1 00:00:00,040 --> 00:00:02,720 Speaker 1: Hello, and welcome back to movie Mike's Movie Podcast. I 2 00:00:02,840 --> 00:00:06,160 Speaker 1: a movie Mike on Twitter and Instagram at Mike destro 3 00:00:06,480 --> 00:00:09,200 Speaker 1: and I'm really excited about this week's episode because I 4 00:00:09,200 --> 00:00:12,640 Speaker 1: am talking to my first ever director. So there's a 5 00:00:12,640 --> 00:00:16,040 Speaker 1: new movie out now called The Outpost starring Orlando bloom 6 00:00:16,040 --> 00:00:19,200 Speaker 1: In Scott Eastwood, and I get to talk to Rod Lury, 7 00:00:19,280 --> 00:00:21,720 Speaker 1: who made this movie, which is based on a real 8 00:00:21,760 --> 00:00:24,320 Speaker 1: battle that took place in two thousand nine in Afghanistan. 9 00:00:24,600 --> 00:00:27,360 Speaker 1: So we talked about how he made the movie, what 10 00:00:27,480 --> 00:00:30,360 Speaker 1: it was like directing Orlando bloom and Scott Eastwood, who 11 00:00:30,400 --> 00:00:32,920 Speaker 1: was the son of Clint Eastwood. We also talk about 12 00:00:32,960 --> 00:00:35,199 Speaker 1: some of our favorite war movies and what it was 13 00:00:35,280 --> 00:00:37,760 Speaker 1: like for him to be on set during such an 14 00:00:37,760 --> 00:00:40,640 Speaker 1: intense movie. So if you've ever wondered how a movie 15 00:00:40,680 --> 00:00:42,680 Speaker 1: gets made or what it's like to direct a big 16 00:00:42,720 --> 00:00:45,360 Speaker 1: Hollywood star, we'll get into all that. So I think 17 00:00:45,400 --> 00:00:48,040 Speaker 1: you'll enjoy this interview, and then right after it, I'll 18 00:00:48,040 --> 00:00:51,640 Speaker 1: get into my full honest review of the movie and 19 00:00:51,720 --> 00:00:55,040 Speaker 1: also talk about my top five favorite war films of 20 00:00:55,120 --> 00:00:57,520 Speaker 1: the last ten years. Just the heads up, he does 21 00:00:57,600 --> 00:00:59,520 Speaker 1: drop a couple of f bombs in this, but I 22 00:00:59,560 --> 00:01:02,279 Speaker 1: just thought responses were so genuine and so kind of 23 00:01:02,320 --> 00:01:04,160 Speaker 1: real that it kept him in there. And I figure, 24 00:01:04,160 --> 00:01:06,600 Speaker 1: if you're gonna end up watching this movie after this review, 25 00:01:07,080 --> 00:01:10,000 Speaker 1: they curse in that thing anyway, so there's no real difference. 26 00:01:10,120 --> 00:01:11,959 Speaker 1: So thanks for checking out this episode this week. I 27 00:01:11,959 --> 00:01:13,880 Speaker 1: think it really enjoy it. And if you don't mind, 28 00:01:13,880 --> 00:01:16,839 Speaker 1: if you're over there listening on Apple Podcast before you leave, 29 00:01:16,959 --> 00:01:19,199 Speaker 1: before you click out of this thing, hit that five 30 00:01:19,240 --> 00:01:21,399 Speaker 1: star rating right, a quick little review, because it helps 31 00:01:21,440 --> 00:01:24,800 Speaker 1: me beat out all those other movie podcasts in the category. 32 00:01:24,880 --> 00:01:26,400 Speaker 1: I'm trying to get up there at the very top. 33 00:01:26,480 --> 00:01:28,360 Speaker 1: So if you would do that and mean a lot, 34 00:01:28,480 --> 00:01:30,800 Speaker 1: or if you're listening on I Heart Radio or anywhere else, 35 00:01:30,920 --> 00:01:33,200 Speaker 1: just hit that follow, hit that subscribe button. I know 36 00:01:33,319 --> 00:01:35,679 Speaker 1: some people have asked how you rate and review it 37 00:01:35,720 --> 00:01:38,520 Speaker 1: on other platforms. It's only Apple Podcast you can do 38 00:01:38,520 --> 00:01:40,880 Speaker 1: it for some reason, So just make sure you're subscribed 39 00:01:40,920 --> 00:01:43,440 Speaker 1: anywhere else you're listening to because that really helps too. 40 00:01:43,720 --> 00:01:46,399 Speaker 1: All right, With all that said, excited to share this 41 00:01:46,440 --> 00:01:49,560 Speaker 1: episode with you guys, So let's get started. In a 42 00:01:49,640 --> 00:01:53,280 Speaker 1: world where everyone and their mother has a podcast, one 43 00:01:53,320 --> 00:01:57,240 Speaker 1: man stands to infiltrate the ears of listeners like never 44 00:01:57,320 --> 00:02:01,320 Speaker 1: before in a movie podcast. A man with so much 45 00:02:01,360 --> 00:02:06,320 Speaker 1: movie knowledge, he's basically like a walking a MDB with glasses. 46 00:02:06,960 --> 00:02:13,680 Speaker 1: From the Nashville Podcast Networks Movie Movie Podcast. All right 47 00:02:13,720 --> 00:02:15,840 Speaker 1: on the phone now with Rod Larry, the director of 48 00:02:15,880 --> 00:02:18,919 Speaker 1: The Outpost. How's it going, man, Hey, it's going very well. 49 00:02:19,320 --> 00:02:22,720 Speaker 1: Beautiful studio city, California. Our things in Nashville, it's going 50 00:02:22,800 --> 00:02:26,000 Speaker 1: pretty good here. We got some rain, but my clothing 51 00:02:26,040 --> 00:02:28,040 Speaker 1: down a little bit. You know, I'll tell you from 52 00:02:28,080 --> 00:02:31,480 Speaker 1: me some of the best filming experiences of my life 53 00:02:31,639 --> 00:02:33,640 Speaker 1: or Nashville, because I shot a movie called The Last 54 00:02:33,639 --> 00:02:36,919 Speaker 1: Castle Bear and it was just fantastic. It was one 55 00:02:36,919 --> 00:02:38,919 Speaker 1: of the best times I've ever had. Yeah, Nashville was 56 00:02:38,960 --> 00:02:43,840 Speaker 1: a cool spot. Yeah, it certainly is. Certainly. My my 57 00:02:43,960 --> 00:02:46,799 Speaker 1: cast two young men really in towards that city. So 58 00:02:47,000 --> 00:02:49,120 Speaker 1: I just watched your movie and I gotta say, it's like, 59 00:02:49,240 --> 00:02:51,920 Speaker 1: not only one of the best movies I've seen this year, 60 00:02:51,960 --> 00:02:53,840 Speaker 1: but I think one of the best war movies I've 61 00:02:53,840 --> 00:02:57,160 Speaker 1: ever seen. So I just want to say congrats on that. Well, 62 00:02:57,200 --> 00:02:59,400 Speaker 1: thank you very much. I mean, look, it's you know, 63 00:02:59,480 --> 00:03:02,040 Speaker 1: making a war war film it's a it's a tough 64 00:03:02,080 --> 00:03:05,320 Speaker 1: bit of business, and I'm glad we succeeded in in 65 00:03:05,840 --> 00:03:09,200 Speaker 1: your mind. You know, I'm a massive, massive war film fan, 66 00:03:09,320 --> 00:03:11,360 Speaker 1: and a few years ago I want to see that 67 00:03:11,360 --> 00:03:14,639 Speaker 1: movie called Dunkirk that Chris Nolan felt and it was 68 00:03:15,000 --> 00:03:20,239 Speaker 1: it was just so amazingly creative and and uh and 69 00:03:20,480 --> 00:03:24,120 Speaker 1: energetic and just so full of cinematic life that you know, 70 00:03:24,160 --> 00:03:26,080 Speaker 1: it really did. It really inspired me. I mean, we 71 00:03:26,080 --> 00:03:28,480 Speaker 1: don't shoot in that style at all, but it just 72 00:03:28,600 --> 00:03:31,359 Speaker 1: inspired me to, you know, have high aspirations on it. 73 00:03:31,440 --> 00:03:34,160 Speaker 1: Making a bar film talking about like dun Kirk and 74 00:03:34,240 --> 00:03:37,320 Speaker 1: having like that feeling of being in the action. Is 75 00:03:37,360 --> 00:03:39,680 Speaker 1: that kind of where you drew some of that inspiration 76 00:03:39,760 --> 00:03:42,960 Speaker 1: for this, Like the fight sequences, I mean, the idea 77 00:03:43,440 --> 00:03:47,640 Speaker 1: inside trying to accomplish a much different way than that 78 00:03:47,880 --> 00:03:50,040 Speaker 1: Dunkirk did dun Kirk, I think it was a little 79 00:03:50,080 --> 00:03:53,080 Speaker 1: bit more objective than on film is This film is 80 00:03:53,280 --> 00:03:55,480 Speaker 1: is very subjective. It's very much when the men on 81 00:03:55,520 --> 00:03:59,240 Speaker 1: the ground. You know, for the battle sequence, I used 82 00:03:59,240 --> 00:04:02,520 Speaker 1: a single cam or I just followed soldiers throughout the 83 00:04:02,520 --> 00:04:04,760 Speaker 1: course of the battle. You know, we never shot away, 84 00:04:04,840 --> 00:04:07,840 Speaker 1: we never caught away. And so we really were intending 85 00:04:07,920 --> 00:04:12,520 Speaker 1: to put the audience into a four massive um experience 86 00:04:12,640 --> 00:04:15,880 Speaker 1: in this you know, in this vattel, which was probably 87 00:04:15,920 --> 00:04:19,640 Speaker 1: the most heroic battle of the of the Afghanistan War. 88 00:04:20,160 --> 00:04:21,880 Speaker 1: How exactly do you do that? Because I know, like 89 00:04:22,000 --> 00:04:24,279 Speaker 1: nineteen seventeen they did that where the whole movie was 90 00:04:24,320 --> 00:04:26,760 Speaker 1: in one shot. So what is that process of like 91 00:04:26,880 --> 00:04:28,760 Speaker 1: is it all in editing? Are you really doing it 92 00:04:28,800 --> 00:04:31,240 Speaker 1: all in one shot? Well? Okay, so you know, you 93 00:04:31,320 --> 00:04:34,640 Speaker 1: just you just said something really interesting there because on 94 00:04:34,800 --> 00:04:37,520 Speaker 1: the one hand, you just said that they Dunkirk is 95 00:04:37,760 --> 00:04:40,120 Speaker 1: I'm sorry that the macnews seventeen, which by the way 96 00:04:40,160 --> 00:04:44,640 Speaker 1: is a masterpiece, a fantastic movie, one of my favorites, um, 97 00:04:45,000 --> 00:04:48,120 Speaker 1: is all done in one shot. But in fact, the greatness, 98 00:04:48,360 --> 00:04:52,840 Speaker 1: the cinematic technical achievement of Macneis seventeen is that I 99 00:04:52,920 --> 00:04:55,640 Speaker 1: gave the appearance of being in one shot. I don't 100 00:04:55,640 --> 00:04:58,520 Speaker 1: know how many cuts I counted as a pro and 101 00:04:58,560 --> 00:05:00,800 Speaker 1: the something that I missed, I'm sure, but you know 102 00:05:00,839 --> 00:05:03,720 Speaker 1: there are dozens and does are cuts in that film 103 00:05:03,839 --> 00:05:08,279 Speaker 1: and in our film, those lengthy sequences, there's very little 104 00:05:08,360 --> 00:05:11,960 Speaker 1: what we call stitching, you know, cutting together two two 105 00:05:12,040 --> 00:05:15,080 Speaker 1: shots seamlessly. To make it appear as one, we really 106 00:05:15,200 --> 00:05:17,640 Speaker 1: had to rehearse because we just didn't have the budget 107 00:05:17,680 --> 00:05:20,359 Speaker 1: to do that. So you know, we actually have to 108 00:05:20,400 --> 00:05:24,160 Speaker 1: shoot these things in waters and it was no easy defeat. 109 00:05:24,960 --> 00:05:27,159 Speaker 1: So you have this movie. It's you know, very big 110 00:05:27,160 --> 00:05:29,360 Speaker 1: and cinematic, and I found it a little weird watching 111 00:05:29,400 --> 00:05:31,960 Speaker 1: it like on my laptop now because of what's going 112 00:05:32,000 --> 00:05:34,960 Speaker 1: on movie theaters. How does that feel for you, like 113 00:05:35,040 --> 00:05:37,680 Speaker 1: having this movie coming out and knowing that people won't 114 00:05:37,680 --> 00:05:41,120 Speaker 1: get that full cinematic experience. Well, I mean they're they're 115 00:05:41,240 --> 00:05:44,600 Speaker 1: they're they're variations on that. Like, if I'm being perfectly 116 00:05:44,640 --> 00:05:46,839 Speaker 1: honest with you, it's sort of basically hard to see 117 00:05:46,839 --> 00:05:49,800 Speaker 1: that anybody watches it on the laptop. And one person 118 00:05:49,880 --> 00:05:51,480 Speaker 1: told me they watched it on the phone, which is 119 00:05:51,600 --> 00:05:56,280 Speaker 1: like completely severs severs my heart because you know, I 120 00:05:56,600 --> 00:05:58,680 Speaker 1: shot this for the big screen. I made it for 121 00:05:58,720 --> 00:06:01,520 Speaker 1: the big screen. It's you know, especially as sound work 122 00:06:01,640 --> 00:06:04,440 Speaker 1: is made for the big screen. Um. But you know, look, 123 00:06:04,480 --> 00:06:07,440 Speaker 1: life is what it is right now and and um, 124 00:06:07,480 --> 00:06:09,279 Speaker 1: and I fully expect that it's going to stay this 125 00:06:09,360 --> 00:06:12,680 Speaker 1: way pretty much forever. I think that anytime anybody makes 126 00:06:12,680 --> 00:06:16,000 Speaker 1: the film that is not a Captain you know, Marvel 127 00:06:16,120 --> 00:06:19,040 Speaker 1: film or Star Wars of James Bond, that you know, 128 00:06:19,160 --> 00:06:21,719 Speaker 1: they should anticipate that it's primarily going to be seeing 129 00:06:21,720 --> 00:06:24,880 Speaker 1: on people's home system. So you know all that. All 130 00:06:24,960 --> 00:06:27,920 Speaker 1: that I'd ask is that you know, when you do 131 00:06:28,040 --> 00:06:29,919 Speaker 1: see the film, you know, was try to see it 132 00:06:29,960 --> 00:06:33,200 Speaker 1: in the best experience possible, the biggest screen, you've got, 133 00:06:33,080 --> 00:06:37,040 Speaker 1: the sound, because I'm sure worked our active you know, 134 00:06:37,200 --> 00:06:39,880 Speaker 1: to get to you know, to try and accomplish that, 135 00:06:40,320 --> 00:06:42,480 Speaker 1: you know, like I know that, um, you know, I'm 136 00:06:42,480 --> 00:06:45,800 Speaker 1: in the Most Picture Academy. So when Chris is going 137 00:06:45,839 --> 00:06:49,040 Speaker 1: back to Dunkirk, when when we got our DVD box 138 00:06:49,600 --> 00:06:52,920 Speaker 1: for Dunkirk, UM, I opened it up and there was 139 00:06:52,920 --> 00:06:56,200 Speaker 1: a note from christ and saying, come on, man, let's 140 00:06:56,200 --> 00:06:59,039 Speaker 1: see this in the theater. And and that's really what 141 00:06:59,120 --> 00:07:02,240 Speaker 1: I was what I hope before. Well, speaking of Christopher Nolan, 142 00:07:02,440 --> 00:07:05,239 Speaker 1: I saw a story recently that he says he doesn't 143 00:07:05,240 --> 00:07:08,240 Speaker 1: allow chairs on set because if you're sitting, you're not working. 144 00:07:08,680 --> 00:07:10,360 Speaker 1: Is there any kind of rule like that you have 145 00:07:10,520 --> 00:07:14,000 Speaker 1: on set? That's a that's an instant I do. The 146 00:07:14,000 --> 00:07:17,600 Speaker 1: reverse thing is that, um, I don't allow myself to sit. 147 00:07:17,880 --> 00:07:20,080 Speaker 1: You know, I literally don't have a chair on set. 148 00:07:20,600 --> 00:07:23,800 Speaker 1: You know. Look, look I when I when I was 149 00:07:23,840 --> 00:07:26,760 Speaker 1: a cadet at West Point, UM, there is a rule 150 00:07:26,920 --> 00:07:29,520 Speaker 1: that the cadets don't sit throughout the game. You stand 151 00:07:29,560 --> 00:07:31,800 Speaker 1: with the team. You know, while they're on their feet, 152 00:07:31,800 --> 00:07:34,400 Speaker 1: you're on your feet, you're the twelve mat. And so 153 00:07:34,560 --> 00:07:38,040 Speaker 1: I've I've done this throughout my entire career, and especially 154 00:07:38,040 --> 00:07:40,800 Speaker 1: on a movie like this where I'm asking the actors, 155 00:07:40,840 --> 00:07:44,840 Speaker 1: I'm asking the crew to be so physically fit and 156 00:07:44,960 --> 00:07:48,520 Speaker 1: so physically involved in the film, um that you know, 157 00:07:48,560 --> 00:07:50,200 Speaker 1: as long as they're on their feet, I'm going to 158 00:07:50,280 --> 00:07:53,000 Speaker 1: be on my feet. But I do let the actors sit, 159 00:07:53,200 --> 00:07:58,160 Speaker 1: especially when when there is so much running and gunning 160 00:07:58,160 --> 00:08:00,960 Speaker 1: and exhausted involved in making a film. I mean, like 161 00:08:01,400 --> 00:08:05,560 Speaker 1: this thing was a motherfucker man, there was he was unbelievable. 162 00:08:05,640 --> 00:08:08,040 Speaker 1: You know what these actors had to go through. Speaking 163 00:08:08,040 --> 00:08:10,040 Speaker 1: of that, we're working with the actors, what's it like 164 00:08:10,160 --> 00:08:12,960 Speaker 1: to direct a guy like Orlando Bloom, such a veteran 165 00:08:13,000 --> 00:08:15,760 Speaker 1: actor and you're having to you direct him in a 166 00:08:15,840 --> 00:08:20,040 Speaker 1: very intense way. Well, you know, here's the thing that 167 00:08:20,080 --> 00:08:23,280 Speaker 1: I learned after I made my first film, which is 168 00:08:23,320 --> 00:08:27,160 Speaker 1: that there is no there's no one system fits all 169 00:08:27,240 --> 00:08:32,760 Speaker 1: for directing actors. Everybody, everybody is different and everyone needs 170 00:08:32,800 --> 00:08:36,000 Speaker 1: to be directed differently. Some actors come with a very 171 00:08:36,040 --> 00:08:38,319 Speaker 1: specific mindset of how they want to play a ball 172 00:08:38,360 --> 00:08:41,160 Speaker 1: and others are craving direction and others want to, you know, 173 00:08:41,520 --> 00:08:45,800 Speaker 1: want to completely completely mix it up. You know. Uh 174 00:08:46,000 --> 00:08:49,240 Speaker 1: with with Orlando, Orlando is a vet, he does you know, 175 00:08:49,320 --> 00:08:51,800 Speaker 1: he did spend time with the father of the guy 176 00:08:51,960 --> 00:08:55,520 Speaker 1: he's portraying. Um, the guy's portraying portraying is it was 177 00:08:55,520 --> 00:08:58,960 Speaker 1: a guy named Ben Keating, one of certainly a war hero, 178 00:08:59,600 --> 00:09:01,680 Speaker 1: and um, he got to you know, he got to 179 00:09:01,679 --> 00:09:04,000 Speaker 1: know him as best as best he could. You know 180 00:09:04,160 --> 00:09:08,240 Speaker 1: that he's not alive anymore, but um, but he did 181 00:09:08,320 --> 00:09:11,199 Speaker 1: look to me and he looked at the military advisors 182 00:09:11,360 --> 00:09:14,960 Speaker 1: for how to behave militarily. Although he has he's certainly 183 00:09:15,040 --> 00:09:17,040 Speaker 1: you remember he did black Hawk Down, so he has 184 00:09:17,520 --> 00:09:20,800 Speaker 1: um some some experience with it. But you're right, he's 185 00:09:20,840 --> 00:09:23,280 Speaker 1: he's a vet, and you know he needs a little 186 00:09:23,360 --> 00:09:25,920 Speaker 1: less direction than most. So did you have everybody do 187 00:09:26,120 --> 00:09:28,840 Speaker 1: like specific training for this movie before they got on? Yeah? 188 00:09:28,840 --> 00:09:31,360 Speaker 1: You go, yeah, you bet your ast. How intense was that? Like, 189 00:09:31,400 --> 00:09:33,640 Speaker 1: what do they have to do coming into this? Oh man, 190 00:09:33,679 --> 00:09:36,080 Speaker 1: we put the I put those little fuckers through the wringer, 191 00:09:36,320 --> 00:09:39,840 Speaker 1: you know, they you know. And here's the thing, though, 192 00:09:39,880 --> 00:09:42,199 Speaker 1: I had some of the actors. I insist on having 193 00:09:42,240 --> 00:09:45,120 Speaker 1: actual people who have served in the military as actors 194 00:09:45,120 --> 00:09:48,280 Speaker 1: in the film. Um and professional actress, but you know, 195 00:09:48,360 --> 00:09:51,000 Speaker 1: like Adam Driver used to be an actor and obviously 196 00:09:51,040 --> 00:09:53,080 Speaker 1: used to be a marine and in this movie had 197 00:09:53,080 --> 00:09:55,640 Speaker 1: gotten like Jack Kessie used to be a marine guy 198 00:09:55,679 --> 00:09:59,079 Speaker 1: in name like Kwamie Patterson who plays Captain Broward and 199 00:09:59,120 --> 00:10:01,240 Speaker 1: the film, he from the army. And then we had 200 00:10:01,240 --> 00:10:03,360 Speaker 1: a few guys like that. But I had a lot 201 00:10:03,400 --> 00:10:05,960 Speaker 1: of guys that were just these Juwillard sort of guys, 202 00:10:06,040 --> 00:10:09,400 Speaker 1: guys from you know, the you know, trained in British theater. 203 00:10:09,720 --> 00:10:13,880 Speaker 1: We had some somebody from Carnegie Melon and during basic training, 204 00:10:14,000 --> 00:10:15,920 Speaker 1: you know, I just threw them into I threw them 205 00:10:15,920 --> 00:10:19,719 Speaker 1: into this pit with this with an Army ranger and 206 00:10:19,760 --> 00:10:22,760 Speaker 1: a Navy seal who who tore their asses up during 207 00:10:23,000 --> 00:10:28,000 Speaker 1: uh you know, for like a long time, and sometimes 208 00:10:28,040 --> 00:10:30,240 Speaker 1: at lunch when I would show up on set, they 209 00:10:30,240 --> 00:10:33,440 Speaker 1: would come to me and literally be in tears. You know, 210 00:10:33,520 --> 00:10:37,320 Speaker 1: they just weren't used to this at all. And I 211 00:10:37,320 --> 00:10:39,400 Speaker 1: gave him all the option of quitting if they wanted, 212 00:10:39,640 --> 00:10:43,760 Speaker 1: and none of them did, and they nobody quit. They 213 00:10:43,800 --> 00:10:47,440 Speaker 1: all really appreciate now you know what I put me through. 214 00:10:48,400 --> 00:10:50,920 Speaker 1: There's like a scene that just kind of got me 215 00:10:50,960 --> 00:10:53,079 Speaker 1: in an unexpected way, and it's when all the soldiers 216 00:10:53,080 --> 00:10:55,800 Speaker 1: are calling home and they're on the satellite phones, and 217 00:10:55,920 --> 00:10:58,160 Speaker 1: it just felt like such a human moment that I 218 00:10:58,200 --> 00:11:00,920 Speaker 1: hadn't experienced in the movie before. What was kind of 219 00:11:00,920 --> 00:11:04,600 Speaker 1: a direction on that point, Well, that was something that 220 00:11:05,000 --> 00:11:07,680 Speaker 1: was not an imaginal screenplay, and that and that we 221 00:11:08,080 --> 00:11:10,120 Speaker 1: you know, like I have I doing a lot of 222 00:11:10,120 --> 00:11:13,480 Speaker 1: my films, we came up with on the spot and 223 00:11:13,480 --> 00:11:15,760 Speaker 1: and I just, you know, I just felt that a 224 00:11:16,320 --> 00:11:19,160 Speaker 1: it did create that humanism that you're talking about. But 225 00:11:19,200 --> 00:11:21,680 Speaker 1: there's something else with a movie like this, Mike, which 226 00:11:21,760 --> 00:11:24,920 Speaker 1: is really important, is that it's very difficult to keep 227 00:11:24,960 --> 00:11:28,480 Speaker 1: track of characters because they're either wearing helmets and their 228 00:11:28,480 --> 00:11:32,360 Speaker 1: heads are shaved. You know, they're they are made to 229 00:11:32,400 --> 00:11:35,800 Speaker 1: look uniform as the as the world implies. And so 230 00:11:35,880 --> 00:11:38,360 Speaker 1: I thought by having the scene right before the big 231 00:11:38,360 --> 00:11:41,640 Speaker 1: battle when they're all calling home. That gives them each 232 00:11:41,640 --> 00:11:44,840 Speaker 1: a little bit of individualism that can separate them from 233 00:11:44,840 --> 00:11:47,480 Speaker 1: from one another. So I thought that was really important. 234 00:11:47,760 --> 00:11:51,040 Speaker 1: But I think that the emotional impact that you're feeling 235 00:11:51,080 --> 00:11:54,679 Speaker 1: comes from the score by Larry Groupe. It's just it's 236 00:11:54,679 --> 00:12:00,360 Speaker 1: a perfectly beautiful, evocative UM score and I think serves 237 00:12:00,480 --> 00:12:02,880 Speaker 1: very well for that scene. Yeah, I love that scene. 238 00:12:02,960 --> 00:12:07,000 Speaker 1: And also thinking about the other actors in this, Scott Eastwood, 239 00:12:07,040 --> 00:12:09,920 Speaker 1: Milo Gibson. When you're directing those guys, do you ever 240 00:12:09,960 --> 00:12:11,880 Speaker 1: see like a glimpse of their dad, Like when you're 241 00:12:11,880 --> 00:12:14,200 Speaker 1: directing Oh my god, are you kidding me? You see 242 00:12:14,240 --> 00:12:19,800 Speaker 1: you see? Oh it's incredible. And sometimes he sounds that 243 00:12:19,880 --> 00:12:22,319 Speaker 1: he sounds like him. And I'll tell you one thing. 244 00:12:22,600 --> 00:12:27,680 Speaker 1: You know, you say that to other actors whose parents, um, 245 00:12:27,720 --> 00:12:29,760 Speaker 1: you know, were actors, and you say that they their 246 00:12:29,800 --> 00:12:32,360 Speaker 1: femers are really hurt. But Scott is so proud of 247 00:12:32,400 --> 00:12:36,160 Speaker 1: his bad twins. He's so proud of him and would 248 00:12:36,240 --> 00:12:39,760 Speaker 1: love nothing more than to be comparative. And sometimes when 249 00:12:39,760 --> 00:12:41,600 Speaker 1: we're talking about a scene, he said, you know, I 250 00:12:41,600 --> 00:12:43,640 Speaker 1: know how my dad would do this, and this is 251 00:12:43,640 --> 00:12:46,839 Speaker 1: what he would say. And as if to suggest me 252 00:12:46,920 --> 00:12:48,960 Speaker 1: that this is how the scene should should be played. 253 00:12:49,640 --> 00:12:53,080 Speaker 1: So you know, he's not he's definitely not trying to 254 00:12:53,120 --> 00:12:55,760 Speaker 1: replicate his father, and he very much wants to be 255 00:12:55,960 --> 00:12:58,280 Speaker 1: his own actor, and he absolutely is, and I think 256 00:12:58,320 --> 00:13:02,240 Speaker 1: it's easily his best performance. But yeah, I definitely saw 257 00:13:03,720 --> 00:13:08,480 Speaker 1: some some Clint, some Clint. There's some sometimes um and 258 00:13:08,480 --> 00:13:12,160 Speaker 1: and and also with Milo it's um you know, Myleo Gibson. 259 00:13:12,240 --> 00:13:14,040 Speaker 1: You do see some some of his dad in there, 260 00:13:14,440 --> 00:13:16,960 Speaker 1: but that just comes from you almost from genetics, from 261 00:13:17,000 --> 00:13:19,800 Speaker 1: the way he walks, from the way he moves his hands. 262 00:13:20,280 --> 00:13:22,320 Speaker 1: You know, he does have a certain like Mel does 263 00:13:22,320 --> 00:13:25,160 Speaker 1: a certain business with his with his arms and his hands. 264 00:13:25,640 --> 00:13:28,720 Speaker 1: But you know, there were several other um kids and 265 00:13:28,760 --> 00:13:32,559 Speaker 1: grandkids of superstars in this movie. There's plenty of them. 266 00:13:32,640 --> 00:13:36,440 Speaker 1: Who else is in there, like, well, um, I'll tell 267 00:13:36,480 --> 00:13:41,680 Speaker 1: you um, Richard Attenborough's grandson plays Faukner. Um. He's a 268 00:13:41,720 --> 00:13:44,400 Speaker 1: guy who is having drugs the beginning of the Soul. 269 00:13:45,600 --> 00:13:50,319 Speaker 1: And then you've got Scott all the Coffee playing um 270 00:13:50,960 --> 00:13:55,160 Speaker 1: uh playing Scuza And that's Alan Alda's grandson. He also 271 00:13:55,200 --> 00:13:59,240 Speaker 1: happens to have been until now my my dog sitter. 272 00:14:00,280 --> 00:14:04,319 Speaker 1: And but but the most amazing one was was this Mike. 273 00:14:04,480 --> 00:14:06,240 Speaker 1: We're in the middle of it filming. I decided that 274 00:14:06,280 --> 00:14:08,840 Speaker 1: we need to put another real character in the movie, 275 00:14:09,600 --> 00:14:13,240 Speaker 1: um to continue to you know, humanize these guys. It's 276 00:14:13,280 --> 00:14:16,319 Speaker 1: the character of Jones and I and I put out 277 00:14:16,360 --> 00:14:18,760 Speaker 1: I went to Britain, which was close word of shooting, 278 00:14:19,320 --> 00:14:22,160 Speaker 1: and put out a massive casting call and I picked 279 00:14:22,200 --> 00:14:24,840 Speaker 1: this dude. You know, I didn't even realize what his 280 00:14:24,960 --> 00:14:26,920 Speaker 1: last name was when I when I hired him that 281 00:14:26,960 --> 00:14:28,640 Speaker 1: he was the best guy for the job. And shows 282 00:14:28,720 --> 00:14:32,680 Speaker 1: up on set and his name was James Dragger. It's 283 00:14:32,800 --> 00:14:38,800 Speaker 1: Mick Dragger's son. Yeah, and and and and so that 284 00:14:38,920 --> 00:14:41,360 Speaker 1: was really that was the most fun guy to talk 285 00:14:41,440 --> 00:14:43,560 Speaker 1: to about his dad because you know, I'm used to 286 00:14:44,160 --> 00:14:47,000 Speaker 1: you know, all this movie royalty, but you know who's 287 00:14:47,160 --> 00:14:51,560 Speaker 1: who's more royalty in lock and Roll than Mick Jagger. Here. 288 00:14:52,320 --> 00:14:54,640 Speaker 1: Oh it was great and so and what you'll see 289 00:14:54,640 --> 00:14:56,680 Speaker 1: when you get the DVD of the movie, and they 290 00:14:56,720 --> 00:14:59,600 Speaker 1: have these extras um and I think you can get 291 00:14:59,600 --> 00:15:01,880 Speaker 1: some extra as you get us on d O D 292 00:15:01,920 --> 00:15:05,720 Speaker 1: on like iTunes. I'm I'm not sure, but you'll see, Uh, 293 00:15:05,760 --> 00:15:08,560 Speaker 1: you know James singing the song that I wrote in 294 00:15:08,600 --> 00:15:10,680 Speaker 1: the film. It's not in the actual movie, but it 295 00:15:10,880 --> 00:15:13,920 Speaker 1: is in the extras. I got one final question for you. 296 00:15:14,080 --> 00:15:17,640 Speaker 1: If there's a young filmmaker out there, what one piece 297 00:15:17,680 --> 00:15:21,080 Speaker 1: of advice would you give them. I'd say, don't even try. 298 00:15:21,280 --> 00:15:24,520 Speaker 1: Don't even try. They don't even try, because you know why, dude, 299 00:15:24,520 --> 00:15:27,560 Speaker 1: I don't need the fucking competition. You know, I've I've 300 00:15:27,640 --> 00:15:29,800 Speaker 1: about had it, you know. You know it's hard enough 301 00:15:29,840 --> 00:15:31,560 Speaker 1: for me to make it. I don't need these new 302 00:15:31,600 --> 00:15:35,480 Speaker 1: guys coming in. Actually, well, look, yeah, I hang it up. 303 00:15:35,560 --> 00:15:39,320 Speaker 1: It's it's there's there's no chance. Here's here's what I 304 00:15:39,320 --> 00:15:42,560 Speaker 1: would say. Um, and I mean this from the bottom art. 305 00:15:42,600 --> 00:15:45,120 Speaker 1: It is easy, or much easier than it was when 306 00:15:45,160 --> 00:15:49,040 Speaker 1: I was starting to make short films. There should never 307 00:15:49,080 --> 00:15:51,440 Speaker 1: be a moment when you're not making a movie, or 308 00:15:51,480 --> 00:15:53,920 Speaker 1: not in the process of making a movie, not in 309 00:15:53,920 --> 00:15:56,120 Speaker 1: the process of writing it. To not never be a 310 00:15:56,160 --> 00:15:59,440 Speaker 1: moment when you're not filming, you know, and you make 311 00:15:59,560 --> 00:16:02,240 Speaker 1: you keep making these short films. You can add them 312 00:16:02,280 --> 00:16:04,760 Speaker 1: together much easier than before. You can almost do it 313 00:16:04,800 --> 00:16:07,480 Speaker 1: on an iPhone. Sometimes you can do an iPhone and 314 00:16:07,600 --> 00:16:10,240 Speaker 1: enter them at the festivals and just don't stop. You 315 00:16:10,760 --> 00:16:14,960 Speaker 1: cannot stop creating. And you know, most people who I 316 00:16:15,040 --> 00:16:18,920 Speaker 1: know are persistent. They don't necessarily succeed, Mike, but they 317 00:16:18,960 --> 00:16:22,720 Speaker 1: get a shot. They get a shot. Nice. So basically, 318 00:16:24,520 --> 00:16:27,080 Speaker 1: or just go start a YouTube and don't even focus 319 00:16:27,120 --> 00:16:31,080 Speaker 1: on movies and no confidation. Yeah, yeah, yeah, I don't 320 00:16:31,080 --> 00:16:34,080 Speaker 1: need it, man. You know, it's like it's really it's 321 00:16:34,120 --> 00:16:36,040 Speaker 1: it's tough enough for old geezers like me to get 322 00:16:36,040 --> 00:16:38,480 Speaker 1: to work, you know, I don't need the young bucks 323 00:16:38,520 --> 00:16:40,960 Speaker 1: coming in and showing how creative there. All right, it's 324 00:16:40,960 --> 00:16:42,880 Speaker 1: been good talking to you. I love the movie. Everybody 325 00:16:42,880 --> 00:16:45,840 Speaker 1: can go check it out now. Yeah it's on, Yeah, 326 00:16:45,920 --> 00:16:47,960 Speaker 1: it's it's on. It's on v O D and playing 327 00:16:47,920 --> 00:16:51,320 Speaker 1: in some theaters and um, you know, and uh, you know, 328 00:16:51,360 --> 00:16:54,480 Speaker 1: we're damn proud of it and very emotional movie for me. 329 00:16:54,520 --> 00:16:57,440 Speaker 1: And I'm really happy I've talked to you about it. Mike. Hello, man, 330 00:16:57,520 --> 00:17:04,760 Speaker 1: have a good day. Thanks. True I hope you guys 331 00:17:04,800 --> 00:17:07,320 Speaker 1: enjoyed that conversation with Rod Lury. I really like just 332 00:17:07,359 --> 00:17:09,159 Speaker 1: how open and honest he was about the fact that 333 00:17:09,200 --> 00:17:12,199 Speaker 1: this movie he spent so much time working on is 334 00:17:12,280 --> 00:17:14,480 Speaker 1: now not being able to see it in its full 335 00:17:14,520 --> 00:17:17,360 Speaker 1: potential because he had no idea when he started flming 336 00:17:17,440 --> 00:17:19,679 Speaker 1: this movie two years ago that it wasn't gonna end 337 00:17:19,760 --> 00:17:21,639 Speaker 1: up on the big screen. Like there's no way of 338 00:17:21,640 --> 00:17:23,480 Speaker 1: knowing that when you're out there filming this movie that 339 00:17:24,040 --> 00:17:26,399 Speaker 1: anything like this would be happening to where theaters are 340 00:17:26,440 --> 00:17:29,399 Speaker 1: just basically shut down everywhere. And I kind of like 341 00:17:29,600 --> 00:17:32,119 Speaker 1: how he said, you know, it sucks, like the fact 342 00:17:32,160 --> 00:17:35,040 Speaker 1: that people like me ended up watching in the laptop. 343 00:17:35,080 --> 00:17:37,480 Speaker 1: People will be watching it sometimes even on their phones 344 00:17:37,560 --> 00:17:40,359 Speaker 1: now because the video wanted to man or you know, 345 00:17:41,440 --> 00:17:44,800 Speaker 1: I think he feels a little bit better the fact 346 00:17:44,840 --> 00:17:47,160 Speaker 1: that people have, you know, big screens and nice sound 347 00:17:47,160 --> 00:17:50,320 Speaker 1: systems at home. But when I watched this movie, I 348 00:17:50,359 --> 00:17:52,360 Speaker 1: was even thinking, like, I'm watching this on my laptop, 349 00:17:52,400 --> 00:17:55,199 Speaker 1: but there's so much like gunfire going off and so 350 00:17:55,280 --> 00:17:57,159 Speaker 1: much big things on the screen that I felt like 351 00:17:57,160 --> 00:17:58,919 Speaker 1: I needed to be back in the theater to watch it. 352 00:17:59,080 --> 00:18:01,240 Speaker 1: So I didn't what he was gonna say when I 353 00:18:01,240 --> 00:18:03,040 Speaker 1: asked him that question, But I'm glad he was just 354 00:18:03,040 --> 00:18:04,959 Speaker 1: straight up and me and like, you know what, it 355 00:18:05,000 --> 00:18:07,439 Speaker 1: does suck, But the fact of the matter is it's 356 00:18:07,480 --> 00:18:09,520 Speaker 1: going to probably be like this for a while now, 357 00:18:09,640 --> 00:18:11,919 Speaker 1: maybe forever. So I think even he is kind of 358 00:18:11,920 --> 00:18:15,159 Speaker 1: thinking that, even when things do go back to normal 359 00:18:15,240 --> 00:18:18,199 Speaker 1: a little bit more, that this video on demand is 360 00:18:18,200 --> 00:18:21,399 Speaker 1: really going to be more of a thing, because he's thinking, like, Okay, 361 00:18:22,080 --> 00:18:24,640 Speaker 1: people are always gonna end up watching things on their 362 00:18:24,640 --> 00:18:27,160 Speaker 1: phones or on their laptops, on their tablets, even when 363 00:18:27,200 --> 00:18:30,720 Speaker 1: they do get shown in theaters more often, whenever you know, 364 00:18:30,760 --> 00:18:33,000 Speaker 1: people just rent something, they're watching it on the screen 365 00:18:33,000 --> 00:18:35,320 Speaker 1: that it's not intended for. So it's just kind of 366 00:18:35,320 --> 00:18:38,000 Speaker 1: interesting to think how different that is for somebody who 367 00:18:38,040 --> 00:18:41,679 Speaker 1: makes the movie and creates this content for people to 368 00:18:41,760 --> 00:18:43,880 Speaker 1: take in, and then we take it in in all 369 00:18:43,920 --> 00:18:46,760 Speaker 1: different kinds of ways, which we tend to lean to 370 00:18:46,800 --> 00:18:48,720 Speaker 1: things that are more convenient for us and what we 371 00:18:48,800 --> 00:18:52,240 Speaker 1: feel more comfortable with. I like the feeling at home 372 00:18:52,359 --> 00:18:55,760 Speaker 1: watching a movie on my TV. I've actually before this 373 00:18:55,760 --> 00:18:58,520 Speaker 1: whole thing started, right at the very beginning of Quarantine, 374 00:18:59,000 --> 00:19:00,600 Speaker 1: I was like, I'm gonna have to invest in a 375 00:19:00,600 --> 00:19:03,119 Speaker 1: good TV because I love going to the movies mainly 376 00:19:03,160 --> 00:19:05,520 Speaker 1: for the sound, mainly for the big experience. And I'm like, 377 00:19:05,520 --> 00:19:07,880 Speaker 1: if I'm gonna start watching more things at home, especially 378 00:19:07,880 --> 00:19:09,960 Speaker 1: all these movies that gonna be coming out, I'm gonna 379 00:19:10,000 --> 00:19:12,719 Speaker 1: at least need a better home system. So I did that. 380 00:19:12,880 --> 00:19:15,199 Speaker 1: I think a bunch of other people probably did. But 381 00:19:15,320 --> 00:19:17,440 Speaker 1: the fact of the matter is people are gonna watch 382 00:19:17,520 --> 00:19:19,880 Speaker 1: up under the laptops. They're gonna watch that wherever they 383 00:19:20,080 --> 00:19:23,199 Speaker 1: can easily download it and easily find it. So I 384 00:19:23,200 --> 00:19:25,560 Speaker 1: think it's kind of interesting to see how he's already 385 00:19:25,600 --> 00:19:28,440 Speaker 1: thinking a step ahead and the next movie he's gonna 386 00:19:28,440 --> 00:19:30,240 Speaker 1: be making down the line of Okay, like, maybe people 387 00:19:30,240 --> 00:19:33,040 Speaker 1: will watch this on a smaller screen, But I think 388 00:19:33,040 --> 00:19:37,720 Speaker 1: it works getting something so big and making it as 389 00:19:37,800 --> 00:19:40,960 Speaker 1: big and cinematic as you possibly can, and then letting 390 00:19:41,000 --> 00:19:43,159 Speaker 1: people take it, you know, where they're gonna watch it. 391 00:19:43,400 --> 00:19:45,200 Speaker 1: If it gets scaled down a little bit, I think 392 00:19:45,240 --> 00:19:47,800 Speaker 1: the fact that that big cinematic quality is still there 393 00:19:48,040 --> 00:19:50,520 Speaker 1: will never go away. But anyway, I hope you guys 394 00:19:50,600 --> 00:19:53,080 Speaker 1: enjoyed that. Um. I want to get into now my 395 00:19:53,240 --> 00:19:56,040 Speaker 1: full review of the movie, The Outpost, which I watched 396 00:19:56,040 --> 00:19:58,560 Speaker 1: before I did the interview with Rod. So actually, the 397 00:19:58,560 --> 00:20:00,280 Speaker 1: way this all the way down is I wasn't usually 398 00:20:00,320 --> 00:20:01,879 Speaker 1: going to get to talk to Scott Eastwood which I 399 00:20:01,960 --> 00:20:04,639 Speaker 1: was pretty excited about because I watched this movie and 400 00:20:04,680 --> 00:20:06,120 Speaker 1: they were like, hey, yeah, you can talk to Scott 401 00:20:06,160 --> 00:20:09,200 Speaker 1: Eastwood interview about the movie. And then it turned out 402 00:20:09,200 --> 00:20:11,000 Speaker 1: that that didn't work out, and there you can still 403 00:20:11,000 --> 00:20:13,000 Speaker 1: talk to Rod, the director of the movie. I was like, Okay, 404 00:20:13,040 --> 00:20:15,800 Speaker 1: I'll take him. That'd be cool too, And it ended 405 00:20:15,840 --> 00:20:19,560 Speaker 1: up being really enjoyable for me and probably really insightful, 406 00:20:19,600 --> 00:20:20,880 Speaker 1: and I thought it was really cool to be able 407 00:20:20,920 --> 00:20:23,760 Speaker 1: to talk to him just about movies, me coming just 408 00:20:23,840 --> 00:20:26,720 Speaker 1: as a big movie fan and him just having all 409 00:20:26,720 --> 00:20:30,400 Speaker 1: this other director knowledge. So with that said, I'm gonna 410 00:20:30,440 --> 00:20:33,879 Speaker 1: get my straight up, full honest opinion of this movie review. 411 00:20:33,960 --> 00:20:36,440 Speaker 1: I had already pretty much set even before I talked 412 00:20:36,480 --> 00:20:39,760 Speaker 1: to him, So before I get into that, here's just 413 00:20:39,880 --> 00:20:42,080 Speaker 1: a little bit of the outpost. We need to retake 414 00:20:42,119 --> 00:20:45,320 Speaker 1: this game. We don't have any air support, the manpower, 415 00:20:45,440 --> 00:20:49,000 Speaker 1: our men are trapped down there. Our MTE was forty 416 00:20:49,040 --> 00:20:51,280 Speaker 1: yards away, and there's everything we need to stay in 417 00:20:51,320 --> 00:20:57,800 Speaker 1: this fine. Let me done this. So what the movie 418 00:20:57,840 --> 00:21:00,000 Speaker 1: is about. It's based on a real story that took 419 00:21:00,040 --> 00:21:03,040 Speaker 1: place in two thousand nine back in Afghanistan. The movie 420 00:21:03,119 --> 00:21:05,280 Speaker 1: is actually based on a book written by Jake Tapper. 421 00:21:05,320 --> 00:21:08,359 Speaker 1: But the story is fifty three U. S. Soldiers were 422 00:21:08,560 --> 00:21:11,480 Speaker 1: stationed at this outpost at the bottom of these three mountains, 423 00:21:11,920 --> 00:21:13,640 Speaker 1: and they were there to kind of make this deal 424 00:21:13,720 --> 00:21:15,800 Speaker 1: with the locals and kind of be assistance to them, 425 00:21:15,800 --> 00:21:18,480 Speaker 1: helping them out in their community, to build a relationship 426 00:21:18,520 --> 00:21:22,560 Speaker 1: with them. And essentially what happened was they ended up 427 00:21:22,600 --> 00:21:26,240 Speaker 1: closing the outpost and they got word that the U. S. 428 00:21:26,280 --> 00:21:28,600 Speaker 1: Soldiers were going to leave, and they still hadn't been 429 00:21:28,600 --> 00:21:30,080 Speaker 1: paid some of the money they had been promised, and 430 00:21:30,119 --> 00:21:32,639 Speaker 1: they're thinking, well, if they're gonna leave, then we're not 431 00:21:32,680 --> 00:21:37,439 Speaker 1: gonna get paid. So hundreds of Taliban soldiers scheduled this 432 00:21:37,480 --> 00:21:40,360 Speaker 1: attack and just went in on this outpost where these 433 00:21:40,359 --> 00:21:42,840 Speaker 1: fifty three soldiers essentially had to fight their way out 434 00:21:42,840 --> 00:21:45,320 Speaker 1: of it, and I'll kind of end it there. That's 435 00:21:45,320 --> 00:21:47,840 Speaker 1: basically what sets up the entire movie. And I know 436 00:21:47,880 --> 00:21:51,480 Speaker 1: it's kind of weird to review movies and spoiled movies 437 00:21:51,520 --> 00:21:53,520 Speaker 1: that are actually based on real stories, but I felt 438 00:21:53,520 --> 00:21:56,880 Speaker 1: with this one. As much as I've heard and read 439 00:21:56,920 --> 00:21:59,840 Speaker 1: about the Afghanistan War and even the movies I've seen, 440 00:22:00,000 --> 00:22:02,120 Speaker 1: this was a story I wasn't familiar with and even 441 00:22:02,119 --> 00:22:03,840 Speaker 1: in the book title of references that it is kind 442 00:22:03,840 --> 00:22:07,320 Speaker 1: of an untold story, So I felt like it was 443 00:22:07,440 --> 00:22:09,760 Speaker 1: kind of learning a little bit for me too. So 444 00:22:09,880 --> 00:22:12,400 Speaker 1: aside from it just being a movie and being kind 445 00:22:12,400 --> 00:22:14,679 Speaker 1: of entertaining, which is kind of weird to say about 446 00:22:14,720 --> 00:22:18,280 Speaker 1: such a crazy, intense battle and piece of history, I 447 00:22:18,320 --> 00:22:21,280 Speaker 1: also did learn a little bit while being entertained by 448 00:22:21,280 --> 00:22:24,320 Speaker 1: this movie at the same time. So what I liked 449 00:22:24,320 --> 00:22:27,960 Speaker 1: about this movie is that it is very intense and 450 00:22:28,359 --> 00:22:30,720 Speaker 1: um kind of talking about what Rod said in the 451 00:22:30,760 --> 00:22:33,480 Speaker 1: interview is that he was right there in it, and 452 00:22:33,520 --> 00:22:36,320 Speaker 1: he made sure that they were kind of prepared for 453 00:22:36,359 --> 00:22:39,720 Speaker 1: this and that they were trained so much so that 454 00:22:39,760 --> 00:22:42,440 Speaker 1: it felt real and authentic. And watching this movie, it 455 00:22:42,520 --> 00:22:44,919 Speaker 1: feels like you're kind of in there. And what I 456 00:22:44,960 --> 00:22:48,919 Speaker 1: liked about it was it reminded me of nineteen seventeen, 457 00:22:49,240 --> 00:22:51,560 Speaker 1: which we referenced in the interview, that you felt like 458 00:22:51,600 --> 00:22:54,520 Speaker 1: you were in the action. Like the camera movements are 459 00:22:54,520 --> 00:22:56,800 Speaker 1: like right there with the actors going right up into 460 00:22:56,840 --> 00:22:59,639 Speaker 1: their faces, and then when all the gunfire and shooting 461 00:22:59,760 --> 00:23:02,600 Speaker 1: is going off, it feels like you're essentially a part 462 00:23:02,600 --> 00:23:05,240 Speaker 1: of the team to moving through all the action and 463 00:23:05,280 --> 00:23:07,560 Speaker 1: it's not like you're just watching with the over kind 464 00:23:07,560 --> 00:23:09,600 Speaker 1: of scope of the whole thing. It feels like you're 465 00:23:09,640 --> 00:23:12,440 Speaker 1: in there. And not only does it feel like you're 466 00:23:12,480 --> 00:23:16,040 Speaker 1: in there, but the movie is pretty intense and just 467 00:23:16,080 --> 00:23:18,320 Speaker 1: you know, violent, and you're thinking of it as a movie, 468 00:23:18,320 --> 00:23:21,119 Speaker 1: but it's like this really happened. It makes it feel 469 00:23:21,160 --> 00:23:25,000 Speaker 1: like man war is really hell Like. It's very kind 470 00:23:25,000 --> 00:23:28,879 Speaker 1: of eye opening to what these soldiers have to go 471 00:23:28,960 --> 00:23:30,919 Speaker 1: through and what they had to go through during this 472 00:23:30,920 --> 00:23:33,640 Speaker 1: Afghanistan war and still go through today. So I think 473 00:23:33,680 --> 00:23:36,000 Speaker 1: that kind of put into perspective too, and also kind 474 00:23:36,000 --> 00:23:39,360 Speaker 1: of learning about these soldier stories and to see how 475 00:23:39,480 --> 00:23:42,440 Speaker 1: young they were, it's just really crazy to see and feel. 476 00:23:42,920 --> 00:23:46,480 Speaker 1: I thought Orlando Bloom was a really cool actor that 477 00:23:46,520 --> 00:23:48,560 Speaker 1: they got for this, and also Scott east Wood. I 478 00:23:48,560 --> 00:23:50,720 Speaker 1: haven't seen a whole lot of stuff with him in it, 479 00:23:51,200 --> 00:23:54,040 Speaker 1: but I was really kind of like, Okay, I see 480 00:23:54,080 --> 00:23:57,760 Speaker 1: you Scott Eastwood, Like it's feels almost like you are 481 00:23:57,880 --> 00:24:00,440 Speaker 1: watching a younger version of Clint Eastwood. Would maybe why 482 00:24:00,440 --> 00:24:02,960 Speaker 1: I enjoyed a little bit more. He's probably a little 483 00:24:02,960 --> 00:24:06,040 Speaker 1: bit better looking than Clint Easwood was back in the day. 484 00:24:06,080 --> 00:24:08,919 Speaker 1: I think so. My girlfriend tends to think so, and 485 00:24:08,960 --> 00:24:10,840 Speaker 1: I thought he was a pretty good actor. Like, I 486 00:24:10,880 --> 00:24:12,919 Speaker 1: didn't feel at any point in this movie like it 487 00:24:12,960 --> 00:24:16,119 Speaker 1: was cheesy in anyway, or like I was watching people 488 00:24:16,200 --> 00:24:19,640 Speaker 1: kind of act. Like sometimes in war movies, I feel 489 00:24:19,640 --> 00:24:21,879 Speaker 1: they're a little bit over dramatic in the way that 490 00:24:21,920 --> 00:24:24,600 Speaker 1: they portrayed the people they're playing, But I felt this 491 00:24:24,640 --> 00:24:26,760 Speaker 1: one was pretty straight on and just kind of raw. 492 00:24:27,000 --> 00:24:28,840 Speaker 1: Another thing I kind of took into account is that 493 00:24:28,840 --> 00:24:32,080 Speaker 1: this movie did have a lower budget than some other big, 494 00:24:32,200 --> 00:24:35,520 Speaker 1: high budget war movies. So a movie like nineteen seventeen, 495 00:24:35,520 --> 00:24:37,600 Speaker 1: where it's you know, they have a lot more money 496 00:24:37,600 --> 00:24:39,480 Speaker 1: to put into it filming, and they spend a lot 497 00:24:39,480 --> 00:24:41,000 Speaker 1: more time out on set, and they can do a 498 00:24:41,000 --> 00:24:44,560 Speaker 1: lot more in post production. I felt this one did 499 00:24:44,680 --> 00:24:47,359 Speaker 1: have a lower budget, and I think they kind of 500 00:24:47,400 --> 00:24:50,360 Speaker 1: accounted for that in the way that the cuts were 501 00:24:50,400 --> 00:24:52,120 Speaker 1: made in the editing, and the way they just made 502 00:24:52,160 --> 00:24:54,760 Speaker 1: everything super raw. I feel like it was one take, 503 00:24:55,280 --> 00:24:57,600 Speaker 1: and I think that was mainly because they didn't have 504 00:24:57,680 --> 00:25:01,040 Speaker 1: the money to do all these other crazy post production stuff. 505 00:25:01,080 --> 00:25:03,399 Speaker 1: So it does feel raw, and it does feel like 506 00:25:03,440 --> 00:25:05,320 Speaker 1: a battle when you're watching it, and I think that 507 00:25:05,359 --> 00:25:07,639 Speaker 1: adds a lot more character to this movie, and I 508 00:25:07,680 --> 00:25:10,840 Speaker 1: wasn't expecting to find in this movie was the little 509 00:25:10,920 --> 00:25:13,440 Speaker 1: piece of humanity it kind of added and kind of 510 00:25:13,440 --> 00:25:16,359 Speaker 1: telling the stories of these soldiers, And it's just that 511 00:25:16,520 --> 00:25:19,160 Speaker 1: one scene I mentioned earlier in the interview where it's 512 00:25:19,200 --> 00:25:22,119 Speaker 1: the soldiers on the satellite phone calling home to their parents, 513 00:25:22,119 --> 00:25:24,960 Speaker 1: and you kind of get a different feeling of what 514 00:25:25,080 --> 00:25:27,359 Speaker 1: each person is going through and what war is to 515 00:25:27,440 --> 00:25:29,960 Speaker 1: each of these people, because some people, you know, their 516 00:25:29,960 --> 00:25:33,320 Speaker 1: conversations are a little sad, and some that's kind of happy, 517 00:25:33,440 --> 00:25:35,719 Speaker 1: and then some it's just kind of totally different. And 518 00:25:35,720 --> 00:25:39,399 Speaker 1: it just these different people and their different stories all 519 00:25:39,440 --> 00:25:42,080 Speaker 1: kind of come together as one. And that little scene 520 00:25:42,119 --> 00:25:43,720 Speaker 1: just kind of makes you think of, like, man, these 521 00:25:43,800 --> 00:25:47,440 Speaker 1: kids are so young, like they're twenty five two years old, 522 00:25:47,560 --> 00:25:50,000 Speaker 1: and they're at war like this and this is their 523 00:25:50,280 --> 00:25:52,119 Speaker 1: everyday life like we see it in a movie, and 524 00:25:52,160 --> 00:25:54,040 Speaker 1: thinking of like, oh, yeah, this is how a movie 525 00:25:54,040 --> 00:25:56,480 Speaker 1: goes down, but this is what they actually experienced, and 526 00:25:56,520 --> 00:25:59,120 Speaker 1: it's crazy to see. So overall, I give it four 527 00:25:59,200 --> 00:26:01,320 Speaker 1: out of five and Shells. I think it's one of 528 00:26:01,359 --> 00:26:04,560 Speaker 1: the greatest war movies I've seen, and probably the last 529 00:26:04,560 --> 00:26:07,000 Speaker 1: ten years, because it was able to move me in 530 00:26:07,000 --> 00:26:09,639 Speaker 1: a way that I wasn't expecting, told me about a 531 00:26:09,640 --> 00:26:11,879 Speaker 1: story I didn't know about, and then it was just 532 00:26:12,040 --> 00:26:16,400 Speaker 1: really kind of interesting to watch, even hard and stressful 533 00:26:16,440 --> 00:26:18,679 Speaker 1: to watch it sometimes because you didn't know really what 534 00:26:18,800 --> 00:26:21,320 Speaker 1: was going to happen next or when this was all 535 00:26:21,359 --> 00:26:23,720 Speaker 1: going to kind of go awry. And I say it's 536 00:26:23,720 --> 00:26:25,439 Speaker 1: one of my favorite war movies in the last ten 537 00:26:25,520 --> 00:26:28,800 Speaker 1: years because I think this type of war movie where 538 00:26:28,840 --> 00:26:31,240 Speaker 1: it feels a little more greedier, has kind of really 539 00:26:31,520 --> 00:26:34,240 Speaker 1: had success over the last ten years, and where I 540 00:26:34,240 --> 00:26:36,000 Speaker 1: would kind of rank it, I'd probably put it in 541 00:26:36,080 --> 00:26:38,399 Speaker 1: my top five of the last ten years, So I 542 00:26:38,400 --> 00:26:41,400 Speaker 1: would put this movie right there at number five. Um. 543 00:26:41,520 --> 00:26:43,720 Speaker 1: We also talked about dun Kirk, which I thought was 544 00:26:43,760 --> 00:26:46,359 Speaker 1: a really good movie, and that one I also felt 545 00:26:46,400 --> 00:26:50,239 Speaker 1: like I had no idea about that story, and I 546 00:26:50,320 --> 00:26:52,640 Speaker 1: really I think people were one way or the other 547 00:26:52,720 --> 00:26:55,199 Speaker 1: on that one because it is kind of there's not 548 00:26:55,280 --> 00:26:57,480 Speaker 1: a whole lot of dialogue and Dunkirk gets a lot 549 00:26:57,480 --> 00:27:00,280 Speaker 1: of just action and being right there in there with them. 550 00:27:00,359 --> 00:27:03,560 Speaker 1: But I think visually that movie just looked so good 551 00:27:03,640 --> 00:27:05,480 Speaker 1: and was just so interesting, and I thought it was 552 00:27:05,560 --> 00:27:08,240 Speaker 1: so well done that I really like that. I really 553 00:27:08,240 --> 00:27:11,280 Speaker 1: like Christopher Nolan doing that. Zero Dark thirty was another 554 00:27:11,280 --> 00:27:13,280 Speaker 1: really good one that I remember seeing in theaters and 555 00:27:13,320 --> 00:27:15,159 Speaker 1: just being like, Oh, I can't wait to see what 556 00:27:15,200 --> 00:27:17,520 Speaker 1: happens next in this one. And that was a story 557 00:27:17,560 --> 00:27:20,240 Speaker 1: I was more familiar with, but you really didn't know 558 00:27:20,280 --> 00:27:22,880 Speaker 1: how some of the details went down of the taking 559 00:27:22,880 --> 00:27:25,639 Speaker 1: down of Osama bin Ladin, And that's probably my favorite 560 00:27:25,720 --> 00:27:28,000 Speaker 1: Jessica chest In movie too. And then I really like 561 00:27:28,119 --> 00:27:31,639 Speaker 1: nineteen seventeen last year. The whole one shot thing was 562 00:27:31,720 --> 00:27:33,719 Speaker 1: really kind of interesting for me to just kind of 563 00:27:33,760 --> 00:27:36,439 Speaker 1: grasp and see how they did that whole thing. And 564 00:27:36,440 --> 00:27:38,919 Speaker 1: then not only that it's a great story, it follows 565 00:27:38,960 --> 00:27:41,760 Speaker 1: it perfectly in the action and all other things in 566 00:27:41,760 --> 00:27:43,520 Speaker 1: that movie is just really good to be I haven't 567 00:27:43,560 --> 00:27:45,720 Speaker 1: seen that one. That's another really great one too. And 568 00:27:45,720 --> 00:27:48,200 Speaker 1: then my favorite war movie of the last ten years 569 00:27:48,240 --> 00:27:51,959 Speaker 1: would have to be American Sniper. I remember going to 570 00:27:51,960 --> 00:27:54,359 Speaker 1: see that in a pack theater on opening night and 571 00:27:54,400 --> 00:27:57,720 Speaker 1: being completely moved at the way Bradley Cooper portrayed Chris Kyle, 572 00:27:57,800 --> 00:28:01,120 Speaker 1: who had such an intense, crazy story and in that one. 573 00:28:01,200 --> 00:28:03,520 Speaker 1: It was just the effects that you've got to see 574 00:28:03,560 --> 00:28:07,840 Speaker 1: of how a soldier goes from being in war and 575 00:28:07,880 --> 00:28:12,080 Speaker 1: being in these super high, stressful, intense moments that nobody 576 00:28:12,119 --> 00:28:16,159 Speaker 1: like you or I would probably experience, but then having 577 00:28:16,160 --> 00:28:18,800 Speaker 1: to do all that and come back home and you know, 578 00:28:19,000 --> 00:28:22,040 Speaker 1: have a family and do everyday things and you have 579 00:28:22,160 --> 00:28:25,159 Speaker 1: to go back to being normal and going back and 580 00:28:25,200 --> 00:28:27,560 Speaker 1: forth between those two, Like the effects that has on 581 00:28:27,600 --> 00:28:30,840 Speaker 1: your brain and your mentality, in your overall just mental 582 00:28:30,880 --> 00:28:34,360 Speaker 1: state and well being. It's really intense, and I think 583 00:28:34,400 --> 00:28:36,399 Speaker 1: that movie just kind of opened a bunch of people's 584 00:28:36,400 --> 00:28:39,240 Speaker 1: eyes to WHOA, this is insane. So those are my 585 00:28:39,280 --> 00:28:41,680 Speaker 1: favorite war movies in the last ten years. But out 586 00:28:41,680 --> 00:28:43,920 Speaker 1: of all of those, I really recommend going to check 587 00:28:43,920 --> 00:28:46,680 Speaker 1: out the Outpost now. I think you'll really enjoy it. 588 00:28:46,960 --> 00:28:49,160 Speaker 1: You can rent it right now wherever you stream movies. 589 00:28:49,640 --> 00:28:51,640 Speaker 1: All Right, And that's the episode for this week. But 590 00:28:51,680 --> 00:28:52,920 Speaker 1: before I get out of here, I got to get 591 00:28:52,920 --> 00:28:56,160 Speaker 1: my Instagram shout out to at Rebecca Montana ninety two 592 00:28:56,200 --> 00:28:59,040 Speaker 1: on Instagram, who tagged me in her Instagram story that 593 00:28:59,160 --> 00:29:01,480 Speaker 1: she was listening to Fast week's episode all about the 594 00:29:01,480 --> 00:29:04,440 Speaker 1: best road trip movies, and she posted a picture of 595 00:29:04,480 --> 00:29:06,480 Speaker 1: her car dash with the episode hard that she was 596 00:29:06,480 --> 00:29:09,120 Speaker 1: listening to that episode. Like I said, that's my favorite 597 00:29:09,160 --> 00:29:10,720 Speaker 1: thing to see. So if you guys tag me in 598 00:29:10,760 --> 00:29:13,120 Speaker 1: a picture like that, for sure, you'll probably get a 599 00:29:13,160 --> 00:29:14,720 Speaker 1: shout out in the next week's episode. But that's all 600 00:29:14,760 --> 00:29:16,920 Speaker 1: you gotta do is just tag me in your Instagram story, 601 00:29:17,360 --> 00:29:19,240 Speaker 1: tag me on your main post that you're listening to 602 00:29:19,320 --> 00:29:21,480 Speaker 1: the episode, whether it be a picture of your car 603 00:29:21,600 --> 00:29:24,240 Speaker 1: dash or a screenshot, I'll be listening to it. That's 604 00:29:24,240 --> 00:29:26,400 Speaker 1: how you get an Instagram shout out on this show. 605 00:29:26,520 --> 00:29:28,640 Speaker 1: I hope you guys enjoyed the interview this week. Let 606 00:29:28,640 --> 00:29:30,239 Speaker 1: me know what you thought about it, and then if 607 00:29:30,240 --> 00:29:32,239 Speaker 1: you end up checking out that movie, let me know 608 00:29:32,320 --> 00:29:34,360 Speaker 1: what you think too. I will talk to you guys 609 00:29:34,440 --> 00:29:36,920 Speaker 1: next Monday. Here, have a good week. Later