Dallas VideoFest 29 Part 2

It is 3.31 on the East Coast.
It is 12.31 on the West Coast.
It is the 23rd of October in the year of our Lord 2016 season 4, episode 16, 366 times.
This voice has welcomed you to the Clubhouse Podcast live normally every Sunday night,
7 Eastern 4 Pacific, but we're throwing you a curveball today because we can.
It's our deal.
Welcome.
Whether you're live with us on Ustream, whether you listen on the archive or whether you
subscribe on iTunes, we don't care how you listen, we're just glad you do.
My name is Rob, and the next few weeks like we talked about Friday night are going to
be a little touch and go, but we're going to make this show happen regardless.
I am not alone as I very rarely ever am on the show to my right because we're on a remote
show is my co-host and a man who's a little less brightly colored than he was on Friday
nights.
He is Chad.
Welcome, sir.
Nice of you to just take the purple out of it.
That's true.
Also joining us is the official fact checker of this show and a man who has given up his
Steelers today for the show because he sacrifices.
You may know him as fond Don Go, but his mama name him Don Ford, I'm going to call him
Don Ford.
Welcome, sir.
Where are you?
There you are.
I'm scared without bad being in on this one.
It's the Patriots.
Yeah.
Yeah.
I'm scared.
Good luck with all that.
I know.
We are live at the Angelica Film Center in Mockingbird Station in Dallas for the final
day of Dallas Video Fest 29.
There's been a lot going on all weekend.
We were here Friday night covering for you.
We're here tonight covering for you and we're going to dive right into the pool.
You guys across from us, right across from me right now next to Don, Cady Corner to Chad.
We have our very first guest of the afternoon.
This guy is so awesome.
He's got two things in the festival because that's how he rolls.
I'm going to let him introduce himself.
Hello guys.
My name is Gabriel Duran and so thank you for inviting me to this.
Pretty cool out the first guest on your show that he pulled the number at the deli and
it said one.
There you go.
Luckily, we're out.
I'm glad to be here though.
Thank you.
Okay.
You guys know me.
Bye.
All right.
Go to you.
So Gabriel, you kind of bookended the festival.
Yes.
Because Thursday night you had the world premiere of Streets of Assign, which we're going to
talk about here in just a minute.
And then just now, you had another short in the festival.
Yes, I do.
I don't want to screw up the name because I can't read Don's writing real well.
I can get the second two words.
I can't get the first one.
It's a pure is now, which is nothing to worse as a title.
Oh, so it's the feel good movie of the year.
Yes, it is.
It is.
Very good.
Also joining us taking Don's chair is one of your actors from Streets of Assign.
This is Michael Marshall.
Say hello, sir.
Hello, everybody.
Talk right into the things that everybody can hear.
Can you hear me?
There you go.
Now we got something going on.
Hello, everybody.
This is Michael Marshall.
I play the lead role as Bobby in Streets of Assign, which I was just reading a little bit
about in the old media guide here.
Talk about this film.
I'm very intrigued by this.
Is it, would you call it a coming of age or more of a finding oneself?
It's a little bit of a coming of age.
The story itself is basically an experimental film.
The film itself is an experimental film that was kind of taken from a short film and expanded
into a feature film.
Everything about this film kind of takes my lessons of what I've learned in film making
school and kind of throwing it out the window.
You're not a lot whenever we cover film festivals.
Yes, definitely.
Basically, everything you learn from film schools is A, B, A, B, A, B. You write a script,
you get a cast, and then you take on the process of filmmaking.
From my master's thesis film, I said, you know what?
Let's go ahead and take that and just throw it out the window and just grab a camera.
We have a foundation of a story, and we're going to get real people living in real situations
and cast them as our cast.
The people that you see in our film, they actually live because the film itself is kind of like
a boy's in a hood mixed with the city of God type of film.
It's basically a hood film, and the characters that you see in this film are basically themselves.
There's not somebody portraying somebody else.
They're basically who they are as a person.
So taking an actor and saying, okay, I want you to act like you've been in Dallas, Cylindow,
being this, doing that, you know, act like that and how to speak like them and dress like
them.
It's kind of difficult.
So I actually got people from that lived that lifestyle and actually portrayed them
in the movie.
But how hard was, I mean, was that a challenge for you to, I don't know, you said act like
yourself, but that can also be a challenge, too, because how do you walk that long
line between a portrayal of who you are versus a caricature of who you are, which a lot
of people tend to do when you tell them, just do what you do.
It's so funny because I think a lot of, I'm not saying, there's a lot of amazing actors
after tons of amazing actors, but for this film, it just wasn't right with the film I wanted
to do.
So when I tell somebody to say, hey, just act like yourself, basically, I'm not telling
them anything.
I'm basically saying, okay, this is what I want in the story within this scene.
Talk it out.
None of the stuff that in this story, this film was scripted.
It was all spontaneous.
I mean, the interactions between two characters was all damn speaking.
It was.
So you kind of gave them, did you just, like, well, let's talk to Gabriel from that standpoint.
Were you just given bullet points to him?
Gabriel is here, Michael.
I'm going to put my papers the other way around, so that way you're here and you're here.
Michael from an actor's standpoint.
Were you just given bullet points to work with and an end point to get to?
And if so, how does that work as an actor?
Well, at the beginning of the film, when we were preparing to shoot a short film, we actually
had a script.
Okay.
Yes.
And then through the process of making the film, Gabe noticed that the guys who weren't
actors, the guys that he told just to be yourself on the film, when they tried to actually act,
it just didn't seem right.
It didn't come off right.
But when he experimented with them and told them to just be yourself, he knows that it
was so much more real, so much more believable.
So that's kind of how we got into that.
But from my standpoint, I think it was a little bit more difficult because I'm used to reading
the script, having lines to say, and pretty much this 90% of this film was improv.
So everything was spontaneous.
Gabe would tell me, at the beginning of the scene, I want this portrayed in the scene,
but he didn't give me any direction, you got to, I want you to deliver what I want.
But having done the short, do you feel that as an actor going into doing it adds now a
feature because you're taking what, seven to ten minutes and out, turning it into what,
90?
Yes, probably.
Did you feel that gave you a heads up, making it into a feature, or did you kind of have
to put all that to the side and kind of just go with what was there?
Actually, the short was never made.
We actually started, that was the intention, was a short, and then the more I talked to
my professors about the film, the more we started to say, hey, this 15 minutes is not going
to hold the story.
It's not going to hold the story.
So let's go ahead and try to shoot a feature.
So the feature was your master's thesis, then?
Yes, it was.
Okay, so we hear both ways.
We've heard people like, no, I did a short from my master's thesis, you said, no, I'm
going next level.
Take that, multiply it by nine.
Let's get this moving.
Because if I'm going to give my master's, I want to push myself as a filmmaker.
That's you should.
And it should be, put me in boundaries that I'm not used to, put me in places that, man,
what do I have to do now?
I have $1,500 to shoot this film.
Literally $1,500 to shoot a feature that took us about two years to shoot, actually.
Good mercy.
Two years to shoot this film.
Because everybody had jobs, they have families, so it was one of those things, hey, one
week is like, hey, what are you doing today?
Nothing.
The scene today.
It was that type of filmmaking.
And it was not blocked.
It was just documentary style filmmaking.
We just.
Three years include post or was that included post was about a year and a half a shooting.
So you're going to have a principal six months of post and then you finish and you went,
I don't want to touch this anymore.
We actually finished it a week before we showed.
Oh, wow.
So which was last week?
It was last week.
So last week was the world premiere Thursday night.
Yes, we finished it like Sunday night.
I was literally in the studio doing voiceover a week ago.
Literally.
Literally.
You know, nobody has to know that.
I mean, they know now.
They know that.
It shows a raw experience that we had to go there to make this film.
But it also shows the dedication you put towards those films.
To commit to it's two years of your life to something you're all in.
No, I'll end.
So how did it go?
Go back Thursday night.
It went great.
It went good.
And then with the two years, I don't think anybody planned on the film being two years
long.
It kind of stuck up on it.
It did.
But you know, it's funny because we look at the film now and then we're like, wait,
we shot that first year.
And this scene was shot like a year later and it was like, you know, well, you know, let's
talk about that.
When you take 18 months in principle photography, yes, talk about was there a struggle to keep
continuity because, you know, you look at the film, it sounds like the kids from the
Raiders document.
I've seen this documentary.
It's called Raiders, the story of the greatest fan film ever made.
It showed a couple of years ago at a film festival that we went to and it's out on blue
right.
And as a filmmaker, you need to check it because what this is is these three kids in the
80s.
Uh-huh.
Before there was Blu-ray, DVD, even VHS, they went and saw Raiders of the Lost Ark.
And for eight summers, they did a shot for shot remake of Raiders, why am I losing myself
here?
I'm going to check that out.
Oh, it's great.
And one of the things they talk about is how, you know, you know, eight years when you're
a teenager, yes, you know, you want to talk about your, your, your six foot, your
five, two.
Yes.
That's pretty funny.
And what happens is there was only one scene that they didn't get to make it.
It was the scene, the fight at the airplane.
No.
So they come back as adults to film that scene.
Oh, wow.
It's 30 years old.
It's got to watch as a filmmaker and as an actor, it will blow your mind.
I don't want to say that.
And it's available.
What's the name of this?
It's called Raiders, the story of the greatest fan film ever made.
Raiders.
Yeah.
It's out on a DVD and Blu-ray right now.
I'm going to take that.
Now that we're plugging the filmmakers into the show.
No, I'm going to take that.
I'm going to take that.
And there's also a book.
There was a book made about it too.
It's incredibly.
Because they deal with all the things that teenagers deal with.
And I'm thinking about it from your standpoint.
Are you losing sound every once in a while?
It's just me.
No, I think it's both of us.
OK.
Let me fix something here.
I want to do that better.
I don't know.
Keep talking.
I'm still talking.
I don't know.
We're having some rough times to date.
We're not.
Right.
But I mean, and that made me think of your film.
Because in a year and a half, how hard was that to keep the continuity?
Did you have to maybe?
Did you have to substitute certain people in different places or?
No.
We had something to choose.
We had an actor who could on us halfway through the film.
And he had good reason.
And we had to rewrite the story around that and to make sure that if he does come back,
that, hey, we have an avenue for him to come back with.
So that was one of the instances.
A lot of instances, some people so they lost their clothes.
Oh, jeez.
Some people shaved their beards.
So we didn't have to wait for them to grab their bear back or stuff like that.
So it was, it was the process of like, oh, we have to wait.
You know, we just have to wait.
And but looking at it, day in and day out for two years or for a year and a half of the
same footage over and over almost on a weekly basis, you kind of don't lose sight of where
the story needs to be.
So it was always, you know, okay, we need to be here.
We need to be here.
But of course, when you shoot spontaneous like that, you kind of go out in the tangent.
You know, a lot of times we wasted two days going out in the tangent.
So it was something that we had to like pull ourselves back into the story.
No, what's going on here?
I think it's, I think it's just that headphone thing.
There we go.
Yeah, that sounds like it.
Try that and see what happens.
That sounds a little better.
Yeah.
Yeah, we're crackling.
Oh, you know what?
Take that away.
I think that was.
It's radioactive.
It must be my, my media guy.
So that was the other thing.
It's over here.
It's my fault.
There you go.
So you said it really well.
How was the Q and A?
Because it's a show that you were intense.
I'm sure you guys did a Q and A after.
Yes, yes.
Q and A was good.
I had a lot of questions about like, it went to park two coming out and a lot of questions
about the process of the film and how it was shot because it's not your standard of
blocking.
So basically we started with a film crew of like maybe 10, ended up with me and my camera
guy.
I directed Rand Sound and he shot the camera.
I mean, that's the way we wrote for most of the film.
Well, you know, you asked people asked about a sequel.
Is this something that you think would warrant a sequel or is this kind of need to be where
it is?
It's written to where there is warranted for a sequel.
I mean, it was done on purpose like that.
Okay.
It was never, never.
It's never lived.
I mean, like most movies you see, oh, it's so open-ended that it has to be a part two.
The story in itself is a story in itself and it could stay as it is and itself.
It can warrant a part two if it needs to be.
Just know.
Michael, are you up for another go round?
Uh, yeah.
Sure.
I say with your director sitting right next to you.
You saw.
I looked at him.
This time.
Yeah.
I think it would be a lot better.
These have been chest-envolved.
I tell you.
I hope, man, I pray.
We all want that.
We want that.
Not just some in and out brought to you in the middle of the day.
Not even that.
It was McDonald's dollar million, man.
But you know what the best kind of food is?
Free.
That's right.
That's true.
If somebody else is signing the bill, I'll give you whatever you put in front of you.
I don't tell you.
$1,500 went all to food.
That's all it went to.
There was nothing involved as far as-
The $1,500 catering bill.
That's all there was.
For two years, you know.
And good thing we had a lot of good people on our cast that, of course, they fed us.
We would have potlucks and stuff like that.
See that?
That's awesome.
When you have that community feel.
Yes.
And especially since it's in your community, it makes it even better.
Yes.
It was definitely a family feel to it.
It's a family feel but it's not a family movie.
Yeah.
It's not a family movie.
That's fair.
It is.
It's a family movie but a very harsh family movie.
It puts the unity back in community like you often say.
Exactly.
It puts the unity back in community.
With a lot of curse words in it.
But I have to say.
Give it a listen.
Let's talk about the short as well because that just happens.
Yes.
It's going on right now actually.
Tell us about the short.
The short is called Yoda's Nala.
It's basically my take.
When I shot this film was about also about two years ago, right?
About several months before I started Street to the Sion.
Basically the film is at that moment in time.
I think a lot of the Mexican cartel stuff was in the news.
It was a lot of wars going on on the border and stuff like that.
And basically it's about instead of saying okay, everything in the border is bad.
These are all cartels are doing this or doing that.
I went on and spoke about the people who are living there and what they're going through.
And this is what a short film is about.
It's about this family trying to get out of that violence because of what's going on on the border.
Not necessarily focusing on the violence itself but the people who live there and what they have to deal with.
And what the extremities they have to do to get out of that violence.
And it was actually part of the Texas filmmakers showcase.
It is.
Which is kind of cool.
It's one of the things I love about videofast.
Yes.
Is they really do like to focus on Texas filmmakers and Texas films.
Yes.
Which really brings a different flavor to things.
How did that go?
It's great.
I mean I'm Houston Film Commission.
I'm so, I sent it in a long time ago and I totally forgot about it.
And then all of a sudden I get a phone call and say hey, you want to go to California?
I'm like who's this?
Did I win another trip on a cruise somewhere?
I was about to hang up on it.
Are you going to be somebody waiting for me?
I don't want to see.
So they're like no, no, no.
You actually are selected one of the eight in the state of Texas to be in a Houston Film Commission.
Film maker showcase.
So they flew me down to California and they showcased the film over there.
Now it's touring.
So I'm very honored to be a part of that.
Like very honored.
So where does streets of Asayan go from here?
Oh man.
More festivals.
That's my every film that I do I represent to the fullest.
I mean, always to my actors.
If you're going to be with me, this film is going to be touring.
Every film I do, I intend it for film festivals, for it to be out there, for it to be showing,
showcasing, showing the world, the work, for not only me, but for everybody that's involved with the film.
And that's the whole thing about it.
I think there was a couple of people that were on my film who had no acting experience whatsoever.
And they were so good, they had such raw talent, they've already been casted for other films.
Wow.
I mean, literally, lead roles.
Nice.
So this is what filmmaking is about.
This is what it's about.
Before we let you go enjoy and relax, because now it's time to exhale, because it's all over now.
Isn't that really over?
It just keeps going?
It's over for us.
It's over for video fast.
There you go, there you go.
We are all about shameless self promotion.
Give us websites, Facebook, Twitter, and for you, too, sir.
Give it all to us, because we want our bar.
I love this show, man.
We want our listeners to go out and seek you guys out.
It's simple for me.
I only have Facebook.
That's so simple, because I'm trying to find you on Facebook.
It's not so simple.
Mike Marshall, there's probably a million of those.
But I have a black hat pointing to the back.
Thank you.
That helps.
Okay.
I'm trying to find you.
Okay.
Mine's Gabriel Duran on Facebook, and also Duran won films.
You can just Google me, and I can pop up.
And Streets of Assign on Facebook, so.
So it's got its own Facebook.
Yeah.
I've already got a link to our page as well.
I'm just struggling trying to find Mike.
From our Facebook page.
There you go.
Gabriel Duran, Michael Marshall, gentlemen.
Thank you so much for joining us.
I'm so glad things have gone so well for you.
Thank you.
Keep us in the loop on what you're doing, because, you know, we love to promote the people that actually sit down and talk to these schlebs for a couple of days.
This is fun, man.
This is actually one of the best interviews I've had.
So it's fun.
Thank you.
Great job, guys.
If you're back here next year, please come and see us here.
I'm going to be back next year.
All right.
And keep track of us, because in case we're ever geographically desired, we'll be sure to come hang out with us.
Definitely.
That's good.
All right.
Gentlemen, go enjoy the day.
Thank you.
Thank you.
I found you.
I found you.
I found you.
I found you.
I found you.
I found you.
I found you.
I found you.
I found the black hat on.
I found the black hat.
You are listening to the Clubhouse podcast.
We are fourth year doing this.
And this was, you know, we talked to Bart Weiss, a quality human being whom we love.
And reminded him that this was the first festival that let us do this outside of a studio.
So we're always indebted to those guys.
No kidding, man.
It's been an amazing experience.
It doesn't really have any peaks and valleys.
It's been just a consistent series of peaks.
Oh, you ain't lying.
And what, you know, we're going to go right into our next guest because our next guest is carrying what could be the most awesome shirt that we've had at a festival this year.
That's all I'm saying.
Uh-huh.
Jodie, just right now.
Is it Randy Cremen?
Did I get that right?
That's right.
All right.
Let's see.
Director.
You're the director.
I am a one man film crew.
I am director.
I am producer.
I am editor.
I'm colorist.
I'm sound engineer.
I'm the whole thing.
The transportation captain.
Yeah.
Yeah.
We don't have much of a budget, so I don't eat much.
But uh...
Temple Shalom Softball, the first inning.
So if I read, I breezed it because I haven't had a chance to look at the media.
The first thing I saw was a parody of Ken Burns baseball.
You bet you already have my attention.
Cool.
And I'm a brave fan till I die.
Very cool.
Which rooting for this team may be very, very soon.
This team is hurting my soul right now.
If I was a drinker, they would be the reason I drink.
But tell us more about the film.
Well, Temple Shalom Softball, the first inning, is modeled after Ken Burns baseball.
And it takes the 40-year history of a DFW Softball League, a Jewish-affiliated League,
and tracks it with reenactments, funny wings and moustaches.
There's actually a binder.
The founder of the League kept with scores and stats and memoranda that provide this historical record.
But the funny thing about it is, when his team, the pirates, when they're not doing well,
then he stops paying attention, so it opens up the historical record for fishtail.
Nice.
Chad, I want to let you know who narrates this.
I'm going to give you two names.
You ready?
Okay.
Eric Nadal.
Okay.
And Brad Shalom.
Wow.
If you're those who are not in the DFW area, these are two very, very high-profile announcers
from Brad Shalom for years has been the voice of the Dallas Cowboys on radio.
Eric Nadal for years hasn't been involved with the Texas Rangers.
So this is great.
How does that happen?
This is great this way.
Okay.
Okay.
So part of, like Ken Burns baseball and part of the appeal of it, is the narrator John Chancellor
is the baseball voice of God.
And if you're from the DFW, if you're from the Metriplex, right?
The baseball voice of God is Eric Nadal.
So he was the logical first choice for this.
So Eric has been a friend of the league for a while.
They have a breakfast every December.
And he's been a speaker a couple of times.
And when I came up for the idea for this, it was actually at the Shalom league breakfast in 2014.
And Eric was the keynote speaker.
So I already had him in mind for it.
I should have been rough cut of the film.
And he actually saw, like so there are scans of this stuff from Bob Weinfeld's binder
that showing the scores and the stats and statistics.
But there are also these scans and these old newsletters from Temple Shalom that are about the league
or announcing the league or harrowing it.
And there's one that, as you pan down, he found the name of this father-in-law was printed there.
Wow.
And so he automatically had a personal connection.
But he really enjoyed the film.
He thought he was humorous and it was open-minded to it.
And so I pitched him on it.
And because he's a really busy dude, he wanted to say no.
But I hung in there.
And we worked out a price.
And it's been great working with Eric.
He is absolute just genius.
And part of working with someone who just has this golden voice,
you try to just not screw it up too much.
I just heard one thing, baseball and pirates in the same sentence.
This is a local thing.
Don's from Pittsburgh.
Well, well, well, the founder of the league, Bob Weinfeld, he's also from Pittsburgh
and has been managing little league teams since he was nine years old.
And so he is an insurance salesman.
And so he's incredibly meticulous and also incredibly connected
and likes to bring people to the softball league so that they can play
but also so he can sell insurance.
Well, even at that later, bye.
It's a team with a pyramid scheme.
So was this the big premiere today?
I mean, you just got done two hours ago.
Yeah, yeah, yeah.
It was great.
A lot of folks from the league came out.
I'm a teacher at Anna High School just north of the Metroplex.
One of my students actually came out with her parents to see it.
So it was really cool.
And one of the things about this is, I do have ambitions on this.
I do want to make this a seven inning series.
Baseball is nine.
Softball is seven.
And there really is.
There's enough material.
Because as this league, it started with a 16 league in central Dallas
here at Churchill Park.
And it has grown to a 20 team league that plays heritage yards.
Oh, wow.
It started as a 75% Jewish league because not enough Jews play sports.
And now today, though, that the percentage is inverted.
It's actually 25% Jewish, 75% non-Jewish.
And so there's been a change in terms of the level of competition.
So back in the day in 75, this first inning deals with the 75,
76 and 77 seasons.
Back in the 75, you know, your average players would start to show up
in like the sixth round.
Today, they don't show up to the ninth.
And the evolution of this league, they started in 75
and they wanted to be a draft league.
But they didn't set the rules.
So people started to cheat immediately, trying to find some sort of advantage.
There's actually a story about the 76, 76, 76,
where this fabric dealer from New York knew a bunch of his buddies
and nobody else knew, brought them in through the draft.
And they created this ringer team that dominated everybody.
So they had to go to player evaluations.
So if you wanted to play for this league today,
you'd have to go out to this park in Plano
and you'd have to try out in front of captains who would rate you
for all sorts of fielding, throwing, batting metrics.
That's too much anxiety for me.
I could throw the ball really well.
Hitting has never been my strong point ever.
Me neither.
I'm just stricken out and put beer leaks softball.
That's all I have to say about me.
Me neither, man.
My dad was the player and he's part of the inspiration for the project.
Like my dad was a college ball player.
His parents were huge cup fans.
I bet they are right now.
Yeah, they are.
Well, they've passed away.
But they can still be there.
I can see their part of the contingent watching down on the clubs.
By the way, for those of you that don't know,
Indians cups don't world series.
I want to know what the Vegas odds were on that six months ago.
Two of the worst teams with the NFL franchise right now.
That's very true.
And if you'll let me put that up,
it's proof of the Illuminati.
So my dad, like I mean,
he said that he basically grew up at Ridley Field.
So he's always been a huge baseball fan and has played softball since
before I can remember recreational softball.
So I wanted to do this to simultaneously
honor my dad's love for it.
And massively satirize the idea of these guys being legends in their own mind
because every recreational player who's ever played,
that's their major leagues.
And so if that's their major leagues, then they need to have a major league
baseball Hall of Fame broadcaster doing their play by play.
We need to have crowd noise in the background.
We need to treat their reenactments like it's the world series.
You're creating a world of Al Bundy's here with this.
I think you kind of shelter that from the people involved until you showed it.
No, not at all.
No, from Go, I would say, hey, look,
you might be like 70, whatever right now, right?
You're going to play yourself back then because this anachronism is funny.
An old man trying to go back and like redo his young glory days.
I mean, from like a post-production standpoint,
like putting all the crowd noise and everything,
were they aware of what you were going to do with it?
Oh, no, no, no.
So that part was a surprise.
So I rolled that out of the Shalom League breakfast.
They have one every December.
And so I'm in production right now in the second inning.
And that should be complete.
This one's kind of exciting because we actually have a 1981 VHS
of Reds versus Pirates.
And so it is a grainy and underexposed,
which just like Bob Whitefield's binder,
when there are holes, that's to my advantage.
Enter fish tail and it will fit.
That's awesome.
You want to see the logo, the production logo.
Have you put it up for us?
Well, I've linked their Facebook page.
But it looks just like the Kevin Burns baseball.
Ken Burns.
Yeah, so part of it is like taking that spot on.
Like, if I'm going to do it, I'm going to do the target.
I got to do it right.
It's dead on.
But you know, if you're going to next level though,
two words, or three words, coffee tablebook.
Yeah, and I would think at some point we didn't take some of the stills
and pairing the cover of Ken Burns.
Totally, totally, totally, totally, totally.
And give it fold out leg so it's actually a coffee table.
So, hey, with that alignment, like one of the things,
like the very first reenatement is Dodgers versus Loan Rangers.
And the story behind this one is that in the very first draft,
was kind of like a school yard pickup, this captain for the Loan Rangers,
brought a guy out who he thought was a ringer he could sneak through
and his best buddy, Captain of the Dodgers, stole him in the draft.
And those teams meet in the championship game.
And as a result of this ringer's play, they win.
The Dodgers win.
So, it's 1975, right?
What was happening in Major League Baseball at the time, Carlton Fisk.
So, the reenatement is actually a shot-for-shot recreation of...
That is brilliant.
That is brilliant.
Yeah, because that Carlton Fisk moment is one of those moments
in the sports fan.
You see him willing it fair, willing it fair.
Stay in, stay in, stay in.
Okay, so you said you're...
How long is the first inning?
So, the first inning, like the DVD cut was like 47 minutes.
And for the festival, we cut it down to 40 to hopefully enter the short category.
We were left in the future category anyway.
But 40's a nice round number.
If you're Jewish, you're no numerology.
It's a nice round number.
So, I think going forward...
I grew up in South Fortis, considering myself honorary by association.
Hey, man.
We'll take you.
I've always said one of the things living in Dallas that I miss as an honest to God, Jewish
Deli.
So, every time I go home, there's a list of places I have to go.
Well, if you haven't been to Deli News in North Dallas off of Campbell in Preston, that's the place to go.
I've been to Sydney.
Sydney is pretty good.
Yeah, Sydney is good.
But if you've never been to Deli News, I highly recommend it.
I highly recommend it.
In fact, my dad, who was a physician, he just recently retired.
And he goes there every Saturday.
And they have some sort of arrangement.
This is an old world arrangement where his tab is paid for and he gives them medical care.
You know what?
Nothing wrong with that.
Exactly.
I think they come out on the bed right into that.
I certainly do because we are over there every Saturday morning.
So, where...
I mean, you said you're working on Inning 2 now.
Yeah.
Are you going to release these together or you release them as separate Innings to the public?
Because not everybody can get to a festival like this.
I really want people to be able to see this.
I'm going to watch this later.
Cool, man.
Do you have access to it as part of the festival?
I'm sure I can.
Or else...
I have a trust.
You have Vimeo linked because honestly like...
Oh, yeah, this is right up our alley.
You know, I am dying to like get more awareness of the project.
Honestly, like, in terms of what it's going to be done, what's going to be done in terms of the sale.
I want to finish the whole series because I don't think you can judge it on one Inning or two Innings.
I will be packaging the first two Innings though, for entry into the Loan Star Film Festival.
And also into the Dallas International, the other two local film festivals for which the short category limits are at 30.
I tried cutting this thing down at 30.
I wasn't going to work.
So I'm going to take the two Innings together and package that one for the feature.
But then after that, I mean, I think it...
It kind of depends on, you know, what kind of...
I really like to get it on a platform somewhere.
And, you know, I will say that like, my strength is in writing.
My strength is in like, in producing.
My strength is in editing.
And for camera, as a one-man crew, I have to learn a lot.
But I'm a teacher, so that's part of what I need to do.
That's fair.
Self-improvement to raise the curve for my kids.
And actually, when my students came here, and I gave a shout out to the Q&A afterwards,
I was like, and Kira can spot every single error I have made.
And we'll do so for extra credit.
There you go.
She's the only one that can get it. She's the only one that can.
Okay, so that's...
We're going to let you go because we want you to go relax for a while.
But before we go with all of our guests,
we are, if nothing else in this show, we are about shameless self-promotion.
Cool.
So, websites, social media, give it to us all.
Gosh, well, I guess we need to look...
I don't know, crap.
I'm not ready for that.
Hold on.
Well, I've already got your link to...
The Facebook page.
The Facebook page.
On onto your Facebook page into the films.
Awesome. Thanks.
And then for Twitter, let me see what that official handle is.
Yeah.
So, it's at ShalomSHALOM underscore S-O-F-T-B-A-L-L
at Shalom underscore softball.
And then, hey, if you're interested in making a contribution,
I don't have like a mechanism either on the Facebook or on this.
But just send me an email to Shalom.softball.documentarygmail.
Gosh, I could have probably come up with a shorter email address.
How do you spell documentary?
I don't even know.
Well, bit more obviously if I spell check in their web and their browser now.
So they should be able to get through it there.
Anything else you want to plug before we let you go?
I don't know.
Look forward to inning two.
Yeah, look forward to inning two.
And look, the contributions of both monetary to pick up for the production costs.
Those are important, but the most important thing is if you're listening right now,
and you could pass for a recreational softball player.
And we know a few.
Yes, we do.
We have quite a few in the Empire.
Four are reenactments, getting enough people on the field in order to make it seem like there's a full team.
I only need five or six per team.
I've been able to light mask it pretty well.
We need to get all of one Jimmy Silva.
We do.
Yeah, we have a guy that we know very well who is who is all about the beer league softball.
Very cool.
Very cool.
We'll get him involved for sure.
Thank you guys so much for your time.
Oh, no, thank you, man.
Thank you.
Thank you.
So you know, having you here is great.
And again, guys got a brave shirt on you got to have them on the chef.
Well, you know, I just want to like end this segment by saying why I have the brave shirt on.
I'm honestly like, I was born in San 20 raised in Dallas, and I'm a diehard raise.
I'm so I die.
The reason I'm wearing the Atlanta brave shirt is this was the last team in Shalom that I played with my dad.
Oh, really?
And I remember my dad being up to bat, and I was in the on deck circle, and for us to bat near one another
means that something is horribly wrong with them. Because my dad was a college ball player,
he was a fourth round draft pick, but due to injury and age it's kind of slid, he slid down to where
I was drafted as a non-athlete, and I remember my dad getting a hot shot single to center field
and running down the line, and as soon as he hit his foot on the bag, he crumpled over, having
snapped his Achilles, it was the last time he played in the league, and last time I played with him,
and this project is all about honoring...
And what a great way to honor him is with that. And again, still the brave, so I'm happy.
Yeah, it's cool. Congratulations, I'm glad things are continuing to success.
Thank so much, it's Rob and Chad, right? I'm Rob, that's Chad, yes.
Thank you so much for joining us.
Thank you so much for joining us.
Randy Kramer, Temple Shalom, softball the first inning, because you know there's going to be
seven of these. I'm stoked about this. I'm going to check this out. This is on my list for this
week for sure. And I'm currently looking at the Delhi News Restaurant Facebook page.
Oh really? And boy, is this screaming our name? Good, good. Because I need to do this as well,
apparently. Do you want to press them? Yeah. Okay. As we're talking to people around the world,
they're like, we don't even know where that is. You don't have to know, we do. It means something to us.
We do have a couple of things we want to take care of in the meantime. I think Don's out
looking for guests. I've got to do a quick in memoriam for two people yesterday.
First, Steve Dylan, for those of you that are not geeks, this is the guy that a lot of the
punisher covers that you remember seeing and a lot of preacher in the comic book. It was really
hot artist. He has passed away yesterday as well as, and this one really hurt me, seeing the great
comedian Kevin Meeney. I pulled away the stuff on Thursday. Such a fan of Kevin Meeney.
Since I was a kid, he was doing stand-up when I was in high school. Yeah.
You know, he did the television. Didn't he do one of the television versions of Uncle Buck at one point?
Yes, he did. Because there's been two. There was one this past season with Mike Epps and that
lasted like an episode and a half. And then he did that one. He was always the guy that's that's not
right. Yeah. Yeah, that was his bit. He was on Bob and Tom like a month ago. Really?
Yes, he was passed through town. Perfect. Perfect. He was just happened to be in India and was on
the show. And it's always so refreshing to hear him talk about his life and the things that he's
been through. And what I read that yesterday, my jaw hit the floor. Yeah, I was that was kind of a
shocker. But you know, as as good friend of the show, Devin Pike has often referred to this as
the celebrity apocalypse. He just keeps on hitting us. And as another one of our leaders says,
big bucket of win for both of those guys. Yes indeed. You are listening to the Clubhouse podcast.
Make sure you visit our website, www.theclubhousepodcast.com. Find out everything you need to know
in some stuff you don't right now. You can see the reviews that Don and I have posted for American
pastoral. Also, a lot of other stuff going on the website as well. Make sure that you like our
Facebook page. Put the Clubhouse podcast for both Facebook and Instagram. If you don't,
you won't wind up somewhere else. On Twitter, we're at Clubhouse show. You can follow me on Twitter
and Instagram. Both of those are yes, that Rob Irvin that has spelled ERVN. I am at Chad NPG69
on Twitter. I'm at fun. Don going to email me at Don at clubhousepodcast.com. You can email Don for
information on how we can come do live shows. Like we're doing right now at the Angelica Film Center
in Dallas at Mockingbird Station. You can email me if you'd like. Questions, comments,
concerns. Tell me to go pound sand. I am Rob at theclubhousepodcast.com. I am Chad at theclubhousepodcast.com.
Charlotte Parker is on Pinterest because we are morally obligated to say that. And Jules
Walnut is somewhere around here. She's sitting right around the corner. Oh, there she is.
I didn't see what she's about. There's the thing and I couldn't see past the thing. I told you
that's where she was. You said she's over there somewhere. That was your words to me. That would
be over there. I didn't seem to breathe for a minute because we got a big guest coming up later
on the show. Very, very big guest. Someone who has a very, very special place. If you are a sports
fan, this person has a very, very special place in sports history. And I'm very excited that we're
going to have this person on the show. I don't know exactly when, but we are going to have him on
the show. If you've heard, you heard Bart mentioned his name yesterday. You also heard Mr. Holtman.
I believe mentioned his name yesterday. Friday. Friday. Friday. So if you're listening live,
I will say this. The Friday show and this show will probably go up to iTunes at the same time.
Okay. Because I'm trying to get a plan together on how I'm going to do that.
That's my short part. And again, I want to thank everybody who's reached out during this time where
things at the house aren't quite good because we had about two thirds of the house flood in a
and a hose exploding accident about a week and a half ago. We're okay. The fur balls are okay.
They're a little annoyed, but that's what they always do. I went, aren't they? Property loss was
minimal. It's just more of, we're going to have to redo a lot of stuff at the house. So I
just want to thank everybody for reaching out and sending their best to me and the lovely
and talented Mrs. Irvin. It's been a rough couple of weeks and it's not going to get, it's not
going to get any easier for a few more weeks. It's going to be at least December before everything's
back to normal and that includes the studio. So for the next few weeks, things are going to sound
a little bit different acoustically acoustically. They're going to sound a little bit different,
but the show will go on. The show has to go on, especially next week because next week, we will
be doing our official unofficial WWE's Hell in a Cell pre-show. There's going to be three
Hell in a Cell matches on this card, sir. Good. As it should. And rumors of Charlotte and Sasha
Pigs may be headlining it. There's been conflicting stories. A woman's raw pay-per-view match
headlining in Hell in a Cell. Wow. The mix said he may have put the card before the horse
on that, but I've heard conflicting stories each way. I'm just glad that they're getting on
the card. Yeah, no kidding. I mean, the women's division is really step their game up.
So I'm glad they're being recognized for it.
I'm going to take another breather here. I got to stop looking at this deli news place.
Yeah, you really do. It's just torturing me. The golden arch is for lunch. It believed me
how much there's better things I would have rather have done. Well, do I talk some box office
numbers? Sure. I sent you the link, by the way, to like the page so you can follow it.
All right, so let's lock some box office numbers, dropping out of the top 10 this week.
Sully drops from 9 to 13. 1.6 million dollars. I can't read the whole thing. Hold on a second,
because I've been missing one little column here. Here we go. Seven weeks, 120.9 million dollars
on a $60 million budget. Did you ever see it? I did not. I know it was our two. The birth of a nation
drops from 10 to 15. Three weeks, 14.2 million dollars, eight and a half million dollar budget,
but that's before Fox Searchlight bought it. Oh, okay. All right. So 14 million, they bought it for
16 and a half. If you add the promo in there, it's not doing well. No. Middle school, the worst
years of my life drops from eight to 12 this week, $2.3 million, $3 weeks, $17 million, $8.5 million
The magnificent seven drops from 7 to 11 this week, $2.4 million, $5 weeks, $89 million, $90 million
dollar budget. So it's going to have to do so. You know what? We talked about this. I have a written
review up at the website. I enjoyed this film. I enjoyed this film. It's a lot of fun.
Let's see what else we have going on here. I will say a big jump this week for denial. This is the
movie about the true story of the lady taking on the guy that I in the Holocaust.
Oh, yes, yes, jumps from 20 to 14 this week. I think I got a little bit brighter released. I
enjoyed this film as well. It's dropping from five to 10 this week. Deep water horizon, $3.7 million,
$4 weeks, $55.3 million. This was a $110 million budget. Yikes. Storks drops from six to nine this week,
$1.1 million, $5 weeks, $64.7 million on a $70 million budget. And remember kids,
that was Warner Brothers animation. Kevin Hart, what now drops from the bronze middle to eighth
place, $4.1 million, $2 weeks, $18.9 million, $9.9 million budget. And most of that went to
Halle Berry. Keeping up with the Joneses, debuts in seventh place with $5.6 million. I don't have
a budget on this. Miss Paragreens drops from four to six with $6 million, $4 weeks, $74.4 million,
$110 million budget. My sister saw it. She really liked it. A girl on the train drops from the
silver medal to fifth place this week, $7.3 million, $3 weeks, $59 million, $45 million budget.
I got nothing. Yeah. The accountant drops from the gold medal to fourth place this week,
another $14 million for that film, $2 weeks, $48 million, $44 million budget. So the
benefit doing well. I do want to see this. I've heard very good things. So your top three this
week, all debuts. I got a real bad feeling. Bronze medal, Ouija, origin of evil, $14.06 million,
on a $9 million budget. Jack Reacher never go back in the silver medal, $23 million, $60 million
budget. Oh no. Oh no. Don't you know what's coming? No, please don't you know what's coming?
Your box office champion this week. Boo, I'm a Dia Halloween, the story of the exorcista.
I'm going to throw myself off this back here. $27.6 million on a $20 million budget.
And our friends at the movie brothers, they have their review up.
So because they went and saw Thursday night. All right, I had to go through that quickly because
we just had somebody come sit down with us. I'm all to make sure I don't want him to get
too bored and have to leave us. And he's not just a luminary. He is the luminary. He's the luminary.
Again, two great t-shirts back to back. And he's so proud of it. Look at it. Our last guest
had an Atlanta Braves t-shirt on. I'm a huge Braves fan. Well, you've got the Dallas Video Fest
t-shirt, which I think is a great logo. Bart Weiss is back with us. Welcome back, sir.
How are you doing? How are you doing, someone? What's happened since I've been since I've been here
last? We had a lot we've had we've had we had our first person on the show that's had a film
done by the criterion collection. That's pretty awesome. That would be your friend. Yes.
For hoop dreams. Yes. And then we also had a multi Emmy award winner on the show Friday night.
Stephanie. No, it's the from the big secret. Oh, right. Yes. But also Stephanie is one
two Emmy. Oh, she had as well. Actually three Emmy's two P buddies. See, they why don't people tell
these things? That's get on your fact checker about that. Well, our fact checker's a little busy,
sir. Just saying that's what you're you're technically doing his job today. Okay,
because you've got the computer. He's the one running around. So you'll just let Donald
Trump say anything and that's what we have factcheck.org. I love that website. I go there the day after
the debates and they just lay the whole thing out. Actually, NPR doesn't lie. See, Bloomberg said they
were going to and they really didn't when I watched the first debate. So I decided just to go to the
whoever was the the moderator was representing. I went to that channel for the debates.
But we're done with all that for another couple of weeks. How are you feeling, sir? A little tire.
How many but it looks like things have been going really well. Things, you know,
the real joy for me of doing a festival is the people we bring in and some of them have had a chance
to talk to. And it's just so wonderful to have like the people who made poop dreams down here.
We've got like, you know, editor people have done amazing things and to have our community of
filmmakers and Dallas get to hear these things and see these things and interact with these people
just lifts everybody up and just think it's wonderful for us to be together and hang out and watch
like films that are inspirational. So how much breathing time do you get before we start working
on 30 years, 30 almost done at this point? Because everyone's like, no, I got the next two years
planned out. Let's just say I'm I've got some ideas which are not fully formed about how to
totally transform what a festival could be and how to try and make it meaningful in different
kind of ways. So I don't know what 30 is going to be. I know it's going to be extraordinary.
I know that we'll be sort of looking forward and looking back but where that is and how that plays
and what we do that will be different and unique and surprising. And that's what I've kind of
loved and we've talked about before that this is our fourth year doing the festival that every
year has kind of had a different vibe. All awesome, but just every like we had the one year where we
write a different venue. And that brought a different flavor to it. And last year just kind of
had a different feel. This year has a different feel from last year, but it's all good. Like it's
like yes. I haven't gotten home after doing one of these shows and gone. What do we just do?
Everything's felt good. Everybody's been so upbeat. It wasn't like, wow, I'm glad that's
over with. Man, I can't wait to do that again. Well, we were just talking in pre-show today.
The show we did Friday night, like I blinked and we were two hours in. Yeah. Because you have so
many great luminaries coming through that want to sit down and talk with us and talk. I'm excited
are there about their films, you know, getting to talk to some on their way in, getting to talk to
others on their way out. We had our first guest today kind of bookended a festival because he had
a film premiere on Thursday night. And then he was part of the shorts today and to kind of
compare and contrast this. Yes. What a great, great guy he was. And you know, Gays was a student of mine.
What's he, he didn't mention that part of it. He said, I knew he was from here, but he didn't
mention that he was one of your students. Yeah. Both as an undergraduate at UTA and also as a
graduate student. Can you, can you kind of speak to that like what that's like for you to have
these people that you've mentored in the past. All of a sudden now they're part of your festival.
Well, you know, particularly in the sense of Gabe because this was a project he started as a student
and was way bigger than it was expected to be. And it took him an extra year to get it done and
were you the one that told him he needed to make it a feature instead of a short? No, because he
wouldn't name names. We talked early on that this was a little more than would be a short. And
not only that, but it was a time for him having done a number of really successful shorts to move
into doing a feature. And this project was the best thing to do. So it was kind of clear early on.
But it was it was a pretty cool thing. And Gabe is just incredibly talented. And he's an all-around
great guy. We really, really enjoyed talking to him. And did Gabe tell you that he started his own
festival? No, he didn't. See, what is with this guy? He was very groovy. We got barred. I like
barred like bar likes to talk to us because he fills in the holes. Yeah, he fills in the gaps. Well,
you know, as I tell my students, I know everything. And so yeah, Gabe had a Latino festival in Fort
Worth about two weeks ago. Very nice. First time he'd ever done that. And it was a very, very
difficult and challenging thing. But he did an incredibly awesome job. I'm very proud of him. Wow.
So we talked Friday nights, you know, you said they're all your favorites. Yeah. Was there one
that surprised you from an audience reaction more, more like exceeding your expectations than
anything else? Yeah. Okay. There are many things. But I think one of the things that I was really
surprised how, how they connected with students or students. That's coming up on Tuesday morning.
I do get a whole day Monday off to sort of relax. Decorate the rest day. The audience really,
last night we had this incredible program about virtual reality with Doug Latino for the New York
Times. And everybody who was in that just couldn't believe how good VR could be and just had not
really experienced it. And Doug did a great job at showing why the New York Times was interested
in doing virtual reality in a really different kind of way. And I think that was, everybody was
really just didn't expect how good it was going to be. They went in there because as it happens
sometimes people will go into something because I tell them to. Last night, okay. So we had this
really nice collection of short films. And I said to everybody who was there, look, I know some
of you think you're going home. But this next film, which was Love Witch, which is this incredible
film. And I said, just trust me. See, that was when I wanted to catch. I didn't get a chance to
because every time I opened my media guide, it went to that film. I was like, is somebody trying to
tell me something? It's just where it came in the middle, you know. But that film is really kind
of fun and exciting. And everybody who I sort of coerced and I said, just trust me, you want to go
to that film. Every one of them thanked me and said, I am so happy I experienced that.
That's awesome. You know, it's been really interesting when we, you know, when we talked to
Hulsman the other night about his, the art of directing, Frank Capra, that also went over very,
very well. Oh, I didn't shock me at all. But then you look at how you've got one foot firmly
planted in classic filmmaking with the thing on Capra. And then you've got what you were just
talking about. And the Rooster Teeth feature, the SIGGRAPH compilation. How you got classic film
and then cutting eggs next generation film, how it covers such a broad spectrum of filmmaking styles
here. To be really honest, that's like who I am. That's yeah. I mean, it's a testament to what
this thing really is. I mean, I went to film school and I am grounded in the history and traditions
of classic cinema. And I think it's really important to understand where you're going to have a
sense of where people have been. Right. And to sort of understand the, the classics or, as
in the case we did with rebirths of a nation, subvert the classic. But sort of understand that sense
of history. And we have since 1987, sort of looked at where this not only where is technology
going, but what's interesting about what we can do with it. So it's not just a matter of
showing well, well, there is this thing called VR. But who's doing something interesting with VR.
And what is it that's the evolving language. And we've done that with high definition and CD
ROMs and DVDs. And I like so many different technologies. Like I am always trying to figure out
how people are going to use images in different ways that affect people's lives. But the things
that work well are the things where you have this sort of star tradition. What's interesting,
particularly about virtual reality, is that it doesn't use the classic cinematic tradition.
Right. That everything we learn from DW Griffith, wide shot medium shot close up and pacing and
all of that gets thrown out of the door because you can't light anything. The sense of what a close
up is different. The sense of a cut in virtual reality is a very different thing. And so how.
It's turning your head, basically. Right. And how do we sort of evolve? Where do we think about,
like, what is the language that we use? We are in this moment where that language is emerging.
And it's very rare in the history of a medium that you get to see the language of how things
happen evolve right in front of your eyes. Right. But there's no way to pigeonhole what the
definition of cinema is anymore. Well, especially at a festival like this, it's so very,
because you go from that and Don got to actually check out TikTok with 60 minutes last night.
He couldn't stop talking about that when we when I saw him this morning.
There's so many, like when you people are like, oh, there's something for everybody. No,
this festival, there's literally something for everybody where they're like, like Bart said,
whether you like classic film, whether you're more of a contemporary person, whether you're more of a
tech person, whether you're more of a stylistic person, there's something for everybody. And I
think that's what sets this festival apart. I love the mobile stuff too. The things made with
mobile devices that just further, further strengthens the point of a filmmaker can literally come
from anywhere. And it's really interesting with the stuff of the mobile phones. At a certain point,
it gets to be, well, it just looks like a regular film, right? Right. And it doesn't look
handicapped by its mobileness. You can say the same thing about seagraphing the computer graphics.
In the early days when we were showing that, the hard thing was to, how can you take a
teapot and make that move subtly enough? And then later, how can you make a face and make that move?
And then how can you make a body and make that move? And now you look at it and you say, like,
okay, what's real and what was made in the computer? Well, we were somewhere the other day.
And we were walking by an endcap in a store and I had to stop and go, was that NBA 2K17 or is that
a live game? Is it a live game? Because the line has gotten so blurred. I remember my first experience
with VR was probably 20, 25 years ago and they were doing like a video game at the mall. Do you
remember Dactyl Nightmare? I have not seen that. It was a thing where you put the helmet on and it
was, I mean, it was probably Commodore 64 graphics. And you were on a platform and you played
against somebody else that was on a platform and you were trying to shoot each other. And every
every 10th shot you made a Tera Dactyl came and picked you up and dropped you off and so you had
to start over. Yeah, they had it at six flags for a while too. And I saw that and I was like,
this is the coolest thing I've ever seen. Now you do it on roller coasters and it looks real.
Uh-huh. We did our first VR program in 1988. Wow. Back when cutting edge looked like a craftwork
video. Well, it was one big money for nothing. Yeah, you boing, boom, chop, clean and a black
ground boing. Yeah, boom. It was in those days, it was actually NASA. NASA and Atari were the major
players and stuff together. And NASA, because when you had to go outside the capsule to fix something
and if that a human go out there, it would be really expensive. So they wanted to put a bot on
there that could see what to do and could be controlled with gloves and goggles. So it would say
the money. So that early research into how VR work came from NASA and the United States government.
It wasn't it wasn't out of it was that more out of necessity than it was an entertainment property.
Yeah. And now you've got people that are taking those 360 shots on their phone and you go to
Facebook and you're literally turning around and you're seeing what they're seeing. Which is
even more mind blowing because now it's even in your phone it's gotten so advanced. Yeah,
majority of the phones have a headset adapter that you can plug your phone into and you're
immersed somewhere. If you're not faster doing it. If you come down to our festival in our
lounge downstairs, we have five of the Samsung gear things where you put your phone into it and
it's a beautiful 360. It's not Google cardboard. It's like the real thing. Nice. And we have a
a list of interesting VR pieces for you to see an experience. What are we doing up here?
We're talking to him. Oh, that's right. That's right. So we wouldn't know about that.
It's now it's right about 330 central time. How many films are left?
Well, we go until about 830. So maybe 20. Well, the Texas show has about eight or nine.
I think are two short film compilations. We've got this incredible program. Actually, okay.
So if you are listening to this live in your Dallas, Fort Worth area,
there's a film you need to come and see. So like if you're driving like turn around and
like come back down to the Angelica. So if you're a basketball fan, you may have heard of a guy named
Spencer Haywood. He's like a very, you guys aren't basketball fans. Oh, I know who a Spencer
is. We're basketball fan. I've seen the film. Okay. And I can't wait to talk to him about
that. So he and he he is around and he's going to be here. He has the largest
fingers you've ever seen in your life. And they talk about that in the film about this.
Like even when he was little that his hands were like twice the size of everybody else's.
You're gone. And and his story is just amazing that, you know, just the point of going from,
you know, in the fields to getting a chance to play basketball. And then what happened
after that when he wanted to go into the NBA and get a suit. The NBA went all the way up
to the Supreme Court and he wins. But what's the most amazing part of the film is not all the stuff
that you may know if you know about who he is. It's what happened after basketball.
Absolutely. That is truly inspiring. And to have him in our presence in the city. It's like
you got to check this out. And we're really we're supposed to get him on the show. That was our
big surprise. I'm just going to give it out now. That Spencer's supposed to sit down with us.
We were hoping before he goes into the film. That's why we came on earlier today so we could try
to get him on the show. And and he is just incredible and very inspiring. And it's called full court.
Full court. The Spencer Haywood story. What time is it at? Five maybe. I mean, go back in here.
Just to sort of let you know, this was not something that was made today. Later to Hollywood.
This was produced from AMS Pictures and Dallas, Texas. Yes, sir. AMS right up the Toeway.
Yes, right up the Toeway. Really good for driving by their building. Because they've been there forever.
Well, you should see. And that's a gorgeous building. You should see what it looks like inside.
Well, somebody wants to say, escort us on a tour up there. If you just pulled up to their door and
say, could we have a tour of the place? They'd love to show it to each of the rooms is designed in
really kind of beautiful ways. And he strived failed to use the guy owns the place. He really
wanted people who are both both clients and the workers to feel inspired by the environment and
spend a lot of money creating like a great place to work. So I'm thinking Clubhouse Field Trip.
I'm thinking yeah, okay done. We're gonna get that done. All right, anything else I can tell you?
Anything else you want to tell us? Thank you for coming to our festival for 29 years and
the 30th one would be awesome. Oh, we're looking forward to 30. And we cannot thank you enough
for having us. We're having so much fun. Well, thank you. Thank you very much.
Bart White stays in gentlemen. One of our favorite is people in the entire world. And when it comes
to Dallas video fest, this is the guy. Yes, he is. The fact that we get access to people like
Bart is even more awesome. The Don Corleone of the Dallas video fest. He's going to go enjoy the
column before the storm here. Don has rejoined us. I'm here somewhere. What's going on, sir?
Oh, Nada. Just taking a breath. Really appreciate it. Thank you. Thank you, Bart.
So do we have, I mean, the cat's coming out of the bag now that we're supposed to be getting
Spencer. Do we know when? Not the exact moment. Okay, but it is coming up. Yes. From what
I'm going to say I'm working on it. Okay, good, good, good. Because we're not, we're an hour in
already, sir. Are we just like Friday that we blinked and it's flying. Yeah. But we at least
we have music this time. So I remember, I remembered the iPod today. By the way, Dolphins,
when you've got the iPod, who remembered the I was in the car. I would have gone, but he's still
car got it again. But I appreciate you grabbing it. But Dolphins win, by the way, by three over
the bills. Good for you. Bucking ears currently losing. Because you know, we got that going for us.
Let's see. What else do we need to know? Let me pull up my NFL app as the kids like to say.
What do you call it? I don't know. I'm just old.
Don still zero zero for you right now. Patriots zero zero zero game is three minutes old.
Chargers up on the Falcon seven three nineers up seven nothing. Here's some finals for you.
We of course Thursday night Packers over the Bears 26 to 10. What a debacle that game was.
Today giants over the Rams 17 to 10. That was that was that was in England. That was a London game.
Okay, I knew there was one being played. Uh, Cincinnati over Cleve when 31 to 17.
Lions over Washington by three. The Raiders beaten up Jacksonville 33 to 16 today, sir.
The chefs over the Saints by six. Like I said, the dolphins beat the bills. So hopefully we'll
start the downslide of the Buffalo bills. Let's see. Jets over the Ravens 24 to 16. Eagles beat the
Vikings by 11 and the Colts over the Titans 3426. So Indy gets a win. Well, good for all the other
games going on right now. Uh, those are the three games tonight will be Seattle at Arizona and
tomorrow night Houston at Denver. That's what you got going on tonight. You sound excited. Yes,
I'm thrilled out of my mom. And then World Series starts on Tuesday.
So you'll have game one will be at a cleveland. The Jake or whatever they're calling it now. Right next
door to the queue where the Cavaliers will be having ring night the same night. Oh gosh. So cleveland will
be party town, USA on Tuesday. And I guess you've heard who they're wanting to get the throw out the
first day. That's who wants to do it. Major league baseball has said no, thank you. Good. I was hoping
no, I wanted Charlie Sheen to throw out the first pitch at the Indian's game. Come out with
the with the wild thing haircut. Come out to the music wearing the glasses. Come on. Maybe 20 years
ago. Nope, not still in. I'm still in. Not granted. The guy's not stable. Let's just put it out
there, but you know what? I don't care if he's 80. That would still be cool. I'd be afraid of what he
might. Tom Barrencher's got to be available. Yeah, he ain't doing a heck of a lot. Wesley Snipes
got to be available. Corbin Bernson got to be available. Dennis Haysberg. He might cost you
a little more than he did when he played Serrano, because you know he's the president. Yes.
Renee Russo. You got her on the mix too. Yeah, but she wasn't on the field. Except at the end.
And the guy that played the manager passed away. Yes, he is. And they still have the fake version
of him on Bob and Tom calls in. And every time they'll be talking about something, they'll say,
oh, I guess you wonder what my opinion is on the world series. What is your opinion?
I got some white walls. I'm changing. I got to call you back.
That's a running bit every time he calls in. Because you know, he does that in the movie,
where he thinks they're joking to have him come coach the Indians. He's like, I got to send a white
wall. So I'm putting on a truck. Let me call you back. Now I forgot about that. I'm telling you,
we're major league is one of my favorite films of all time. The first one. The second one was
the third one we don't even talk about. But back to the miners. Yeah.
The butcher was actually referenced on a family guy recently in a very unstable way,
which I don't know why I had to say it that way, because everything mentioned on families
that they've done an unstable and that kind of go without saying. Anything else you want to talk
about while we're waiting, sir? Well, I take a sip of my tasty beverage. Anything else going on
that we need to know about? Just just anything in general. Did you catch the announcement of
the next Nintendo console? I did. Now I was hoping that you'd be willing to talk about it.
Absolutely. What is it called? The Switch. The Switch. They went the code name was NX and now
it's Jimmy Smith's movie and like 87 Jimmy Smith. Oh God. I know it's a movie. I don't know who he's in it.
I think Ellen Barkin was in that. Do you know the the ends announced of this thing? The premise
of the console. What I've seen is there is it's a controller, but you can detach the controller
and put it on either side of a tablet. It is basically a console handheld hybrid
where the if you if you if you basically take the the the genesis of the idea of what they've
been doing with the Wii U with the control pad with the screen on it with you know control six
is like a big fat 3ds without 3d technology. But you could put this thing in its cradle when you're
sitting at home and if you don't want to use the control pad screen you can snap the control
sticks and the buttons off this just slide it off put it on. Don't snap it off. No, no,
don't snap it off and you put it into like a little base unit that where you basically have like
kind of like an Xbox shaped controller in your hands that you're controlling on your big screen
TV. Okay. And you can take it off of that thing put it back on the side and take it on the road
with you. So you could literally pause the game. Can you can you hybrid it so you can have it
through your playing on your big screen but you have it like the big Wii controller or Wii U
controller. That's I haven't seen it in that configuration. So I'm assuming no I wouldn't
shoot. I don't know. I don't know. Come on Nintendo. That seems like to be the one option that they
haven't because I don't think anyone really utilized it all that much on the Wii U so they figured
they'd face that out. Can I give you a quick headline coming from IMDB? Sure. Just Weedans next film might
be a historical horror feature set during World War II. Okay. What? Just Weedan horror film
World War II. So we'll we'll we'll we'll we'll we'll. Well you know Call of Duty has been doing that
Call of Duty zombie thing for a while so I wondered if he's going to go with that. Maybe. That's a good
point. But this Nintendo thing. When is this supposed to release? Because actually in front of the show
Steven Zimmerman broke that for us broke that for me on on Instagram the other day because you
know he's on the inside of that. So it's going to release in March. I'm interested in this.
People seem to think that this is going to be a game changer backwards compatible. Very very
little detail so far. Okay. They put out a sizzle reel. It's all over Nintendo's Facebook page.
It's about three and a half minutes long. It's about a three and a half minute long video. You show
it in every known configuration that you can put this thing through. Like I know it supports two
players only two off off off the single screen that you can carry with you like okay like they
showed a guy that was like in someone's minivan and he's playing Mario Kart while he's in their back
seat with the guy in the seat next to him. I mean they're literally playing. He's not driving the
minivan. No, no, no, no, no. There's two guys in the back seat and they're playing Mario Kart while
somebody's driving the car. Okay. So at least two people off of that one small screen. I don't know
if they're going to be able to where you can have multiple screens and link them together and have
four to eight player multiplayer because I know they showed Splatoon which is really big on the
Wii U right now. So apparently that's going to carry over onto the switch. So is that like you're
in a war but you're spitting at things? It's like a massive paintball. Oh,
squat gun war right. Splat. Splat. Okay. I got you. And like like these they look like a much
of hyper stylized kids but apparently they're a new species to where they're like half human half
squid. Don't ask me to explain that. Should they look like your daughter? For those of you
don't know, he refers to his child as the squid. I might say that she looks like like a sea creature.
Yeah, actually you kind of started that. No, I call her the munchkin. Well, it was it was something
that we kind of lifted from a local sports talk. No, I've always called her the munchkin. But they
showed they showed a Mario Kart running on it. They showed a Mario game just a platformer Mario
game. So I don't know if this is like the same Mario game that we've seen or if this is something
new that's on the on the release slate. The first thing they showed was the Zelda game that's coming
out that was going to be on the Wii U. I don't know if it's going to. I know that they did that for
the Twilight Princess where they made it a GameCube and a Wii release like back to back. So I don't
know if they're going to do the same thing with this upcoming Zelda game. But like all their major
franchises seem to be represented like the four big ones Mario Kart Mario itself Zelda and
what was the fourth? No, it's platoon. They're their newest franchise. And as a reminder a week from
Tuesday are the Animaniacs Funko Pops. Yakowako.pinky on the brain. You're going to mall on your
on your shelf at work. They're all on my wish list. I haven't decided which ones I'm going to buy
because you know money flow. Yeah. Even what's going on at the house. Picking the brains of the
one or the ones that really really want personally. Especially the brain because you're really not
going to have to do all that much change. I've seen it. I've seen it. It's pretty dead on. It's
like it's pretty accurate. It's solid. They did a lot lately. A lot of really cool ones. I mean my
wish list is probably about a third Funko pop right now. Real that many. There's that many out there
that I'm really really excited about. I'm really trying to track that. I've only seen it in the wild
once but I didn't have it on me was. I've seen BB eight and I know Jules really wants the BB eight
Funko pop and the unmasked Kylo Ren is something that it's pretty high on my list. I have that one.
I'll stop it. Kevin got it for me. Just being a nice guy I walked in with Kylo Ren. I was like thank
you sir. And then my boss has the my boss's boss has the mass one. Well I've got the mass one.
I mean I wouldn't be happy. He's also got the apparently Game Stop did a limited run of the
Super from BVS the Superman statue version that's got false god spray painted on it. Yeah he
hasn't. It's pretty sweet Funko pop of that. Yes. Game Stop did their own exclusive on that.
I'm really I'm really a fan of those of those larger versions like the one that you gave Don
for his birthday of the Alien Queen. I've seen like and that was ridiculously affordable.
I mean that's that's a smart way to go. That's a smart way to go. I mean there's just mimic
to chat how much it costs because I don't want to put that there on the air. Like I've seen like
the cyber demon like the big boss at the end of doom is another one that they've got out there
that's in the same size. And you know what I don't have I really probably need to seek out
are the stings because there's a couple different ones are they they've done wolf pack sting they've
done crow sting. I don't think they've done old school sting. If they do old school sting I don't
care if it's the last five dollars I have. I'm kidding. I know that the the Game Stop in
Mesquite over in my old neighborhood had a ton of wrestling related Funko pop. So you might want
to go check there. I've got two right now. I've got the Ric Flair that my wife got me for Christmas
and I've got Daniel Bryan. Not a sting to be had on your shelf. That's that shocks me. I don't know
if I've even seen Undertaker. I mean I know he's I know that. And you know that Jay and Simon
Barbara now are more Torium. And I only got Jay. Really? Yeah. Jen got me Jay like she saw both
of them in the store together. Left the store came back to the store and Jay was the only one they
had. So but it's on my wish list if somebody out there can find it. It's not I went to their website
and they're not making them anymore. So I hate that. It's very upset about that. But man it's
amazing to me how many licenses they have. No kidding. Because you saw what Devon put up the other day
on Facebook. He has Ferris Bueller. They did a Ferris Bueller. Are you kidding? It's pretty sweet
looking. I'm not going to lie. I'm like I must have that. I want to go to there. So there
do they have Cameron and Sloan as well? I'm sure they probably do. Do they have the Ferrari? You
could put them all in. Now I just want I want Ben Stein. Ben Stein? That would be awesome.
Oh, oh, oh, okay, okay. Speaking of team movies that I am now caught up on the Goldbergs.
That breakfast club episode was perfect. I know you are about the biggest fan of that show
in in the pantheon of fans. And I got to watch nothing but trailers now carrying the Power Rangers
trailer. I did watch that yesterday on the big screen. And I'm I'm in. It's the breakfast club
with powers. That's what made me think of it. Because if you watch that trailer, they all go
to detention together. They all find the thing together. Uh oh, we have a luminary walking bias.
He says not he says not to mention his his existence. I don't want to mention who it is,
but God, he just walked by and look in his feet aren't touching the floor as he walks past.
God, he's one of our favorite people in the press car. As I've told you, he got the picture with
Jason Seagull. A couple weeks ago. Well, now you just now he just unveiled who it was.
But uh, yeah, I just I'm in on this Power Rangers thing. And I never thought in my life,
I would say something Power Rangers related to I would be in on. See, I've I've never followed
it. I mean, that was I've never followed it because I didn't want to, but then I saw this trailer
and I was like, this looks pretty awesome. Well, I know that you had the unfortunate
duty of working a toys or working a toys or us whenever it was a thing when it first became a thing.
Right. And it became the bane of your existence. Your dog on right. It did. I mean, like with you
working in that, you know, arena and then I was working at fun cold end, which is what GameStop is
now in the early 90s when, you know, Madden was first really catching fire. And I remember the day
that I left that company was the day that Mortal Kombat 2 came out. And unfortunately, the store that
I was working at, everybody wanted the Super Nintendo version because it was pretty much arcade
perfect for for that standard at the time. And all we got were the Genesis coffees.
All right. So people want to talk a race of 80s DVD blew any releases this week. Yeah. Sure.
Lights out. This week. Really. God, that was quick. Nerve, which was in theaters a couple of months ago
with the Dave Franco and the Emma Roberts. Oh, yeah. The online game deal. Yeah, the dare. They're doing
it. Mad Max high octane anthology collection that comes with a mock head of one of the cars. I don't
know if you can lean over and see it from where you are right here. Oh, it's pretty sweet. Hunt
for the wilder people, which we had some of our friends see recently. It was really good. Captain
Fantastic, the movie with Vigil Mortensen. Want to see that? A Street Fighter 2, the animated movie.
Really? Again? Mr. Church this week. Wait, wait, on Blueway? Yeah. That thing never
going to theatrical release here? It did. It was like a week and a half. It wasn't. It was very,
very limited. Oh, man. That's the anniversary one, right? A movie that you're probably waiting to
see or maybe you already have skip trace. Did you watch it yet? Because I know you, somebody showed
you a coffee. I put it on and fell asleep within 10 minutes. Criterion collection is doing the
executioner this week and the tree of wooden clogs. Got nothing. Okay. Actually, they did
pins labyrinth last week. What else do we have this week here? Anything of notes. The Bob Dylan
10th anniversary deluxe edition of No, No Direction Home. Oh, wait, what are you doing?
Scorsese. Wait, wait, wait, wait, wait.
Beauty and the Beast, the enchanted Christmas special edition. Well, because I know you just bought
the original. So I know you're upset about that. What? I'm just sad I'm just kidding. I think
that's all I found this week of any notes. I mean, it's kind of a slow week for DVD and Blueway.
We're gearing up. Yeah, we're getting ready for the holiday rush holiday season.
I'm trying to see if there's anything like. I know we're a matter of weeks away from the 3D
release of The Force Awakens. And this was a new extra stuff on it. I think any mad? I'm sure.
The lost films of I'm not making this up. This guy was kind of an exploitation director. Bill
Zibub. What? That's a thing. It's apparently not be else above. He's Bill Zibub. You know what that
reminds me of? We were watching this last night. This guy. It's it's from about a year ago. It's a
video that went viral about a guy that's talking about a pig that's got like a like he's having. He's
getting around on a wheelchair and he entertains like kids and senior citizens. And the anchor completely
falls apart when he's trying to talk about it because the pig's name is Chris middle initial P
last name bacon. Chris P bacon. This dude as soon as he sees the name come up, he completely
falls apart. Don's on his way with our special guest. So if you want to talk some more about Nintendo,
I need to step away for just a moment. Just because we were talking about the Nintendo thing,
we kind of got sidetracked. Okay. So if you want to talk a little bit more about that,
I just need to step away for just a moment. Okay. So the whole basis of the of the Nintendo switch
is that it can be played in a group of at least two or four people. I don't know how many of these
things you can daisy chain together. It's on a card-based format. So the media that it runs on
is very similar to the 3DS at least from how it appears in the video that they show. The game
cards are about the same size. It is a very light weight. It's about half the thickness of the
Wii U gamepad as a standalone. Very very small. I don't know. It seemed like the only complaints
that I've heard thus far is that the battery power on the handheld unit when it's taken out of
the cradle is about three hours. So I don't know if that's going to be something they're going to be
able to work on and improve the battery life of. If that's just something that's, you know,
the prototype that they're showing around is only a couple hours of battery length and they're
going to somehow make it a more sturdy battery once the actual release date rolls around. They will
somehow be able to upgrade the battery life. But it's ambitious to say the least, but it's
kind of what we would grow to expect from Nintendo. I know that they've taken a lot of chances
and thought outside the box and they'll make these massive technological breakthroughs and then
other game companies will race to catch up with their ideas. But unfortunately, it doesn't take
them long to catch up and surpasses Nintendo when it comes to multiplayer online stuff.
Is it going to be full 1080p? Well, the Wii U is. So it'd be silly if they took a step backward.
Would you put it past Nintendo? Because isn't the classic NES supposed to be able to handle 1080p?
Yes. Yeah. So can't believe they're not going to let us expand that.
Well, because I'm sure they want to allow themselves the wiggle room to do a two or a super Nintendo
version of it. You know, to do a super Nintendo as a separate system, I get that. But to do more NES
games, you're taking up more shelf space. Well, you know, look at it from their perspective. If they,
if they've got, if they've got this thing and it hits the market and it does as well as they're hoping,
then you come out with a better model later. I think your margin for error there is fairly slim, sir.
Well, but because I don't know anybody that's not talking about this thing because they're,
they took a bath on the Wii U. I mean, they took a bath. And that's unfortunately, because that's
that system had a ton of potential. It really did. But I remember you got yours and you brought
to the house. We were messing with that thing for hours. Yeah. And I mean hours. Oh, look, we can do this.
It can do this.
Hey, uh, front of the show, Kelly Kitchens, who will be on the show later, whether she chooses two
or not, she will be here. Just, uh, just want to notify me that Don had texted me that are
special guests. He's Don want to actually go pick him up. Okay. Okay. Don now transportation cap.
But, uh, they, what were we just talking about? He's about to have that new car now.
Yeah. Yeah. He's high rolling. We were talking about the classic NES and how it should be expandable.
Oh, okay. The margin for error here is so slim because I don't know what it's not talking about.
Yeah. Well, you know, and these same people probably should have bought a Wii U when they had the
chance. And now that, now that that a lot of the apps that were on the Wii U, the support of them
has completely been dropped. Uh, like, uh, you remember how on the, on the Wii, how you could do like,
you could check the weather and, and they had a similar feature that was expanded on that actually
incorporated Google maps into the Wii U. It's not even supported anymore. Yeah. Now that we're talking
about things of that nature, I want to talk about something that that I was actually discovered
for me the other day. I need to pull up the name of it because I don't remember the name offhand.
Yeah. The other thing called glimps, G-O-Y-M-P-S-E. It's an app. I guess not. We were here at the Angelica
for a screening last week and a fairly recently labeled friend of mine, a dear friend, was going to be
my plus one for set film. And she happened to be running a little bit behind schedule. So I texted
us like, hey, you know, how far out are you? So she sends me this link to this thing called glimps,
which I guess is an app you can get on your phone with the kids to close in the hair. And so I clicked
on it and it pulled up in Safari and it was literally giving me with baby a seven to ten second delay,
her exact geographic location in the car. And when she changed lanes, the little arrow moved.
This sounds similar to what they've had on the iOS for a while, though, that that's, but that's
fine my friend, right? But you have to literally be friends with somebody else who has an iPhone to do
that. Yeah, exactly. This works on any platform. Really? I thought it was cool, but it was kind of
creepy at the same time. Kind of that microchip. But you only get it, like, I think it's only good for
12 minutes at a time. So when that 12 minutes expired, the link died. So it's not like I could go
back like right now and find out where she is. So it's kind of like Snapchat that way. But it's
weird. Because I even told her I was like, you know, that's kind of cool, but it's also kind of
creepy. She's like, I know. But I mean, it literally showed me how fast she was going.
It was, yeah, strange. But I guess if somebody's giving you permission to that kind of data,
I mean, I guess it's okay. We have guest approaching, sir. Repeat, we have guest approaching.
Wow, just got, I know, just got a little weird in it. I just had a, I felt like a shadow.
Out of the corner of my icy dawn waving and I'm like, he's here. Very, I'm very excited about
this. This is just when you think you don't, like you hit the guest ceiling, somebody raises it a
little bit more. I'm going to stand up right now. Because now we're going to hit another first
on the show. Hold on, don't let me turn you on. Go ahead. I did taxi duty. I heard now your
transportation captain joining us right now is the guy we've been telling you about. We hinted
about this on Facebook yesterday. We kind of let the cat out of the bag a little bit when Bart
was here just a little while ago. We've now hit another first on this show because we, I've
sitting in some right in front of me and honest to God, bonafide hall of famer, sir. And a man,
if you don't know, you better ask somebody. That's all I'm saying. I'm going to let you introduce
yourself, sir. Hi, my name is Spencer Haywood basketball hall of famer from 19 on 2015 and also Olympic
grade from 1968 and US Supreme Court Spencer Haywood all the way to the Supreme Court that changed
the game. Now can I let you in a little something? I watched the movie last night. So did I.
You go. And that's the reason that Spencer's here. And what can I call you Spencer? Yes,
okay. All right. I didn't want to be out of line. The reason he's here is because he's here for
a documentary that was made about his life that is called full court. It airs tonight. Tonight
at five o'clock. Oh, so you were right around the corner. We got you right before this. Yes. Yes.
I watched this last night. Yes. First question. Why is this not a 30 for 30? Because this was,
that mean for all I know, I know it is a 30 for 30. It should be a showtime. Showtime is very
interested now. Really? Yes. In fact, I'll be going on showtime 60 minutes sports. Wow. Yeah.
As well you should because I know this has been so much hidden history of basketball. And I'm
talking about basketball from the NCAA level from the NBA level and from all of the professional
sports area. They just ignored it because once you sue the NBA and you sue the NCAA for the
rights to play and the right to leave, then everybody gets very angry. And what I love is really
it's crazy. What I love so much about this film is as a sports story alone, it's an amazing
story and it's fascinating, but you kind of next leveled it. And I don't know it was just a
conscious choice by you, by the filmmakers, by both of them. No, no, no, no. We're going to dig deeper.
We're going to go all the way back. We're going all the way back. Was that a conscious choice
that you had going in or did it kind of happen that way? Yeah. In order to tell the story, you have
to go through the beginning of me and the cotton fields of Mississippi and being so poor, you don't
have a real basketball. You have a crocusac basketball. I love that part of the film. And yes,
and then we travel to the 68 Olympics when all of this turmoil was going on with green boy
cotton and how would we find? Absolutely. How would we find someone to save America from the
Kami rust Russian bastards, you know, for the Olympics and here they find this 18-year-old kid me
and I turn 19 at the Olympics and set a record for the most points and most rebounds and win
the goal and bring it back home. And then I'm thinking that when I get back home, the black people
are going to be very angry at me for going to the Olympics and standing up for America.
And they fell in love with this whole idea. And then I go to the University of Detroit and
we have a one of the greatest years that we've had in the history of Detroit. I become the
first team all-American and the outstanding college player of the year following Karim as the MVP.
And then I decided to leave college and go to the ABA and then the ABA, all of that fancy
red and white and blue ball. I love the red one. So I ended up, you know, signing a contract with
the ABA and the ABA says, I'm giving you the highest paid contract and this drill for $1 million.
And then I found this other thing here where they says, wait a minute, you're going to receive
your money from age 50 to age 70 as well as the organization has to be in place as is of today.
And the other caveat was that the money was put into an annuity of like $10,000 on Wall Street
and it's supposed to grow to that amount of money. He says with air quotes for those things.
So it was just so wild, such a wild contract and then all of a sudden I was sold like in jail with
the ABA. You can't go back to college. You can't go to the NBA because you have a four-year rule
that the NBA have which says that if you go to the NBA you have to wait for four years after your
high school class at graduating before you could enter into the NBA. Which is definitely not the
case today. And not the case today because of my take. I am this. You know and I loved
when you talked about that in the film where it was just like, you know, this just happened.
It wasn't like I set out to do all these things. It was just your conscience carried you to where
you were. And that really, if that doesn't inspire alone. And for the people that are like, oh this,
you know, there's going to people come into this that are going to think it's going to about one
thing or another. And what they're going to realize is it's about everything. And I admired how
open you were to talk about these things. And you still are to this day. And I don't want to spoil
too much because I want people to come down here right now. I mean, I mean, you should come down.
But let me also, there was the the women's side of it where I married Iman this fashion model.
He was married to Iman. Are you kidding me? He's a very beautiful daughter. Yes. Zoolaika, we have a
37 year old daughter, Zoolaika. That's very beautiful. And Iman just lost her husband, David Boey.
Which I thought she paid very nice tribute to him. Very respectful. Very. He talked about how when
Bowie came to Detroit, like Bowie had him at the concert. Let's hang out. We roll, we roll it.
Yeah. Yeah. And so it's like a big family of girls because we all I have four daughters.
We might have another one. And so is all these women. And it's an estrogen fest.
Yeah. But this this film is so great from so many angles. Can I please do those once in a
short time? Yeah. Yeah. Okay. And so while I was with the Lakers, there's this tragic thing
happened. But it wasn't devastating. But it was devastating to me at the time. It's when I
sampled cocaine. And from there, I saw my my life spiral out of control. And and again,
not afraid to talk about it. Right. Right on. Not afraid to talk about it.
Let's write it right up front. I didn't hide nothing. No, no, no, no, no. It's something that is
going to help others. But also it helps me to talk about it and let it go. And so I watch
myself spiral out of control 20 28 and 12. And by the end of the season, I think it was seven
and five. And for those of you who don't understand, he's talking about the average number of points
and average numbers of rebounds again. 20 28, 28 points and 12 rebounds. And by the end of the
season, I was down to five, seven points and five rebounds and 30, 20 pounds lighter. And was
I let the audience get a feel of, I don't want to divulge all of it. How many times have you watched
the film now? I mean, how many times has it been? I've been to the Seattle Film Festival. Of course,
because you play for the Supersonic. Supersonic. And we had a showing recently at the Michigan Film
Festival last week. And I would think that I have watched this film maybe 10 times. Even
though I should have came back to Dallas. I must say that Dallas AMS films is the reason we have
a connection. How did that connection happen? Well, that connection happened just like everything in
my life happens lately. And even during the earlier periods, a gentleman in Seattle, we had met at
Russell Wilson's golf tournament. And I was hanging out with Russell in the, in Sierra and they
talking about, well, you know, what are you going to do the rest of your life? So I met this guy who
was getting a movie company started doing Clark. And he wanted to do a movie. So I said, why don't
you do my movie? And you're like, yeah, that would be a great movie to do. And he was talking to Andy
who owns AMS films. Andy was talking to him because he has a collector's item of Kennedy's photos
and stuff. And then he said, well, you know, I got this film I want to do. And Andy was like, that film,
I want to do it. And that's how it happened. You know, if we were looking at it in the spiritual sense,
you would say that, you know, God has been in control all the way through. And when I, when God was
not in control is when I jumped in front of everything and said, I want to be in control. And boy,
did I screw up. One is that Nike, you should have. Don't go there. That was one of the things I
want people to find for themselves. Because I didn't know about that story when I heard that story.
Yeah, I was just having, I was having dinner. I was having dinner in New York two days ago with
Michael Jordan. And he all he did all night long at dinner table. And we have all of the owners,
the Cleveland Cavaliers owners. And he's an owner of, you know, so of the Charlotte, Charlotte Hornets.
No, they got the Hornets back. The Hornets, that's right. Because the door one's good.
Took the balance. Right. So we're just talking and he just keep going on about and telling everybody
in the room, you know, he likes to poke the bear. Well, one of those guys. He's not that kind of guy.
So he's telling, he's telling everybody, this is the original Nike guy. And not only that,
it wasn't him that I wasn't the one that made Nike famous. It was him. But beside that,
he made the dumbest deal ever. And then he goes into the numbers. He's like on your face with
your telling that story. And he's going into the numbers. He's going into the numbers. Well,
you know, I tell you what I make from Nike. And how much I've made with my stock and everything.
But Spencer would have had six points, six points, seven billion dollars.
Yeah, this that moment in this film were Spencer telling that story. You could just see the
pain on his face. And I don't want to go to the choice that he makes because the choice that
he has to make is you have to see it in the context of the film. But the look on his face of just,
I just saw it. What are you talking about? Oh, he just saw it, but we can't tell the audience.
But in the context of the film itself, when he's telling this story, you just, your heart breaks,
but you laugh at the same time because he's laughing because the future of crying, I guess.
And there's, and I want to tell people that this film, it's again, it's so all-encompassing,
which is what I really dug about it because what I was expecting about it was to hear more about
your struggles within the ABA and the NBA. But what I got was so much more, you know, hearing him tell
the stories about when he was telling earlier about when he was kids and their mom had to make them
a cloth basketball because they couldn't afford a ball. So they had to make, because you know,
of course the cloth basketball is not going to bounce, which he showed in the film. And he said
how they had to make up alternate rules so that they could still keep it within the context of
basketball, but they couldn't dribble the ball. So they had to, they all turned, they just
all became a rugby game at that. Well, no, it wasn't a rugby. You had to, I shall
tell you, but I mean, you had to take two bounces in your head and you had to call it out,
Bob, Bob. And then you make the pass or you make the shot. Unless you were my brother,
Andrew. And then he cheated. So he'll take three years. And the, the people, I mean, you want to
talk about people that this man is so respected. The people that they got to interview for people
like Charles Barclay are in this panel. Riley is in this Lenny Wilkins. And the great Lenny Wilkins.
I can't say Lenny Wilkins and I put the grain in front of this because he's amazing. The people
that they interview for this film. And it just, I was just like, if you don't understand.
Mary Edwards who led the boycott of 1968 when Martin Luther King, most people didn't know that
Martin Luther King was for the boycott. Oh my God, all of these great people. And you were just like,
man, I just want to play ball. I just want to play ball. And I get me some, get me some sneaks out
of the deal. I just texted my cousin who has lived eight breathed, slept basketball his entire
life. He's a referee now for, for high school and middle school kids. Okay. And I just told him,
dude, you're not going to believe he's sitting across me right now. And the way it all caught,
one, another one of my favorite clips is when Shaq's talking about you.
Yeah. Oh my God. It's a clip. Now, was that when Shaq went in?
Yeah. He just, it was nominated because he was all nervous about, you know, well, am I going
to be like Spencer? He would be nominated for like five years in a row. And they turned me down.
And I'm like, no, dude. But then he went back to his rookie year. And so my approach to all of the
young players because they don't know who I am and what I did. So I grabbed him by the collar.
And I said, Shaq, don't you know what I did? And he's like looking at me like blank out. He's like
20 years old. And Shaq's telling this story. Shaq is telling him so. And he's like, oh my God.
What are they doing to me? And he's like, oh, bruh, I'm just 20 years old.
I've got my headphones on because my wife's taking a nap on the couch. And I'm listening to
the movie on my wireless headphones as I'm watching it. And I'm trying not to laugh so back. I'm
waking her up from it because it is a funny movie. And it is. And it's so stupid. There's so much
heart to it. And again, I can't, I can't say enough about how open you were. That you're like,
look, we have to talk about these things. Well, there's one of my producers. Hey, Kim,
Kim. Oh, we're, we're gonna, okay, let me get the other mic. Mike is opening on.
So we don't have a lot of time with you left. So I want to make sure we get everything in.
Put your headphones on. Talk right to that thing. Tell everybody who you are. Welcome.
Thank you. That's step up to the mic.
I'm Kim Clemens. I'm the producer of Full Court. And we were just saying, I watched the film last night.
Oh, great. And the honesty to this thing is one of the things that just melted my brain the most
because there's going to be people that are going to come. They're going to have certain
expectations, but it's so much more than that. Because once you, once you address the lawsuit
and the outcome and barkly starts to talk about, you know, these kids today. And I'm like, I look
at my watch. I'm like, we're only halfway done. Yeah. There's, there's 45 minutes more of this
thing. And it goes so deep. And it's so honest that I am personally of the opinion that this
thing should be shown starting at the high school level to kids. Because, you know, you,
you even talk about the likelihood of you going from going all the way is so astronomical.
Right. And especially in a state like Texas, where high school sports is such a, and I'm not
from here. So when I moved here, I was like, whoa, let's back this parade up a couple of floats.
I really think that because my first question to Spencer was, how is this not a 30 for 30? Because
it has that great feel to it. Yes. It has the story is so well told. That's, that was my feeling
the whole time. Because I'm a huge fan of sports films. I'm a huge fan of documentaries,
especially as I'm getting older documentaries are kind of where I'm gravitating towards.
I really, really enjoyed this film. And you were just saying you probably watched this 10 times.
But let's talk about it. I'll tell you one more thing. Please, please, please. 30. I was in New
York two days ago, and I was hanging out with Michael Jordan. So he's now back in this project
to the max. And also, I just happened to be walking, and I walked into the restaurant, and
Lenny Wilkinson, I would just, just having breakfast. And I look, hey, that's Armand Coutinho
over there. So I heard about your film. I got to have you on 60 minutes sports.
I was on a showtime. Wow. Now, it's showtime wanting to carry it as well. He said, I will
present it to our showtime people. Because they've really gotten documentary. They've got
to have a plate. They're ready for it. This thing, this thing is, there's no reason
to. I know it's taking its own charge. And I know 30 for 30 is going to grab it. I just know it.
Okay. We don't have a lot of time with you left. So I want to make sure we get all the plugs out.
Okay. I'm under the assumption that there will be a Q and A afterwards. Yes, it will be good.
Good. Good. Because I know that there's going to be a ton of going to be a Q and A. I'm going to sit
here. Cam is going to be here. Is Andy coming? Andy's out of the country, but Martin will be here.
Okay. Okay. Martin is here. Yes. Because I know we're just scratching the surface.
Brett, directing us. See, you go over there. I'll buy George your board.
So for the people, because we're all over the globe with this thing,
we know one thing we're all about on this show is shameless self promotion. So give us everything
that our listeners need to know about where they can look for the film, websites, social media,
the whole nine because I want to get it all in before we have to let you go because we have like three
minutes. Okay. Well, right now you can find all the information at trueproductions.com.
TRU. TRUE. Okay. Productions. Yes, sir. AMS pictures.com. And there's also a website called
FullCourt.com. FullCourt.com. And that's for the documentary itself. That's for the documentary
itself. That's the information on the doc right now. We're just doing film festivals until we sell it
to ESPN and they run it as a 30 for 30. As they should. As they should. As is their Facebook,
Instagram, Twitter, those are all through true productions. Okay. So everything's going through
there. Yes. Yes. Okay. So where's it going from here? I don't know with the next film. Well,
I don't know either because we just came from Detroit and we had a great, a great turnout,
great people came and it was just really soft, especially going back home, you know. Right.
And then we did Seattle. We did Seattle. They are going to be a lot because like I said,
Michael Jordan has want me to do something in North Carolina and he's hosting that. That's awesome.
So now all of the players are competing with each other, you know, which is a good thing.
I'm going to go to Cleveland and LeBron is going to do a little thing there for us. So all of these
players are stepping up big time because they don't know the story and they just not learn in
the story. So it's like, whoa, I'm getting the high sign. We have to let you go or I'm going to
get a trouble. Thank you guys so much for joining us. This was an amazing, amazing moment. I'm hoping
did you get a picture? Because I have to have the pictures because this is nobody's going to
believe me. They're going to think I'm doing a Spencer Haywood impersonation. Thank you guys so
much. Thank you. Enjoy the show. We can't wait to hear how it goes. Okay. Thank you.
It just happened. It is called full court. It is the Spencer Haywood story. I'm telling you,
I'm not fibbing. I watched this thing yesterday. Holy cow. That's all I had to say.
It's an hour and a half. So you're not going to commit a bunch of time, which means it's perfect
for 30 for 30 because with commercials, there's your two hours right there. You're probably
going to wish it was longer actually. You know what? I tell the story really well.
Could you see this being done as a narrative at some point? It would almost have to be a
mini series because there's so much to his story that I mean, I'm telling you the Emon thing blew
my mind. Yeah. I wouldn't and they were very like 10 years. Wow. Never once would have thought I
would have in as being a taxi driver. An MBA holiday. Oh, you were gone. It's like I've
got that new car now. Yeah. One's going to be a repeat. Yes. And we got another one because they're
working on the production together. Okay. Let's see. I'm trying to we're trying to do this on the
Oh, yes.
Come on. Sit down gentlemen. You know how to do this. You've done this before.
Gentlemen, I'm going to let you introduce yourselves just so that we all. One of you's already
had been on this thing, but we want him to reintroduce himself. Go ahead, sir. Hi. My name is
Dinesh Sabu. I talk right into this thing. My name is Dinesh Sabu and I'm the director of Unburgen
Glass, which is a film, a documentary that's going to be playing it about half an hour. Okay.
And along with you, Gordon Quinn, the artistic director of Cartel and Films that produced Dinesh's
film. And I was one of the executive producers. And Gordon, can we say a friend of the show now
officially now that you've done the show twice on the show yesterday. And yesterday you asked me
in my mind went blank on Friday, Friday, Friday, yeah. To talk about a movie that get right
up wasn't get right real close to it. Get real close to it. Talk about a film that wasn't one of our
films. And just a I just saw a film called when two worlds collide. Okay. And that's the film I
would have pitched. It's going into theaters now across the country. Really? And it's about
indigenous people in Peru standing up to the government that's trying to take over their lands
for resource exploitation. See, I love it when guests remember this stuff. We ask them and then
they can return it back to me and just bring it right back around. But we're here to talk about
Unburgen Glass. Mr. Sabu, tell us about the film. So the film is the story of my journey to find
out about my parents. They passed away when I was really young. And I made it to adulthood with
really just a thumbnail sketch of their lives. And the film is my journey to piece together their
story to really find out who they were as people. Along the way, I uncovered this really pernicious
silence to family history of mental illness that I kind of delve into. Well, I mean,
and this was as you were filming it, you found these things out. This wasn't or wasn't you
knew beforehand and you were just going deeper? Well, exactly. I knew some really basic facts. I
knew my mother suffered from schizophrenia and she commits suicide. But it's, you know, we'd never
talked about it. Two decades of silence. And in the film, I knew these things, but I delve
much deeper and kind of understand how much this has affected my family. So you said it says in
the program that your parents passed away when you were six, right? Were you raised by other family
members? Yeah, I was raised by my older sisters. Oh, wow. My elder sister was 21 when they passed
away. She's about 16 years older than me. And we, and this is something we kind of explore in
the film. We kind of just banded together as box car children and just kind of raised each other.
And Gordon, what brought you to this story? Well, Dinesh had a history with Cartamacan.
I think you mentioned that you you weren't an intern, right? No, I was. I was. You were an intern.
An intern. And then you were in diverse voices. No, I was never in the, because that was that
I actually did that program. You predate the program. Yeah. And Dinesh went from being an intern
to working for Cartamacan and spent some time as my assistant. But one of the things that comes
up in the film is you see also some of the tensions and drama within Dinesh's own family as he's
as he started opening up things that maybe people don't want to talk about. Yeah, a lot of family
secrets, a lot of resistance. I mean, I think resistance is a big theme in the film. And also just,
I, you know, no family or no culture really knows how to talk about mental illness properly. And
I was trying to have these very candid, very open conversations. And a lot of my family didn't
quite know what to expect and didn't maybe they didn't appreciate what I was trying to do.
How did that play into you as you edited the film and watched it back? Was there a lot of
man, this is good Thanksgiving's going to be weird? Or was it like, you know what, this has to get
out there. And we, if we don't talk about this, then it's just going to be worse. Which, which,
where was your mindset? You know, it was a little bit of both. I mean, really early on we decided
that are we realized like some family they wanted to participate. They let me show up with a camera
and they let me film. And other family members, they just, they weren't going to have any of it.
And so really we decided, we figured out really early on. And you can kind of see in the first act
some family member has kind of changed their mind. And it does get a little, a little weird.
But ultimately, and this is something I really, I learned from Gordon and kind of took a key
out of Cartamon's playbook is really just understanding how to respect your subjects and how
important that relationship is. As big of a relationship as you have to the audience or as you have
to the material itself is cultivating trust among among your subjects. In this case, they happen
to be my immediate family. So I mean, and then having to watch that back as the subject. I mean,
how many times have you seen the film? And it's in its entirety besides living it.
One million types. No, I've lost track. And actually, Gordon could probably speak to this because
the first few cuts I was editing myself and they didn't make any sense to anybody outside of my
immediate family. And Gordon and a lot of the folks at Cartamon were really instrumental in
making sure I had the adequate support and community to kind of kind of put it together. Like,
you know, editing with Matt Lauterbach. Yeah, I mean, it's really tough when you're doing your
own story to also be the editor because you never thought of it from that angle. Either you air
on the side of thinking that everybody understands the context and you don't have to explain stuff
or the reverse. Often people think, oh, you know, I know this, but I'm going to have to explain all
this to somebody else and you over-explain. And in fact, no, we can see that. You know, we understand
what's going on. And so you don't really have to tell us. So it's hard for people to, you know.
And even up to the very, you know, fine, like the rough cuts and the fine cuts, you know,
I was asking Gordon like, well, you know, do I need to come in and voice over and explain this little
thing? Or do you need it? Do you need to hear from me in this particular moment? And it was the
kind of thing I needed. I had a really fantastic editor who was also just a great friend of mine,
Matt Lauterbach. And I was able to just kind of trust him very implicitly with the material in the
film as well as Gordon and just kind of defer some of those great decisions to them. How many
times has the film been shown before today? You know, okay. So yesterday was their first public
film festival screening at the Seattle South Asian Film Festival. So publicly, I can say one time
exactly. That being said, we've had several kind of preview screenings with small audiences,
with funders, with filmmakers, probably maybe four of those. So we're just starting out a, what
I'm hoping will be a really robust community kind of outreach and engagement screening campaign.
Maybe talk a little bit about your screening at NAMI because those are the kind of screenings
that are really important to us. And in the context of some other things I've talked about here
at the festival, we don't look at all audiences the same. You know, there's that the big general
audience, but then there's the audience that's really going to look at the film and take something
into their own lives or their own experience or make decisions based on what they've seen in the film.
Yeah. So NAMI is the national alliance on mental illness and they have, I think, something like 500
chapters across the country. And we screened at the NAMI Illinois Conference, which was a conference
of all the affiliates in Illinois. You know, we screened the film and had just a really wonderful
discussion about reducing stigma and just talking about mental illness and, you know, what it's
like to be, you know, have a family member within the mental illness. These are the very specific
kind of conversations we want to have with the film. I think the other really big community
that we're hoping to engage is the South Asian community. You know, like I said earlier, no
no culture deals with mental illness particularly well. But my experience in the South Asian
community is that there's some really unique, pernicious things that really need to be addressed.
And my hope in making the film and getting it out in the South Asian community is to really start
those conversations. Did you get to screen it for the NAMI folks? I did. Yeah, we, and how was that,
how did they receive it? Quite well. Quite well. I mean, I think the NAMI is a wonderful audience
because they all have experience either personally with mental illness or with a family member or
it's their job, you know, working in kind of the mental health system. So it was definitely,
it was an audience that was really sympathetic to the message and they understood. I think they
were really kind of happy to see these kind of issues being addressed in a really artistic
kind of story driven way for the general public as opposed to kind of more clinical kind of
discussions that they have in their communities. Are you looking to keep this more on a festival
circuit? Are you looking for wider distribution? Where's it? Where's it going once you leave here?
So, you know, festivals are great. They're really, I mean, I should say this is my first feature
and this is literally the second film festival I've been to with with the future. So,
oh, well, welcome. Yeah, thank you. It's great to be here actually. I've been here for about
15 minutes too. So, it's fantastic. So, you flew from Seattle to here this morning. Yeah,
this morning and I was, so you've lost two hours already. I lost two hours. I made it the hotel,
the shower and shave and then I'm here now and they've been treating me like royalty. No, I mean,
it's, it's really fantastic and the festival audiences are really wonderful supportive audience
that loves the arts. But I think above and beyond that, we're really hoping to partner with
community organizations either in mental health or in the South Asian community at large
and, you know, host screenings and start discussions in communities that might not make it to film
festivals in communities that, you know, documentary isn't necessarily something that they would,
they would be watching on a, you know, daily basis. Having those kind of, you know, conversations
with those communities is really important in terms of like advancing the message of the film.
And it's also going to be broadcast on America reframe. Yeah, absolutely. Very nice.
Yeah, we've been, we, we found our last month that, yeah, hopefully, we don't have a screening date yet,
but sometime in 2017, it will be on America reframed. Yeah, which is a series that runs on PBS.
PBS. And it's on, it's different places in the PBS. Sometimes it's on a digital channel. Sometimes
it's on a, it just, you know, people have to look for it. And it also includes like about a month
of online streaming, which is a great, I mean, as you know, these days, it's a wonderful way to kind
of reach a wide audience, kind of skip the middleman. So having the imprint of America reframed
in WGBH and POV on the film is hopefully going to, you know, help it reach just a much, much wider
audience. We want to give you some time to decompress a little bit before the screening, because I'm
assuming Q&A after the screening here in about 20 minutes. Right. Uh, as we always talk about,
if we're about one thing on this show, it is shameless self promotion. Thank you. So give us websites,
give us social media, give us everything right now. Absolutely. So talk right into it. Sorry. Sorry.
On BrokenGlassFilm.com is the website. We're pretty active on Facebook on, it's Facebook.com
backslash on BrokenGlassFilm. I should also say, Card Time Win is doing a ton of really great events
for the 50th anniversary, which is this year. If you talked about it Friday night, very cool for that.
So it's ktq50.org. We're going to do a really cool festival in Chicago in early November for that.
And then we're on Twitter at on BrokenGlass, just one word. All right. Gentlemen, go get settled in.
All right. Thank you. And thank you for being on this Gordon. So honored to have you as well.
It is called UnbrokenGlass Dinesh Sabhu. Thank you so much. So much going on. I need to take a breath.
Thank you so much. It's our honor, sir. Thank you. So we're probably linking it to our from our
Facebook page as well. So yeah, I'm getting, I'm working social media from every angles.
Doing it now. Yes, sir. As we speak. Yes, that's what chat does. We do our live shows. That's why
I'm kind of quiet over here because I'm doing research. I do the talking. He does the typing.
Very pretty. That should be our new slogan. You guys are great. Oh, thank you. We're honored. Thank you,
man. Thank you so much. Well, good luck. It's a good time. It's it's a great thing that you're doing.
Absolutely. Thank you so much. All right. We are live at Dallas Video Fest 29, our fourth year in a row.
Man, it flew by again. It flew by again. Look, I mean, look at the time. I know I looked at the time.
I don't know where Don is. Are we doing this now? Are we okay? I guess we are doing this now.
Dude, Spencer Haywood was here. Just saying. I still haven't gotten a reaction from Mikey.
He may not have gotten the text from his chat. He's gearing up for the walking dead, I think, right now.
He's probably cooking tonight is the season premiere for the walking dead. I got nothing. I will
be watching the circus tonight, though. And you know, last night, because you know, you know, John Oliver
is going to be great tonight because I can almost get guaranteed that tonight is when he'll talk
about the debate. No, I should be an Uber driver now. You know what? I know a guy and this is no
lot. I know a guy that drives for Uber, but he only picks up fairs that are on his route to work
every day. Oh, really? And he makes like 50, 60 bucks a week. So he's a carpool over here.
Well, you know how we finished? We always do. You know how we finished? I know. We mentioned it
while you were gone. This is happening whether she wants it to or not. We are. But I don't think I
don't think Kelly's too opposed to coming and sitting down with us. Oh, no. This is the great Kelly
kitchens. And for those of you that are newer listeners to the show, let us put this in its proper
framework. If there is no Kelly kitchens in our life, we're in the studio every week. We don't
never go out and do anything. Oh, really? Because Kelly really was the catalyst that got us to
video fest, which then got us pretty much everything else we've been able to do since then. So
you were like the Kevin Bacon of the show. She is the dead mother of the clubhouse. She is.
And we always say every time we do a festival that you know what? That was such a great time. I
don't know that it can be topped. And then it just does. Yeah. You know, every year seems to get
better. And so it just it fires us up for the next thing. Oh, I'm so glad. You know, and you've
been the hardest woman we're working with in the show business for about the last month.
Oh, yes. Yes. Oh, well, you know, it's always kind of it's fun. But then the last day it's kind
of sad too, because you know, you have all this all this that you've been working on for well,
I've been working on it for like three months. And so you're adrenaline gets really high,
really high, really high. And for the festival. And then it's like crash. I've always equated it to
that day that you leave summer camp to head home. Yeah. You have there's that void where you're
just like this thing was my life for this period of time. And now I'm leaving it. Yeah. Yeah,
that's what I did because I went to back to my hometown for my 25th high school reunion this
year. And I drove it. I drove from here to Fort Lauderdale. Oh, wow. And that's how I felt
driving back. I felt like it was that was that day you're leaving summer camp. That's a good
analogy. There've been so many great people here. Amazing programming. Bart always does. Oh,
he he's one of the most and I hate this phrase, but it fits here. He's one of the most out of the
box people I've ever met in my life. Yes, because he's so open to everything. And the Angelica is
such a great place. I hear people talk about the Angelica in other cities. Oh, right. You know,
wishing they had one or even those that do, you know, about about what is it probably about a
month ago now? I was up at UNT Kevin Smith was in town. Oh, yeah. And he talks about how influential
the Angelica in New York was to him because that's where he saw Slacker, which is but made him a
filmmaker. So there's so much history to the Angelica. Earlier, Dev actually took me up when I was
a kid, I was like, I was a kid high school early college. I was a projectionist. Oh, I didn't
know. I've always had that. That's my love for film has always been in me. So Devon, I started
talking. And so he actually took me up stairs today. So for the first time, I got to go see a
digital projection booth, which is different. And they still had the fill of 35 millimeters. So
that made me happy. You know, I was like, this is what I remember. You know, and it's, I love
the Angelica. And we were telling Bart the crazy thing about video fest is every year. It's kind of
a little bit different flavor to it, but it's still great. Yes. Well, the most wonderful thing about
video fest is, and be sure to look for it next year. The next year is going to be it's 30th
anniversary, 30 years of this festival. And that's longer than I've lived in Texas. And the thing is
that, you know, it is truly films that you're not going to see almost anywhere else. I mean,
PBS sometimes and you know, but really, they are, they are films that are not coming to a theater
near you. And, but they are so worthy of seeing. And what really gets my goose sometimes is when we'll
do a film festival and we'll talk to a filmmaker and then six or eight months later, we find out they
get distribution. And you just get giddy about that. Yes. We talked about those guys. Well, and the
thing is is that you guys talking to those guys actually helps. And that's what we're here for.
And, you know, it's such a, I love that full circleness of the way that all of this works.
And, you know, I love being a small little part of that just feeds me so much. Same here. I love
being a part of that process. And the biggest, my deepest desire when we do something like this,
or at the diff is we reach somebody that doesn't have a film in the works. But it's in the back
of their head. And they're like listening to this and they hear the process that these guys go
through to get their film shown in front of an audience and they, you know what, I can get this
out of my head and make it a reality. And I can bring it here. Right. And I think Bart would be the
first person to tell you that if you feel like you have a story inside you, you need to do whatever
it takes. And it's so much more accessible now with technology moving like it does.
You know, they had an entire competition of people that shot movies on their phones.
Right. Right. And you can do that in full 1080p now. Right. So a lot of these films that you see,
you go, that was not a phone. I know. It doesn't, it doesn't have to look like a found footage horror film.
It can actually be a full, you know, then you get yourself a cinematic experience. And then you
get yourself a PC and you get some editing software and you do it all. And, you know, on a budget,
one of my favorite lines from a film was last year when we saw Raiders at another film festival.
And the director's kid said, you know, Steven Spielberg spent 15 million to make Raiders of the
Lost Ark. My dad did it on his allowance. Right. Right. Right. Best line of the movement. So much more
apropos now. Yes. Because you can go buy yourself a PC for six, 700 bucks. You've got your phone
or you can get yourself a webcam or a GoPro. And you can make professional looking films that can
lead to something so much bigger and festivals like this, which are not just in Dallas. These
festivals are everywhere. Right. You can throw a rock and hit a film festival, which is a good,
good thing. It is. It is. And it's, it's worth looking out and looking for those festivals.
If you've never been to a festival, please, please find a way to embrace them because there's a
people that have run into that have never been to a film festival. They're, they're, I don't know
what to do. We don't know how to do it. You just start the movie. Yeah. Yeah. If you're a fan,
if you're a fan of, you know, and this is, this is basically you being locked in in a candy store
as a kid. Yeah. If you're a fan of film, this is where you belong. Yeah.
Seriously. And, and, you know, I know we're on the last day and the last few hours of the
festival. But when you're looking for a film festival, looking at film festivals, you know,
get clued in at near the beginning, right before it, because, you know, and make your own
schedule of what is interesting to you. And that's what we do. I mean, we do the same thing when we're
working right to a film festival. I actually go in and I make an Excel spreadsheet of every day
of the festival I watch showing and I said it to them so they can go, okay, I might want to,
because, you know, sometimes you can get overwhelmed in a media guide, because this media guide,
like I could hurt a mule, like this media guide. And that can be kind of overwhelming to people.
Right. But when we kind of break it down and we say, okay, these are the films I'm interested in,
you know, and all of the festivals that we do here in Dallas are that accessible where you can go
through and say, okay, this looks interesting. Maybe not this one. And you being the queen of the
of the film festival. You know, how many years have you been doing TCM now? Oh, TCM, which is the
Turner Classic movie festival in L.A. Yes. Well, we went to our seventh one in April. The eighth one
is coming up in April 2017. And I mentioned this for a specific reason. What is the one show that
I DVR every day? The sports thing. No, the, besides around the Horn of Peace. Yeah,
Jeopardy. Yeah. I DVR Jeffrey every day. Yeah. There was a lady on Jeopardy the other day. Yeah.
And she got to be a guest programmer for TCM. Why has this not happened? Well,
because I saw this and I was like, why, why have I not heard Kelly do this?
Well, I have to say for TCM, it's actually a past, it's the only festival that I go to that I don't
work. Me and my husband, that is our vacation. But they should know who you are right now.
Oh, no. They should know who you are. Have you met Kelly? This subject should have been,
this subject should have been broached by now. That's all I'm saying. Because if there's
somebody that could program something for Turner Classic movies, it's the lady sitting right in
front of you. Hey, kid, with her love for classic film, I mean, yeah, I watch it for a day.
Are you kidding me? I agree. Because this lady that was on Jeopardy, the film that she,
I can't remember which film she actually programmed for it, but it was one that they had never
shown before. Oh, awesome. Which was kind of cool too. Yeah, that is cool. That's very cool.
So we asked this question abart. I'm going to ask you to be okay. What? What's
there a film or an event at this festival that exceeded your expectations more than any other?
Wow. I don't want to ask your favorite because they're all going to be favorite.
Well, it's like taking a favorite child, but I, you know, I have to say that the two opening night,
well, opening night, of course, is Tuesday, sunrise. And then the other, the following night,
which was rebirth of a nation, seeing those two back to back, they are, it was two very different
ways of presenting the silent film. And both ways were extraordinary. The sunrise was more
traditional with Joe Kramer, who composed the, he did a new score. And for the people that don't
know, this is something that's been in tradition now for how many years have we done this one?
For video fest and Dallas Chamber Symphony has been three years. Okay, so and what they're doing
and for the people that, you know, around the world, what they're doing is they're selecting a
silent film. The first one they did was Hitchcock's The Stranger if I'm not going to say it. The
Okay, the larger. Yes. They actually show the film. And the Dallas Symphony Orchestra.
Dallas Chamber Symphony. Okay. My brain is so fried right now. It's okay.
They actually commissioned someone to rescore a silent film, which they play live with a small
orchestra. Yes. And even if you're not a fan of films of this nature, if you're a fan of anything
techie, this is nothing short of brilliant. Because when we went, when we saw the larger,
I spent more time paying attention to what the orchestra was doing and what the film was doing.
Because I was watching how they had everything timed and they were, they explained beforehand
how the software worked that the conductor was using. Yes. It's a brilliant experience.
It is. It is. And this one for Sunrise, the score was so lush and just lyrical. It was,
it transported you. I felt like I had fallen into a comfy cloud getting in there. And it was
just beautiful. Then on the opposite side for rebirth of a nation was DJ Spooky, that subliminal kid,
took birth of a nation from 1915. 1915. I had to watch it in college. Yes.
The W Griffith and which is a very polarizing film. Oh, you're in line.
And it's, but it's an important film for filmmaking because it's really one of the first
full story films. It is. Epics. And, you know, where we get close-ups and midshots and,
you know, following the action that was never done before. This was 1915. But the, the sad
thing about it is the story line goes that he makes the Ku Klux Klan the heroes. And so it's so
hard to watch. What are people's controversial films in history? Yes. And it was even controversial
at the time. Oh, absolutely. But what DJ Spooky did was he took the film. He re-edited it. And then
he did layers and layers of, of sort of art and architecture drawings and laid them out on top
of it. And he is a turntable, turntable artist, but he also composed a score for four-piece,
four-piece string orchestra was playing it with him. Yes. Wow. And oh, my goodness. So he was
manipulating the film on his film and music on his turntable with the orchestra, the quartet
next to him. And it was, it's extraordinary. So seeing, seeing traditional but new score with
sunrise. And then this re-edited of Birth of a Nation with, you know, all the layers and layers
of, like you were saying, Tecky's that, I mean, it was Tecky's dream. And see, I love to dissect
those things as I'm watching them. I'm just, I'm like, okay, how'd that happen? Okay, he did
this. Yes. Yes. And you can watch it. You can see him in front of the screen doing it. And
those two things, seeing them side by side, you know, day apart, was an extraordinary experience.
We're starting to wind it down. Yes. So before we start to wind it down, wind it down.
What do you have coming up that you want to talk about? Well, the Dallas Chamber Symphony
has their next show is on November the 15th, which is a Tuesday night. Okay. And it is,
it's going to be at the Dallas City Performance Hall. And it is a traditional chamber symphony,
meaning that you will see the musicians at work, playing music. And their work is just
extra. This is our fifth year. And what they've accomplished in five years is just really amazing.
They got a grant from the National Endowment for the Arts for $50,000. Very nice.
Nice. Yeah. And it's called take it to the streets. So they will also be doing pop-up concerts
on the streets of Dallas, like at a dark rail station or at the bridge or, you know, with
homeless people or places where you wouldn't normally run into musicians. And so be looking for that
because that's going to be really cool. And that's what they got the grant for. So I'm very proud
of them that this is amazing. So it's like busking on a much larger scale. I like that. You know,
this film festival that we've had that I did get to see a couple things yesterday. And
what one was real interesting was the tick, tick, tick, 60 minutes. Yeah, absolutely.
That a lady who worked for 60 minutes for the last 17 years who does the stories. And
she really got an adept about what it takes to make one of those little 12-minute segments.
She was, she's an editor for 60 minutes. And she took us basically from concept to broadcast.
And even had one early concept that's that changed. And what she walked us through, how it,
how it changed and to make it better and to make the story more compelling. And I also saw that
how the news got made. The thing for the channel eight, all that 20 minutes of like some old
footage that really, you know, people didn't know existed. Right. And there's these, the Beatles.
There were the Beatles. You know, it's just like, wow, you know, it was really, really these people
who paved the way for the media Dallas today. And then after that was the virtual reality with
the New York Times. Bart talked about a little bit earlier. Oh my gosh. That is news, news,
reporting's future, which is, you know, we got the history. We got the now. And then we, we got the
news reporting and journalism of the future, which is so cool. And because we're so special,
we got to see the Spencer thing before because we knew he is going to be on.
Kelly was so sweet enough to let us, you know, be able to view that so we can very much enjoy that.
Yeah. Thank you for letting us see that. Thank you for letting us. Yeah.
Absolutely. I'm, I, I, I, I, I was so glad to watch it on my big screen through my Xbox
one, too, which was a little educational for me. Kelly, I know, I know what the answer is going
to be, but can we come back next year? Okay, but next year's three, we want to be here for 30.
But we really, we really, Daniel Craig may not want to do bond 25, but we're going to do Dallas
video festival. We can't, we can't thank you enough if you ever need anything. Let us know.
Thank you. Thank you. Thank you. So grateful for you too. Thank you so much. Don, how are you feeling?
Well, I, I, I, I, I'm going to have one heck of a story when I go to work them on
tell the class about, oh, I guess who I drove around town yesterday. You're right.
It is pretty spanking new car. Yeah. Yeah. Actually, new use, but still it's new to you. He barely fit
in that thing, too. He's up to my little good. When he came off the escalator, there was like
any clips from behind. He's here, isn't he? Right. All right, gentlemen, shall we do the
point? All right, let me get the music cute up. Hold on. Did it work? No, there we go.
Visit our website, www.theclubhousepodcast.com. Find out everything you need to know
and some stuff you don't. This is including some of our written reviews. Don and I just
posted our written reviews for American Pastoral. Those are up now. Make sure you follow us on social
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information on how we can do for you, but we're doing right now for a remote show. We're going to
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pre-show. You can email me questions, comments, concerns, tell me to go pound sand. I am
Rob at theclubhousepodcast.com. I am Chad at theclubhousepodcast.com. I am Kelly at the podcast.
No, I don't think so. Maybe, I don't know. We can add it. We can add it.
But I believe Kelly at Kelly at KellyKitchenSPR.com.
Charlotte Parker is on Pinterest because we are more obligated to say that. Jules Womack is over
here to my left. So until next week for our Hell in the Cell pre-show. For Chad, for Don,
for Kelly, for the Empire. I'm Rob. Clubhouse is closed. New Britney Palmer calendar a week from
Tuesday. So we're going to talk to you about that.