trying to do, because this isn't sort of
Speaker 3: elevated world in some ways, but it's skin how the
Speaker 3: real people react to it that makes it really interesting. Right.
Speaker 1: I know I'm biased, but I genuinely like I get
Speaker 1: so many messages and I hear so much about how
Speaker 1: it inspired a lot of people too, And I feel like,
Speaker 1: if you can tell those stories that makes people feel something,
Speaker 1: I feel like that's hugely important.
Speaker 3: No, me too. I'm so proud of it. And I
Speaker 3: mean I worked on it longer than anybody, so you
Speaker 3: know there's always that oh my god, what if I
Speaker 3: spent ten years on something I don't even really like, right,
Speaker 3: But that's not the case. I really love it, and
Speaker 3: I think it fits well in our library of things
Speaker 3: that we've done because I sort of obsess on always
Speaker 3: making sure that every one of them is different in
Speaker 3: its own thing, and I think that's if you look
Speaker 3: at what we've done so far, like that's one of
Speaker 3: the things I'm the most proud of. If you take
Speaker 3: Uncharted and Twisted Metal and Last of Us in Grand
Speaker 3: Turismo and you hold them all up. They're all so different.
Speaker 3: The tones are different, the looks are different, the vibe
Speaker 3: is different. And so we really try to make sure
Speaker 3: that every single one of our projects it's just its
Speaker 3: own thing, and we're not like falling into this kind
Speaker 3: of formula that's going to be boring and not fun,
Speaker 3: not really an interesting experience for anybody. So being able
Speaker 3: to do something really different and still make the fans
Speaker 3: feel good, it's always this like really careful balancing.
Speaker 2: Act for us. I think in anything spoiled, especially in
Speaker 2: our business of Hollywood. You know, I've always been told
Speaker 2: it's not a sprint man, it's this long yeah marathon,
Speaker 2: it's like an ultra marathon.
Speaker 3: Yeah.
Speaker 2: When I think the listeners here, like Grant's MO took
Speaker 2: ten years to make, Like what right? Like I mean,
Speaker 2: how do you keep like the flame burning like opposed
Speaker 2: to just like giving up?
Speaker 3: You know, you just think something's a good idea, you know,
Speaker 3: you just have to believe in it. I mean, every
Speaker 3: one of these movies or shows that gets made has somebody,
Speaker 3: sometimes multiple people who thought let's not give up on this.
Speaker 3: They're not always super easy and fast.
Speaker 1: Were there times where you wanted to give up or
Speaker 1: you're about.
Speaker 3: To oh yeah, oh yeah. I mean people ask me
Speaker 3: like for Hollywood, like it took you so long to
Speaker 3: make it, Like what's what's the key to success in Hollywood?
Speaker 3: And honestly, my big thing I tell like the film
Speaker 3: students and stuff is I'll go back to Rocky. I'm like,
Speaker 3: you just got to be able to keep getting up
Speaker 3: when you get knocked down. And if you can just
Speaker 3: keep getting up and learn every time you get knocked
Speaker 3: down why you got knocked down, and like how you're
Speaker 3: not going to make the same mistakes the next time.
Speaker 3: Eventually some opportunity will arise for you. But you just
Speaker 3: have to be willing to keep getting up, even though
Speaker 3: a lot of times it won't even make any sense.
Speaker 2: Agree.
Speaker 3: That's why I would always produce short films. I'd write
Speaker 3: scripts too. I would just just get those failures out
Speaker 3: of you, learn those hard lessons anytime you can, and
Speaker 3: just keep getting better and stronger. And there are ways
Speaker 3: to improve yourself even when you're just sitting there in
Speaker 3: your apartment thinking they're not well. Just start writing a script.
Speaker 3: You know, that's an easy way to get better. Go
Speaker 3: just do a free pa job on Craigslist and just
Speaker 3: learn something crazy, because I swear to God you'll learn
Speaker 3: one thing on every shoot, no matter how small or
Speaker 3: weird or obscure it seems to you at the time,
Speaker 3: you know, and just take it seriously, like if you
Speaker 3: really care that much about it, try to do the
Speaker 3: best work that you can. It doesn't matter how small
Speaker 3: something you're doing is. It doesn't matter, like you should
Speaker 3: treat it the same way you would treat working on
Speaker 3: a two hundred million dollars James Cameron movie. You know,
Speaker 3: take it all seriously, have fun doing it. But like
Speaker 3: understand there's no such thing as like a small opportunity
Speaker 3: or just always what you make of it.
Speaker 2: You just got to get up and go. Yeah, Like
Speaker 2: I use like running as a great analogy and a
Speaker 2: discipline to like this business as an actor and as
Speaker 2: a filmmaker, because I would say, you know, most of
Speaker 2: my career has been knows and still every day it's
Speaker 2: like a no.
Speaker 3: Me too.
Speaker 2: Yeah they said no, you're in those movies. Yeah, but
Speaker 2: they still say no to me every day, right, And
Speaker 2: it's like like it's like running up you know, mountains
Speaker 2: right first till is so hard and that's like first stage.
Speaker 2: It's like, yeah, you've got an audition or you got
Speaker 2: a meeting, and it's like to get that is so hard.
Speaker 2: You got to run up that hill, right, and then
Speaker 2: you get there and you're like did it. It's like, hey,
Speaker 2: there's another one over there, because you've got to go
Speaker 2: do the job. And even then that is a whole
Speaker 2: journey and a hill climb. You get the job, and
Speaker 2: then there's this like waiting for like post production. Is
Speaker 2: the movie ever going to be finished?
Speaker 3: Yeah?
Speaker 2: I did like four movies last year. I think maybe
Speaker 2: two of them will never even no.
Speaker 3: One will ever ever see.
Speaker 2: You're like, how has that happened?
Speaker 3: Right?
Speaker 2: And then you got to go promote the movie right exactly,
Speaker 2: and do people even care?
Speaker 3: No, It's it's that thing, right if people always say this,
Speaker 3: and I mean I'm a cliche saying this myself, but
Speaker 3: there's never that day where it all turns around. Yeah,
Speaker 3: and you can point back at it and go, that
Speaker 3: was the day it all starts.
Speaker 1: Yeah.
Speaker 2: Yeah.
Speaker 3: After that it was smooth sailor because I was on
Speaker 3: a whole other level and it's like, no, that day's
Speaker 3: never coming. And anytime you do have those days, it
Speaker 3: just means a lot more work. Yeah, that's coming your way.
Speaker 1: I think people hope for an overnight success story because
Speaker 1: I think sometimes it makes them feel like it's an
Speaker 1: easy finger to point out of, like, oh, well, that's
Speaker 1: why you know versus like the hard work, the trials,
Speaker 1: the tribulations and everything that goes into it. And I
Speaker 1: think too, as I get older, I now understand why
Speaker 1: I would always have And I hear often people saying
Speaker 1: that's why you have to find happiness in your day
Speaker 1: to day because you can't always control everything. It's trying
Speaker 1: to find peace and happiness and what you can't control
Speaker 1: and knowing that you know, hopefully you can do one
Speaker 1: day what you love for what you've always wanted to do,
Speaker 1: and even then you know it's going to have its
Speaker 1: own herds.
Speaker 3: You have moments like I remember being in Hungry on
Speaker 3: Grand Turismo, like one in the in the first week,
Speaker 3: and like sitting there and realizing, like we own this
Speaker 3: f one track and looking at all these trailers. Right
Speaker 3: if there's like thirty trailers, there's the movie trailers, and
Speaker 3: then there's the trailers for the car for the movie.
Speaker 3: It was pretty cool and all these people and cars
Speaker 3: flying everywhere and realizing like wow, I did it. And
Speaker 3: there was like a moment where I kind of sat
Speaker 3: over on a pit wall and was like watching all
Speaker 3: this and like I made this happen. Like if I wouldn't,
Speaker 3: if I would have given up this, none of this
Speaker 3: would be here. And that was fun watching Amelia get to,
Speaker 3: you know, sort of like spread her wings and act
Speaker 3: in a big movie.
Speaker 2: But which is your biggest movie up to up to
Speaker 2: that point? Right?
Speaker 1: Yeah, I I'm so grateful to you for that opportunity
Speaker 1: to try to dismiss.
Speaker 3: It because I'll let you. Yeah, I don't want to
Speaker 3: like talk over your here. No no, no, no no. She
Speaker 3: we didn't have a lot of car people, believe it
Speaker 3: or not, in the mix of Neil's definitely knows cars,
Speaker 3: but it's like from a technical standpoint, he's very much
Speaker 3: like an engineer. I know a little bit more about
Speaker 3: like influencers and YouTube channels and things like that. So
Speaker 3: I'd become a fan of Amelia's when I watched Fastest
Speaker 3: Car And so we were just talking with the casting
Speaker 3: people one day on all these zooms. When it comes
Speaker 3: to the car stuff, they kind of all just like
Speaker 3: look at me throughout a few names. Yours was definitely
Speaker 3: one of them, and they said great. And then next
Speaker 3: thing I knew, like a couple of weeks later, the
Speaker 3: audition tapes came in and they were all like, she's
Speaker 3: really really great, she's really great. We got to put
Speaker 3: her in this. I was like, of course, yeah, that'd
Speaker 3: be awesome. And so, you know, Amelia likes to say
Speaker 3: that I got this for but I didn't do anything.
Speaker 3: She got it for herself. But I was really thrilled
Speaker 3: because I mean even from day one, I don't even
Speaker 3: know if you know this, Like I got emails from
Speaker 3: the other producers and stuff saying like, wow, so great.
Speaker 3: She brought so much to this kind of thankless character
Speaker 3: within the academy. We're going to try to bolster her
Speaker 3: character a little bit more. Great, great job, yeah for
Speaker 3: day one. Yeah.
Speaker 2: The lesson is is that you can't find these people
Speaker 2: if they're not laced up and running up that hill. Yeah,
Speaker 2: if you're looking for runners. That's why she was out
Speaker 2: there like being proactive and doing her thing. Is it
Speaker 2: wasn't luck or you make your own luck, right, So
Speaker 2: for young folks out there, or actually anybody, because even
Speaker 2: you know I'm learning from this too, is that it's
Speaker 2: been said that there is no small role, right, Like
Speaker 2: it's what you make of it, right, Is that what
Speaker 2: Carter's talking about It is like you approached it that way.
Speaker 1: So the role was it was an under five and
Speaker 1: I see under five lines, and I remember being so
Speaker 1: excited for this opportunity, and I felt like I'd been
Speaker 1: preparing for this role my entire life, being you know,
Speaker 1: in the car world. I felt like I had this
Speaker 1: fresh perspective on especially being a female in the space.
Speaker 1: So I was really excited to tell that story. Regardless
Speaker 1: of what the word said on the paper. I feel
Speaker 1: like I got to bring this energy to this part.
Speaker 1: And I guess the feedback was good enough where you
Speaker 1: guys put me into more of the movie and had
Speaker 1: me fly back and come back for another month to
Speaker 1: be part of the ending, which was really cool, really
Speaker 1: special and really humbling it And I guess I did
Speaker 1: something right.
Speaker 3: No, you earned all that you earned, all that that
Speaker 3: was all you. You know, when I talk to young actors,
Speaker 3: I look at like Johnny Depp, right, and I think
Speaker 3: one of the things that's made him special over the
Speaker 3: years is that it seems to me like he kind
Speaker 3: of reads a script and goes, all right, there's the
Speaker 3: obvious qualities that this character has that seems like they
Speaker 3: should be like no brainers when you read them. I'm
Speaker 3: going to cross all those out and I'm going to
Speaker 3: do this in a totally different way where I throw
Speaker 3: out all those obvious traits and characteristics. More often than
Speaker 3: not in the past, I've looked at auditions and we've
Speaker 3: cast people. It's just the person who just found something
Speaker 3: different than everybody else where. It's like, oh, you know,
Speaker 3: we didn't really think of this. This person found something
Speaker 3: we didn't even realize about this character.
Speaker 1: It's funny you say that, because for Gran Turismo, I
Speaker 1: was like, why does every woman who plays a card
Speaker 1: shiok have to be this like bitchy, badass, tough, And
Speaker 1: it's funny. When I read for the audition, I consciously
Speaker 1: made a note of that. I was like, no, I
Speaker 1: don't think that's you know, you have to like stereotype that, yeah,
Speaker 1: that person and try to bring some new life to
Speaker 1: it of like, you know, this isn't once in a lifetime,
Speaker 1: I mean for a real Emeli and then also for
Speaker 1: the character of like going out and making a dream
Speaker 1: of something, right.
Speaker 3: So that was that's great because that's you too, right, And.
Speaker 1: I'm not trying to think about myself. I'm second, oh.
Speaker 3: No, but please do. But like that's true, like you're
Speaker 3: you were that person in real life, so you knew that, right,
Speaker 3: So you were able to bring that to the character
Speaker 3: and say, like, we're not all like this and so
Speaker 3: obvious way that most girls would come in and play
Speaker 3: this part, I'm gonna play it like exactly the opposite.
Speaker 3: I remember seeing this, like Ryan Gosling interview that he
Speaker 3: did for some documentary about how bad auditioning sucks. But
Speaker 3: he said, like, you walk in and you know you're
Speaker 3: wearing the cowboy hat. Every guy's I thought, I thought
Speaker 3: the cowboy hat, so you have to. It's a it's
Speaker 3: a next level layer of thinking like that. But I
Speaker 3: do think try things and be different when I'd say,
Speaker 3: is like what makes people stand out and get roles.
Speaker 3: I remember talking to you about fast and furious. It's
Speaker 3: the eating thing, right, and how much that changes the
Speaker 3: dynamics of that character, right, instead of being a bitter, smoking,
Speaker 3: older guy, like being so many that people would like
Speaker 3: and like look for that and think that that's cool,
Speaker 3: and again relate to that.
Speaker 2: I remember when I was doing that, I'm fast and
Speaker 2: Tokyo drift. People are looking at me like I was crazy. Yeah,
Speaker 2: I remember, you know, one producer grabbed the snacks out
Speaker 2: of my hand. Really, you know, I like, do that snacks?
Speaker 1: Right?
Speaker 2: Like what are you doing? But I felt like I
Speaker 2: was a five and under character. I probably was really
Speaker 2: if you think about it, because I probably spoke like
Speaker 2: three lines in the film, you.
Speaker 1: Know, and with that character choice.
Speaker 2: I need an activity. So you can use the snacks
Speaker 2: to act, you know, like you could. You can emote
Speaker 2: you know, some type of like you know, inner dialogue
Speaker 2: with the snack. If you're like curious to slow it
Speaker 2: down and disgusted, you can throw the snack down, right
Speaker 2: I was, you know, And it's like and I didn't
Speaker 2: make that up. Like I watched Steve McQueen behind the
Speaker 2: scenes with Magnificent Seven, and he was like the youngest
Speaker 2: and like least famous actor in this movie. And he
Speaker 2: was always next to You'll Brenner. Yeah, and he's like, hey,
Speaker 2: they had no lines, so he always had something. He
Speaker 2: was always doing something, and You'll Brenda would get all
Speaker 2: pissed off He's like, what are you doing, man, You're
Speaker 2: just supposed to stand there and do nothing. It's like, well,
Speaker 2: I'm in his mind. He's like, I'm gonna steal this
Speaker 2: fucking scene, right, and and so people start focusing on
Speaker 2: what's this guy doing in the back?
Speaker 3: No exactly, So I heard that story too. And then
Speaker 3: you told him like, just remember that you're you're behind
Speaker 3: me in the frame, and all I have to do
Speaker 3: is lean my head this way.
Speaker 2: You know, you gotta do it with respect, you know,
Speaker 2: you know, there's you can't ever come off like thirsty, right,
Speaker 2: like you have to go to class. And yeah, because
Speaker 2: I another old timer gaming great advice is like, hey, man,
Speaker 2: you know, did you know that there's a tree in
Speaker 2: the Mona Lisa painting? And I was like what, And
Speaker 2: he goes, yeah, there's a tree. Yeah right, you didn't
Speaker 2: know that, right, he goes because everyone's focused on the
Speaker 2: Mona Lisa and he's like, that's the star of the movie.
Speaker 2: So make sure you're the best fucking tree. We should
Speaker 2: put an apple on that tree. But you know, make
Speaker 2: sure that people don't go, oh, it's a it's a
Speaker 2: painting about a tree and a lady be careful because
Speaker 2: that right, you know, I had a prospective change to
Speaker 2: auditions when I auditioned for Christopher Nolan years ago. He
Speaker 2: was one of his Batman movies. I don't know how
Speaker 2: men he did, but I think it was his first one.
Speaker 2: And the casting director was like very supportive of me, right,
Speaker 2: and he's like, hey, you know, I think you know,
Speaker 2: he's very interested in you. So this is a role
Speaker 2: for you to lose basically, you know, and I'm like okay,
Speaker 2: And it was still at a time where like I
Speaker 2: wasn't like one hundred percent sure of like my choices
Speaker 2: and even like what I had to offer, right, like
Speaker 2: you know, why me? And so I walked into the
Speaker 2: audition and I was prepared. But then my first question
Speaker 2: and he was he was so chip where he was
Speaker 2: like so welcoming, and it was like it was really cool,
Speaker 2: you know, like you know, I'm actually getting to meet
Speaker 2: him in person, and he was like very charming and
Speaker 2: very warm, very gracious, and then you know, we had
Speaker 2: our brief conversation and I was like, oh, so, you
Speaker 2: know when I ask you first, is you know, do
Speaker 2: you think this character has a you know, Hong Kong dialect?
Speaker 2: You know, like, what do you think he sounds like,
Speaker 2: and he just switched and he's like, I don't know,
Speaker 2: that's your job. And then I didn't get the role
Speaker 2: right and and I walked out of there and I
Speaker 2: was like, dude, like that was a great, great lesson
Speaker 2: to go in with strong choices. I don't need to
Speaker 2: be asking him what do you think? He's not that
Speaker 2: He's like, I'm not the actor, like, that's your job, man, right,
Speaker 2: and made me realize like I can't be doing that,
Speaker 2: like I can take direction if you don't like this
Speaker 2: choice or if you're like, hey, let's adjust this, right,
Speaker 2: but it may It totally changed the way I approach
Speaker 2: my work is like I'm not asking your opinion. I'm
Speaker 2: going to go do my work because that's my job.
Speaker 3: Yeah.
Speaker 2: Right, So that as it's like you know, the tire
Speaker 2: you're going to the tire guy when you're the transmission
Speaker 2: dude going hey, what do you think? Like, I know
Speaker 2: that's your job. You put it into that like analogy.
Speaker 2: I was like, what am I doing? Why did I
Speaker 2: do that?
Speaker 1: Well? How much in your career have you worked with
Speaker 1: a director to help craft a character together or does
Speaker 1: it usually fall where you take the initiative on that
Speaker 1: and if there's guidance and it's less of a collaboration
Speaker 1: with the director.
Speaker 2: I would say, like beginner directors, they want to be
Speaker 2: doing that. They want like their fingerprints on everything.
Speaker 1: Hm.
Speaker 2: But on the professional side, right, like I've barely ever
Speaker 2: even done table reads like you're a pro athlete. You
Speaker 2: show up and you're like you're supposed to go hit
Speaker 2: a home run, right, and and that is up. That
Speaker 2: is your job to do, right. I realize that. So
Speaker 2: like the directors, we don't talk about like, hey, this
Speaker 2: is you know I would I when I was younger,
Speaker 2: I wanted that. I was like, hey, here's here's here's
Speaker 2: my book of like the backstory, the biography of this
Speaker 2: character that has three lines in this film. But I
Speaker 2: wrote a whole you know, biography of who they're like,
Speaker 2: good for you. I'm busy, dude, right, So I still
Speaker 2: do that work, but I keep it to myself and
Speaker 2: if they have a question, they know that I'm ready
Speaker 2: because I can fire off, like where you know the
Speaker 2: character was born, what his blood type is, what his
Speaker 2: favorite like pizza is, what is video favorite video game
Speaker 2: with colors underwear? And that's I think the difference between
Speaker 2: like a student film and then when you get into
Speaker 2: the studio systems, like no one has time for that.
Speaker 2: You know, they can tell you like, oh, this is
Speaker 2: you know, based off of like their personal experience if
Speaker 2: they wrote it. They're like, hey, this is where this
Speaker 2: character was inspired from and share some antidotes, and a
Speaker 2: good director will go, now it's yours. You're the ingredients.
Speaker 2: Now it's yours. Yeah, right, No, I.
Speaker 3: Mean right, And that's it's funny because that's really the
Speaker 3: skill of a professional movie star actor. But what it
Speaker 3: boils down to is you're supposed to be like somebody
Speaker 3: who can come out and do it right away. Because
Speaker 3: we're spending a lot of money closing down the street
Speaker 3: and all these people and having like lights up and
Speaker 3: all these things. We need people who can come in
Speaker 3: and deliver quickly, like and not somebody who's supposed to
Speaker 3: come in and it's going to take two hours to
Speaker 3: get you that take that you want.
Speaker 2: And they can make adjustments quickly, right, and they're not
Speaker 2: there to argue with you, but they've done the work.
Speaker 2: Like when I was younger, like I had so much sympathy, right,
Speaker 2: or empathy for like younger, there's not being prepared, and
Speaker 2: now it's like, well, go do the student film first,
Speaker 2: a whole bunch of them, and then when you get here,
Speaker 2: you better hit home runs because if you're not, it's
Speaker 2: cold man, if people just stop talking to you, and
Speaker 2: you better come and deliver and.
Speaker 3: Care like I've worked with multiple Academy Award winners Now
Speaker 3: they care about every take. Yeah.
Speaker 2: And it's also I've learned from hiran directors right that
Speaker 2: are screaming at people. Great advice I got. I got
Speaker 2: from this legendary director and he was like, you know
Speaker 2: why I never yell at you? And I'm like why,
Speaker 2: He's like, you never leave set. You're not looking for
Speaker 2: your chair. I know you smoke, but you don't leave
Speaker 2: to go have a bunch of cigarettes. You're there, you're watching.
Speaker 2: It's like, you know that dude over there. You know
Speaker 2: why I'm screaming at that dude is that he can't
Speaker 2: wait to go and have a cigarette. And then you
Speaker 2: know why I'm screaming at the ades, like because she
Speaker 2: doesn't know what the two next setups are are. They're like,
Speaker 2: but how does she got to know? That's like, that's
Speaker 2: our job. She needs to care.
Speaker 3: Yeah, right, there's the word. There's a word, you care.
Speaker 3: The best directors they care the most, and they want
Speaker 3: They were forceful personalities that do anything they can to
Speaker 3: achieve that vision that's in their head already. Right. I
Speaker 3: also say, you know, like whenever you see an actor
Speaker 3: freak out like on set, I like, well, first of all,
Speaker 3: you know, their tool is their emotions. They're buying large
Speaker 3: emotional people, some of them more internally emotional, some of
Speaker 3: them are more external. But when you see emotion like that, one,
Speaker 3: it's just who they are a lot of times. But two,
Speaker 3: let's take a look at that project that they're on,
Speaker 3: and I'm pretty sure that nine out of ten times
Speaker 3: it's a pretty terrible wor And what has happened is
Speaker 3: they're in the middle of something they didn't sign up for, right,
Speaker 3: and they realize it, and they realize that this bad
Speaker 3: movie there's is going to be on the screen and
Speaker 3: on the posters, and you know they've they've tried it
Speaker 3: in their own ways, push it in directions that the people,
Speaker 3: you know, the director and the producers didn't listen to.
Speaker 3: And so now you know they're in a place where
Speaker 3: they're frustrated and they can't just show up and go, well,
Speaker 3: this thing sucks, but they want you to know that
Speaker 3: they're not happy, and so they will look for other
Speaker 3: things to vent about. But when you hear one of
Speaker 3: these tapes of one of them yelling on set or something,
Speaker 3: I'm like, it's probably not because of exactly what they're
Speaker 3: screaming about. It's probably more of an indictment of the
Speaker 3: process that they're in.
Speaker 2: That's such great perspective.
Speaker 3: Carter. It's I mean, it's just the way it is.
Speaker 2: And it's just such a whyse you know. It's like
Speaker 2: because it's coming back to like they care so much,
Speaker 2: because if they ain't cared, they but I don't care.
Speaker 2: I'm going to go to a craft service, go eat
Speaker 2: the doughnut. Right. Yeah. I've been doing a lot of
Speaker 2: soul searching on what we just spoke about, because if
Speaker 2: I do like four or five projects, like maybe one
Speaker 2: of them is something that I go, oh, this is
Speaker 2: I'm very proud of this. And the people I've worked
Speaker 2: with like they all are, you know, potential masters of
Speaker 2: their craft and they care. And then there are projects
Speaker 2: that I've been on I'm like, Yo, they don't give
Speaker 2: a flying f at all. They're like as soon as
Speaker 2: it's like, you know, called like the martini, they're already
Speaker 2: at the bar. Yeah, you know, and I'm like, why
Speaker 2: are you here? Like what are you guys doing? Right?
Speaker 1: And it makes me sad to see that because I
Speaker 1: just think of how many people would kill for the opportunity.
Speaker 3: No, I know. And it's it's hard, and that's something
Speaker 3: you learn in the filmmaking process. It's like, it's really hard,
Speaker 3: and I have to struggle every time you give up
Speaker 3: something you realize like, oh, it just went from being
Speaker 3: like one hundred percent of what I wanted to ninety
Speaker 3: nine and I'm never getting it back. Like if you
Speaker 3: give up on quality or something you believe in or
Speaker 3: like allow like, oh you know what, I'm not going
Speaker 3: to fight on this. I'm just gonna just do it
Speaker 3: this way, the cheaper way, the easier way. You have
Speaker 3: this percentage of how good the movie is and you're
Speaker 3: just watching it drop and you're never getting it back. Yeah,
Speaker 3: And in order to keep it really, really high, you
Speaker 3: got to fight for every little single battle that you
Speaker 3: can all along the way because any of these compromises,
Speaker 3: once you start compromising, once it's just it tends to
Speaker 3: like waterfall after that. So it's it's really tough. And
Speaker 3: that's why I understand and like I always do say,
Speaker 3: a lot of the best directors in history are not cuddly,
Speaker 3: understanding people. Yeah, they don't have that reputation of being
Speaker 3: like just the friendliest, nicest, listens to everything. They're forceful
Speaker 3: visionmongers who are not going to like be your best
Speaker 3: friend a lot of time.
Speaker 2: But most people that are like great at something, they're not.
Speaker 3: Like, yeah, all the greatest basketball players pretty much jerks.
Speaker 2: Yeah, it makes me question, you know. I think that's
Speaker 2: why I've been questioning lately, like, you know, do I
Speaker 2: want to stay an actor because I don't know if
Speaker 2: I have the tolerance to do it anymore. That's that's
Speaker 2: why I love directing. Yeah, right, It's like I can
Speaker 2: be the first one there and the last one to leave,
Speaker 2: and I can like really like set a tone and
Speaker 2: like really make a difference. Right, And as an actor,
Speaker 2: you can do your part on one movie you're the
Speaker 2: tire guy, like you do the tire You just your job.
Speaker 3: Is just replace the tires man, that's all.
Speaker 2: Don't be messing with the turbos.
Speaker 3: Right now, you know, I get it. That's my favorite.
Speaker 3: My favorite part of this job is helping directors tell
Speaker 3: their vision. Yeah, Like I love directors and filmmakers, and
Speaker 3: so the thing that always helps me, even when it
Speaker 3: gets hard, is when I have that director that I'm
Speaker 3: working with and I'm like, I don't care. I'm trying
Speaker 3: to help them do this vision, create this vision of theirs.
Speaker 3: I see it, I get it. I want to be
Speaker 3: a part of it. I want to help them, And
Speaker 3: so fighting any of those battles to help them is
Speaker 3: always fine with me.
Speaker 2: What do you think makes a great director in your
Speaker 2: expense that you've worked with, Because it doesn't mean that
Speaker 2: they're always going to make hit movies, right, Yeah, because
Speaker 2: the movies like it's subjective, so it could be an
Speaker 2: amazing film, but it doesn't mean that it's going to
Speaker 2: go make a billion dollars. But in terms of directors
Speaker 2: that you go, this is a person that should be directing.
Speaker 3: I just think, you know, whatever process they have, there's
Speaker 3: somebody who just has a strong vision in their head
Speaker 3: and knows how to get a group of people together
Speaker 3: to execute it. And whether that's they start using the
Speaker 3: same people and fine tune the process, whether they're forceful personalities.
Speaker 3: Whatever that is, it's just that idea that they know
Speaker 3: that story well, they see it in their head and
Speaker 3: they know how to get it out in like a
Speaker 3: way that everyone else will see it and understand it
Speaker 3: the same way that they did. Right. And again, there's
Speaker 3: different ways that people go about that. You know, the
Speaker 3: best ones are either geniuses themselves, so they see like
Speaker 3: a vision like James Cameron of like how to do
Speaker 3: things technically different nobody else has even thought of yet,
Speaker 3: and he's able to go out and execute that, or
Speaker 3: you know, in some cases, just being really smart about
Speaker 3: who they hire and who they listen to and piecing
Speaker 3: together like, you know, the best ideas from a bunch
Speaker 3: of people that they were able to put together. And
Speaker 3: I think, again, just having a clear vision and good
Speaker 3: taste of what's different. You know, I was point the
Speaker 3: original Halloween movie. I love that movie so much. I
Speaker 3: love Johnny Carpenter, and I think, you know what's cool
Speaker 3: about that movie and people have tried to do like
Speaker 3: slasher movies and copy that movie millions of times since
Speaker 3: it first came out in nineteen seventy seven, I think
Speaker 3: is that you know, you had these kids out of
Speaker 3: usc that basically were like, we're gonna take this story
Speaker 3: about a guy in a mask on Halloween night just
Speaker 3: stabbing babysitters to death. Right, there's a million ways to
Speaker 3: make that movie like terrible or like you've seen it
Speaker 3: a million times even at that point, we're gonna make
Speaker 3: it like an Alfred Hitchcock with me. We're gonna make
Speaker 3: it super suspenseful. We're gonna drag it out. We're gonna
Speaker 3: like make you like want him to strike because he's
Speaker 3: hovering around them so much, and it's not gonna have
Speaker 3: all these bodies and gore shots and things like that.
Speaker 3: And just that approach and that idea and actually pulled
Speaker 3: it off is what makes that movie timeless and special
Speaker 3: and still to this day. Why when you watch it
Speaker 3: with any other guy with a mask killing teenagers somewhere
Speaker 3: like that movie, there's something more quality about it and
Speaker 3: a little higher brown why it's still like looked at
Speaker 3: as like the ultimate movie in its space. Right, And
Speaker 3: it's been very easily for them to just take the
Speaker 3: money make a stabby movie. Some sex scenes like give
Speaker 3: the audience to know exactly what they expect out of
Speaker 3: something like that took a lot of guts to be like,
Speaker 3: we're not going to have a lot of stabbing and murder,
Speaker 3: and but again them being able to pull it off,
Speaker 3: like that's we're going to make this specially good. So
Speaker 3: I think you always got to have a good take
Speaker 3: on the material too, that makes it different and makes
Speaker 3: it cool. As you get more up in Hollywood, it's
Speaker 3: easier to like just make things that seem like other
Speaker 3: things that are successful, and you don't want to.
Speaker 2: Do that, Carter, this has been just a fantastic conversation.
Speaker 1: We could talk with you forever, I know, no like
Speaker 1: me too.
Speaker 3: I hope I can come back and we'll actually tell
Speaker 3: more car stories. Yeah, the next time. But I really
Speaker 3: enjoy talking about the business with you and just such
Speaker 3: big fans of both of you, and I like this
Speaker 3: podcast so much. It's such an honor to be here.
Speaker 3: Really really cool. Thank you for having me.
Speaker 2: It was a great conversation because not only it's so
Speaker 2: sincere and it's a window into I think a lot
Speaker 2: of what the listeners are not aware of, the lessons
Speaker 2: of you know, this is a this is a long marathon,
Speaker 2: and you got to love what you're doing and try
Speaker 2: to be different right with class with class right.
Speaker 3: Yeah, yeah, absolutely everything is never stop learning, like every
Speaker 3: single day, like I learned something new all the time still,
Speaker 3: and I'm always grateful when I do.
Speaker 1: Amen to that. Yeah, well, you're a huge inspiration and
Speaker 1: look forward to seeing you continue to kick ass and
Speaker 1: take over this world and the stories that you tell.
Speaker 3: Right back at you, right back at you. No, thanks again,
Speaker 3: and I love being on this and any other time
Speaker 3: you guys need a time filler, I'm here. Appreciate you,
Speaker 3: Thank you so much.