The Clubhouse – Episode 12

The following is a sooner or gator production.
No one's, no one's, no one's.
Good morning!
Yo, stop.
Are you ready for the jam?
I said are you ready for the jam?
Yo, jeep.
Kick it.
Drum and flea.
Yo.
It is Sunday afternoon.
It is 6.01 on the east coast.
It is 301 on the west coast.
If my public school math serves me properly.
It is the 19th of October in the year of our Lord 2014.
The clubhouse is live and on the air.
Now normally it would be an hour later when we start this thing,
but we are doing a special edition today.
It is season 5, episode 12, numerically, number 271.
Not including iTunes exclusives.
We welcome you.
No matter how you are listening, we are glad you are here.
Whether you are listening on our archive from anywhere in the world
or whether you subscribe on iTunes, we cannot thank you enough for being with us.
My name is Rob and I need to take a picture of my house in the daytime
so I remember what it looks like.
But that is a good thing.
We are live from the Angelica Film Center in Mockingbird Station
for the closing day of Dallas Video Best 27.
We could not be more excited to be here.
If you are in the area, come by and see us.
A lot of great stuff still going on upstairs.
We are downstairs in the cafe hanging out.
But let's start by introducing you to the cast of characters.
First of all, to my right is the other producer of this show.
And a man who is almost as much pain as I am today.
He is Chad. Welcome to the show, sir.
Almost.
I may have done more stairs than you.
I'm not sure.
Yeah, but this is one of the few times where I actually say,
but I'm older than you, so.
And you all heard that.
You heard him say that.
I'm just saying.
Also joining us directly across from Chad is the official fact checker of this show.
And a man who has been in his apartment almost as much as I've been in my house.
In the last week and a half, you may know him as Bond Don Go.
But his mom and even Don Ford.
I'm going to call him Don Ford. Welcome, sir.
But where are you? You're on this one.
All right.
It always throws me off.
There you are.
Back at the video fest.
I know.
I want you to introduce our next person.
But before we get the interviews.
Sure.
There's something I have to give you before we start the interview.
To give me?
Yeah, both of you.
Just trust me.
This frightens me.
Okay, but go ahead.
Introduce your first guest.
You know, whenever we do shows like this, we always have a cavalcade of stars.
And today is no exception.
Sitting right across from me is a director.
He is an animator.
He's had three shorts aired at Dallas video fest.
He's Jonathan Bazaan.
Sir, welcome to the show.
Talk right into that microphone.
Everybody can hear you.
Hi, how are you doing, folks?
Doing well.
How are you, sir?
Great. Great.
I'm excited.
I'm flattered.
Oh, it's our honor to have you here.
You had three shorts air today.
And those would be short animated features, not actual shorts,
because people will get confused.
Earth attack, which I just watched myself.
I wouldn't let Chad watch it, because I'm cooler than him.
Attack the city and the system, all aired today.
So when was the short block today?
Short block was scheduled right after another interview
over a part of the book of life.
Oh, really?
Yeah.
And they would show it right after.
And it's like to talk right into that thing and talk nice and loud.
Okay.
There you go.
Now we got something going on.
Right after the book of life, the air student work
from different schools of the area.
And luckily, I was one of the students who picked for that.
And gladly, I had three shorts ready to show,
which impressed my professor.
Not nothing wrong with that.
Right, right.
Because, you know, I do this for the passion of my life.
I animate, I do audio, I do video, I do effects.
Every most waky moments I have there.
And, you know, if you don't have a passion for something,
you don't do it.
And you definitely have a passion, because I'm looking at your resume here
and you've got some skins on the wall, my friend.
I mean, ever since high school, you would do this, you know,
for a long, I wouldn't say a long time.
You're a college student.
But, you know, for me, when I think of high school,
I think of a long time ago.
What started you getting into this?
Well, I was, first of all, I was a computer engineering major.
And then I got, I took one animation class
and I just fell in love with it.
And I was, you know, I was always a film, action film,
visual effects fan, like, you know, Iron Man Superman.
Especially the old Superman's and, you know,
the first Star Wars and all that LucasArts.
And I was, you know, what, I love this.
I fell in love with it.
And the first project I got, first final of the semester,
I was able to finish it in one month,
because I got so into it.
Wow.
I turned in actually two finals that semester,
because I, every weekend, I wouldn't see,
I would, I lived in, oh, with coffee or red bulls.
I was just, that's college right there.
That sounds incredibly familiar, yeah.
I was like teaching myself audio work,
timing of animation, camera work,
propping, raking, you know, modeling, and everything.
Because I thought I heard that, you know,
if you have a good visual, a good effect,
if you don't have the audio, it's not good, you know,
it makes a breakthrough.
Absolutely.
Absolutely.
So I taught myself how to edit, you know,
sequences and how to crop them, how to loop them.
So it was just kind of trial and error until you got it right?
Exactly.
And so your self taught you used stuff like render man
and stuff like that to do your, to do your modeling and everything.
Render man through the smacks,
after effects, nuke, premiere, music maker,
they'll be photoshopped, everything they're necessary with it.
But I did research for it.
Any professional that put videos on,
thanks to all professionals that put tutorials online,
by the way.
God bless you too, for walking you through a lot of stuff like this.
You can find any kind of instructional on YouTube.
Oh, absolutely.
It's like, hey YouTube, I'd like to learn how to paint a barn.
And there's like nine videos you can watch.
Exactly.
And I would just type up, how do I make a good,
how to make something blow up really cool?
Something will come up.
And you know, I would just spend hours.
And these are our tutorials, you know,
that in those professionals know what they're talking about.
And I thank God that they're there.
And I spend every night, every minute,
just learning from them.
And just the exchanging of ideas that people are willing to help,
which I think is great.
Yes.
You know, it's not like back in the day where everybody
would want to hold their car drill closer to their chest.
I'm like, no, why wouldn't we want to help somebody?
You know, if I've been through that muck in a mire,
why would I want you to go through that?
Why wouldn't I show you how to do it?
So you don't have to go through all that crap.
It just gets where you want to go.
Exactly.
And that's why I went on my heart,
apart from becoming a famous filmmaker later on in life,
I, you know, like maybe like a Guillermo d'Ottaro.
Big fan.
Big fan.
I love that guy.
Especially since this is you got to show your shorts
with a screening of the book of life,
which we had a lot to do with.
Right.
Which Don actually got to see a screening of this past week.
He absolutely loved it.
I'm dying to see it.
We kind of had to split duty.
He wouldn't saw that one.
And I wouldn't saw a different one.
I really want to see that film.
It's fun.
It looks awesome.
An amazing, you know, the comedy.
And you can't be, you know, the kind of comedy time
you need to have.
And done locally from what I'm told,
which is even better.
Yes, with a lot of animators and models.
So with all the animation work you've done,
is this the direction you want to continue in,
or are you more wanting to lean more towards live action,
or is CGI and intended?
Because what you do, what the one I saw for Earth Attack
was a combination of CGI and traditional hand drawn animation.
Is that where you want to stay?
Or do you want to venture out into live action?
I want to do both live action and then mix effects with it.
Because, you know, nowadays,
a lot of things that people see online,
they don't get surprised by.
And I want to show them something new,
something different, you know,
something experimental.
And I want to try out, you know,
use live actors and also a lot of visual effects,
just to take them to another world,
you know, make that their imagination,
just go wild and crazy.
And that's why I thought,
you know, Doltoro,
it was beautiful what he did with a panflavory.
Chad really enjoyed that.
Yeah.
I have not had a chance to see that yet.
It's in my instinct.
You always haven't watched it.
I have so much going on.
It's just.
It's, I mean, it's amazing.
But, you know,
but another, like I said,
I'm going back to what she said,
you know, helping people and my other goal
from being a filmmaker,
now I want to,
if I, if, I should say,
when I become famous and rich,
I want to start my own school for filmmakers,
you know, low budget for kids.
You don't have a lot of money
you can't afford the expensive schools
and expensive equipment.
Just bring them in, you know,
their parents don't have to pay almost nothing.
And then just teach them how to work with films.
And because I thought,
since we're moving into the future,
everything's going to be taken care of by robots,
but inspiration and art.
Right?
Like markets,
everything's taken care of by robots,
but inspiration and art work and talent.
That can be replaced by, you know,
by anybody, but human beings,
by our imaginations.
All right.
Let's talk about, you know,
you've had these three shorts air.
You've done, I mean, just eyeballing it.
You're into double digits in the shorts
that you've done.
What's next for you?
I have three other projects
working on the storyboarding right now.
Kind of like a commercial for myself.
Saying, you know,
this is my office.
I'll make things blow up.
You're slow, it says,
making things blow up pretty like.
I should have loved that.
Exactly.
So I was like,
I'm making a commercial for myself,
for my, you know, my rails,
for when I get to go out there.
And I'm also doing remakes
for some music videos
and also for this trailer
for Guardians of the Galaxy,
their new TV show is going to come out.
That's right.
There's going to be an animated series
that was the next year?
Yes.
No, I'm in the year, I believe.
Oh, they're going to this year.
Wow.
Because I've seen some of the,
the still art from it.
Looks great.
Yeah, the trailer I saw it,
the first, you know,
the premier trailer I saw it.
And I was like,
I'm going to remake that.
So I'm going to remake that.
But I'm going to be the,
the main guy.
I'm going to do some green screen work.
I also taught myself green screen work.
Nice.
I'm going to do some CGI in there.
And then I'm going to get,
I'm going to get some props,
some prop guns,
and, you know,
work that.
And just use that for my rail,
my portfolio,
and then just to go out there.
Because I want to be the best of the best.
There's no other way to do it, is there?
Exactly.
And then especially if you love it,
you know,
you can't lose anything.
Exactly.
A wise man once told me is,
if you do what you love,
you'd never work a day in your life.
Exactly.
And like these three rails
that I show, those three videos
that I show right here,
that already had completed
during my summer break,
that's what I spent doing
in my summer break, you know,
just doing the audio work,
the animation,
the timing, the editing,
and all of that.
And I think that's interesting to say
because people don't understand that this isn't something
that you just wake up and throw together.
And you say,
you know,
the short,
you showed me it was three minutes long.
It's like,
that took me my summer break.
These are,
if you do it right,
these are very,
can be very involved
and very detail-oriented.
And it's,
people need to understand
it to truly appreciate
how much work goes into these things.
Exactly.
All right, let's do some shameless plugs.
Facebook, Twitter, Instagram,
whatever you want to plug,
my friend, go right away.
Well, you can always find me,
and you know,
my email is Jonathan.Bazon.411.gmail.com.
And it's B-A-Z-A-N.
Z-A-Z-Z-Z-Zero.
You can find me there in Facebook,
but Facebook,
I have some, you know,
green screen work that I showed,
some samples,
but most of my work is going to be in vimeo.com.
For a slash,
Jonathan E.Bazon.
Z-Zero.
I'm posting things up there,
but you know,
as I said,
I mean, I said,
everything takes work.
It's going to take me a while
to post a next group of projects up there,
but all my work,
including that,
and also some,
some editing work that I did for this.
Men of Steel movie.
I put my nephew flying next to the men of Steel.
Nice.
I did some green screen work with him.
Unfortunately,
he couldn't stand still for too long.
You know, green screen work is.
So I only had a little bit to work with,
but I put a next to him,
next to Superman,
and flying and all that.
All right, well, check him out.
He's up and coming.
Snag him up now
before he's going to charge you a bajillion dollars.
That's all I'm telling you.
Jonathan Bazon,
thank you so much for being with us, sir.
Congratulations on having this short show,
and we're looking forward to many, many things for you to come.
Thank you, thank you.
Yeah, you'll see me in Hollywood,
you'll see me on TV,
you'll see me somewhere.
Outstanding.
Yeah.
All right.
We are live.
Dallas Video Fest 27.
We're going to be here for a little while, at least.
Probably the sun will be gone by the time we leave,
and there's nothing wrong with that.
Our normal show every Sunday night.
Seven Eastern Four Pacific.
Next week is going to be
your Hell in a Cell pre-show,
which will be at our normal time,
seven Eastern Four Pacific,
but it will be in a abbreviated show.
And then as far as I know,
the week after that,
we are back to abnormal in the studio.
So we haven't been in our studio in about six weeks.
Golly.
Oh, I'm dying.
I got to put turning on there.
There you go.
Okay, before we get going,
what's our next guest here?
Last week we had Tim Taylor on the show.
We did.
And I was talking to him at when we were
before searching for General Chow
and Saturday,
and I told him about the Hunger Games.
And he goes,
I wish I would have known.
I could buy you some stuff.
And he goes,
are you going to be here tomorrow night?
And I go, yeah.
So when we saw the Led Zeppelin
and beyond the other way.
How was that, by the way?
We'll do a full thing.
Okay, fair enough.
Well, he decided to bring some stuff.
Now, first stuff.
Nice.
I got the rest of the laundry.
And before,
and for someone nameless,
we won't say anything on air
because I'm going to let you give that to them.
Nice.
That doesn't go too.
Yeah, read what they say.
But I am reading them.
Very nice.
I will make sure that the,
uh,
uh, no, I'm making sure.
That the Justin Timberlake
of the show gets that.
She's going to be very excited about it.
Yeah, we,
everybody knows that.
Yeah,
we,
we,
we,
we,
we,
we,
we,
we,
everybody knows who she is.
If you listen to the show more than twice,
you probably know who she is.
That's awesome.
Thank you, Tim Taylor.
We're taking care of us.
That's going to go.
We're starting to get,
we're starting to get a little bit of a wall of fame.
Yes, we are.
And he will be added to that list.
It is very rare.
When we do,
uh,
these,
these live remotes,
especially from video or film festivals,
that we get a repeat guest.
And I don't know if that's a good thing or a bad thing
on our part.
But we actually have a repeat guest joining us.
Although we did,
we did it once before at,
uh,
the, uh,
another film festival we did here at the Angelica.
We had a couple of great guests.
Yes, we did.
Yeah.
But joining us now is,
is a young lady who joined us.
Gosh,
almost a week and a,
it's been a week and a half.
God,
I feel like it's been a month and a half.
I feel like it's been less than that.
I feel like we just,
we were just doing this.
No,
it feels like it's been,
but that's how long this week has felt like.
The last time we talked to this young lady was
before her short aired on the opening weekend
of Dallas Video Fest 27.
We're going to revisit that now.
She directed and filmed.
And I think she even catered to things.
She did so many jobs on this short.
It was called,
we need to talk about Alec Rebecca Rice has rejoined us.
Welcome back, my friend.
I did cater it,
which means I fed myself.
Which means you just stopped by the Waterburger Drive 3.
Exactly.
So technically that counts.
She was transportation supervisor.
Yeah, paid my own parking the whole bit.
Yeah.
So there should be, you know,
sag cards and things like that coming your way any day now,
I would think.
I know, I have to pay myself sag wages.
That's, I don't know.
Okay, I'm with you now.
So first of all,
but like I said,
before we talked was before this screening.
Now you've had some time to breathe since the screening.
How did it go?
It went really well.
And my film is,
we need to talk about Alec.
Alec with a scene.
And Alec is the American Legislative Exchange Council
to very well funded right wing political action
organization funded by the Koch brothers primarily.
And the film covers a four day period in Dallas this past summer
that happened at the very end of July,
when Alec had its national conference here,
with people like Rick Perry speaking,
and others,
Carly Fiorina,
Jim DeMent,
other, you know,
big, big wigs in the Republican Party.
And they brought in legislators with whom they created
model legislation that they want to get passed in the country.
And we're seeing this kind of legislation happen now
with the voter ID laws.
And the Texas voter ID law was just upheld by the Supreme Court,
just I think it was yesterday.
So that's going to affect voting.
So anyway,
during that period of time too,
there were anti-Alec educational events and protests
that only my footage covers because the news media.
And I don't blame them.
It was, you know,
it's a touchy subject.
I can understand why they might not have been out there to cover it.
Fair enough.
But my film does cover that.
It's only 17 minutes and it is on YouTube.
So if you're interested in politics,
you'd like to go see it as we need to talk about Alec,
ALAC, just Google it,
or go to YouTube and search on it.
You can find it.
I invite everybody to watch it
and I invite everybody to vote.
And I want to applaud the Dallas Video Festival
because it's a unique kind of organization
that's been around for 27 years now.
And it is a real,
it affords a voice for projects like this
and other similar projects and filmmakers.
And I want to, this is a little surprise for you guys.
This is one of the reasons why I'm back here.
Okay.
I wanted to tell you a bit about,
talk to the audience a bit about Charles Burnett.
He is probably one of the most revered filmmakers in America
that most people have never heard of.
Fair enough.
And I had the pleasure of driving him around on Wednesday all day.
He's in his 70s.
He went to UCLA in the late 70s.
And he made a film there
as part of his thesis work called Killer Sheep.
Which did screen?
I do, yes.
Yes, ma'am.
Screen on Wednesday night.
He's at the Dallas Cultural Center.
And his story is really remarkable.
So we've got a few minutes.
I'd like to share that.
Sure, please do.
Yeah, he's,
that film is in the national film registry
is considered a national film treasure
by the Library of Congress.
And now very few films make it into that level of acceptance.
But he's kind of, you know,
big Hollywood fame and dollars have eluded him
because he makes these personal films.
And what made this film remarkable was,
I'm going to shape it here with a story that he told
while he was here on Wednesday.
He said, when he was in film school at UCLA in the late 70s,
there were, he was in there with other filmmakers
that we have now heard of.
Julie Dash, daughters of the dust.
Hayley Garema from Ethiopia,
Billy Woodbury, who we don't hear much from now.
But he had a, he was pretty remarkable career earlier.
A few decades ago,
Charles said that his,
his film instructor told him,
here's what I want you to do.
Go out and bring back something that we have never seen before.
And so that was his,
what he was told to do.
And he did it.
He, he lived in Watts at the time.
He was from Vicksburg, Mississippi.
And his family had relocated to South Central Los Angeles
when he was a child,
so he grew up there.
And this was in the era that, you know,
he had big Hollywood films,
depicting people of color in one way.
He had shaft depicting people of color in another way.
You know, shafts of cool movie.
I love it.
One of my personal favorites.
But it's, you know,
it's a big, high energy film.
And it's kind of the underbelly of Harlem.
And it's, you know, very interesting piece of filmmaking.
And it was, that was a remarkable film.
And it's day when that one came out,
because we hadn't really seen anything like that before.
Indeed.
And this is films are just,
particularly killer sheep just kind of drops you
inside the working class lives of these black families
living in South Central Los Angeles in the late 70s.
And that's the, I think the remarkable part of the story
that he tells.
And what really makes this guy sets him apart
is he has two films in the national film registry.
His second one was killer was to sleep with anger,
with Danny Glover that he got made in 1990.
And that film has also been selected as a national film trader.
Danny Glover loved this film so much that he put money into it.
It became one of the producers.
And the film actually made $3 million at the box office.
And that sounds like a lot to you and me.
It sounds like a lot to me.
I know.
But at that time, I mean,
you had all these other huge blockbusters.
And I do remember when that came out,
because around that time,
I was in high school.
And I worked at my local movie theater,
which helped further foster my love for film
that I've had my entire life.
And I remember when that came out,
because a lot of people were like,
what is this movie?
And I would see people go into it
that would come out of it going,
you know, I'm glad I saw that.
Right.
Right. Right.
Because it's just a kind of different way of making films.
You know, John Casavetes had his way of making films,
which a lot of people kind of compare
Casavetes and Charles Burnett,
having similar style,
where things just happen.
There's not a strict story arc,
but you're just dropped into this life.
And so I think, you know,
that's a lot of what goes on in his films.
And like John Sales,
who also makes very personal films,
you know, just, he's very,
and a very non-Hollywood.
I'm not going to say he's anti-Hollywood.
He's very non-Hollywood.
Though, I guess John Sales did say,
make one of the best quotes of somebody
who's outside of the Hollywood box
that I think I've ever heard.
And that is, in his mind,
he says, Hollywood is creatively bankrupt.
I know a lot of people might argue with that.
But we talked about that on this show,
how it's just become almost a parody of itself.
Because we need people
that are going to bring fresh voices to the table
and show me something
that I haven't seen 19 times already this year,
or, you know,
and it's been one of my biggest gripes.
And in Chad and I argue this all the time,
about a movie I call Stupid Boat Movie,
which I won't say it's real name,
because I refuse to.
But what Cameron did with that film,
if you take the visuals out of that film,
I have seen that story a million times.
Exactly.
And I'm also a little anti-biased to that film,
because I felt that LA Confidential
was a much more superior film than that film that year,
and it got screwed.
But when you have somebody
that brings something different to the table,
especially from a storytelling standpoint,
you have my attention at that point.
You know, don't let me go,
okay, here's how the next hour and a half
of my life are going to go.
Exactly.
And I think that's one thing
that those filmmakers at UCLA
that were working with Charles Burnett,
they all worked on each other's films.
Like we typically do in film school.
Everybody works on everybody else's projects.
And they had more of a kind of a global cinema,
third world cinema viewpoint.
And when you start seeing films from around the world,
from Latin America or Africa or Asia,
you start to get a whole different idea
of what a film can be and how it can be constructed.
And a lot of people have said that Charles Burnett
has been a big influence on many filmmakers today,
working and trying to do different things
and trying to stretch an idea
of what films are in this country
and what we get to see.
So I'm just going to let you assume
you had a very enjoyable time driving him around.
Oh, it was a blast.
It was, you know, really good.
We went to two schools and he talked to the film class
at Booker T. Washington Arts Magnet
and also at Lincoln High.
And a really good screening in the evening
and a lot of good conversation,
a lot of good questions from the audience engagement
and people really intrigued with, you know,
this treat that, you know,
somebody that he's really kind of a hidden gem
that a lot of people don't know about.
Okay, so looking back,
it's now been a week and a half now.
I'm assuming you've been to more than a handful
and he highlights for you outside
because you might be a little bit of a bias
on the Burnett thing.
But anything else from highlights for you from the festival?
Well, the Hitchcock film today,
or I'm sorry, the Hitchcock film last Wednesday,
the opening night in the larger,
was really fun.
And I've seen a lot of Hitchcock
he's probably my favorite director of all time.
And I've got to say, you know,
I've seen films earlier than the larger black male
and then another film that,
when I worked at the Southwest Film Video Archive at SMU,
we had one of his earlier films earlier than that.
And I got to say the larger really
seems to be where Hitchcock kind of
really starts to meld his whole idea of creating suspense.
And I was intrigued by the whole thing.
I thought it was really, really fun.
I saw a really remarkable film last night called The Actress,
which is just finished its festival run,
and it is about an actual actress
as an unusual documentary.
I did see it. She was in the wire wasn't she?
She was in the wire.
She was in the wire in the film.
She got cut from the wire,
and she and her partner at the time decided to just,
well, let's just take our two kids.
We'll move to Beacon, New York.
We'll get the hell out of here.
We're going to get out of the business.
We're going to just go be normal people.
And by the time they got there,
their partnership, their relationship
was starting to fizzle,
and they were going in opposite directions.
And she was getting, you know,
itchy to get back into acting,
getting into films, getting the theater,
and television.
And their next door neighbor happened to be
a documentary filmmaker.
And so he made friends with them,
and they collaborated on this documentary.
And it's a really remarkable film.
It's opening in New York.
I understand fairly shortly.
So that's one to look out for.
And I think she's doing quite well now.
She's getting some offers and some scripts.
And so it looks like her career
has taken another up to 20.
That's pretty cool.
And for the film nerds out there,
I just saw a really good documentary too
on Francois Troopo, conversations with Francois Troopo.
That was this afternoon.
We actually interviewed,
there's a short film that played before that.
Yes.
And we interviewed that director last week as well.
Of course.
Very interesting.
Did you get to see that as well?
I did.
How did that go for you?
That was fun.
Because his film,
just a cigar,
covers some of the suggestive visual elements
that filmmakers used to have to put into films
and in television in the 60s.
If you grew up in the 60s or 70s,
and you watched a lot of TV,
you saw a lot of those twin beds from married people
on the Lucy show.
Why did Ricky and Lucy always have twin beds?
Oh, yes.
That was the censorship rules and regulations back then.
So anything that was, you know,
of a sexual nature or suggestive at all,
they had to put into visual metaphor.
So Gordon's film just,
it was a compilation of a lot of these visual metaphors
of ways that filmmakers inserted sexual themes
without saying it so they could get around the censors.
It's like, you know,
like kids do a junior high to get around their teachers.
Well, I think we all did.
What was the main talking point?
The Maltese wasn't the Maltese.
The Maltese spoken.
Yeah.
Yeah.
Not subtle.
But I have to applaud the video Festive Dallas for, you know,
the kinds of films, the variety,
the unique films that this festival brings together,
the opportunity for people to meet
and see Charles Burnett and his film, his work,
and just, you know,
the vast array of what they've covered in 12 days
is just remarkable.
So if you've missed it this year,
I want to encourage everybody to come next year
and there's literally something here for everybody.
Anything you want to plug before we let you go do what you do?
That's it.
I think I just did my plug for video Festive Dallas.
And of course, for your short film,
we need to talk about Alex.
Alex?
I don't want to say Alex.
It's C.
I want to see if it's an acronym.
It's tricky because they're tricky and as well.
And there's a website too, is there not?
No, it's just on YouTube.
You can just just simply Google we need to talk about Alex
with a C.
And you'll see the little film come up and it's living on YouTube
and I invite you to see it and share it.
And please vote.
Voting is important.
Absolutely.
I read yesterday that
it is estimated that only 15% of the population is going to vote.
And that means you're handing your voice over.
Exactly.
One vote can make a huge difference
in this kind of political environment.
Rebecca Rice, thank you so much for joining us again.
Thank you for having me.
That's a short list of repeat guests.
So that's good news.
Thank you so much.
Thank you.
Enjoy the rest of your evening.
I think we're all going to sleep tomorrow.
I know much.
Thank you.
All right, boys.
Let's get it up.
Don's got another piece of paper for me.
Let's see what we're doing here.
All right, do we need to...
We just need to kill a little bit of time.
Are we good?
All right.
Da-da-da-da-da-da-da-da-da-da.
You're closing the clubhouse podcast.
We are live.
Right now in Telico Film Center屜
are Monking Bird's Station,
The final day of Dallas Video Fest 27 week...
Almost two weeks long, this thing this year.
thing this year. You want to think Bart Weiss and everybody for getting us down here
and let us do this. Of course, the great Kelly Kitchens, because remember, it is
state law. You have to say it that way now. Yeah. She's got an honorary title now.
I wouldn't say honorary at this point, sir. Make sure you visit our website, www.theclubhousepodcast.com.
Find out everything you need to know and some stuff you don't. Make sure you like our
Facebook page. Look up the clubhouse podcast on Facebook, but the word podcast on the
end of it is something completely different. Follow this show on Twitter at Clubhouse Show.
You can follow me on Twitter. I am at yes, that Rob Irvin that is spelled ERVIN.
I am at chat NPG69. The young man by the window is fun Don Go on Twitter.
We love to do live remote shows. If you like us to do that at your particular
establishment, please email him. He is Don at theclubhousepodcast.com. You can
email me, questions, comments, concerns. Tell me to go pound sand. I am Rob at theclubhousepodcast.com.
I am chat at theclubhousepodcast.com. Charlotte Parker is on Pinterest because we are
morally obligated to say that. And Jules Womack, I am sure, is probably trying to figure
out dinner plans for you at this point. So she's not still watching the cowboy game.
I'm not sure. Yeah, I've been gotten my third quarter over yet. I have not gotten
updated. So I'm assuming the third quarter is still on.
Cavalcade of stars continues as we have more guests joining us right now.
And I'm going into this cold. I'm just going to just going to dive right into the
deep end of the pool from her wilderness. I'm going to let you guys introduce
yourselves because that way I don't screw it up. So let me turn mics on. Go.
My name is Lauren McHughan. All right. You guys are going to have to split a microphone.
I'm Crystal Pate. All right.
So we've got all three actresses here. I'm going to go ahead and take the shot in the
dark, even though I have a piece of paper in front of me that tells them.
More Morgana Shaw who is not with us. Okay. She's alive.
She couldn't make it today.
Fair enough. Let me at least just see where we're at. Okay.
You guys just got done. Yeah, we just walked out of there. All right.
Well, first of all, I want you to tell us about the project itself.
Her wilderness is talking right into that thing so everybody can hear you.
Sure. Outstanding. Her wilderness is a feature film by Frank Mosley,
whose upstairs getting interviewed, but will join us shortly. All right.
And it was filmed four years ago, but had a very extensive and beautiful post-process
getting an amazing soundtrack put together. Lots of sound design and a second
unit of filming, which was Riley. And we just we showed it today.
It premiered at the sidewalk film festival earlier this year. All right.
This is our second screening festival.
Well, give us a synopsis of the film if you would.
Well, that's very difficult. Okay.
Her wilderness, you can help me out, Crystal or Riley, if you want.
It's a part. It's not quite an narrative film and it's not quite an experimental film.
There are theatrical and artistic elements of it.
It explores the life of what could be four different women and could be the same woman
at different points in her life, depending on how she's chosen her path
and how she has grown. It gives a lot of space for you to interpret how that
she has come to those points.
So this was the second screening of the film?
There was a private screening at the Fort Worth Museum of Art last year
and then it premiered at the sidewalk film festival earlier this year.
Okay. So technically three or you can call it two and a half.
The first one was in public. Okay. Fair enough.
It was beautiful at the museum.
How did it go today?
I would say very good.
It was beautiful. Yeah. I think as actors, we get to see the film on our own
or in a private screening. I wasn't at the private screening.
Is that a town?
And you know, when you see it on your laptop or on your own,
your first time around your critical, all you do is kind of pick yourself apart
and why did I do that? Why did I move my head this way?
Why did I not speak with that? You know, you're directing yourself practically.
But this time we walked into it, I walked into it at least with an open mind
and ready to just experience it and it was quite an experience.
It was very dreamlike. It had these circular reoccurring themes
between all the characters.
It kind of very subtly and artistically tied themes together
between the characters, both in a sound and visual way,
as well as dialogue. So there's these, if you're paying attention
if you're listening to, you kind of have these echoes of each character
into the next and each scene.
And it was visually stunning, I would say.
The music and the soundtrack and the sound done by Ben Riley, her father,
was beautiful, really crisp and lovely and haunting as well.
And yeah, it came to the end of it really feeling like I had just woken up
from a dream which was kind of, I think, he, Frank said it was one of his intentions
and he hit the nail on the head without.
You mentioned something about watching it on your laptop and being hypercritical.
And I guess for me, the question becomes,
the farther you get away from something,
is it easier to watch or is it harder for you to watch it?
Because it's been four years, so...
I would say it's easier. I mean, you, all kinds of things happen in that process.
It's, you're not the same person.
It literally, I mean, you've gone through life changes.
For me, I got married and, you know, different projects and things.
And just life changes and no, I don't look at life the same way I did four years ago.
And it's interesting to see myself.
And also to disassociate myself from how I looked.
I would say I even put on some weight since then, so it's very interesting to see.
You know, my bone structure looking totally different for me.
I mean, from what I see in the mirror.
And yeah, so in a way, it was like,
oh, hi.
Wow, I used to be you.
Technically, I still am you, but...
Technically, but really?
I mean, I don't have that zit anymore, but, you know...
Well, you know, we're looking at three different ladies at different stages of their lives,
just like in the film, for the lady between you.
What were you like, five?
Because you're...
I mean, talk to me about where you are now versus where you were then,
because you're very young.
I was nine, I think, when I...
when I... we were shooting, and I'm 12 now.
So big, big gap.
Don't know, but...
Do I remember 12?
Do you remember nine?
I could definitely tell you nine is very vague at this point.
Trying to forget nine.
For you, I guess, for you being so young and involved in this process,
what is it like for you now to look back on it?
Now, I think it brought a wider perspective to where I can look and be like,
oh, so I was that young in doing this, and now I'm like,
oh, it's so cool.
I can do more.
It was interesting looking at myself so young and how I've grown mentally
and how I'm like two feet taller now.
How was it for you to even grasp what you were doing at the time?
Because this seems like it's a very complex storyline, a complex script,
and to be able to grip that together for someone like,
how was that for you to really wrap your brain around that?
At the time, I was thinking I'm nine and I'm going into my first film.
Because that was my first film I've ever done.
I didn't know what to do, and Frank guided me along so wonderfully
to where I was so comfortable getting in and looking back.
I was just thinking, oh, my goodness, I'm going to be in a film.
This is so cool.
Let's not screw up.
And it was just overwhelming at the time, I think.
So now where you're at, what's next for you?
I think where I'm in the talks of Rachel Shepard being in her next film.
I think next year is correct, but being a little girl,
going in and out of rehab, so.
Oh, hey, let's just dive right into the deep end of the pool, shall we?
We're going to skip all you.
Nickelodeon, you guys go sit over there.
I'm going here.
Wow, okay.
And for the other two of you.
I have a little production company in New York.
That's where I'm from, or located now.
And we've been doing a bunch of short stuff on some music videos for artists like Julia Weldon
and the stationery set, Alyssa Robbins.
We've got a couple more coming up the rest of this year.
It's been great fun.
Sheamus plugs for the four-set company.
I love those guys.
I got to throw them in there.
Well, we're all about Sheamus cell promotions.
They'll plug away.
Say whatever you want to as long as it's family-friendly.
That's all we're asking.
This is part productions.
We're on Facebook.
We're at 6part2pro.com.
You can look us out.
I'll spell that or there's a new one on there.
It's S-I-X.
Okay.
I just want to make sure people are going to the right place.
Thank you.
Thank you.
You'd probably reach some dead end of the internet.
Or something much, much worse.
When I hope not, I hope not.
That's what we always say.
If you don't put podcasts on the end when you look us up on Facebook, believe me.
It's not what you think it is.
Yeah, we're moving and shaking.
And we'd love you to keep up with us.
Absolutely.
For myself, I've been in the last four years.
I've gotten married so that is kind of taken some time, settling into new life.
Welcome to the institution.
Yeah.
Good and bad and all that.
We just hit 11 years so we could go yesterday.
We're in a relationship.
We're in a year and a half.
So yeah, great ride.
Love in every moment of it.
And yeah, so just starting to get back in the last year.
So I working more on some music projects with my husband actually,
who's a bass player.
And some of our own projects and recording in our home studio and so forth.
And then now really wanting to get the acting bug again and wanting to do some projects.
So diving into some theater work and looking at a production.
I won't plug it right now because the cat's not in the bag and with fear, you know,
don't want to do that.
So yeah, so just keep on being artistic and doing what us artists do,
which is monkey jump from one artistic dream to the next.
Website social media.
Anything you want to plug?
Well, yeah, I'm on social media.
You know, I'm on Facebook like the rest of us put more for personal reasons.
But now I'm not shamelessly plugging in kind of social media.
Fair enough.
But yeah.
And anything you want to plug while you're here?
She says, I'm good because we want to make sure we get everybody rotated in here.
These are your three three principal actresses from her wilderness.
Lauren, is it McCune?
Did I get there?
Lauren?
Okay, I got to read handwriting something that's bad for me.
Riley Templeton, Christopher Paye, thank you ladies for so much for joining us
because we've got the two guys that were on the other side of the camera
that want to come sit with us now.
Thanks so much for having us.
Oh, it was our honor.
Thanks for being absolutely.
Thank you.
Gentlemen, come join us waiting so patiently.
They were probably up answering up a Jillian questions.
And now they get to answer a bajillion more.
How are you?
Doing well sir, how are you?
Good, doing well.
We'll tell everybody that's not sitting here in front of us who you are
and what you did on the film, please.
Yeah, my name is Frank Mosley, I'm the writer director and editor
and one of the producers of the film.
Hello, thank you very much, baby.
Well, everybody who you are?
My name is Barry.
No, no, my name is Ben Templeton.
I did the sound design, the mix.
I did.
Yeah, that's what I did.
Yeah.
We worked on it for a long time.
So Frank and I have gotten to know each other very well.
The guy that's used to wearing the headphones.
Exactly, right?
Right, right.
It's so well, too.
Yeah, they call these cans in the biz.
Yeah, it's another thing is if you refer to it on this show,
people will take it in a completely different direction as well.
Right, right.
So like my career.
Brother, you're right, Lion.
Right?
Right?
Let's talk about this film.
It's played today on the final day of Dallas Video Fest 27 right here at the Angelica
in Buckingbird Station.
The lady said the screening went really well.
It did.
We were so thankful.
We had a good turnout.
And it was the first screening, public screening of the film in the area.
So that was really wonderful.
So it had its premiere at the Sidewalk Fest in Alabama a few months ago.
And it was a shame because a lot of the cast and crew couldn't make it out.
So I'm glad it worked.
So we were not invited.
Yeah.
That was the issue.
Allegedly.
Right.
So it's our favorite word on this show.
It's allegedly.
Allegedly they were not allowed.
Yeah.
More than an hour heads up.
Yeah.
Come on.
Sorry.
I was told not to speak too much.
Something about the fifth amendment just kind of keeps you at bay.
There were no amendments.
No.
It was very factual.
So Frank, what brought you to this?
You know, I made a first feature film that premiered at Dallas International back in 2010.
It was a very straightforward, clear, linear narrative.
And I wanted to do something different.
And on the side of making like normal narrative films, I played with video installation work.
And so I thought it'd be kind of interesting to try to make a second feature film
that straddle that line between narrative and more like a moving painting that you would say in an arc gallery.
Right.
Yeah.
Well, it seems like to me from what the ladies were talking about.
How this is a film that doesn't really have a true resolution, I guess you could say,
because it kind of makes you want to bring yourself to a conclusion on your own.
Right.
Which I love those kind of films because don't force feed me.
Let me use my brain muscles a little bit.
Oh, absolutely.
Yeah, I'm not about answering questions so much as I am about raising questions.
And so for me, that was a really important thing to project yourself into the film.
And I think part of the reason maybe that works for a lot of people is that the characters
are given just enough on screen if you don't understand who they are and what makes them tick.
But they're not so drawn out in full body character mode.
They're more like archetypes.
And so in that way, there's these symbols that you can be like, you know what?
I'm married.
I've had that trouble.
I've been in that spot.
And that's enough, hopefully.
And you can maybe see more of yourself that way, you know.
So you had the three ladies very, very different in their own ways.
Very different.
How was the search for finding the actresses to fill that role versus what you saw in your head?
Versus what you saw in your head versus what you read and what you ended up with.
It's a great question.
I'd say I was very lucky that I knew with the exception of Riley.
I knew all the actresses for a while because I'd either worked with them or I heard of them
through other great filmmaker friends of mine.
Lauren McEun and I went high school theater together.
So she has all the dirt on me.
Can we get her back over there?
Yeah, that would have good information.
We didn't know that earlier.
15 minutes.
She stood right up too.
I think my rate would have changed probably.
But yeah, she was incredible.
And if we'd always wanted to work together and so just it worked out timing wise.
Crystal Pate, I'd produced a film she was in and trusted her.
And I was like, you know what?
I need the way you're able to carry yourself physically and say so much,
but not really saying as much as like say Lauren's character does.
It's like, I need that for the wife character.
So she came on board and then Riley, we pretty much we hadn't found her little girl
and our exec producer, Farah White, was like, you know who you need.
She's like, wait a minute, wait a minute.
Back to truck up a couple of blocks.
Yeah.
Who was the producer?
What did you just write?
She's all around town.
Good Lord.
This man to my right is a huge fan.
I have, she produced my first feature.
We back together.
We're good friends.
We're old friends.
And she kept, and she keeps popping up and things that we...
She's turning into the Kevin Baton of the show.
Oh, and I also know that you were involved in Ain't No, Ain't No Body Saints.
And that kept coming up a lot in the days of the last year.
Yeah.
Yeah, we were, you know, it's all giant and sensuous pool, you know.
It seems like it.
That's how you work, right?
Everybody kept telling you she got to interview Farah.
You got to interview Farah.
And we were like, never get it.
She would like to, however.
Yeah.
I was hoping to see her today.
Now she's been swamped.
So I'm sure she...
Well, but when you find people that you like to work with, you know,
why would you, if it ain't broke, don't fix it.
Well, and that's the thing is that actually, you know,
I was just telling it in another interview with Minigaws.
And I like my film sets to feel like family picnics.
And so everybody's kind of together.
We all, like, makes spaghetti together.
We eat.
We talk about the film.
And a lot of times spaghetti it really truly is.
You know what it is?
But you're on a shoestring budget?
Yeah.
Absolutely.
But, you know, for me, it's all about the environment, the feeling that people you want.
So sure, you take certain people from some productions.
You're like, I want to work with them again.
But I think you're always been meeting new people.
And so that group just constantly expands.
And your family just gets to be huge.
Which makes the budget bigger.
Which in some ways is a good thing.
Yeah.
So it can, you know, pros and cons.
So two and a half times the film's been screened.
Yeah.
Where's it going from here?
So the plans for her world and is, we're waiting here back from two or three festivals.
Depending on what happens with that, we'll determine how soon we put it online.
And our plan with that is the movie's kind of a multi-platform project.
Started off as a play.
And then it became the feature film that it is.
But when we put it online, the website's going to be kind of like an interactive film experience.
And so you go.
Very nice.
You can either choose to watch the movie the way I cut it together in my order.
Or it's kind of like a choose your own adventure novel where if you choose a different way to experience the film,
all the scenes are thrown out of order.
All it has been yets.
And they're all scrambled.
And so you're kind of able to play God and put your mark on how you want to see the story in what order.
And what kind of fate then you see in the characters.
Nice.
I'm on board.
Again, something different to the table.
It's very artistic.
And I'm not mistaken, sir.
And you may have to go back through your mental role next year.
But having been here is the first time we've had the privilege of having a sound guy on a show that's an audio medium.
Yes, I think it is kind of nice.
Right?
About time.
About time.
Where have you been hiding?
With all the other hippies out there.
With all the other sound dudes.
You know, I just answered the phone.
Hey, you know.
And I want to see the filmmaking aspects from through your lenses.
Because for a sound guy, it's a whole different ballgame than it is for most of the other crew.
Right, right, right.
Well, a lot of it had to, first of all, let me, let's go back a little bit and mention the soundtrack.
Yes.
Clint.
He owes you.
Thank you.
I couldn't.
Wonderful music, which is another great element.
So you got a good visual element.
You've got good music element.
Absolutely.
And the wrong music can screw the whole deal.
And so, and the pace of this movie was so open.
And so for me as an audio engineer, sound designer, whatever.
You know, it was really nice to be able to let things breathe as his movie did.
And so it was fun to work on, you know.
And we worked on it for a long time.
I mean, it's, you know.
How long did you work on it?
We worked on it for, I'd say, about a good year, solidly.
But the actual movie took about four years to make.
So it was a very intense labor of love.
And a lot of that.
So when the lady said they filmed this four years ago, it wasn't like you'd got it done.
And it kind of sat there for a while, looking for the right moment.
You literally have been working out this entire time.
Yeah.
Four years, yeah.
And it was mainly because of financial straits as it, as it tends to be, you know, we shot principal photography.
And then we had to get more money to shoot the second unit footage with Riley, the little girl in the woods.
And then we had to get more money for post.
And then we just kind of kept going down that route.
And then, honestly, the music with Clint, you know, I said, Clint, I don't want you to throw a score together.
This is your first movie score.
So like, let's make this something special, you're proud of.
So I was like, there's no rush.
It's already taken three years.
Another year.
What's another year?
Exactly.
I'm like, take your time.
So Ben and Clint were both great with that.
And when you're not beholden to a studio or a distribution company, you can take that kind of time.
You can say, you know what?
I want this to be the movie.
I want it to be versus what you want it to be.
Right.
And I am so thankful for that luxury, but that's also why it is the movie that it is, you know, and why it has its life not in a theater or multiplex, but it's at a film festival.
But what you also need to be.
And what you've also mentioned affects the edit because it doesn't have to fit a certain time slot.
It doesn't, you know, it's not, you're not editing to someone else's approval to a producer's approval.
And I'm fascinated how you go from a headspace of doing a film like Ladies of the House and then go into her wilderness.
I mean, we both both are fine.
No kidding.
We both make quite the jump from that.
No joke.
I like the ladies.
Yeah, we had them on the show earlier this year at a different film festival.
Oh, yeah.
And so much fun to be around.
Melanie C.S. was one of my favorite people.
She's one of my favorite people.
And we just remixed it for, we had another little mix version for another festival.
So it's still got some wheels.
I think she had some life, man.
But that was fun to work.
Hell of an acting partner to Melanie because she was.
So we have talked to you before.
I'm pretty sure you were sitting at the table with us.
You know, I'm thinking it was less facial hair.
Yeah, I played her dog.
I played her dog.
He was taller too.
Did you?
Oh, yeah, yeah.
Well, the camera always adds five feet or something.
Yeah.
Okay.
Something like that.
And that's whenever Ferra's name came up.
And so Ferra got me involved on the mix of that.
So, um, when do we get to talk to this woman?
It's killing.
I know it's killing us.
Throw it out, you know, suspense.
Yeah, she's a, you know, what I was saying, she's not real.
Skinner, don't start the show with free bird.
You got to work your way up to it.
You got to play this the new album first.
And then you got to work your way up to the hits.
Never played the hits first.
Okay.
So we, uh, well, question that I asked of the ladies and I'm going to ask you as a director.
The longer you get separated from it, is it easier to watch the film
or do you still get more critical as time goes on?
You know, uh, to be perfectly honest, it's a two-sided coin to that.
Because I'm a person who really appreciates my roots.
And so I appreciate it for what it was for me at that time.
But making a movie over four years, I changed every year that that movie went on.
And so it was a really tough thing to be in because you want to be like,
well, I want to make the movie that Frank mostly wanted to make four years ago.
But you're also trying to make it be the best movie that it can be.
And you've learned a lot.
You've grown a lot since then.
And so I have a deep love for the movie.
It means a lot to me.
But then it's the other side of me that's like, you know, it's the filmmaker.
And I'm critical.
And I, you know, seeing it even the day, there were things about it.
I'm like, uh, couldn't have done that, changed that differently.
You know, but I think that's just normal.
This is part of the process.
Because if you don't do that, then you become a stagnant artist.
And then you just keep repeating yourself.
And then the same thing every time.
And on a certain, on a much lower level, I guess.
I kind of get that because I always have to take at least a day before.
Because I always listen back to our shows.
But I have to take a day.
And go, just don't, don't touch anything.
Just let it be.
And then I have to listen back.
And I'm like, ooh, probably could have done that better.
Now, now I go back and I listen to our pilot episode, you know,
which is now almost four and a half years ago.
If I go back and listen to that, it's just like, oh, wow.
This was good enough then.
Just the evolution of it has gone along.
And it's like, what did I think was not yet?
What got cut?
And just like you said, you talked about being the Frank Mosley of four years ago versus now.
Yeah.
It's amazing how not only your vision, but your thought process changes.
Where it's like, how did I not see that then?
Right.
Right.
Or how did I see this other part of it that I shouldn't have been able to see?
Oh, yeah.
That two sides of the coin.
There's parts of me to think that I was a better filmmaker, honestly, at AJ.
There's a purity to that.
That he's been diluted.
You know, then I am now.
But then there's other things that are, wow, you know, you've grown in other aspects.
So it's always given take.
You just got to keep learning and never stop yourself.
All right.
Let's do the shameless plugs.
Yeah, was that you ready for you?
Yeah, I've got a bunch.
There you go.
Please do.
Yeah, yeah, yeah.
We've got time.
I have two records coming out.
I'm also a musician.
And so I have a band called Used Bonneville.
And you can check it out.
Somebody's smiling behind you.
I think there's a reason for that.
Check it out.
I can't.
I can't.
I'm scared a little bit.
I'm just saying if you use context clues and rewind about 10 minutes, you might find something
there.
Oh boy.
So I got that.
That's my Used Bonneville band.
Then I have another band called Oxymoron with a fellow named Michael Florial and Scarlett
Deering and that's an electronic band.
I'm not working on any other features or any other programs right now.
I say that because I'm looking for work.
What was it?
Shameless self-promotion.
Right.
All about it.
And I'm not.
And now I'm promoting my availability.
There you go.
You know what?
Fair enough.
Right?
That's acceptable.
Judges?
Yes, we're good.
Yeah.
Frank fired me.
So we're done.
Let's say that.
Allegedly.
Yeah.
Allegedly.
I've just, you know, I've been.
It's funny.
I've really been just doing more acting over the past several years.
And so thankful for the work.
I've just been doing some traveling with some various projects.
Some in New York.
Some in Montana.
So it's been nice excuse to travel.
Do some of that.
Don's from Montana.
Oh, perfect.
I stayed in Butte.
I love Butte actually, by the way.
It's great.
No, but I love it.
It was great.
It was great.
It was low-key.
It's a nice armpit.
I mean, I've seen something in that armpit.
Let me tell you.
I thought it was wonderful.
That was really wonderful.
But yeah.
I've been trying to get back into directing more now that her wilderness is kind of that, you know,
something that's been finally over my head for so long and finishing that up.
I decided to make a new short called Spider Vane.
So that's in post.
Hopefully going to come out next year.
I just wrote a new feature link script that I hope to start pre-pro on in the next year.
And then really just been, you know, kind of prepping all these acting roles that are kind of creeping up on me.
I'm about to do a murder mystery in San Francisco called Americana.
Kelly Garner, Peter Coyote.
Oh, big fan of history.
Yeah, I wish I had scenes with it.
But it's cool to be a part of that film and like any film, you know, with the right people,
that's to me the most appealing aspect.
And these guys don't only make great art, but like there are awesome group of guys.
I'm real thankful to be a part of it.
The film is called Her Wilderness.
Yes.
Make sure, check it out.
Is there a website for it or anything?
And there is HerWilderness.com.
Go check it out and be for too long.
We talked about the interactive way.
It's been a long weekend.
With the interactivity of it where you can kind of make your own cut of the film,
which I think is really interesting and cool.
Go check it out.
Watch his version first.
Do yourself a solid before you start tinkering with something you might not have to.
Look at the right version first.
Thank you, gentlemen.
So much and the ladies that you brought with you as well.
We could not thank you guys enough.
Thank you, man.
Go enjoy everything, please.
Appreciate it.
Thank you, man.
You are listening to the Clubhouse podcast.
We are live Angelica Film Center Mockingbird Station in Dallas for the final night.
Of Dallas Video Fest 27.
We are going strong, sir.
Yes, we are.
Ah.
Sure.
Absolutely.
How is that for you better?
Outstanding.
People are going, Robert, are you talking to yourself more often than not?
Yes.
But we have another guest joining us who also just got finished screening his film.
Alim Holsman, director of a conversation with friend Swat Truffaut,
which we've now talked about two episodes in a row.
So there's that.
We've already been talking about your film before we had a chance to meet you.
Welcome to the show, sir.
So what were you saying about it?
Well, we were talking about how excited we were for it, you know.
Truffaut is one of those directors that, unfortunately, as time is going on,
is kind of fading from the public consciousness.
And to have you have your film shown here to maybe educate a different generation
or a different audience to him, I think is great.
Go ahead and talk about the process for you on this film.
Well, when I first told that,
I teach in editing class at USC.
I also worked full time, but I mentioned to a former student of mine
that I was making a film on Truffaut, and he said,
oh, the ex-Canadian prime minister, that hurts.
And then someone called in yesterday to Raquel saying,
will Tru-Dung be there after this film?
Are there some moments that you just, excuse me,
I need to go beat my head again.
You got to go smack your face into a concrete embankment or something.
Or do you want to just tie them to a chair and go, okay,
you're watching every movie he ever made.
And because now you've earned this thing here.
No worse, I have to spend a year editing a movie about Truffaut
so you can see it.
Well, I mean, is that what inspired you to do this?
Or was there a deeper inspiration for you to actually do this film?
Well, I was a student at the American Film Institute
in the early mid-70s, from 73 to 75.
Okay.
And they had the Harold Lloyd seminars then.
They still do now, but I was there.
There were only 20 students.
And the Harold Lloyd seminars are distinguished
in that they had no moderator.
It's just the students and the filmmaker.
And you spend a week prior to the filmmaker coming,
studying their work.
So you're educated enough to ask.
Oh, absolutely.
Because otherwise it's like a member when you did that thing.
It turns into the Chris Farley.
Tell us about your work.
Yeah.
And you had some pretty amazing contemporaries as well.
If you went to film school at USC around that time.
No, I went to AFI at that time.
Yeah, AFI. He teaches at USC.
You teach at USC?
Yeah.
But I went there with Marty Breast
and Amy Heckerlin.
Heckerlin.
And David Lynch was also seen in various parts
of the campus shooting inserts for Eraserhead
during the two years.
Oh, wow.
Look at that.
Nothing wrong.
Just a couple of people you might know.
They did little indie films.
No one's ever heard of them.
But please go ahead.
But so I, and some of all these were recorded on audio
and some were taped.
They had.
And so I, we were actually used as,
when I was there, we were the first ones to use videotape.
Sony used this as a beta tester.
We had a half inch videotape real to real
with the camera attached to it.
And then you bumped it up to one inch.
And it was one inch to one inch editing.
It was really cool.
But so I, ten years ago, I called AFI,
and I asked, you know, what do you have in your archive?
And they said, it's in terrible shape.
You don't want, you're not, don't even go there.
It's just horribly restored.
And so I bugged them enough to the point where they said,
come in and take whatever you want.
But before worn that we've told you before.
So it was in a closet.
And it was just taped, stacked together.
And the ones that they had visuals on were Spielberg.
From right after you did a close encounter.
Hitchcock from 68 in black and white film.
Oh wow.
Trufo from 1979, Houston and Capra.
So the first thing I did was do a half hour
between Hitchcock and Spielberg.
And then when I saw, I noticed a thing with film students
is they are really afraid to move the camera
while someone's talking.
And they don't have an ability to understand the visualization
of emotion through movement.
Oh absolutely.
And so I thought that Trufo would be a great example
to show to them.
And so I started on Trufo.
And it really inspires people to move the camera
and an actor at the same time.
And the beauty of it is that he had a translator
with him who wrote the first book on Trufo and met in-store.
And then I realized that my concept was to have him speak
in French and visualize what he's saying
and then have her translate and visualize it again
or continue the visualization.
So you're able to see, you're able to just experience him visually
with his voice, not understanding what it means necessarily.
But then you get the explanation and it's really cool.
Excuse me.
I've been talking all weekends.
I think my voice is struggling on me a little bit.
How long does the conversation run?
An hour.
So you've got an hour of footage out of it
and intercut with his work so that people can see
what you're illustrating and things like that.
Yes, the actual seminar was almost a couple hours.
Wow.
But I took out every pause, every repetition, every fall start
so that the pace of it is really intense.
So was this the first time that it was screened today?
Yes.
How to go?
Fantastic.
Full house.
Did you get to do a Q&A afterwards at all?
No full house.
No, just home.
It's a full house.
Nobody can see you.
It's cool.
But they were lined up outside.
We just didn't let anybody in.
There it is.
There you go.
It's called artistic integrity at all.
But we'll let him have a little bit of freedom with it too.
Did you have a chance to do a Q&A with the audience
or was just interviews outside?
No, I had a Q&A bar.
Is it amazing?
Is he not?
We had him the first night of the first big night of the festival.
He actually sat with us at the beginning of the show,
which was great.
And we've got to know Bart over the last year or so.
He is just a fascinating individual.
And the way he gathers the films for the festival,
you see his love for it.
Talk about the experience of the Q&A.
How did that go?
Well, it was good.
It wasn't as good as the movie, but it was good.
I've never been asked to comment on a Q&A.
I was brilliant.
I knew all the answers.
That has shaped itself for me.
And there's nothing wrong with that, sir.
Although I was stumped with one answer.
The question was, who's the contemporary Tufo?
And there isn't one.
No.
No, because there's no one.
Tufo was someone who was deserted by his father.
He deserted the French army.
He was in prison.
And Andre Bazin got him out of prison.
And that's when he was working for
a Cache de cinema,
which was the great French critical magazine.
And so I assume what the father leaving me
was raised by women and new women.
And so he developed an enormous love of women.
And so you really get that in all of his movies.
And one reason why I watched his movies
that I could fall in love.
Absolutely.
And visit Paris at the same time.
Exactly.
Without having to go anywhere.
I know.
I was willing to go back in the Florida.
To ask who his contemporary is.
It's almost an apples and oranges question
because filmmaking now,
you don't have,
it's almost a different vision now
than it was back then.
Except no.
I'm sorry.
No, please do.
Not at all.
That's what we're here for.
One reason why I wanted to make was that he outlines
rules for every contemporary independent filmmaker today.
What he did to make movies is exactly what people need to do now
and are doing in some instances.
I mean, he often,
he doesn't like to go out with the full script.
He likes to have an outline in the script
and know that he has a strong ending.
But he likes to write on weekends with another writer
and understand let the film,
the experiences of the film grow.
He doesn't like to shoot three hours
and then cut it down to two.
Agreed.
He likes to shoot what he's doing.
And he says he knows he has a good ending.
He has the confidence to make the movie.
Plus, you know, he says things like
the way he works with actors.
He doesn't like to talk to them on Mars.
He likes to talk to them one-on-one.
And in fact, he won't let one actor
hear what the other actor is saying.
So often in his boy girl scenes or a man woman scenes,
he'll tell the woman she's the most important in the scene
and tell the man he's the most important
and then he'll see the sparks fly.
Nice.
So where does the film go from here?
Is it still going to be showing?
Are you going to bring it anywhere else?
Are you going to release it for on-demand or DVD or...?
Well, it's a trouble I have with most of my...
I make a lot of films from archives.
And I was here last year with a documentary about
Zelda Leonard, who was the great TV pioneer.
He was the personal director of the Danny Thomas Show
and then he created the first spin-off with the Andy Griffiths Show
and then go for a pile and he produced a Dick Van Dyke Show.
And he was the first to cast an African American
to lead with I Spy.
You know, I remember something about that last year,
especially when you mentioned the I Spy thing.
And I have rights to all the clips from his shows
because his son owns the rights.
I don't know about that.
But you know, people, there are no distributors
who want to distribute archival films.
And with Truffaut, I ran into a different obstacle
that I didn't anticipate.
I thought the people who were experts on Truffaut
would love this and really appreciate the effort.
But their response unilaterally,
and I'm talking about the Museum of Modern Art,
I'm talking about a net in-store who was in it,
and they resented the fact that I made it.
They didn't tell me that.
But they said, what gives you the right to do this?
Do you have the rights to these clips?
And I consulted with Michael Donaldson,
who wrote the book on Fair Use,
several books, or updated versions.
And he teaches at USC too.
And I kind of stuck with the rules.
If you're using the films the way they were
without editorializing them, without repurposing them
for some other reason,
and you use between three and four minutes of each one,
you're allowed fair use.
And especially if I'm a professor,
which I am in using it for educational means.
Absolutely.
But it was like, what gives you the right to do it?
I mean, essentially saying, I could have done this.
Well, then you should have.
But they've got it more to you.
But they respect getting the rights.
Right.
So it's an uphill battle.
Is your vision for it to be able to distribute it wider
or do you kind of like where it is
so that you can take it to places and show it
and talk about it?
My vision is for me to become famous
so that people will be curious to see what I've done in the past.
I'm not really really sure.
Oh, I've been looking into what you've done in your past.
And believe me Rob, some of the stuff that he has done
is stuff that you and I have poured over repeatedly.
Educating me, sir.
Well, how about documentaries about Cinderella,
the Lion King, a Latin lady in the tramp, Pocahontas?
I'm on board.
Well, those are available, and there's the DVDs.
Right, believe me.
I think we have, I think all of them.
And I've watched them add nausea.
So I know for a fact I've watched the one on the Lion King
so many times my eyes have bled.
There's a great story about that because I've been on the waiting list.
Disney, I made a DVD extra for Veronica Garen,
which started Kate Blanchett as we played the Irish journalist
who exposed the mob and then was assassinated by the mob.
And it was a documentary using real people in her life
for the actors and the story.
And so they call me one day on a Thursday
and they had a Disney DVD.
They hired this other large company
who whose work wasn't complete.
And the studio people didn't like it.
And they said, your job was on the line.
You have five days to come up with eight minutes of a new approach
you're gone.
No pressure.
So they call me.
Well, it's a happy thing.
So they dumped 40 hours on my doorstep.
And I came up with eight minutes.
And what I do, essentially, I have the same approach.
I take out the narrator.
And I'm a stutterer.
And my stuttering was much more severe in the past than it is now.
So I never liked the voice of God.
And I come from features as my first, you know,
my introduction into film both as an editor
as an action director.
Yeah, I saw you work with Corman a couple of times.
And I love the title of that autobiography he did.
Okay.
Which is sure it's her.
It's cut, cut autobiography of a stuttering filmmaker.
Oh, okay.
That's brilliant.
You actually said it to us.
It's good.
It's too well.
I'll never make that mistake again.
It's not a mistake.
It's just a waste.
Okay.
Anything that you want to show you,
mostly promote while you're here?
No, kind of.
Oh, I'm sorry.
I'm sorry.
So taking out the narrator forces the audience to listen
the way you do in a movie.
Right.
Because you're not being force fed.
You have to actually see it and see it for what it is.
Okay.
And people don't like that generally as a stripper.
Because you want to remind everybody every 10 minutes
what they're seeing and what they're about to see.
So, but then it forces you to make characters.
They are characters, but it forces you to establish the characters
and bring the characters alive and then find common stories
and interweave them.
And then you are free to visualize them.
So I treat it as a radio show.
And I cut the duck-
We can relate that dialogue first.
And it's got to play for you with your eyes closed.
And once the dialogue is set,
then you see all the cuts that you've made.
And you see you have a long run without a cut.
So, you know, you're going to keep that and then you visualize
all the other stuff.
And then you find music that will serve as the narrative guide.
And then you have a film experience.
I'm entrant about this.
I love the process of it.
Yeah.
I love that, you know, when you have a clear vision like that,
like he does, I love that.
Where he's like, this is how it's going to go down
and you can get right with it or don't.
You know, anything you want to shamelessly promote?
Websites, social media, anything.
That's what we're here for.
Well, I do have a website.
That's my name, Alan Holtzman.com,
AL-L-A-N-H-O-L-Z-M-A-N.
And I'm not promoting anything because nothing is distributable.
But, you know, I have a lot of work that's on the website.
And my email is the same as Gmail with a dot in the middle of my name.
And if you want to write to me, I'll send you stuff.
Oh, outstanding.
Is this, is the true code documentary going to be there soon?
Or is it there now?
Well, I can't show the whole thing because I, you know,
I don't know what to do with it yet.
But I do have, I do have it on Vimeo with a password.
So I can do individual screening.
Okay, so just have them email you.
It's AL-L-A-N for Alan.Holtzman at gmail.com.
Yeah, I asked my mother why she spelled it that way.
And she said, I wanted to make you an individual.
So why did you call me Alan?
Now I have to individually explain it every time.
Mr. Holtzman, thank you so much for joining us.
It was an absolute honor to speak with you.
I want to check this thing out at some point when we get things back to abnormal
because it sounds like in a fascinating time to spend watching some film.
Thank you so much, sir.
It was our honor to have you.
We've been going strong, sir.
Yes, we have.
And I just friend requested you on Facebook.
We have a mutual friend in Miss Kelly Kitchen.
Oh, cool.
Did not see that coming.
We are live Dallas Video Fest 27, the final day right here at the Angelica Film Center Mockingbird Station.
Want to make sure that you're checking us out.
We are your one-stop shop for all things sports and entertainment every Sunday night.
Normally, of course, we're going to be more entertainment focused tonight
because we're at Dallas Video Fest 27.
And we haven't even hit headlines yet.
No, no.
We haven't had time.
We've been swimming up straight.
We're at the hour 15 marks, sir.
We're moving and shaking.
And we've got more people joining us because that's what we do.
Don is done is circling everybody up.
And now all my papers are out of order here.
Give me just one sec.
Don's been feeding us so much information that I can't.
There we go.
Now I know where I'm at.
Yeah.
Well, you know, we're old school like that.
So all right.
We have three new guests joining us.
All right.
So I'm going to turn the mic on.
I'm going to let you guys tell everybody who you are.
So that way they can hear you.
Go ahead, gentlemen.
Tom Huckabee.
Gabriel Horn.
My name is Benjamin Wilbeaks.
Tell us what you're here to promote.
And so we are all about shameless self promotion.
So I will let you take it away.
Well, you've got the right people.
When it comes to shamelessness.
Yeah.
No one tops that better than the Ghostbreakers.
That's right.
Ghostbreakers is an 18 episodic television series that we made three years ago.
And it's been bounced back and forth in Hollywood for several years.
And it didn't amount to much out there.
And so we just took it back and decided we're releasing it ourselves.
And I think we're doing that at just the right time in history.
Well, let me clarify also.
It's not for some reason America just doesn't get it or it's too edgy or it's too.
See the right of the microphones are ready to hear you.
It's unidirectional, so.
Yeah.
Maybe America just doesn't understand satire or maybe we were too smart with its stupidity.
I don't know.
But the Europeans are digging it.
We have European deals.
People are loving us.
But America just doesn't get it.
Well, America never had a chance to get it because Hollywood didn't get it.
Well, let's talk about it.
Tell us about it.
Oh, it is.
Oh, I've never seen it.
I don't know.
I'm going to pull up the sizzle reel and we'll listen to the audio.
Ghostbreakers is.
And play up Joey Greco from Cheaters.
Yeah, apparently local guy.
Yes, Joey Greco is in Ghostbreakers.
He is the head ghostbreaker.
He leads a group of absolute inept morons into dark scary places every episode to discover the paranormal.
And to seek the truth about the afterlife and extra worldly things.
You can left Cheaters in order to pursue his planned actions.
Yeah, talk right into that thing.
That's right.
That's right.
Joey left Cheaters to pursue his passion of paranormal investigation.
And it's.
Yeah, it also has Brian Massey, who's a Dallas actor.
He's a laboral horn who's here on the with us right now.
But also as a co-producer and co-creator with me.
And Shonda Munson, who is an actress that has absolutely no connection to Dallas.
Right.
No, no, except she produced.
She's producer on Courtney Price's film.
Something in the dark.
Yeah.
There you go.
A lot of great Dallas guest stars Frank Mosley.
It is Lee Rebecca Kennedy.
Yeah.
There's many more.
And you said you should have 16 or 18 episodes.
We shut 20 episodes over four months in Shreveport, Louisiana a couple years ago.
Just back to back cranking them out.
We were shooting an episode every two days.
Two days we shoot three episodes in one week.
Wow.
22 minute episodes.
Did what no production would ever do.
And it's not just ever do again.
We just financed it independently.
We went and made them without any supervision of anybody except for ourselves.
Made exactly what we wanted to make.
Well, when we were pitching it to studios and networks, nobody could, nobody would believe how much it cost to make the show.
The lowest amount we got from any network was $4 million for 20 episodes.
And we just, you know, and then we thought we could do better than that.
This is off our sizzle reel.
Our sizzle reel that we just poured some blood into virtually at zero cost.
And at the end of the day, we were able to scrape together a significant amount of money, much less than they thought we could do it for.
And we then turned in a pilot and they said, well, you guys won't stop.
It looks like you want to make this show.
Okay.
Well, actually our first salesperson, he saw the pilot and he said, I didn't know this was going to be funny.
Yeah, that's true.
Which is kind of indicative of the entire, I knew it was going to be funny.
I guess I just failed to communicate to all of you that I have a sense of humor and I can't stop.
So when we didn't stop producing the show, we ultimately came back to them and delivered 20 episodes of a series
and it just kind of blew everybody away.
They thought it was going to be a real ghost hunting show.
It was hard to create a real ghost hunting show.
Because I don't buy into it.
You watch any show, any of these ghost hunting shows, and it's all running around in the dark.
Yeah, the way it worked is in 2007, Gabriel was living in Austin and I was editing our movie We Made Nightcrawlers.
And I came back on night about two o'clock.
Coming out soon?
It's out.
I was going to say, I know that name.
And it also stars Joey Greco.
Yeah, not Nightcrawler with Jake.
Okay.
No.
But we're going to ride that.
We'll take the credit.
Yeah, sure.
But so I came back to his house real late one night and he was watching a marathon of ghost hunters, I believe.
And he was like, man, look at this.
Look at this.
All he do is run around in the dark and go, what was that?
And they never actually show anything.
Are you there?
They don't deliver anything.
And that was the point was, can we make a reality week, ghost hunting show where you get to see the dang ghosts?
It's not a tease.
And that was the kernel of the idea.
That was the cycle girl that puts out.
Wow.
That actually is a proper description of our entire professional careers.
So we made a pilot and it was a prank.
We made a sizzle reel.
We made a sizzle reel and from that we got interest that said, we'll look at your pilot and then we made a pilot.
And then it came back and it was discussed that maybe we ought to lean into the humor and not the prank aspect of it a little bit more.
And then we finally in January of 2011, we went into production over three months, three months, wouldn't it?
Three months, we lived in Shreeport.
Right.
And we just, it was great.
Shreeport, they are, they're so excited when anybody gives them attention.
That we owned the town.
We could supply up in town.
You can shoot anywhere.
Yeah.
The laplitated buildings that have been condemned, we've shot in all kinds of places where no other town will be.
Yeah, they pulled up full stops.
We had one scene in an episode called Fear and Flight 451 that takes place in an old historic, the oldest historic library in Shreeport.
You know, it's a historic building.
Well, that's not really old because they just learned to read like 40 years ago.
Well, that might be right.
That might be true.
But we told them that we have to literally start firing their basement.
And they were like, well, just come in and talk to us.
And by the end, our final scene, we just had to have an ambulance.
And we're like, we don't have an ambulance.
Let's just get a blue light and fling it around and we'll make it work.
But several hours later, the entire community got around.
We had two fire trucks.
One ambulance showed up.
That ambulance said, well, my buddy's a cop, bring the cop.
The cop car showed up.
The cop car knew the fire department.
By the time we had three fire trucks, a little ladder, we were shooting angles off.
Oh, my God.
Nice.
Not totally for free.
We occupied all of the civil, paramedic and law enforcement services so that we could like
pi each other and punch each other in the ball.
And three people in town died that night.
It's unfortunate.
So you said you've taken it back because it bounced around for so much.
Yeah.
What you gonna do with it?
We have a GhostbreakersTV.com.
So it's gonna be all online.
Right.
It is now available in the stream.
And it will be available to stream and download November 1st.
But for anybody curious, just to see how great it is, we're offering a promotional code.
So if you go to GhostbreakersTV.com and put in boo exclamation point.
B-O-O exclamation point.
B-O-O exclamation point.
Then from now until November 1st, you can watch them all for free.
We encourage everybody to because it is becoming viral.
We are picking up fans all over the world.
And it's a really quality, funny show.
And it's safe for the whole family.
We got rated G.
Yeah.
And that was not on purpose.
We didn't set out to make a family friendly show.
It just kind of wound up that way.
It's weird.
The content and the humor and everything just ended up playing.
I think it really, and probably it's dependent on the intellect of us, the guys who made it,
that we speak to a 13-year-old.
Well, it's maybe not for four years old.
But anybody that can watch Wizard of Oz without hiding behind another wall.
Okay.
Yeah, really.
And so let's kind of put that framework around it.
And it's something that we talked to artists in your vein where you're looking for a place.
All things being equal.
And I give you the opportunity and a blank slate.
Where would you ideally see this aired on?
To kind of put this in the proper framework for our audience.
Listen, here's the deal.
Comedy Central has seen our show and held on to it.
Different executives.
Four different times.
CW Network, we targeted.
They held on to it.
They're funny or die.
Funny or die.
But I mean, as far as networks goes or major syndicators.
I mean, we're still working with a few.
And I think that, you know, Nickelodeon.
I think also part of the problem in television is that it's a closed ecosystem more than films are.
You make an independent film.
You can go to a film festival and get discovered.
And somebody in the industry will pick you up and distribute you.
But in television, you create a product.
You bring it to an executive.
And they didn't have anything to do with the development of that.
If it's a success, then their boss says, well, what did you do?
We don't need you for this anymore.
If it's a failure, it's their fault.
So you failed and we don't need you anymore.
That's interesting.
And so, you know, doing it without a network is like doing something without a net.
But we're also at an age at a point in terms.
I'm sorry, I keep interrupting you.
But I have dominated.
But we also at a point in history and a technology where you can release everything.
Everything is democratized.
And one of the greatest evidences of that is that we are on the internet right now.
Yeah.
We're talking on the internet.
Literally.
Yeah.
And you're on the internet.
And we're all on the internet.
And I think that's what's, it gives so much opportunity when you believe in something.
And you're passionate out of project.
Like, obviously, the three of you are.
And of course, every way that's involved in it, it doesn't get thrown down a rabbit hole.
Yeah.
There's other avenues.
You know, what I love to be in a radio, well, maybe 20 years ago.
But now, kind of now, terrestrial radio has kind of become a wasteland.
But we have this thing called the internet where we can do a show like this,
where we're not beholden to anybody.
Right.
You know, we're not beholden to sponsors that want to rework what we do.
And we can do what we do.
And here we are four and a half years later still doing it and having fun doing it.
And if it's something that you believe in, then you can just do it.
Right.
And you'll find a fan base.
And your market is not geographically restricted.
Like, you don't have to find out of a million people.
You don't have to find the 10,000 people that will subscribe to your podcast in this area.
You can find the millions of people across the country who will subscribe.
And around the world.
Yeah.
And it's like, you guys are saying how well this project has been received in Europe.
You know, and a lot of times what we're finding now is you kind of use that as your breeding ground.
And let that, as it's becoming viral, then people are going to start seeing those website hits
and those views and those downloads.
Well, and it picks up steam that way.
That's exactly right.
And that's the distributor's initiative is to get you either get enough domestic attention
that every international company wants you or vice versa.
So that just happens to be the angle that's picking up steam.
But regardless, we just are not waiting on anybody else to make decisions.
We have this content.
We have people out there that email us asking, how can I see this?
And we have...
And so you come on a spare podcast and you let everybody else know.
For years, we've not had an answer to that.
Where can I see this?
You know, but now we've got GhostbreakersTV.com.
So I'm on the page right now.
Some of the thumbnails on these.
It's really good guys.
See, Joey Greco, we're in this wolf outfit.
It's cracking.
Let me ask you.
Number one, are there plans for season two?
There are plans.
Two and three.
Two and three.
Okay.
The second part of that question.
Are you going to keep it with the streaming slash downloading option?
Or are you looking to maybe produce DVDs to send out?
That people can watch at their leisure as the kids say.
Oh, I think we will have DVDs produced at some point.
We've got to get our money back for it.
And we are doing this all by ourselves now.
I mean, it's like before you get a show, you take it to the distributor,
you think they're going to do a lot of that work.
They're going to do a lot of, you know, they'll make a website.
They'll release a DVD.
And now it's like me and my Mac Pro.
And so it's...
And the three of us in a room drinking coffee.
Yeah.
Straight out of Cleveland as work goes.
Yeah.
All right.
So, New Media Center of the World.
Is it?
Yeah.
You never know.
Yeah.
Also, home of rubber made.
There you go.
See?
You're already in good company.
Just to put it in perspective.
So, have you...
Has there been thought process?
Because you guys are a lot of fun to be around.
Not a lot of thought process.
Okay.
Fair enough.
Taking a lot of fun to be around.
Again, just go to the website.
Taking the episodes that you have.
And maybe doing some alternate commentary.
So people can hear the stuff behind it.
Because I think...
From what I'm hearing now, I think this would be a lot of fun to hear.
I have thought that we should release a podcast.
We should release audio podcast commentaries that you can play along with.
Oh, yeah.
And then we'll do that.
We've got a huge list of things to do.
And there's only three human beings actually doing it.
Also, one of the interesting things about it.
You know, we went to Shreeport.
We made it to shoot it here.
But then the Ascentive was just too seductive.
35% or whatever.
We had to go to Shreeport.
Fair enough.
But we don't...
We want to make the next two seasons here.
And we're just going to forgo, you know, the Ascentive and just make it here.
Well, Joey knows all the CD places to hide out.
So...
That's right.
Also, what we found out was we went to Shreeport for six months.
And did all the research on all the legitimate haunted locations.
Which there are thousands.
Shreeport's one of the most haunted places in the world.
But we ended up not...
We really being able to afford those places.
So we just ended up deciding any place was haunted that wouldn't allow us to come to shoot it.
Well, I mean, it's...
And based to define what makes a place haunted.
Right.
I mean, what would attract a spirit to stay in one place or not?
It just so every place is legitimately haunted to some degree.
And we decided to...
And if we couldn't find it, we just made it up.
So we have bakeries.
We have 18th century water processing plants.
And we have taxidermy museums.
We have the haunted water park episode.
Nice.
We filmed an actual abandoned water park.
Oh, is that where you've got the pirate outfit on?
Yes.
I mean, we picked the greatest location.
So I'd like to announce the next two seasons will start at the haunted Angelica theater.
That would be funny.
All right.
You may...
I actually...
Well, we did.
We had an episode that we already sketched out to do at the Texas Theater.
Ah, the Prairie Texas Theater.
That's called ghost thing.
So we can get a bidding work going on.
Get a bidding work going on.
Well, I don't know that the Angelica has a presidential assassin.
We could hint at digital.
Yet.
Yet.
Well, maybe we should talk about the endeavor event on Sunday.
Yeah.
Because it's open to everybody.
As in a week from today?
Yes.
Okay.
26, 7 o'clock.
6 o'clock is a mixer.
7 o'clock is a screening.
Yeah.
October 26.
Next Sunday at 4-day weekend theater on Houston Street, downtown Fort Worth.
Ghost Breaker's online launch party.
Yes.
How many episodes do you get to show?
Three, I believe.
Three.
Well, we're going to choose for certain that if the people want to see more up to...
Up to 18.
Oh, hey, why not?
I mean, if people want to sit there and settle down.
It's time, baby.
I'm, I'm, I'm down to work.
More than hours to talk about your stuff.
Take the day, take the next day off of work.
Make scores in a theater.
I mean, it would be worth it.
It would be worth it.
I guarantee you.
And it is the best...
Ghost Breakers is the best show you've never seen.
And I guarantee that right up until the moment you see it.
Well, then it then you would have seen it.
That would be the best show we've ever seen.
But the show is right up.
It's a tradition.
This is so right up my alley.
I want to take a moment to praise Joey Greco, you know.
And if you ever saw him and cheaters, you know, his persona.
And you know, he did it for 10 years.
So I'm getting stabbed.
I don't like Louisville.
And all that.
Still work every time.
Yeah.
Yeah.
But he's amazing in this.
And he's the leader of the team.
He's, he uses part of the persona.
He's already created as that arrogant sort of...
But Joey, Joey is very smart.
And you have to be smart to do humor.
And, and so he's very funny.
And, but it's not, it's not crass.
It's not scatological.
It's not clueless.
And he plays it fairly straight.
He's a funny guy, but he's not trying to be a funny guy.
He just is.
Right.
But the other comedy gimmick of the show is they always leave the client less satisfied than before.
Like, if they wanted you to get rid of your ghost, then we don't get rid of the ghost.
If they wanted to keep their ghost, then we get rid of the gimmick guys.
The ghost hunting in reality is very complicated.
And we did our best.
Okay, boy.
Alright, so we...
Alright, so we've plugged the website, ghostbreakerstv.com.
Let's, let's finish up with some shameless promotion, any social media, anything else you guys want to put out there.
We are on Twitter at GhostbreakersTV.
We have a Ghostbreakers television.
Ghostbreakers TV series on Facebook.
Soon to have a Kickstarter in the go-go campaign, PayPal.
We're just begging money for everywhere.
You said shame was promotion.
So, you know, free.
Yeah.
So, send us your money or, you know, whatever we could resell on eBay, like...
If you'd like to have your house featured on Ghostbreakers, give us $10.
Give us $10.
I'm not.
Just like if you'd like to audition for Ghostbreakers, that'll be $25.
Okay.
And if they're not willing to pay to auditions, then they're not serious about their work.
You don't want it bad enough.
You don't want it bad enough.
Small denominations on Marked Bill.
You see it as we've all gone broke making the show.
Why shouldn't you?
Why shouldn't you?
You're the logical progression.
You would say share the wealth, but there's no wealth involved.
No, we share the wealth.
We share the poverty.
We share the poverty.
Alright gentlemen, we cannot thank you enough for being on the show.
So Ghostbreakers, go check it out.
These guys are as passionate as the sound on this show.
The show's got to be good.
It's an act.
You want to be playing this play to sizzle real audio?
How long is it?
I don't know if will that be...
Wait, we'll do it justice?
I don't know if it sounds very good.
I don't know if they could cut it off.
I don't know if you'll be able to hear it.
And just as an FYI, Gabriel was involved in a little movie that we might have brought up on a show a couple of times.
What's that?
Ladies of the house.
This is this thing.
It is the running theme for the past year on this show.
I'm coming up on it.
Did you guys get...
Are you getting good feedback from those interviews or what do you tell them?
No, we covered it.
We covered this.
I saw that.
Yeah.
It's a fantastic movie.
I wish I could have made it for the premiere, but I was working on something.
But yeah.
We all...
Non-form starts get to make blood.
Yeah, exactly.
Good night.
Well gentlemen, thank you so much.
We've got to keep this thing moving.
Thank you, thank you.
We're going to make sure we can plug in and plug in and plug in.
Thank you.
ThosebreakersTV.com go now.
Not now.
Listen to the finish of the show then go.
All right gentlemen, thank you so much.
Thank you guys.
The clubhouse podcast.
We are live on the air from the Angelica Film Center.
Mockingbird station.
I need to take a breath for just a minute.
Don's not giving us a chance to breathe today.
Well done bro.
Thank you sir.
Thank you so much.
We are having so much fun as we do every time that we get to go out and do things out in public
to let us out of the cage.
It's nice to be out of the cage.
Yeah, it is nice to be out of the cage.
And we're going to keep rolling right now.
Joining us right now.
I've got to get caught up here.
Don's going so rapid fire on me.
I can't keep up anymore.
All right.
We have another director.
A man whose film screened a week ago yesterday.
It is called Waging Peace.
The Peace Corps Experience.
Alan Mondell.
Did I get that right?
Yes.
All right.
Speak right into that thing so everybody can hear you.
Yes.
There you go.
Screened a week ago yesterday.
Nice 615 times slots.
Everybody right after dinner.
How to go?
It was successful.
I mean, I've been distributing the film around the country.
I was in the Peace Corps in the early 60s.
This was because of John Kennedy.
All right.
So I went to Sierra Leone in West Africa.
I went to Pat English Literature and Tropical African World History.
And that's a two year commitment.
Correct?
It's a two year commitment.
Yeah.
And I felt like when I got out of the Peace Corps,
what I really wanted to do was be a journalist,
and I went to work for a newspaper,
left a newspaper,
went to work in television at a commercial station in Baltimore,
and from there I did some traveling around the world,
lived in Vermont,
as yet unpublished Great American novel which I converted to a screenplay
which is as yet the Great Un-American produced the unproduced Great American
screenplay and and I came to Dallas in 1973 with my wife and one-year-old daughter
to work at KERA which is the public television station 2013 yeah born and raised on
it did it for five years and then left so my wife and I could work together
making films and distributing our films this film was something that I did on
my own my wife and I set up a nonprofit in 1978 and what that means is we can go
to foundations for funding where we can go to individuals who can who can
contribute and get a tax deduction so we do do our own films unless we're
commissioned to do a film and for instance if you've ever been any of you who
are listening have been to the Sixth Floor Museum at Dealee Plaza there are
six films there about the life death of legacy in JFK which my wife and I made
oh very nice yeah and we finished those in 1989 for the opening of what was
then in exhibit it's now a museum but what we did most recently we did a film
called The Legacy which was there but they decided to update it so we you
know for the 50th anniversary of the assassination just this past year yeah just
this past year yeah we updated that but what meant so much to me was that when I
I went to the Peace Corps because of John F Kennedy and here I wasn't in this
country when he was assassinated I was in Sierra Leone that's when you were in the
Peace Corps in the Peace Corps okay yeah so that that that's meant a lot to me
I mean the reason I was bringing it up most of the films that we've done and we've
done about 40 films oh wow since since 1978 now those films range everywhere from
five or six minutes to an hour and a half I mean and they and they vary some are
for museums some are for schools some are for public television nationwide some
are for cable so we've done a lot of different films with the films from the
sixth floor we were commissioned to do those often what we do and for instance
the Waging Peach which is how we got started in this conversation Waging
Peace was one where I went and got funding from foundations and from from
individuals so that that film is one that I completed we had a premiere of it
and now what I'm trying to do is distribute it around the country but the
important thing about that film it's not just about the Peace Corps what it it's
about the value of volunteerism it's about the importance of cross-cultural
understanding so and I think it's important I think you know volunteering is
important so when I go to to schools and introduce the film what I'm also
doing is encouraging them to talk about what opportunities there are in their
communities to volunteer to give back to make a difference so so this this
film played here I mean I wish there had been you know more people there but
it was it was a it was a good group of people this was up at the Alamo
Draft House a wonderful place just like the Angelica could you have two better
places to see a movie no it's terrific and what's really wonderful about this
video fast is that they've really kind of reached out to the communities for
instance you know the Alamo Draft House here at the Angelica they were they
were down at the South Dallas Cultural Center so there really is an effort to
kind of bring films to communities that at some time might be un-served now
I realize the Angelica is well served I mean the Alamo Draft House is getting
more and more served but you know the the South Dallas Cultural Center is
you know it hasn't probably shown a lot of films although we did show one of
our films there some years ago called Beauty and the Bricks which is about
four black teenage girls growing up in the West Dallas housing projects so
how long is this you said anywhere from five minutes an hour and a half how long
is this particular documentary it's it's 71 minutes how long it's taking to
shoot it well because I was I'm reading the synopsis of it you know you've
gotten letters from people that were in the core and along as well as stories so
that there had to be some time involved there I'm sure well it it was the film
we's the letters journals blogs and emails that Peace Corps volunteers wrote
and write because I do do today correct while they're in the field and I
weave those with the profiles of four return volunteers who today are still
out there making a difference a magician in in upstate New York who goes to
refugee camps around the world and and works with with kids of a a very strong
environmental activist in in Maryland who's going to jail because he's
supposed to certain things that the government is doing and he demonstrates a
woman with disabilities who went to who went the power way in the early 2000s
and now works with young people with disabilities and then finally a woman who
served in Africa in the 70s and worked for the Department of
Correction you know in South Carolina so these are all people there have been
about 215,000 return volunteers who today are many of them are still trying to
to make a difference so what I did is I had to kind of gather these letters and
journals and blogs and emails from volunteers who served all over the world
and and I probably at finally after a lot of kind of correspondence and you know
I would be talking to you in some type of social situation and you say oh yeah
I mean no my cousin served in the Peace Corps so I would ask you if I could
send your cousin a three-paragraph email and just get him may be interested and
then I would kind of follow up so it was it took me about three years to make the
film and so that part of it I used visuals that either the volunteers
themselves had or other volunteers had so sometimes I used the same letters
and visuals from the same volunteer or I had to kind of bring other visuals
to the to the situation and then of course then I had to film these it's a
little presumptuous there are 215,000 of volunteers who have returned since
1961 that was going to be my question for you is has you said 215,000 in
50 years which is still a pretty good hit rate I was curious as to how many
people after doing the two years I had gone back again so you answer that
question for me yeah I mean actually I there are people who go go back I mean
in this case these weren't volunteers who went back to you know to to
developing world they just re re re re re signed up no but what they did is
they made a decision that they wanted to kind of do to commit you know to
something of value in in this country so the people that I were describing
didn't go back into the Peace Corps what they did is they went into jobs where
they still thought they could make a difference yeah so but overall I mean
it's the Peace Corps when I was making this film a lot of people said oh I
didn't know that the Peace Corps still existed really yeah well it was high
profile back in the in the in the Kennedy years and then kind of you know
waned some and now you know it's it's it's gotten revitalized so there are
about 7,500 in the field now or in about 69 or 70 countries around the
world whereas when I when I was in I mean back in the late 60s and 70s there
were probably 130 some countries that that were okay that were being served so
but it's it's now evidently I mean I was just reading something about it
there's something like 17,000 applications this past year and and and they
haven't seen that many since like the the 90s really yeah so for whatever
reason there really are people who are who are thinking about going back in the
Peace Corps and so many of us back then were generalists I mean you know I would
I had just graduated college I was I went to train at Cornell University two
weeks after I graduated college in 1963 and I was a liberal arts major I mean
my major was American History and Literature so but I was trained as a
teacher for 10 weeks and but what I didn't do I didn't replace someone in
Sierra Leone a teacher there I mean they didn't have teachers so we were there
to fill positions so I mean it was it it was something that was significant
then I mean it was there were a lot of kind of cultural differences that you
have to kind of deal with I don't know whether you guys know have have traveled
in in in the developing world although you probably if nowhere else maybe maybe
Mexico and you know they're they're cultural differences and you have to be
sensitive oh absolutely to that sort of thing so was this the first time you
screened a film last week or is it screened before it's screened before I mean
for instance three about a month ago it's screened at the East Dallas Christian
church here here yeah and then I had a premiere of the film at SMU and it was
co-sponsored by the office of the provost from SMU it was the six-floor
museum oh wow very nice was a co-sponsored and the North Texas Peace Corps
Association so I mean these are three organizations that are connected I mean
in some way I mean it's interesting SMU's connection is that when college
campuses today there's really an effort to connect students with the
community so they call it community engagement so they don't want them just to
kind of to go to school they want them to kind of recognize that they're
commitments that they might have absolutely within the community absolutely and
should on a certain level yeah you always want to use what you have to give
back and you are a prime example of that you know not only you were giving back
back in the day but now you're giving back with this documentary to educate
people on the Peace Corps where does it go next well the next step for me is to
continue to try to get schools colleges and universities around the country to
screen the film hopefully they'll bring me I bring to several and I and you know
when I go I do charge a fee but it's not prohibitive I mean I'm not I'm not I'm
not that good and not that expensive believe me we know all about yeah so or if
they don't want to do that then I sell the film I mean to colleges and
universities I would sell it for $199 plus $10 shipping and handling I mean and
that's the college and universities for you know for a public library it's
it's it's $75 so I have and for individuals who are interested it's like
$25 so I mean so I have a different but different price ranges and and that's
something that my wife and I have been doing with our films for for the last
35 years I mean we made a decision that if we're going to produce films we also
want to distribute the films absolutely because I want them to get to people who
could benefit from what the film is about I mean not too long ago we did a film
called a reason to live which is about depression and suicide in an age group
of 15 to 24-year-olds I was just reading up on that on the TV page yeah and and that
film I mean really has saved some young lives how many I don't know but we
would get feedback from people all over the country who who showed the film and
and talked about how it really kind of made a difference in their children's
lives or their nephews lives or it helped them become more comfortable talking
about depression and suicide because you know someone comes to you and you know
in this conversation and they say life sucks I'm gonna I'm gonna kill myself
you know well how do you how do you deal with that and it's important to deal with
that particularly to take them seriously so this film helps them take that
much more seriously and and feel comfortable talking about it so I mean we
made a commitment if we're gonna make films we want to distribute the films and
get them into the hands of people who who it can benefit well then how can they
get access to them I want to I want to get all of the website and all the
information out there because I want I want our our fans and our audience to
be able to have access to your works there okay the simplest thing is media
projects that's one word and plural dot org media projects media or media projects
dot org yeah I should and then they can access to all of your all of your work
or just this particular no all the work yeah and that way can they will they
order it from you a physical copy or is it something that they can download
and stream so far it's a physical okay it's DVD fair enough but we're
starting to think more about the streaming aspect of it but at this point it's
still just the DVD and they can get it and it sounds like very important work and
it was very well received from from what we're hearing at the festival
any other social media or anything you want to promote while you're here
well just to let whoever's out there listening
my wife is now working on a project called Soul Sisters SOLE Sisters
and it's about women's lives and it's about
their connections to their shoes I don't know whether you you guys have any
you know female friends oh yeah but it just it's amazing to me how connected
women are to their shoes and and so she's collected stories from around the
world women I mean humor stories or films or stories
that are are heart-wrenching I mean and it's just a
popery of fascinating connections that women have to their shoes so she's
now in the process of making that film and and that would be SoulSistersFilm.com
okay yeah so yeah I mean the best way to get to us is well that and also to
media projects out of work okay well thanks guys Alamondel thank you so much
sir it was our honor to have you on the film is waging peace the Peace Corps
experience go to mediaprojects.org and take a look order a copy of it for
yourself show it to your friends get the word out there thank you so much sir
you're welcome you guys are good oh thank you so much you are listening to the
Clubhouse podcast we are live every Sunday normally seven Eastern for
Pacific but we're a little bit early today because we are live from Dallas
video fest 27 make sure you check our website www.theclubhousepodcast.com
look us up on Facebook and like us we would appreciate it look up the Clubhouse
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ERVIN I'm at chat in 5G 6.9 and I'm at fun don go and you can email me at
don at theclubhousepodcast.com he's the don's the guy you want to email he's the
official fact checker of this show but if you'd like us to do our show live
at your particular establishment he's the guy you want to talk to you can
email me if you'd like questions comments concern show ideas tell me to go
pound sand I am Rob at the Clubhousepodcast.com I'm Chad at Clubhousepodcast.com
Charlotte Parker is on Pinterest because we are morally obligated to say
that and choose one which is does what she does man yeah we're coming up on two
hours of street interviews yes we are yes we are we're not coming out of
the air because I'm getting the people lined up but we got more coming I've
burned through almost two liters of water at this point so speaking of
shoutouts on Facebook I think somebody sitting across from us has already
shouted out to us on Facebook from really from their page really I'm not sure
which one of y'all did it that was you all right so next movie we're going to
talk about it I haven't had a chance to look at it because Donna's keeping me
so busy I can't keep up all right oh I'm interested in this as am I it's
that's good that we didn't we got that look instead of the oh great the film is
called evidence for Santa I've got we've got two people sitting in front of us
I'm gonna let you guys introduce yourselves I mean I can figure out who's who
probably but I've got a 50-50 shot but I'm gonna let you guys
introduce yourselves hi I'm May McHenon I'm the writer director of open
for Santa and my name is Andy Young and I'm the producer of
Odens for Santa all right so from Austin so you took the three-hour
jaunt yep we did just now are actually depending on what time of day it is in
Austin it might be four I my relatives are my in-laws live in San Antonio so
it's getting yeah getting through Austin sometimes can be fun and what
they're doing with you guys what you do with 35 with the two levels they're
doing here now and I don't know how love yeah we know how that's working in
Austin it's not that's the problem exactly so so tell us about the film so the film
is basically I was inspired as a kid talk right into that thing so I can hear you
there you go there's a man around my neighborhood who look like Santa and I kind of
thought that was a fun idea to have a little girl see this homeless person she
thought was Santa and I kind of spun that into a script for class and the class
voted on it and Andy came on board to produce and we made it how long did
you shoot it it was a three-day shoot with one day of pickups and it went
really well honestly it was that I really loved the idea immediately just
because it was funny it was smart it was short it had a lot of heart and it was
just very small amount of location the character so it was really easy to shoot
with the exception of some of the outdoor stuff we kind of ran into a group of
moms that was not happy with the shooting in their public park we had all the
permits and everything and they got on their mommy vlog and was like let's all
get down here and stop this adorable production
stop something it's positive let's do that yeah part of the text is show
which starts here in about an hour and 15 minutes yes a lot of great films on
this is this the first time it's being shown it actually screened the Longhorn
showcase which is a collection of UT student films that kind of stood out
throughout the year but this is our first festival so we're really excited to
be here and how are you feeling right now it's great I cover the festival
I'm a little nervous but I cover the festival two years ago it's a great
crowd really film friendly crowd and I think they're gonna dig it our film's
kind of a crowd pleaser it's silly and I think people are gonna enjoy it
hopefully it'll be a nice break do you know where in the show showcase that
you're gonna wind up or is it just kind of it's gonna show when it shows
we've seen is alphabetically we're kind of okay yeah the guy is all
alphabetically right now how long is it five minutes five minutes just a
little over five minutes yeah it isn't something that you feel that maybe you
could expand on and do a longer version of it or are you happy with this I'm
happy with it right now but that's definitely something to think about I
really I really like all the characters and I think I think at some point I was
thinking about possibly doing like a TV show like writing a pilot for it
because the main character is a very ambitious kind of you know sure lot
homes type of character so just kind of seeing the adventures and
mysteries she gets into okay so but but not just like maybe use this as a
springboard for that character right exactly it's a good proof of concept the
different adventures she goes on type of thing and especially with with the
subject matter like this it's it's kind of cool because it's you it's almost like
from what I'm reading and please correct me if I'm wrong and believe me wrong
is something that I'm used to if you see it through her eyes so it's not
necessarily that world view it's like this is no this is what she thinks so
hear her out yeah definitely one of my inspirations when I was writing it was
actually I was watching a lot of the show homeland and homeland is about this
very like driven passionate CIA agent so I kind of brought that to what if a
kid was like trying to be a CIA agent CIA agent and wanted to prove like no this
guy isn't who you think he is he's actually someone else I mean a very
realistic take yeah so very yeah so a gritty or Nancy drew for the for the
new belief that's what she'd be on the poster like like an encyclopedia brown
and that would be quoted by Chad woman of the clubhouse podcast
put it on the poster for that's it I've never heard
put it better yeah like a Tracy flick work with for the CIA
it's Tracy yeah like election was another election was a big influence
big influence as well so I liked election but it was one of those films that I
just I can't just sit down and watch it I've got to think myself you know
what I feel like watching the election it's a tricky one with some of his movies
you got to be in a move yeah it's a good one I love anything Alexander
Fane does for sure so I'm assuming aspiring film
students yes what's next um we both graduated and so we're kind of in this
weird kind of cloudy stage where we don't know what's next but we're just
mainly focusing on building our portfolios and seeing what happens after that
like we just we love making movies together and in groups and we love the people
we graduated with so we just really want to keep making our own stuff so
and that was actually going to be my next question are you going to focus on
stuff that you're writing and producing are you looking
you'll be outside to other things that maybe other people's visions you want
to play with or um I'm open to whatever comes my way
basically I've worked on it I worked on an independent feature earlier this
year and I might work on a commercial soon so just any freelance projects
that come to me and then I'm just going to focus on writing mainly as a
director and this is something that I don't know why I've never asked this
because you mentioned possibly working on a commercial
how does a director's mind frame change from directing something that's more
film-oriented versus something I've got 30 seconds to get my my message across
um I think it's tricky but we've had classes in film school that kind of
have taught us to switch to that mindset and I'm honestly still kind of
getting used to it and seeing how it goes so we'll see how it goes you definitely
have to learn how to be economical especially when you're
considering like no one wants to watch like a 20-minute movie about this it's
like it's nice when it's like a solid five-minute thing and then you know I
guess that kind of goes into when you talk to the actors and stuff
yeah and I think just I guess whoever you're making a commercial for
or whatever you're freelancing you just have to get in the head of the
person your client basically from a directing stand by where do you feel your
forte is I think I'm really good at comedies
and working with actors especially kids and women I would like to continue
making more comedies that are female centric and a lot of people don't
understand comedy is a tough medium yeah and a lot of people say
it's it's harder to shoot comedy than it is to shoot drama because to to
invoke some to pull on somebody's heartstrings
I'm not saying it's simple but it's harder than making somebody genuinely
yeah because there's nothing worse than a bad comedy or a bad short comedy
it's death and we've seen a few this year oh yeah no and when a when your movie
bombs it bombs like you can't tell with a drama with a comedy yeah you can hear
and drop it's bad yeah and so it's and to take on something like that
believe me you have my full respect because yeah especially from a comedy
standpoint I am hyper critical oh yeah you know because I love comedy I'm a
huge fan of comedy as a kid who was and I know you can't tell this by
looking at me but when I was a kid I was the scrawny little thing and
you know comedy was my defense mechanism same as what is mine I'm saying here if
I can make them laugh maybe they'll think I'm cool
and so as I've gotten older and I became a student a huge student of stand-up
comedy in the late 80s when the boom happened oh yeah uh so when I watch
comedy some very hyper critical because I'm like you know what don't go for
the cheap laugh oh yeah in 80s I'd like the best guy that's when they have
like the Zucker Brothers and kind of the end of the Mel Brooks era and it's just
like comedy's worth better than and it's like you know it's just trickier now
and even you can take someone who's a brilliant comedic actor and if the
material inhaled with great force I don't want to mention any names
um yeah it's just you know watching because I'm a huge
mole of some McCarthy fans yeah I think she's great you know she just she
just released St Vincent and I said on my review on the clubhousepodcast.com
shameless plug um that movie is trying to be my favorite movie the year
yeah and part of it is because she didn't do the whole slapsticky thing
she's showing range and to be able to direct that
is because and I don't know that I can call this movie a comedy but I can't
call it a drama here and I hate the word dramedy
I just can't do yeah but but this film exists in that place
yeah and to be and to say this is the kind of forte I want to go in hey
I'm all over it you know god bless you because it's
you're you're basically taking on the bowl
we've got a little bit of that in our movie it's a really tricky thing to balance
I'd say you know having something that's very funny and then trying to have a
bit of a heart to it or trying to have a moral compass with it yeah
it's a tricky thing to balance but that's why I'm really proud of this
short because I think we were able to accomplish that very well yeah I guess my
favorite comedies aren't necessarily like overly funny like what here's a
joke um for example I really think orange is the new black is hilarious
it's in my Insta Q and I haven't watched it yet you need to watch it but it's yeah
and one of my favorite comedians is going to be in season three my
probiglia oh okay but he's not saying what he's doing he's just saying he's
going to be on the show okay that's exciting is that probiglia yes probiglia
yeah I heard about that oh do I love probiglia he's going to be amazing
I thought that um uh sleepwalk with me yeah that was amazing was amazing
another great example of just having something to say but saying and
really funny unique perspective on it right just kind of I think
the situations people get into and just being able to relate to that like
sometimes I think the funniest things are just comedies you see that you can
relate to and when it's organic exactly when I'm not beating you over the head
with it yeah yeah exactly okay um had you guys kind of chance to check anything
else up since you've been here or is literally we went to the pub across the
street and now we're here okay well then let's let's talk film for a minute if
you want to yeah what what right now is just are you waiting to be released
like what what movies coming out are you really really looking forward to your
white people looks awesome I actually screened that last week how is it uh
it's my concern going in and of course this is on my review on
on the clubhouse.com so it's already out there we also have the audio version
too um my concern going into it was I'm a huge fan of school days and of higher
learning which definitely they were going after that right but the way he
approached it was he did it with a little twinge of humor
okay so that you knew it was it was partially satire because it wasn't nearly
as intense as those other two films but it pays all
much to those films without copying those films
a very strong cast yeah especially when you realize the kid on the one
sheet is Chris from everybody hates Chris and you go
he looks like they're Williams oh my that's fantastic they all say they
looks like they have a great cast and I just I love Justin I definitely
I would definitely recommend it it's it's not for everybody you know you've got
you've got to have kind of an open mind going into it because
they he doesn't play up to racial stereotypes but there's a little bit of
that in there that's what I thought it was good anything what else
yeah I'm excited about dear white people um that's gonna be awesome yeah
yeah orange is the new black season three but yeah
well they're good stuff yeah season three I'm not sure if there's anything
on the horizon that I'm really yeah because we're coming close to the end of
the year this this is the time you roll the Oscar steps coming out so it's like
you know Fox catch your list good oh yeah whip lash look
oh whip lash yeah don't check out fury this past week you like
they're a lot you're furious great you fury yeah yeah I heard a lot of great
things about fury yeah very excited very brutal but very real
life very incredible also reviewed on the clubhousepodcast.com
and on iTunes oh no you didn't do you use those for iTunes did you
that's right because you didn't screen those you were you were a plus one for
that you did book of life book of life and seeing
Benson for incredible for the life straight out Dallas
yes right here in deep element he he absolutely loved it he got to go
I couldn't go that day yeah just open everywhere this weekend oh great okay
so yeah he said it was very very good um favorites from this past year
oh man boyhood definitely boy boyhood was one of those films
that when you realize what it is it'll blow your mind
yeah good me and you have to tell people look the things almost three hours so
just yeah you know but it's amazing it's like magic trick you know the way the
way he shot it and the undertaking of that thing especially when you hear
the interviews with the actors of what they went through oh yeah you know
daughter almost left and all that stuff yeah she was like can you tell her he's
like no it's not that kind of movie the kid literally grows up to look like
Ethan Hawk like how perfect yeah yeah just yeah the movie gods were
definitely on that movie side and and the way it ends
when you kind of look at it and you know there's there's a little thing
to what I saw in the ending which I don't know if he intended
and I don't want to spoil anything but there's a if you look at
all I'll tell you is think about the name of the girl and I know that's what I
was thinking to yeah and go back and look and it's like did he do that
intentionally or it was that coincidental yeah because that's what I took
for it works really well because it's a really like that's two hours later in
the movie so you really yeah exactly I love chef chef was great I thought chef
was amazing yeah okay it's a good John Favreau
and it's weird yeah to call it an indie film and it's like did
everybody work for like ten bucks and lunch because you're looking at
you know downing him Johansson Hoffman plat I was like how was this an
indie film and that's how I feel at any time like Wes Anderson puts us
something it's just to get all these amazing people and you bring it down for
such a low budget and it's just like and chef did some filming in Austin
yeah they did that's what they have the South by senior hmm very cool that was
awesome where they had the great Gary Clark junior
yep who I am a huge fan of have all three of his albums in my ipod
right now yeah he is amazing um
jeez I'm trying to think of what else has just blown my mind of course I love
the Lego movie I was not expecting you know what I didn't see it till it came
out on blu-ray I'm done bought it for me for my birthday
and I'd heard such good things I just never got around to it
I was like you know what Lego movie I did sometimes you have to pay attention
to the show sir no such a strong comedy those dudes are really at the top of
their game and they're doing another one yep well I don't know if they're
gonna direct it but I hope that they yeah I have to stay on board because they're
clearly the secret of their success I know the Batman's getting his own spin off
from it yes yes hopefully we'll learn that still on that too yeah no
parents and and Kevin Smith's gonna be yeah he's gonna be in the next
Lego game he's gonna be in the next Lego Batman game as a playable character
which I'm a huge fan so I'm good with that all right let's uh
I want to give you guys the chance to kind of
getting your head space before you go in but let's do shameless plugs before
you go sure give us shameless plugs websites
social media go uh yeah if you're interested in our film you can go to
our Facebook's page which is just evidence for Santa on Facebook
uh his personal plugs I have a short call keep and heat
that I wrote and directed that's online check that out and then I'm in a
documentary called Harmontown and see that it's very good uh anything else
or that's it thank you so much for it was cool it was our honor to have you guys
uh we're hoping that things go awesome for you tonight best of luck
evidence for Santa make sure you check it out after I'm sure to be
available after the video fest as well so check it out thank you guys so
much thank you
up Don's going back thank you so much
all right we are going to keep going
this guy has board member next to his name
I don't know if I'm qualified to interview this guy or not
you need to check your credentials I forgot him at home
joining us right now and I'm Adam Donahue he is a producer he's a board member
of the video association producer on her wilderness
yep talk right now that thing so everybody can hear you
cool all right and uh oh you're going to be in the Texas show tonight as well
yeah all right let me get to the right page so I know what I'm
kind of sort of connect like I know what I'm talking about
to do to do because sometimes I can't read Don's writing
thouwest mild and lovely tonight what what an hour away from a Texas show
yeah so actually that was my lovely plate last weekend last weekend okay
yeah so that's a feature uh the Texas show we I've got a film in it called
easy that I've produced um let's talk about thouwest wild and lovely first
since it's screened last week at the Alamo first of all what a great place
yeah for sure could you have two better places to watch a movie than
here at the Angelica Film Center and the Alamo well I'm also a partner
of the Texas theater so maybe the Texas you know I was there earlier this
year for uh space battleship Yamato and had I'd never been to the Texas
theater before and to be in there and to feel all that history I was like
and and I got to play video games which is great yeah they have the robo cop
stand-up video game at the oh really yeah it got it got a few quarters
well we actually uh we actually put that in we showed robo cop as part of
Dallas International Film that's 135 and oh 35 and we bought a we bought a we bought a
robo cop arcade game we've actually got it signed by
most of the uh writers and producers of film so
so thouwest mild and lovely screen last week how'd the screening go
went really well the Q&A was fantastic had a lot of great questions um
the film is uh as pretty all the films this year that I produced at at least
the two features are very experimental um and also very
different but um the uh the film actually premiered at Berlin
earlier this year oh wow and uh yeah it was picked up for
for distribution um and middle of november is going to do a New York City run
um so it'll be available uh in you know digital formats and then it's
going to do a uh a little you know a very small theatrical
after the New York City initial run so um yeah we're very happy i mean we
you know looks like it's very intense from what i'm reading extremely intense um
very aggressive erotic um so it's i mean it's very sexualized it's
it's very it's very weird um and uh i mean the the plot is you know a
ranch hand comes and he's he's married but he as soon as he gets to the farm
he takes off his wedding ring and never talks about his wife and ends up
having somewhat of a relationship with a farmer's daughter and the farmers
the farmer gets mad as they tend to do yeah but but the way that that
story is told is it's just it's it's it's uh extremely dreamlike there's
there's um point of views from cows so there's talking cows in the movie and
um it's just i mean it's a really weird bizarre film but it's it's definitely an
experience and something that people but it seems like it's being received well
it's getting absolutely all these athletes and all these exposure to these
different film festivals but let's talk about what you're here tonight for
yeah so easy yeah so the Texas show um is a collection of shorts that are
obviously from Texas that the video if that's puts together every year and
easy is from a filmmaker named Daniel labs um
Daniel is a fantastic guy i actually met him in 2008 at south by south west
and um just really fell in love with his work um i actually recently
released his his other short he has several other short films that i
released on fan door forum earlier this year as well and he actually an easy
premiered at uh at south by south west earlier this year um
and uh anyway it's it's along with a lot of other great short so if anybody is uh
listening to this now and itching to get to a screening in 45 minutes
i don't know you got an hour not sure if there's such a late to a theme i think it's a
okay um but um but either way yeah we're very proud to have helped him out on the film
and uh he actually is our one of our managers at the Texas theater now he does
programming for the oak live film festival which i co-founded in program four and
just a really great filmmaker here in the area well i like the concept of it where it's it talks
about the relationship of two brothers one who's getting into adulthood and the other one that's
getting into the teenage years yeah uh my wife and her brother are five years apart
so they kind of they kind of dealt with that um when you have you see that a lot more
as as as i'm getting older or you're having this huge gap between siblings uh where did the concept
the idea of it come from is it some of that was personal or is it some of that he just kind of came
up with or absolutely personal um a lot of it very autobiographical for Daniel um it's very
personal for him absolutely um and uh he had some weird things happen in his childhood that uh
um you know it kind of plays out on the film and um so yeah it's very personal it's i mean it's
essentially what i love about it is that it's a coming of age it's a complete coming of age story
in 15 minutes wow so um yeah i mean it really resonates so um you know very happy with what
with the way the film turned out so as as a producer you've always i'm sure you've always got
things coming at you or people want you to get involved talk about your process of how you
select a project to truly stand behind well um you know generally it's it's relationships um
i've i've never taken on a project that was just uh you know like a cold call like someone's
sending me an email or something like that um i've always uh looked at prior work and uh and
and we're relied on references from from trusted sources and friends and other people that i've worked
with um so i mean my process is really about you know first first i i mean i i want to love your
project but i need to like trust you and like you and uh it makes sense oh it makes it easier because
as a producer there's usually a a check involved so you want to be able to write a check to somebody
that you that that you truly believe in and want to stand behind right because at the end of the day
you know as as somebody who is a boss where i work your work reflects on me exactly and it reflects
on what i need to do from this point forward anything did you got coming down the pipe that you
want to talk about uh well so um i mean in addition to the films that are playing here uh i've got
another film called uh get ready for this uh bob bird now is remarkable tale of human survival
and the transcendence itself uh premiered at the hamptons last year hamptons just wrapped up so it's
been on the festival circuit for a year uh we've won some best narrative um awards and uh the actor
Barry Nash who's a local uh has has won some best acting awards and it's it's done extremely well
on the festival circuit and critically it's been it's been very very much lauded um one of my
favorite poll quotes is that uh filmmaker magazine called it way more compelling than any TED talk
so yeah so it so it's done really well and we're getting ready we're still kind of figuring out
exactly how we're going to release it but we've got um some some really great ideas and we're
going to make it available to uh to the to the public very soon um so uh so yeah i mean i mean
other than that i've got some uh i've got a that was written and directed actually by uh Eric Steele
who's one of my partners at the Texas theater and also a producer and and then i he's a director a
fantastic director and i've uh produced all everything that he's done and we're working on another
feature uh that we're that we're planning on shooting next year called Danny Casalero died for you
based on a true story about this freelance journalist named Danny Casalero who ended up
going down the path of trying to fight big giant government and kind of where that goes so okay um
but so we're working on that and uh i mean there's there's a there's a lot of stuff in the pipeline
um but uh yeah i try and keep busy uh shameless self-remotion websites social media anything
yeah so um uh for you know folks uh in the area dalsburg or at the area of course the Texas theater
we you know we we we we're open all the time we show movies um at a great place to watch a movie
take great place to watch a movie it's a great place just to go have a beer we have a full bar
so texas theater dot com r e but if you google texas theater you'll find it um for me uh
adam doniggy dot com um and um yeah i'm yeah there's there's there's all sorts of ways to find me so
um and then for the movies just i guess i am demimi and then search up the search the films and
you'll you'll find the information that is outstanding thank you so much for joining us sir
hope things go well for you tonight and and of course in the future but tonight
for easy during the texas the texas show i'm just so tired i'm i'm using my mind at this point
all right oh we got more people coming so thank you so much for joining us sir thank you
whoo i need to take another taste on my taste of beverage how you doing over there sir
oh i'm fine i was about to do the same thing well then i'll wait for you to do so because joining us
now of course the official fact checker of this show fond don go hold on hold on let me turn
the mic back on there you go we're almost at two and a half hours the interview is here yeah we're
getting close we thought just like last year let's finish up with Kelly of course it'd be great
Kelly kitchens because again it is state law that you refer to her that way how are you feeling friend
i'm really tired but really happy and fabulous so tomorrow you turn off the phone and turn off
the computer and you're not you're not jotting off to another extent in LA like you did at the
last festival like a really immediately afterwards it's kind of like i say at this point once i'm
asleep if you if you call me and you wake me up somebody better be dead or they will be you know
at that point you're gonna get cussed out well you know i will have to wake up and walk the dogs
uh there is that but you don't have to leave the house so so Kelly any highlights from from the
festival for you oh my gosh you know just the festival from beginning to end with starting with
expanded cinema on sunday two weeks ago right um was phenomenal it was it was it was perfect weather
and it was just beautiful and for people that don't understand what expanded cinema is it's
where they took some experimental films and some short films and they put them on the side of the
omnihotel because the omnihotel here in Dallas the whole building is one big LED board right it's
so it's not like they're projecting it it's not like there no it's on the on the on the on the
on yeah it's on on the the hotel and it's simulcast through kxt radio which is you know it's
such a cool thing i mean who else does this and then followed by on Wednesday
by seeing the lodger Alfred Hitchcock's the lodger seeing that you know with with a uh
10 piece a chamber symphony that with the Dallas chamber symphony and uh Douglas Pipes
um uh new recording our new composition you have to forgive me i'm really tired
uh that was just it was phenomenal and we got the honor to see that too that was just
that was a lot of fun there's a lot of fun incredible that orchestra was just incredible spots
down a beautiful great job by those guys at the Dallas chamber symphony and then you know moving
into alamo territory and being an alamo from from the first Thursday to sunday you know it just
of course love it up there and then the community screenings um monday monday was at uh
uta and i don't know if anybody caught this but monday was colomba's day yes it was and you know
what video festive it was native americans great for american screening at the brand new 4k theater
there yeah that uta which i've heard wonderful wonderful things about absolutely and then moving
into um more community screens on Tuesday and Wednesday where at the south house cultural center um
which you've already heard a lot about tonight which was really such an amazing experience there
and then you know in my time i got to spend three full days three full days and evenings with the
great harry sheerer and i got that she's bragging not that she's bragging and after the co-backs i got
to mean just i had a shake his hand and absolutely say when they did that marathon i saw every episode
you aired the air i saw every sentence ever every sad side and i go and just in honor to me you i
i'm the person i am because of this sentence and i don't know if that's saying something good or bad
and when you left i go can you just do one favor and he goes what that can you can you
keep do say oakley don't we don't and he did it net plan oakley don't you know recorded you
should have recorded have to remember it might be copyright problems or something if you make it
a ringtone you doesn't know because you wanted that you know i'm not can he's an important guy
i don't want to keep him but he is incredible very nice guy it was really he was really
into having for so here for so long and i just have to say that his his nixon's the one is going
to be on youtube on starting on Tuesday there will be six weeks worth of episodes every Tuesday
for the next six weeks so you can just look up nixon's the one and you we saw a little clip of
that at our roundtable and for those of you that don't know what that is it's where harry sheer
is actually playing nixon maybe a little exaggerated but he's actually taking actual transcripts
of things from nixon's career and he is reenacting them well and it's not just the transcripts
it's actually the audio that was in nixon's oval office so and this is sort of reimagined as if
what if the audio were actually hidden cameras and so so it's shot and sort of treated as if
though it's old footage and you know it's every every pause every him he said every him every
haw every you know every way that that every word that was spoken in the oval office and for that
moment is what he took and he just he just made it into into oh and the clip we saw i believe
was right before they went on air with the resignation yeah and i'm telling you it's it's really
really good it's really very much enjoyed it's really very much enjoyable actually
devs here sir how are you it's good to see you one of the hardest working men and show business
as just as just stopped by to bring Kelly dinner so not only is he working his butt off he's
catering as well what what oh i didn't know what you were talking about the moves back
oh no
does having a little fun with Kelly
friend of the show we love to have great people well i think your sincere here we we we we
should go ahead and cover some movie headlines yes let's get your opinions and things thank you
uh was announced this week that Neil Patrick Harris is going to host the Oscars this coming year
oh very very i'm i think it's a good choice i think that would be great oh yeah
jazz fresh air oh absolutely oh yeah yeah i'm very happy about that so i mean you know they they've
done pretty well the last couple of years even though you didn't like Seth McFarland i like Seth
McFarland so i like that he is a fresh new some fresh risk gave a fresh uh got to start started
watching i started getting caught up on Saturday night live and of course this season premiered
with Chris Pratt his movie guardians of the galaxy has topped seven hundred million dollars world wide
and i was very surprised that i liked that movie it's a great it was fun it was really really fun
and you know i don't normally go for big blockbusters like that i was i was telling chat last night he
and i were uh working with good friend of the show Devon Pike at the Dallas Comic Con shindig at
the gas monkey and one of the DJs was up was playing i was like how much money would i pay right now
for somebody in a star lord costume to just walk into the middle of the crowd just start dancing
and go dance contest bro and that's the thing uh speaking of the marvel cinematic universe
Robert Downey Jr. is in talks to be in captain america 3 which you think okay it's the same
universe that's not that biggest story however oh wait the rumor is captain america 3 will be
entitled civil war for those of you that don't know civil war was a very large very very
very large scale storyline event that they'd really yeah probably what five ten years ago now
no not ten close it to five where basically there's and there's they do this mutant registration act
that the government is trying to enact and captain america and iron man are on opposite sides of
the view of this uh during this thing spider man on a mask himself in front of a crowd of people
uh captain shot it's a very big event storyline and if you're going to do this as we're hearing
that mara that disney is in talks with sony to get spider man back you cannot do this storyline
unless you have spider man because then it doesn't make any sense but you know and apparently
sony's listening which i think is weird because i know you didn't like amazing too i like
amazing too i thought they were getting the character back on track but maybe sony's lost some
faith well i'm not the only one that felt that way yeah from from from what i went your house
that felt that way no no no no i mean like from what i read you're in the definite minority there
and i wanted to like that movie but it just felt too much like spider man 3 to me the danney boil
steve jobs biopic that's being written by air and sorkin new talks of who may play seal jobs
and it is one christian bail oh wow did they already do that we there's the jobs with this is a
different project that air and sorkin is writing which basically only focuses on three scenes
in an entire film okay but sorkin can do that because he's air and sorkin
i love danney boil oh as do i great great director i love danney boil millions is one of my favorite
movies i think i've seen that oh see it i think he's fan 20 really later love it love it love it
a franchise that chat is very on board with your next pirate's film javier Bardem
in talks to play the villain uh-huh which makes total sit to consider his wife was in the last one
oh there you go i just i just like javier Bardem i guess that dude read the phone book
if you want somebody friend know of that movie though i'm talking even though he was in the
debacle known as the counselor but um interesting news coming from the you know that they're doing
a pattington bear movie there's a trailer out there now it has been pushed back it was originally
supposed to come out christmas day it's now coming out in january 16 is it animated yes well it's
CGI live action and it fell into a huge tailspin whenever uh i'm drawn a blank on his name again
king speech uh rigid judges diary what's yeah calling for it was going to be the voice of patting
to any bail it was it was he was pretty much done with it and he pulled like a like a patino
from this pic with me too and just bout backed out so they have to redo it i think he needs to have a
son and then he has a son and then he has a son and then he has a son and they hop the same name
so the last one would be the fifth the first yeah i did that yeah that that that uh speaking of
the uh what makes the big bucks close twice as much as you do um two times and by the way kids twice
of nothing is still nothing uh hot tub time machine two has been moved from christmas day to
february the 20th that's i wasn't i wasn't looking forward to it anyway yeah that's not good for
anybody i like the first one gem in the holograms has a release date on October 23rd of 2015
that needed to be made well they are truly outrageous or you can't stop them what's next
dazzler than movie don't do not tempt them do not tempt them sorry no one's super power ever i can
make lights let's talk more about release schedule because this past week dc has released their
movie schedule for the next 10 films that they're going to be releasing which spans to what 2020
Batman v Superman Donna justice will be 2016 suicide squad getting their own film in 2016
which i think is a little risky but i said the same thing about guardians i look how that turned out
i think that assault on arcam was so well received they figured why not well they did a whole
episode on hero oh yeah yeah that's true wonder woman is going to happen you and i talked about
this recently it's going to happen in 2017 there will be a wonder woman moving they're not talking
gal Gadot do yet they want to see how it works out in Batman v Superman first i'm okay with it because
i think she looked incredible in the suit justice league is going to be a two-part film
of course part one will be in 2017 80 atoms is attached oh i love it yeah so i don't know what
lowest is gonna have to do with it but she's in let's see the the flash 2018 but not the kid
playing him on a tv show correct as remiller currently attached to that aquaman will get his own
film also in 2018 with the great Jason momoa who will also appear in Batman v Superman correct
shazam 2019 dwayne johnson to play black atom i am so in on that i am in i am in i am in
justice league part two in 2019 and 2020 will bring us both cyborg and another reboot of green
lantern have you seen the kid they got to play cyborg absolutely i saw the day they announced
perfect and warwick bay davis will be in episode seven they have said that that's happening so we
don't know if he's playing wicked or somebody else but yeah the the announcement video of him
getting the call is priceless it's all over Facebook and in what could be the biggest
coup announcement of the weekend is going to cost somebody a lot of money oh god an extra from
Batman v Superman has stated that Jenna Malone is in this film as carry Kelly who is also known
as the female robin who is featured in the dark night returns this is huge news because that
tells us that this is happening now we don't know how much of that story is going to be included in
Batman v Superman dawn of justice but we know it there's going to be something because the footage
we saw at comic con would lead us to the same conclusion because he looks it that's right out of the
book it's right out of the book i read that the other day and i think i almost had man tears
yeah i cannot wait for this movie this movie i can't believe the risk that this extra took to
to reveal this information five million dollars on a non disclosure agreement if they find out
who this guy is he's five million dollars movie new releases this week because apparently
Keanu Reeves can't not have a career his brand new movie john wick releases this week getting a lot
of good word amount really yeah better than 27 Ronin or whatever 47 Ronin 47 Ronin anything would be
better than 47 Ronin if it's if it's any positive word about because i don't hear anything good
about that 23 blast releases this week it's a it's a faith based football film which i wish we
could i was a little more the kid oh yeah yeah yeah yeah i was a little preoccupied when the
screening happened and laggies which will be releasing this week which will be screening sometime
this week and we'll probably have a review for by the time it releases okay DVD blue right new
releases this week one of my favorite movies of the year if you haven't seen it pick it up
cub Tuesday snowpiercer love so good it's brutal it's brutal yeah there's a lot of brutality in that
way but it's when you can watch a movie with Chris Evans and not see him as captain america yeah yeah
like he's that good in this movie Octavia Spencer's in this and Harris's in this uh it's a lot
of great actors in this until the swing minute till the swinton yes it's also in the young lady that
plays she's on the newsroom and i can't think of her name off hand but she's the the young female
they got her hair that cut her hair off in season two because she went to africa and saw a bunch
of stuff she's in this yeah i haven't seen that i'm and they're keep pushing back the last season
of the newsroom it's driving me crazy because i love that show a movie that chat has absolutely no
interest in earth to echo on dbt and dilure this week wall or i'll air as i like to call it wallety
yes the purge anarchy no made a lot of money yes made a lot of money i liked it it was better than
the first one speaking of things that didn't make a lot of money sex tape with the Cameron Diaz
that's already out comes out this Tuesday that bombed uh pwe's playhouse the a complete series
thank we i believe last time you were on the show we talked about this that releases this week i
believe on dbt and blue right can i just say that i did publicity for paul rubens in 1999 when he was
here at the dowels video fest really and 1999 yeah came in for the only covex award nice yeah
a gabriel eglaceous the fluffy movie comes out this week on dbt not a real fan of that guy i
like he's got moments the criterion collection has two releases this week lot dolce vita and
f for fake both get the criterion collection treatments i can't believe that let dolce vita just
now got a criterion in case there were so many unanswered questions from the first film and you
can't get enough of glen Jacobs on film oh no see no evil to no releases this Tuesday because i
can't get enough cane on my television wrong turn six are you joking i'm not i do it i
digital bits calm wrong turn six i don't know if that's really doesn't that turn into a right turn
like they're going the right way by that point you're driving it downtown Dallas but it just
keeps going what wrong turn seven we finally bought a GPS wrong turn six last resort and i bet it's not
i bet you're right a life after beth which is a movie that i'm very interested in seeing it looks
very funny it's bait it's kind of a zombie romance film interesting yeah it looks really really
funny they showed it to texas theater a couple of months ago billy crystal seven hundred sundays
his latest one man show release is on baby i've got all my dbr and i haven't watched it yet
crazy sexy cool the tlc story that's what it was called i mean me and my daughter were talking
about the other day i watched it on vh one uh shoot it it glosses over a lot of stuff that's kind
of what i was afraid of and uh night of champions in case you missed that pay-per-view last month which
we didn't and we regret that uh comes out on dvd and we're ready this week subtle sticking move robs
sticking move that's how i roll a music new releases this week please do i'm sorry kill you uh
you know since we're finished up when we talk here um she wanted to talk i've saw a couple of
things during this last week and a half um some of our notables that i saw at the video fest here
please do sir well we start off first off on that you know with the uh the lodger which was
incredible which we talked about earlier that hitchcock that was very very great the thursday night
i saw an honest liar which was a very interesting kind of documentary it's about the james randy
who's a magician who says these guys who say they could do this stuff because of their ESPN stuff
he boasts the cover on them but it's a story of his life and what he's gone through
which was you know really interesting to say the least um it shows kind of all sides of everything
then it's not killing the messenger in what these journalists go through around the world
i heard good things about that oh it's there's some brutality in there but some of these people
you know they go in these countries and they get arrested for being press and stuff and they go
to prison you know for just trying to get the word word out um of course friday last friday
that's up back on bad street uh which we talked about so many times and it's so funny which was
just incredible um one of my favorites was cotton road it was a documentary of no narration
and it just did this film with these people like con farmers and it talks how their business goes
these people has talked to the camera but it's a whole cycle of cotton where where it's grown
then house process how it's sent to china how it's made to close it and it's sent here
and then we buy the clothes and we discard a lot of it and 20% sold and the stuff that's
discarded then rest that goes to federal countries it's just the whole thing of cotton and clothes
from start to finish with like king corn kind of do you ever watch that and then uh very great
documentary then searching for general chow was very fascinating it's just a lot of these
about the actually origin and general south chicken yeah it's not even from china it's
not more more american and um it was uh it's right fortune cookies they're not out in china
people are going daily to show they're like what's this you know but the great thing about that
movie is um the the actual search for general so it's uh search for general general so with
it's kind of almost a red herring it's really about the um the chinese american experience
and talks all about the history of chinese coming to america in 1849 gold rush and then on through
and it's really amazing and uh learned so much oh yeah it's really fun yeah it's fun because
they're giving fortune cookies to people in china they're going what's this guy bites in and
goes what's that piece of paper in there you know they know the next i said 1971 about the
breaking in philadelphia about in the fbi office it right right how it affected the world
beyond clueless was very interesting it was all just clips of past teen movies and tells the
personaries talking about teen life and everything yeah but it was nothing original it was just
clips from all these movies okay then let's up and play it here it's a thing saying there's this
theory that they played before they got big at this one town in new england and there's no proof
of it except i witnessed it's and they're trying to say did bloodseppelin actually play there
very interesting then i saw a damn nation the story about dams and how you know a lot of these
dams they don't produce that much electricity and windmills like three windmills can produce more
than some of these dams and i'm saying should we get rid of some of these old ones it's environmental
question um they saw this is spinal tapped the classic everybody knows that one uh saw that
Terry shrewyer after the thing which was just incredible and then um i saw evaporating borders
in actress yesterday um in the henna feeds evaporating borders is the in the cypress in the
metrine how a lot of the Asian uh middle eastern people are trying to escape and it's the immigration
issue out there um actress is a story about a lady who talked about earlier but who uh the
world left the wire and it's a story trying to get back into the um into the acting world but
it's kind of you some people are going to love her and some people are going to hate her
and i'm not going to say which which one i do fair enough uh then the henna feeds and that's the
last one which was basically how um these undocumented people in New York working at dilly for
like five bucks an hour no ot no benefits no sick time and how they try to unionize one restaurant
there in the fight they went through just to get minimum wage wow so there's some incredible stuff i
saw we can't think boys Kelly everybody your dad says so much fun uh the uh almo draft house
if you next year with this thing hits there's so much check every this thing out get an event
and we hope they'll have us back because we will be back if they'll have us for sure absolutely
and we end every show with a list but instead of a list this week what i thought we do is i actually
found a grouping of things not really a list but just i guess you could call it a list of upcoming
projects that are movie reboots that are coming to television sir that i thought you would be
interested to hear about yeah i'm all in on this uh first of all we found out that nbc is
adapting a tv adoption of a marley in me oh which i'm not sure if we need uh no i mean i'm just
saying it's out there is it before or after no it's after so yeah i don't ruin that movie if
you haven't seen it but uh fox is developing a television version of big oh i don't know how i
feel about that again is it before or after i'm wondering if it's during okay you know uh
uh warner before it would still be gotten medium or warner oh wait but they've already done that
i'm sorry uh yeah my wife like that show a lot medium medium uh warner brothers with no network
announced has is developing rush hour which which i can actually see how you could do that as a
series though i mean it's just a buddy cop show i mean that's all it is you know just make us a
dead good sequel and because this had to be made into a television show get your potter's wheels
available because ghost not only is it musical but apparently coming to television as well
paramount is developing it with no network announced okay stop we now have done singing on the show
and and make sure that you mark that because you probably will never hear it again uh that was not
a manatee swimming outside the studio guys to that man minority report being developed by fox
hmm
given how that film ended i really don't see why you needed you know okay and i'm as far as i
can be from chat before i say this next thing because nicolodian is developing school of rock
for television uh you know i don't mind school of rock just don't just don't put jack black in it
i like jack i like jack black i like i like that movie they're they're they're they're giving
another crack as a tv show for friday the thirteenth if you remember there was a friday the thirteenth
series that had nothing to do with jason or castel like but it did have one of the greatest
television episode names ever because they had an episode where a hair piece
was demonically possessed and if you wore it you were possessed and it was called hell to pay
which i thought was great tease okay that's funny uh warner brothers developing monster in law
the jane fonda Jennifer Lopez vehicle for television good lord
and we've are and what we've got the premiere of constantine coming this way which i've heard
amazing things about those are i can't debate that because i've talked to people that's all the
pilots and no this is really good i mean i'm interested get the key on our reefs debacle out of your
mind this thing is good a lot of people don't realize that is based on a comic book yes it is
the omen no out wait out hold on because there's there's a little factoid about this that might
bring you back first of all it's going to take place with an adult damian realizing that he is
the antichrist but your showrunner is one glenn mazara from the walking dead really well i mean
we've already done the adult damian thing that's what sam niel was in the omen three the final
conflict i just thought that was the mori show i didn't realize i'm sorry uh nbc developing a series
about a movie that was filmed in our fairberg and i mean our fairberg no don't tell me problem
child no that's happening that was filmed in the that was filmed in the mosquito a big chunk of it was
oh yeah stars developing a movie based on the sasha gray movie the girlfriend experience
sasha would not want to sometimes better moments uh cw doing the illusionist i love that i know you
did so that was never seen that that one in the prestige kind of get sometimes like it never
leave a one of them i wanted to see them but i watched them in back-to-back days so they kind of
blurred it because there was because it did so well at the box office and i might tongue
this for my imprinted in my cheek a television series being developed for the mortal instruments
john c riley in that movie well how many books were in that series though i guess they're
a trillion i guess i're trying to milk it for all its world now all those say anything has back i mean
nbc has backed off i just killed the lead uh nbc has backed off of the say anything tv adaptation
which i'm very on board with because that's one of my favorite movies in the history of ever
and both camera and crow and john cusack have come out and said we're not having anything to do
with this leave this b didn't she come out and say something against it dude and uh oh he
skies guys i don't know i i haven't heard anything out of mind in this guy in a long time daughter of
i'm good this singer donovan from the 60s oh really that's her daddy uh barbarella being done by amazon
oh no what barbarella my good amazon is developing a television series based on barbarella
and we're doing it again the terminator oh but i'm gonna tell you something the Sarah Connor
Chronicles was good was really that was an excellent show and what a what a horrible way to claim
it because i thought they were getting season three which they should have the bbc currently
developing and shopping to american networks a series based on dangerously azons
oh we are just going to redo and overdo that thing to dead aren't we for the oddest part of this
list oh really abc family developing a series based on the hand that rocks the cradle abc family
you heard me correctly so what are they going to develop next bad santa but don't they have that pretty
little lyre show i thought i mean it's i mean if i've got to make a logical progression i mean that's
where i'm going to go but american psycho will be a series on fx which i think if you're going to
do that as a series fx is a decent place to do so yeah probably though uh outbreak to nbc
ill times maybe well i know that they're going to do a uh i can't remember which network was
looking at it was going to make a an adaptation of the novel the hot zone which is basically the same thing
but i heard the strain did really really well little creepy for me well that's more vampire than it is
but still anything and i always see huge then stiller and nbc working together to develop reality
bites i don't know if that works now i don't think because that movie does not age well
it ages better than hackers did because that may be one of the worst aged movies but i just don't
know if that works now because that concept in 1994 it was almost prophetic because if you watch
that movie a lot of what they were doing is what reality TV's doing now yeah great soundtrack though
great soundtrack i have a very unhealthy crush on lisa lobe it's not it's not pretty
uh the exorcist again no no no and finally before we get to wrap this thing up because we're almost
at the three hour mark sci-fi is one of three networks that are developing post apocalyptic
versions of the wizard of eyes and one of them is a medical drama explain that to me
don't explain that to me i'm not kidding you i'm that does not make me happy
didn't we already do this on sci-fi a couple of times i know that didn't they do one that was
mainly focused on the ten man yeah that was the one that sci-fi did yeah because i know you had two
networks that were running post apocalyptic wizard of a wildlife whatever and before we wrap
this up i do want to end this on a couple of high notes starting January first netflix will have
every episode of friends available to doubt to stream you see the commercial for it i have not
but i've heard about it it's brilliant and congratulations to your walking dead yes season five
premiere of the highest rated episode ever fan for that show god was it good anything else before
we wrap this thing up kids thank you thank you thank you Kelly who does more for us than she has
ever had to ever in the history of ever and we love her for it she has she has helped us make so
many great friends um we love her anyway yeah let me introduce we've done look at my look at my
I counted eight I counted eight this from the video fest this was a full thing yeah but this
is just today that i'm holding in my hand thank you don't for all the work that you do
for the empire don't think i forgot that your birthday was monday a happy late birthday to you
your birthday present i have to find it this is not so far well i had three i had to give
them away um but thank you for everything you do if it weren't for you we wouldn't have the
people sitting with us because we'd be running around and that doesn't do anybody any good
thanks to Bart Weiss for putting on an amazing festival the the Texas show about to get underway
um thanks to the empire for putting up with us i know we took a couple of weeks off but there's
there was reasoning for that and uh some of you know what that is and some of you don't and if you
don't i apologize because i'm not gonna air that here um next week we'll be doing the live
pre-show for wwe hell in a cell from an undisclosed location and uh proprietor of unsaid location
gave me some great news on what's coming up next month with him oh yes which i'm very very excited
about remember our normal show is every sunday night 70s from four pacific so two weeks from
tonight we'll be back to abnormal we'll be back in the studio back at the the nurturing bosom of
the mother ship as they like to say here locally uh it's hard to believe that we're almost into
November sir there's been some crazy things going on in the sports that we haven't been able to
talk about we've hasn't crazy weather here i needed to get cold again does driving me insane be
careful what you asked for but you know i but you know i love the cold weather as do i but i love
the cold weather i know the the more we complain about the heat the colder the cold weather is
going to be whenever it shows up and then we're going to be griping about it all right let's do the
plugs kids amen visit our website www.theclubhousepodcast.com find out everything you need and some stuff you
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and i'm at pod don go you can email me at don at the clubhousepodcast.com
we love doing live shows just like we're doing right now contact don if you would like us to bring
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charla parker is on Pinterest because we are morally obligated to say that
and jules walmick is waiting for her husband to return to the domicile
brother that would be an entire two hour show you wouldn't book anybody else if that happened
next sunday hell and a cell pre show make sure you join us seventies for four pacific
for chad for done for kelly for the nine billion people that we got to interview in the last
week and a half that we can't thank enough for dealing with us i am rob the clubhouse is closed
and i'm still waiting for my brit e-pal or documentary
the preceding was a sooner or gator production gotta go gotta go why because i have to