The Clubhouse – Episode 35

The following is a sooner-or-gator production.
No one's, no one's, no one's.
Good morning!
Joe, stop. Are you ready for the jam?
I said, are you ready for the jam?
Yo, jeep, kick it.
Drummer, please!
It is 656 on the East Coast.
If I do my public school math right, it is 356 on the West Coast.
It is the 11th of April in the year of our Lord 2015.
It is season 5, episode 35 chronologically number 294 times.
I have said the words, the clubhouse is live and on the air.
We welcome each and every one of you.
No matter how you're listening, whether you're live on Ustream,
whether you're listening on our archive, or whether you subscribe on iTunes,
we're just glad you're here.
But you're saying to yourself, Rob, it's Saturday.
What's going on?
I would say if you don't know what's going on, you're not reading your social media feeds.
Because we are live from the Dallas International Film Festival, the ninth annual.
We are at the Angelica Cafe in Mockingbird Station.
My name is Rob, and I'm just hopped up on adrenaline right now.
And probably we'll be for about the next week and a half.
Joining me to my right, normally he's across the desk from me.
But since we're live tonight, he's to my right, is a man whose sleep patterns are so far out of whack.
They're almost back in them.
He is my co-host, he is chatable.
I am emerging from my vampire haze right now.
Is it purple?
Very.
It's like a barely keep my eyes open.
You got a little jump of juice in the earlier today.
It's probably good at this point.
It's finally catching up to me.
The desk from him, at least for now, not much longer.
But for now, is the official fact checker of this show?
And a man who's going to get a heck of a cardio workout over the next couple of weeks.
You may know him as fun, Don, go, but his mama name I'm Don Ford.
I'm going to call him Don Ford. Welcome, sir.
You forgot to say we are at the dip.
I did say we're at the dip. We are live.
Are you not paying attention?
No.
I'm adrenaline, too.
But you're honesty that I know.
But we're back.
We have got so much going on.
And we're not even letting them.
We're not even worried about the clock right now.
We're just going to go till we're done.
Yeah.
And we got people starting to stink puppy up right now.
And to the empire, I'm gone.
I got to go.
I'll be back.
Yeah, Don's going to go.
He's going to work the red carpet.
He has pimped in worldwide that guy.
So let us introduce to you.
We've already got guests.
I'm even pushing the run sheet to decide because we've got guests now, sir.
That was quick.
Just like that intro.
I didn't even try to cue that.
It just happened.
Oh, you gave me a heart attack.
We've got people across the desk from us right now representing a movie that I am very intrigued by.
I'm not going to lie to you.
It's called Seven Chinese Brothers.
We've got a couple of producers in front of us.
Jake and Shauna, welcome.
Talk right into those things so everybody can hear you.
Hello.
Hello.
Hello.
Hello.
Welcome.
Hi.
Thanks for having us.
I'm very impressed with the humidity outside that you're wearing a jacket.
God bless you, sir.
You're very welcome.
Dallas is a formal city.
Austin is pretty casual, but that would step up a game.
Oh, but you caught us on a good weekend, too.
The rain tried to decide it's going to stop for a couple of days.
Last night was gorgeous.
We were out walking around after a couple of screenings.
I was just like, you know what?
I'm just going to camp out outside.
But we're here to talk about Seven Chinese Brothers.
Tell you because we're worldwide.
Tell everybody about the film.
I'll defer to Shauna for that one.
She's a producer.
I was the production designer.
Oh, okay.
Sort of produced in some capacity.
There we go.
Shauna.
We shot the film in Austin.
It stars Jason Schwartzman and Tunde out of Bimfe.
And Olympia Ducakis and Eleanor Pienta.
And it's a fabulous, fabulous movie.
How deep down to the rabbit hole do you want to go with the films about?
It's about a guy who Larry, Jason's character, maybe thinks about booze a little more than he thinks about anything else in his life.
And when his grandmother, his only relative passes away.
Spoiler alert.
I won't spoil it.
Maybe his life takes a turn at that point.
Maybe not.
It's about finding priorities.
Learning to love your job.
Learning to love yourself.
But having fun while you do it.
He's got a dog.
And yeah.
Falls in love with his boss, which is the reason that he likes his job.
I guess, you know, if you love what you do, but if you love who you do it with, I guess.
Exactly.
I've got to know about Olympia Ducakis.
I haven't a fan of this woman as long as I can remember.
Tell me about her.
The reason she's fabulous.
I mean, legendary.
She was in Austin for four to five days.
How long was the shoot in general?
18 days.
It was pretty fast.
This is the second film that we've seen this film festival where they said.
It wasn't the film we saw Thursday.
And I was shot in 18.
See you in my dreams.
Yeah.
Yeah.
You'll have her 20.
You're in another bracket.
I was going to say 18 days.
It sounds like a long time.
But when you're shooting a film, that's a blink of an eye.
But I'm sorry.
Go ahead.
I just that just kind of blew my wheels off.
Yeah.
Well, we're talking about Olympia is wonderful.
She's phenomenal.
She's quite a presence.
And I think that when she was on set, everyone was kind of paying attention.
You could feel the difference when she was around.
And she's hilarious and really sharp.
And I love what she does in the movie.
Now, when you say people were paying attention, was it just...
You just felt like you were in the presence of a walking, talking, breathing, acting clinic?
That's about it.
Yeah, that's about it.
And we were in an old folks' home.
So a lot of the residents were very familiar with their work.
And we're kind of milling about craft services trying to catch a peak of an Oscar winner.
She was with her people.
Third up.
Third up.
Back to the way.
Yeah.
As a production designer, we get to interview so many different kinds of people at these festivals.
And I like to look at things with the lenses of people that maybe other people don't get to hear from.
Sure.
As a production designer, take some of our listeners through what...
The kind of stresses you have to go through when you're designing something.
Whether it's an 18-day shoot or 18-month shoot.
I mean, that stress is still there.
Well, we're kind of...
The art department's kind of a hidden jewel and the filmmaking crown.
They work tirelessly.
We work long hours.
We're at the sets before everyone else.
And then we leave to go to the next one.
So we're kind of a ghost presence for the rest of the crew.
But we're responsible for everything you see on camera.
Anything that the actors are holding or all the places that they live.
Any sets.
Most challenging as far as things you needed for the actors on this particular project.
Can I say, actually, that one of the bigger challenges, I think Jake had,
was that we were looking for Larry's apartment, the key location.
And he reminded me of this recently.
But we'd been talking about using my apartment, which we ultimately did, my home.
And Jake suggested it maybe a month out.
Or we talked about it.
And I was like, no, it's not.
We're going to do something else.
And then how many days before we actually shot.
We said, OK, yeah, we're going to use my apartment.
After we already rented another apartment in about five days before filming.
Yeah.
Yeah, they completely moved me out, repaid my apartment.
So it was a complete ground of ceiling, floor to ceiling.
And he did a fantastic job.
And then my apartment looks nothing like what you see in the film.
It's very boyish, I think.
And I keep it much.
Hers was boyish.
We gave it a little bit more.
Did you keep it?
Did you keep anything the same afterwards?
I told you what, I said no.
I wanted all.
I thought we improved our kitchen, but I went back to square one.
We matched all of our original paint.
Yeah.
She has a really interesting design aesthetic.
The DP was in our first ADL, so we're really adamant that we shoot in my apartment,
as opposed to the other place that we found.
And Jake had always been on board with my apartment because it's a natural light and everything.
I said it was more of an aesthetic thing or was it more of a budgetary thing?
No, it was a aesthetic.
Definitely.
Yeah.
A creative choice.
It's a small sort of mother-in-law unit off of a really large house.
A mother-in-law.
How does that feel?
Your apartment's a very mother-in-law.
I was going to say, that's what they used to call it.
Wow.
A mother-in-law.
I'm an indie producer, so I have a very fine apartment.
I mean, we got rid of all of the marble, the furs.
Yeah, I have the gold.
The antiques.
The large golden candelabras that are everywhere.
If I ever get a good story, it's the money.
That's what it is.
Yeah.
That's what I meant.
The door knobs made out of solid gold platinum on the windows.
Yeah.
I identify.
You water your plants with unicorn tears.
There's a price.
How many chandeliers you can fit in?
200,000.
The studio apartment.
But it's a view.
Your original question was, what did he have to provide the actors?
The biggest challenge for you.
Absolutely.
Well, the way Bob Buyington, the director works, we kind of build the world and stuff.
And kind of get out of his way so he can be with the actors.
And so you kind of had to anticipate wherever he might go in a space.
So I was really thinking about every opportunity for them to go somewhere we had to address it in some way.
So just sort of questioning in advance and not getting the answer until we saw the footage where he actually went while he was filming.
So that was a little hard.
And getting apples for Jason, they did a bit where he got a black eye.
And he soothes his wound with an apple.
So finding the right apple, the right color, the right shape, the right temperature.
Request like that.
So you're saying it's in his rider.
What size of the apple?
It's in his rider.
Yeah.
So it's been what about three weeks in South by now?
Thereabouts, yeah.
Or have I been living at a time?
Yeah.
Yeah.
Was that where this film premiered?
Yes.
Okay.
So it premiered itself by, first of all, how did that go?
Well, I mean, that's possible scenario.
Totally great.
We had a really positive reception of the film.
We had three totally packed screenings that we had to turn people away from, which was a fantastic.
I'm sorry, but I'm sorry, but it's a great feeling.
I'm sorry, yeah.
It was sad, but it was nice for us.
And I had been watching, and Jake too, who had been watching prior to the premiere,
the film with our editors and our sound mixer and the director and nobody laughs.
And everybody's just very serious.
And so to get in the theater and have everyone laughing and having a good time was a really good.
And you've got a room full of people that didn't know what was coming.
Exactly.
Which I think makes a huge difference.
Oh, yeah.
So did it come straight from there to here, or has it been screened anywhere else?
Yeah.
Yeah.
Okay, so tonight.
Tonight, yeah, at the Angelica.
Which where we are?
Which is where we are.
1030, at 1030, I think.
1030, and tomorrow here again at 730.
Tonight in theater six.
That's a pretty big auditorium.
Oh, we're going to pass out.
We're going to pass out.
We're going to pass out.
A friend who didn't make it in Austin.
He's got time to hide here.
Oh you know what?
Stone, I know you're out there.
Yeah, please.
It's three hour.
To get here.
Oh, it's going to say that one's not three hours.
Right.
There's a solid 75 minutes of fun.
Right.
Yeah, not even time for a bathroom break.
No.
I don't want to see anyone taking bathroom breaks.
I'm just kidding.
And that's why we always like my mother always should tell.
Go before you go.
Yes.
Go before you go.
But before we go.
Thank you.
Thanks, Mom.
It's my mom.
It's my mom, so, you know, you never know.
So where are you going from here?
Are you still going to keep on the festival circuit?
Is it ready for big distribution?
Because we're all about shameless self-promotion.
So you feel free to find us on Facebook.
Hashtag 7CB.
Or I think our Facebook is just 7 Chinese brothers.
Yeah, I already got it.
But Hashtag, that's what we're sharing about ours.
We're in Nashville next.
And then San Francisco after that.
And we'll be in Montclair.
I think maybe in the Northeast?
That's some point, is that right?
That's Montclair, yeah.
New Jersey, I apologize.
That's it.
I never had to take geography.
So you could have told me anything.
I probably would have believed you.
But she's in her backyard at that point, though, isn't she?
And I think she's spent many years in Montclair, apparently.
And one thing that I love about, and you
talk about having three packed screenings in Austin.
One thing I love about Austin, especially in the art scene,
I would challenge you to find a city much more supportive
of its own art than Austin.
You could do a documentary about squirrels.
And it's shot in Austin, and they're
going to come out in droves.
And the fact that people have already told me,
and we've said at the top of the show,
that this was a film that they were upset that they missed
at South by, you have that going for you, too.
And just Austin loves its own so much that it just
gives you that shot in the arm that I think you need.
And then you come here, and you have so many of those
transplants that are from Austin here that still have
that spirit, which I love about Dallas.
I got to say, when we showed the director's previous film,
somebody up there likes me.
And we came from South by the same with the film.
We came to Dallas.
And there was actually a really nice experience
with the audience here in Dallas.
It felt like everyone was here to have a really fun.
Have a lot of fun, have a really good time.
And that happens in Austin, too.
But it felt even more so, obviously.
And so I'm looking forward to that again.
We are a big family.
Sorry.
That's OK.
I thought you wanted to say something.
No, I just noticed Stephen Root was in his cast.
You know what I'm a fan.
And you know I'm a fan.
You know I'm a fan.
And the first thing you always think
about when you mention Stephen Root is office space.
I was told I could listen to my music at a reasonable level.
And is this almost like a homecoming thing?
But actually, it's weird for me.
When I used to say Stephen Root, you know the first thing
I think of.
Newsy Radio.
The West Wing.
The West Wing.
His, his, on the West Wing.
And you look, go back and look through his, his resume.
Like you're like, that's the same dude.
He's so wonderful.
His versatility just blows my mind.
He freaked me out in true blood.
I was like, that's him.
Yeah.
See, that was more the talented, lovely and talented
Mrs. Irving's department than I.
My wife was on a huge true blood flannel.
I could never find.
I think by the time she started watching it,
I was like, I can't get into it.
This one's too far gone.
I'm not familiar.
It's my problem.
Also my problem with the other one.
She's the walking dead.
I feel like we're too far in for me to pick it up.
And I'm going to have to binge like four seasons just
to get a grasp on it.
What shows do you share?
SVU, even though that's starting to wane.
OK.
Because that shows really starting to get to me.
We both loved a lot of the HBO stuff.
We're both huge fans.
I have ready for true detective season two.
I just started that yesterday.
First one.
First episode.
Saw that teaser.
I'm not going to talk about anything
because I want you to enjoy it on its own.
And the teaser for season two, because I don't know if you know,
but the next season is going to be completely different cast
completely different story.
And they just released the teaser the other day.
Solid.
I'm excited.
Colin Farrell on the mustache.
Yep.
You know, it's going to be good.
And 70's brothers.
It's going to be.
So art, I mean, she gets it.
She gets it.
Sorry for having a conversation, right?
Yeah.
Bring it back.
So you've got more festivals to do.
Yep.
Yeah, it's the next question that sometimes it can get kind
of sensitive because people can go, I can't talk about it
right now.
Might be distribution.
I haven't signed in the NDAs.
So I can talk about it.
See, that's the kind of guest we need.
No NDAs except with us.
So so there are talks perhaps with maybe some distribution.
Yes, it will it will be out there.
Yeah, we have a fabulous sales team.
And we're working on it.
So you will see us in the theater again
after our festival run and on demand.
I guess that's the important one.
That is awesome.
We're excited.
But you had to do the premiere while we're on the show tonight.
Sorry.
I see.
Can you come tomorrow?
We're going to try.
We've actually we've got to we've got a full day tomorrow.
But we are going to do everything.
Because I do want to see this film.
You know, when my buddy from Austin called me,
he's like, dude, no, seriously, and he and I
have very, very similar.
I like your buddy.
So I appreciate the promote.
Don't it's you brother.
It's all you.
All right, seven Chinese brothers tonight.
Angelica theater six.
Oh, it's not until 10.30 tonight.
We've got time.
Come on.
We're not going to be on here.
You can make it.
You think we can make it?
We're going to try.
And then tomorrow night 7.30 Angelica auditorium four.
I have got to learn how to speak English here.
Here the full report.
What they thought tomorrow.
Absolutely.
Jake Shawna.
Thank you so much for being there.
It was such an honor to have you here.
Go enjoy your time.
Yeah.
We've got some breathing time before the front screen.
Oh, they're going to recover now.
We got them before the red carpet.
Thank you.
Bonus.
We beat the red carpet.
We can't say that.
Thank you guys so much.
Enjoy the festival.
Please.
All right.
We may not even get to our run sheet tonight
because Don's bringing us.
That's a good thing.
That is a very good thing.
I'm very excited about these things.
Charge this phone.
Yeah, we've got outlets over here.
So everybody likes to come hang out with us
because we're by the outlets.
But that's OK.
I'll take it.
I'll take it.
That makes me the cool kid for an hour and a half.
I will take it.
All right.
We have two more guests.
Only one of those ears may work for you.
Which one?
I don't know which one it is.
Can you hear me?
All right.
All right.
That's what we have two more guests joining us.
First of all, I'm going to let you guys introduce
yourself.
So feel free.
Hi, I'm Makayla Gibson with the film One Hit Aquila.
I'm an actress in the film.
My husband directed film.
His name is Jackie Smith.
And he's out here because he's doing a directing workshop
at Texas Aino right now.
So I'm representing the film.
We'll let him go to New York.
Geez.
One hit Aquila, which short block
is it going to be involved in?
It's I believe that I don't know.
Oh my goodness, that's a shame I should know.
Let me see if I can find it really quick.
It's planned April 14th, Tuesday at 10 pm.
And then Wednesday, the 15th at 7 pm.
I believe that short block, too.
I wanted to say two.
Three, three.
It's three.
Well, I would have said two.
That's what my instinct was.
And that would have been wrong.
I would have been wrong.
Thank you to Sean.
Well, now introduce yourself.
As you've already talked, you've got two people you are.
My name is Toshan Scott.
I'm an actor and then the short film
is Sweet, directed by Spencer Gillis.
And in the feature, results directed
by Andrew Wajalski.
And which short block are you?
Short block one, which means if you're listening,
you've already missed it.
We screened yesterday and today.
But results has yet to screen.
That's going to be here next weekend.
I think Friday, Saturday.
All right, let's start with Michaela.
One hit Aquila.
I think I know what it's about, but I'm
going to let you explain it.
Sounds kind of self-explanatory, but I'm
going to let you go.
It might be deceiving the title.
OK.
No, it's about a young man who has been
influenced by internet violence and how he has not
had to deal with what he goes on to do something.
I don't want to say what something is.
But really, it's about how internet violence is influencing
our youth and just how it's impacting them and this desire
is driving them to do anything and to be on the internet
and be internet famous.
That's what they call it.
Internet famous, yeah.
So that's what that's about.
10 minutes?
I believe so.
I believe you're right.
Eight.
Eight, according to the media.
I was not the closest without going over.
How has been going to be very happy with you?
I'm going to get fired.
There's contractual obligations there.
So I always tell my wife, look, it's in the contract, sorry.
So wow, yes, heavy, heavy, heavy, heavy, heavy, heavy.
Not exactly what I was expecting.
So I was wrong.
Everyone expects what you're expecting.
I know what you're thinking.
Everybody expects that, but it's not.
What I liked about others, you were able to explain it
because explaining a short without giving too much away
is very, very difficult to do, especially
because you've only got a little bit of time.
And I don't want to tell you everything,
but I can give you an overview.
How long did it take you to film it?
Oh, two days.
And it's all done on an iPhone, which it was necessary.
Had to meet his unusual cinematographer, Yuda Yamaguchi.
What he had, another film here that just played.
He wanted to shoot it using other media and other cameras
saying he was like, no, it's a mess.
It has to be on an iPhone.
Do you feel that it gave it kind of more of an intimate feel?
Is that why?
Well, just because of what it's about.
Yeah, it makes sense to give it the format of what
you're the subject matter.
What it's about.
It had to.
And it's really cool.
I'm not going to, without giving away the scene,
at one point, he gave all the students in the classroom
scene.
He had them use their cell phones to film this one scene.
So when you see it in this one scene,
all that footage is from all their cell phones.
Make sure you talk straight into it so that way.
Because I want everybody to have your yard there.
All that footage is from all of your cell phones.
I don't know if you know this.
And it just kind of ties into what something is going on
entertainment.
Recently, it was about three weeks ago,
I think a modern family did an entire episode.
They filmed on an iPhone.
I do remember hearing about that.
They did.
And they want because the technology has become so good.
But I think with what you're doing with the short,
it's a whole different reason for what they did with it.
But it's amazing what you can accomplish as far as time.
Look at what we're doing.
We're a couple of slubs that aren't good enough to be in radio.
So we have to be on the internet.
But we get to do it because the technology is so great.
Tuesday and Wednesday, right?
Yes.
All right.
To show on the show, let's get to you.
You've got two of them that you're doing.
Two, surprise, surprise.
Can we declare shenanigans on somebody double-dipping?
Absolutely not.
OK, good enough.
Because a lot of participants here are doing that.
So a couple of guys that we're hopefully
going to have on later tonight, did double-dipped in the same
night.
Exactly.
And that's what's so great about doing film festivals
is you get that opportunity.
But tell me about the short, your work,
and let's start with sweep.
Sweep focuses on three men who've
meet in a very tight, I guess, tense encounter
with one another.
My director, Spencer Gillis, got the seat of the idea
from the film from X-Chains that he had up in New Jersey.
He was taking some brush up to the recycling center.
He's Caucasian and African-American men
approached him about using his broom to sweep out their truck.
And it made him a little bit nerfed.
So he began to question himself, why did it make me nervous
when all they asked, what's the bar on my broom?
And it was predicated on their skin color,
because he asked himself if they were Caucasian,
but he had the same fear.
So the short focuses on fear of yourself, fear of others,
and then fear of authority.
What I like about the way you explain that is, yes,
this is a discussion that we all have.
But I think from what I'm hearing,
and of course, I haven't had the honor to see it yet,
but those are different lenses.
When you talk about fear within yourself,
versus fear of others.
And I think that was kind of cool.
How did it go?
Spectacular.
The audiences have received it well.
He's actually in Aspen, Colorado right now
at the Aspen Short Fest, while I'm here at diff screening
the film, but the audiences have been very great,
and it's been very positive responses.
Better weather for you.
Much better weather for me.
Better, I'm not sure, a skier.
We shot the film, actually, in New Jersey.
It was freezing cold.
There was snow everywhere.
My feet were frozen.
My hands were frozen.
But it was a great experience.
And it was really beautiful seeing it on the big screen.
Any thoughts from either one of you?
Actually, we have another story to talk about.
Let's talk about results, too, because I
don't want it to get away from me.
All right, well, let's talk a little bit about results.
Results is a film starring Kobe Smolder's
from how I met your mother in Marvel's
Agents of Shield in the Vendors movies.
And also, Mrs. Terry and Killam from Saturday and I.
Yes.
And it focused on a pair of mismatch personal trainers.
Did I already say this?
I think that I did.
Give a little synopsis about the film.
But my character in the film, I play Lorenzo.
I'm a personal trainer in the film as my director Andrew
Bujoski, director of the film, described
as a pansexual peacock.
Wow, what a pansexual peacock.
Not only descriptive, but alliterative.
Yes, absolutely.
Which is a word I learned from Jeffery.
When he told me that, I was like, yes, I'm in.
Please, what do I need to do to be a part of this cast?
But it's a wonderful ride.
It's a hilarious film.
And I'm hoping that audiences will certainly enjoy it.
And can I say something about Sean, please?
Because people, he's not going to say this about himself.
But he was in a marvelous film retrieval.
He won an acting award from South by Southwest.
Was it two years ago?
Yes.
Yes.
So I have to say that.
He's a wonderful, wonderful actor.
I have to add that.
He wasn't going to say that.
I wasn't, actually.
It's always better when somebody else does it.
Because then you're just like, I don't have to brag.
Somebody else can do it for me.
So for those of you out there in the internet space,
if you have Netflix, the retrieval is on Netflix.
And my director, Angel Wajawski, who also
shot results, which is going to be here at Dip Next Week
in, and in theaters in May.
You can also see computer chess on Netflix as well.
I almost didn't recognize you with your shaky beard.
It's in a shot on IMVB.
Yeah, I tried when I performed care,
just not to look like myself or sound like myself.
I think that's much too boring.
Like you're rocking the caveman Valentine beard
almost in this.
It's an 1864 Civil War period piece.
And I have to plug one more thing.
Please do.
So I won't get more.
She almost all promotion is over all of them.
I do not want to get a divorce.
We have a film on HBO right now, Don.
Short film called Don.
So it's playing on HBO.
It started February 1st.
It's going to be playing periodically.
I'll have to look for it.
Yes, so please, it's about a woman who gets out of prison
and tries to adjust to life and outside,
but has a difficult time.
I co-wrote that with my husband.
He directed it, and I play lead in that.
So Don.
It's standing.
H-B-O.
Yes.
I love HBO.
I love you HBO.
It's not TV.
It's not TV.
Yeah, I knew somebody was going to say it.
All I know is we are what now.
It's now 6.30.
We are 25 and a half hours from Game of Thrones.
I'm just saying.
Oh, wow.
Oh, wow.
I'm so jittery.
Oh, wow.
And the things I'm hearing, I'm like, oh.
HBO seems to be one of the very few networks that kind of
gets it right now.
Oh, I think HBO has always got that.
Yes.
They always seem to be a step ahead of everybody else.
They're like 10 years ahead.
But I'll tell you what, Netflix is giving them a run.
Absolutely.
Because Netflix now, I think, is kind of revolutionizing
the way we do things, because yesterday,
all of the first season of Daredevil dropped.
Because that's the way they do it.
We're not going to make you wait.
We're just going to give you the whole season at once,
because we figured you're going to wait or binge it anyway.
So why not just give it to you now?
That's very nice.
And I think that's really changing the way we watch television.
On demand has really leveled the playing field
for a lot of people to get into the game itself.
But you know what my problem with Netflix is?
My queue always has like 9,000 things in it.
Because I'm like, ooh, I want to watch that.
Ooh, I want to watch that.
And then the next thing I know, I'm like, it was going to take me
nine days just to get through half of this stuff.
No, for me, I can spend like an hour, two hours
just watching trailers.
And then I will not get to over.
That's frustrating.
I can spend two hours just browsing the queue.
Yeah.
It was like, access TV has a show that's called
Nothing But Trailers.
And I can just sit there and just watch trailers.
That's mean.
It makes me happy.
Yes.
So when we talk about short films, one of the things
that we've seen a lot in the last few years,
or people are shooting short films
that then get expanded into features,
are either of these something that you're looking at,
or are they kind of OK where they are?
I don't want to say too much, but yes.
I saw her eyes light up, but you said that.
Well, I don't know how much I can say, but it's been talk.
Oh, and my husband's column, he's going to be like, yes.
He's telling me he's live on radio.
Yes.
We have been approached about turning
Dawn into a feature, doing more with that.
And there's been awesome.
Now, how long is Dawn?
Oh, I get this wrong.
You can round it up for me.
13 minutes.
OK.
I want to say, I hope I'm right.
Oh, you want me to get a divorce, don't you?
Well, I just want to give our listeners a framework
of, you know, because we talked about a movie last year
that we saw obvious, obvious child went from a 10-minute short
into an hour and a half.
Oh, and that's happening a lot, yeah.
And these last few years, we're seeing that more and more.
But the big examples of that.
But we've also talked to directors and producers
and actors too that have said, no, this short is exactly
where it needs to be.
We don't want it to get any bigger.
And I know it's a project that's coming up
that we're thinking maybe we should.
We have a feature for it now, like one of my husband's
projects, Katrina Sun, it went on to win a lot of film
festival and play it in Cannes.
But it was actually a feature first,
but we couldn't get the money.
And so we made it a short to raise money for the feature.
So people, directors are thinking like that as well.
I can't make it.
So let me make it a short and promote it like that, yeah.
And then again, just in the last few years,
that's happening more and more.
So one hit or quenna, where does it go from here?
Ooh, I don't know if I can say you.
Oh, okay, third one.
But it's building momentum.
This is actually the second place we played in Austin
during the AFL showcase in South by Southwest.
So this is the second.
It just recently came out.
So I'm hoping that it goes a lot more places.
But we do have some screenings to come up.
And I'm being very cautious, is that you get in trouble
once for revealing something I wasn't supposed to be revealed.
So yes.
And we do tend to let that happen to us.
Last year, we had a pension where people told us,
like, I wasn't supposed to tell you that.
Oh, I've learned the following opinions.
You're not necessarily reflected.
At that point, I mean, I had a lady last year
I was talking to on the red carpet.
Tell, we were just talking, talking on the red carpet.
And all of a sudden, she's telling you
about this project she has coming up that she's gotten
and she's like, and I totally wasn't even
supposed to say that.
And I was like, OK, we'll just think that out of the front
here.
But sweep, if there's a fine word it is,
or would you like to expand on it?
I think the film itself possibly might be finite,
but considering the subject matter, without a shadow of a doubt,
there certainly could be a feature film.
It's on point.
It's very timely.
Something that I was thinking about while he was describing sweep.
And I'm not here to tell you business,
but when things come to my mind, how
about something like a one act play formed from it?
Could you see it evolving into something of that nature?
I think the miracle of the film, there's a lot of snow.
There's one of the scenes where the men,
after they've kind of smoked a joint and like the idea
of this fear of the black man is over.
And there's just fathers talking to each other
and having a conversation.
They have this run up the mountains.
They're not legally supposed to do with they run up
to the top of it and it's snowing.
It's absolutely beautiful.
I remember when we were filming it, I couldn't believe it.
It was like magic and the trees that were far off,
it looked like it was something from a Disneyland movie
because they were covered in ice.
So they were like glass trees and we're running
through snowflakes.
It was magical.
So things like that, I don't know necessarily if theater can
kind of bring that into it.
That'd be hard to capture.
Yeah, but I certainly think that a stage play
on the subject matter could be extraordinarily relevant.
I didn't get to ask you how long did it take you to film that?
Two days in New Jersey in the cold.
The during this last.
Could I safely assume that the snow was probably more
and not more than a couple of takes?
It was running up in the uphill on the snow.
It's not something that I don't know if I'd find on for.
Yeah, we did it a couple of times actually.
But it was real snow, folks.
It wasn't fake.
Was it film during this last winter blast this past year?
This past year actually in January of last year.
OK, yeah.
So yeah, in the last snowmageddon that they had.
Yeah, last year was snowmageddon.
This was snowpocalypse, not for us.
No, stupid Dallas not getting enough snow to stay on.
It was enough for me.
I just I grew up in South Florida.
So I want the change of seasons, you know, where I grew up,
it was early summer, summer, late summer, next summer.
Those were your four seasons.
So moving to Dallas, I was like, good,
I'm going to get a change of season.
I actually got to use my fireplace this year,
which I can't complain about.
But I just I love that change of seasons
and the colors changing, but I don't want it extreme.
Like my my mother lives in Idaho.
My wife is like, there is a very small window
that we can go visit during or she comes here
because my wife hates the cold.
Yeah.
So well, I mean, we've kind of exhausted our talk.
But if you all want to sit for a few minutes,
we've got some headlines we want to talk about going on.
Maybe get your opinion and send some things.
OK, we're going to still do a little television talk.
Gotham fires back up this week.
Thank God.
Have you guys had a chance to check that out yet?
I have not seen Gotham.
I've just been stuck on Empire from Fox.
He was a huge fan of Empire.
I may have to binge it.
I just I have so many shows now.
I can't take any more shows.
That's the thing when you're watching stuff,
you've got Netflix, you've got HBO, you've got ABC Fox
and BCCBS.
How do you keep up?
I mean, me, I think I take on one favorite show
and I stick with that.
I can't.
My DVR.
When I was trying to sell him on it, I'm like,
picture a new Jack City, but set in the hip hop world.
Right.
And I love the Jack City.
And then about three to four episodes
from the end of the of this season,
who is directing the episode, but Mario van Peoples.
Also, he's got a few.
But the reason I mentioned Gotham is they
have announced the ogre is going to be involved,
played by Milo Ventimía.
Oh, so he goes from heroes to Gotham.
Well, good for him.
Hello, yeah.
And speaking of heroes.
And if you remember the Haitian, for heroes,
he's coming back for the new one in the fall.
Yeah.
So you have three returning cast members.
You have HRG.
Well, so I was getting that role.
Are you serious?
I had just graduated from grad school at HLA, the Haitian.
You are kidding me.
And actually, the script, when he was written,
he was not Haitian, he was actually
a Filipino character.
Really?
And they auditioned after American actors
and it kind of evolved into the Haitian, and it came down.
According to my managers, I don't know if they're
making the film.
My managers told me it came down between he and I.
And coming out of grad school, I was not
sad after I didn't have much of a resume.
So obviously it leaned towards him for the role.
But he will be returning.
It's a limited run.
It's like eight or nine episodes this fall.
The only three returning characters we know of right now
are him, HRG, and hero.
Are the only three we know we're turning.
Yes.
And Zach Levi from Chuck will be the main character.
Haitian's doing Nashville, so she's not coming back.
Probably not.
That's another show my wife absolutely adores.
So at that show goes off, I might have to buy my wife
like sedation drugs.
I'm going to show so much to go into.
Also, Fox has renewed the last man on Earth, which I've
heard really, really good things about.
But I have that for you.
Well, a big kind of full forte.
But they are remaking the Rocky Horror Picture Show
as a TV movie.
Excuse me.
I'm out.
Fox is doing the Rocky Horror Picture Show
as a TV movie.
Can he or take a is going to direct this thing?
Yes.
So I don't know how to shed.
Well, real happy what Fox just did with Empire.
They're really pushing the envelope.
Maybe they could really surprise us.
But I just think that that's a point, sir.
Well, but I think you should reserve judge.
But I also saw what Fox did with their Rocky Horror episode
of Glee.
And I was not impressed.
That's great.
That's also I think I am saying on this show right now,
you should reserve judge.
Well, but think about it.
You're getting the gather directed high school musical
to direct the Rocky Horror Picture Show.
And it was popular.
It was successful.
All I can see is this Glee episode that just did that.
You won't get Zach Efron at all.
So you're good there.
And our last TV headline, because we've
got another guest we're about to talk to,
Netflix, I believe, is doing the limited series based
on the Stephen King book, 11, 2263, about the teacher that
goes back in time to prevent the Kennedy assassination.
Your cast has been announced.
James Franco will be in the lead.
Daniel Weber, the great cherry Jones who I loved on 24.
Lucy Fry, Chris Cooper, Leon Rippy, Sarah Goddone,
and George McKay will round out the game.
I like that.
I've heard people that have read the book
because it's amazing.
And it's going to be a multi-episode series, not just a film.
So we're going to have to see how that works out.
Anything you got for TV talk, sir?
I'm trying to see who's carrying that series.
While you're looking that up, we are going to say goodbye
to Michael and to Sean.
Thank you guys so much for sitting down with us.
Thank you.
Pleasure, thank you for having us.
Make sure you're taking notes, kids,
of all the films you need to see.
Because at the Dallas International Film Festival,
there's over 160 films, over 11 days.
And I'm just trying to keep up on our Facebook feed.
Brother, do you mind?
As we're talking to people, I'm typing,
looking if you're listening to the show,
you're on Twitter, make sure you're
hashtagging the Clubhouse podcast on Twitter.
Let people know what you're hearing and all the insanity
of their end.
You guys, thank you so much.
Thank you.
No, enjoy the festival.
We will.
Thank you.
Thank you so much, guys.
You are listening to the Clubhouse podcast.
Our normal shows are Sunday, night, seven Eastern,
four Pacific.
We are normally your one-stop shop for all things, sports,
and entertainment.
But this week and next week, we're
going to be very entertainment heavy.
Because we are live at the ninth annual Dallas International
Film Festival.
This is like Christmas too for me, I think.
Oh, man.
I'm writing on a adrenaline right now.
Let me find where I am.
Don's out there working the right carpet,
bringing us guests to talk to.
He's got us running, sir.
There we go.
There he is.
Is this what you gave us a piece of paper for?
Don, outstanding.
Joining us right now from a movie that's
getting a lot of publicity over the last few days.
Because you guys seem to be doing a policy,
right, because I'm seeing buttons everywhere.
Films called Cartel and Editor Bradley Ross joins us.
Welcome to the show, sir.
It's a pleasure to be here.
Thanks for having me.
OK, so Don's been going at us hard and heavy.
So Tuesday, tonight.
So you're ready to go here in about an hour and a half,
hour and a half, 45 minutes.
Cartel and we'll also be playing tomorrow at 12.45.
Both here at the Angelica at Mockingbird Station.
Tell our audience about the film.
Because we're all about shameless self-promotion.
So go, my friend.
The film really is about what it means
to take the lawn to your own hands.
So it covers two vigilante movements, one in Arizona
and the other in Michigan, Mexico.
So is it two separate stories?
Or is it one interstory intertwined together?
It's two separate stories tied together
by this theme of vigilanteism.
So you watch both of their separate movements grow,
but they're fighting a common enemy, which
is the Mexican drug cartels.
So this is also, I'm seeing a couple different things here,
and I want to make sure that I'm perfectly clear.
I'm seeing in English and Spanish with English subtitles.
Is that depending on the screening?
Or is that just the different versions available?
Well, our film is going to premiere in US theaters this summer.
And it's also going to appear in Mexico theaters,
which we're really excited about.
So I guess based on the market, the subtitling
will determine whether it's-
But tonight, tomorrow, full English.
It's full English with Spanish subtitles, that's correct.
This is a very, very timely subject.
Yes.
And people would say, well, this was more about the 80s
and the drugs end.
And it's like, no, when you're dealing especially
across borders right now, I mean, one of my favorite films
are probably the last 20 years as traffic.
That's Soderbergh.
And when you can shoot something that shows it from both sides,
as an editor, because we love and we
have all different kinds of people cast and crew on this show,
because we love to get the different perspectives
by different people who work on films.
You had to edit this thing.
Take me through that process.
Did you have to really kind of stick to what-
how much freedom do you get from somebody like a director
when you're actually editing what they've shot?
Well, there was so much work to be done.
And that's part of what I love working for Matt Heineman
brings to me, which is that there is a lot of creative freedom
as an editor.
You know, when you edit documentaries,
opposed to TV shows, which I've edited a lot of TV documentaries,
like Tree Life on MTV, that's more formulaic.
The network says, you sort of have to do this here, this there.
And it's segment to segment to segment.
In a documentary, there are no rules.
Matt never went to film school.
I never went to film school.
Which, more often than not, I think benefits you.
I think, you know, to sum, it's very special to others.
It's unnecessary.
I think there's many ways to, you know, go about it.
In terms of Cartelland, I could have
no individual editor could have done the whole thing,
because we had around 700 hours of footage.
Wow.
And Matt had spent around eight months in Mexico
in a very long time in Arizona as well.
And so we had a strong team of three different editors
and Matt Heineman also edited himself.
And so if you know any editors, they tend to have some egos.
So what surprised us all is it was the most harmonious process.
Like, we all were appreciative that we had support
and that so many people were working on it.
And we worked really incredibly well together.
And as an editor, I rarely get the opportunity
to learn from other people.
But one of the editors, he came on much earlier
and screened every frame of footage
and spent a lot of time with Matt to sort of craft a plan.
And then I came in and took certain storylines
as did the other editor, Pax Wasserman.
He came in and took certain storylines.
And then we just, you know, we would do cuts, put them together,
sit in a conference room sometimes for days
and just keep working at it and working at it and working at it.
So it was an intense, you know, long days.
I think I had a 21-hour day, 22-hour day
toward the Sundance deadline
because that was sort of our true north, you know,
sort of our goal was to keep.
Was that where it premiered?
Was it Sundance?
It did, yeah.
We were at Sundance Film Festival.
And Matt, you know, he won two awards,
we all won two awards for two grand jury prizes
for cinematography and directing.
And it's well deserved because he, you know,
with tremendous risk captured a lot of this footage.
He shot about 90% of the film by himself.
Wow.
And spent an incredible time in Mexico
developing relationships with the characters
and really just documenting history.
We wanted a cinema verite film all along.
We did not want to get stuck in politics
and issue-oriented things.
Matt and I worked on another film,
Escape Fire of the Fight to Rescue American Healthcare.
And that was more of an essay film
exploring the entire healthcare system
what's wrong with it and how we can fix it.
In this case, it was all about vigilanteism
and following these two characters.
We're flies on the wall.
It's mostly verite.
And as a result, you know,
it's a very exciting and interesting film.
How often when you were,
because of course, as editing,
you have to go through all this footage.
How often did you come across something and go?
Holy crap.
Ha, ha, ha.
Back away, hourly, yeah.
Back away, hope they don't see us.
Especially given this subject matter of this film,
do you really felt like you really went deep down
the rabbit hole or was a lot of this like stuff
that you could kind of flowed with going in?
Well, I think Matt's talents is a filmmaker
and why he won this cinematography
or an additional Matt poor wall
who also shot some of it.
It's so well done that you forget that it's real.
Wow.
And so you often like maybe hourly,
sometimes by the minute, I would see something
and I'd be like, oh my goodness.
And then you would remind yourself,
wait a second, this actually happened
and this is actually happening.
So from my point of view, you know,
as an editor, especially working on true life and stuff,
you know, I've done a lot of drug rehab shows.
I'm used to seeing, you know, crazy things
and eating lunch at the same time.
Ha, ha, ha.
But, you know, in this case, it was just,
I mean, it was just, I was wowed constantly.
And, you know, but you got to keep your head down.
You can't like go to Gaga over it
because you got to tell the best story.
You kind of have to remove yourself from it,
which has got to be tough to do.
I mean, if we put a documentary standpoint.
Yeah, if we put every moment that was eye popping
in this film, it would be a 50 part series.
I mean, it is.
This is 100,000.
Nobody said that wouldn't be a good idea.
You know, we take a 50 episode run.
You said a premiered of Sundance.
Where has it been between then and now?
It's been definitely doing the festival circuit.
We're in three festivals this weekend.
Wow.
And it will also be a Tribeca film festival.
We're very nice.
April 22nd in New York City.
And then, as I said, it were planned to come out this summer.
And also in May, it's coming out in Mexico
right before the political elections.
Oh, wow.
That should be really interesting.
Because, you know, seeing how Mexico responds to this,
because if you see the film, you'll see that Mexico's
kind of a crazy place.
And these drug cartels are very dominant.
And the people rising up against them,
the lines are blurred between who's good and who's not.
So it'll be very interesting to see what the reaction is.
Yeah, I want to worry about a decade ago.
I don't think I'd want to go back.
Butterflies is Sundance versus Butterflies now.
Ooh.
I think, because we have distribution.
It's a little bit less pressure, I guess.
Exactly.
I think Dallas has been incredible.
It's been fun to be here.
It's been interesting to be here by myself,
because everyone ponyed up, and we all were at Sundance
together.
And what a gift to spend 10 days with people that we, you know,
basically worked until we were bleeding out
of our fingertips with, you know.
And the team was incredible.
Everyone from Molly Thompson and Amy Films, Tom Yellen,
the documentary group, who produced the movie.
And Matt Heinemann, of course, Matt Hamichek, the editor,
Pax Wasserman, another editor.
My self, and then a whole team that also supported us.
I mean, it was really an incredible thing, so.
All right, so tonight, 8.15, Angelica Theater 8.
Tomorrow, also Angelica Theater 8, 12.45, cartel land.
I want to see this moment.
I got to stop saying that, though, because there's
over 160 movies with this thing, and I have a day job.
You're going to overbook yourself.
Rather than thank you so much for hanging out with us.
Go enjoy the festival.
Thank you.
You get to breathe a little bit.
Along with that, thank you so much, sir.
You're welcome.
You're always doing the Clubhouse Podcast.
Visit our website, www.theclubhousepodcast.com.
Please like our Facebook page.
Look, if the Clubhouse Podcast on Facebook,
put the word podcast on the end, or it's
something completely different.
Follow us on Twitter at ClubhouseShow.
Please remember if you're listening in
and want to get people to hear what you're hearing.
Hashtag the Clubhouse Podcast.
You're going to follow me on Twitter if you'd like.
I am at yes, that Rob Irvin, that is spelled E-R-V-I-N.
I'm at Chad in PG-69.
I'm at FanDongo, and you can email me at
dawnattheclubhousepodcast.com.
Email Don for information on doing a live show,
which we're doing right now,
the Dallas International Film Festival.
You can email me, questions, comments, concerns.
Tell me to go pound sand.
I am Rob at the Clubhouse Podcast.com.
I am Chad at the Clubhouse Podcast.com.
You'd think we've done that before.
Yeah.
It sounds fairly mechanical, it does.
And the cavalcade of stars continues.
And we're going to wait for Don to sit down here
for just a minute.
Joining us right now is a guy who's at least two
different screenings of this film over the next week
and a half if I'm not mistaken.
Don't look in the basement part two.
I'm going to let you introduce yourself to the masses, sir.
Hi guys, I'm David Rinke.
I'm the producer of the film, and I'm glad to be here
with you.
Appreciate you.
Last night you had the late show.
Don was there.
Oh, I was there.
This was a fun movie.
It's a way it's owned.
It's suspense.
It is kind of put you on the edge of the seat.
You got the gore.
It's just a fun horror flick if you like horror flicks.
But it's not just a pure blood and guts.
This has some storyline to it.
Oh, well, we're going to let David explain it a little bit
because it's his film.
He produced it.
He gets to talk about it.
Feel free, sir.
And talk right in that microphone so everybody can hear you.
Right.
Well, it's a complete accident that it came about.
But those are the best kind, though, aren't they?
Yeah, exactly.
That's the star's line and something happens.
The rest of the time you're pushing
rollers up a hill and trying to keep
from having them roll back down on you.
You ain't lying, brother.
So tell our listeners about the film itself.
OK, so don't look at the basement, too.
So there was a original don't look in the basement.
It was released in the early 70s.
And it was a drive in.
And it was paired with don't last house on the left
and things like that.
And was billed as a promoted as a horror flick.
And it was directed by a guy named SF Brownrig.
He passed away about, I think, 10 years ago.
His son, Anthony Brownrig, is the talented director,
actor, writer.
And he'd been wanting to make a sequel to his dad's film
for many years.
And the original don't look at the basement
has kind of a cult horror following.
And so he wanted to do it and do it right.
And he kind of looked for opportunities for years.
And they just never materialized.
Or they weren't the right fit.
And one of my partners, Danny Red, who runs,
has come to call replica copy.
His father used to work with Tony's father.
So they knew each other.
And he was talking to Tony about it last year.
And he said, hey, why don't we make that movie?
I know a guy.
And he called me up.
We came down and had him in 30 minutes later.
We did a handshake.
And then we were off and running.
So we're lucky.
We were able to get the same location as the original film.
Wow.
40 years later.
And the story line picks up 40 years later
after the first film.
And at the end of the first film,
there's only one survivor of a massacre
at a mental institution.
And he's a lobotomized patient named Sam.
So in our film, Sam comes to this new mental institution
and made him ensues.
And we pick up the story there.
How long did you get to film it?
We filmed in Mahaya, Texas.
Near Mahaya, Texas is a town called Tawakana.
And we filmed for about 24 days.
And it was a great shoot.
Like I say, we filmed an original location 40 years later.
And it's an old college, 150-year-old college.
And the dorms are still serviceable.
They use them as their youth hostel
for church groups and all things.
But it's a very, it has a good, creepy setting.
So we lived there.
It's a three-story building.
It has a kitchen.
So we brought in some chefs.
We lived there, slept there, and filmed there.
And 24 days later, we had it in the can.
How did it go last night?
It was awesome.
We had a sold-out show.
And the audience was fantastic.
And Angelica is such a great place to screen films.
And the Dallas International Film Festival
was such a great job of promoting.
And so we had a way we were primed and ready to go
when they killed the lights and rolled the movie.
It was a great experience, everybody.
Was last night the premiere?
Or so the last night was the first time.
Yeah, last night was the world premiere.
So we were really honored to do that here in Dallas
at the International Film Festival.
Nothing wrong with that.
What about the Dallas International Film Festival
really brought you to this is where we want to bring it out?
Well, I mean, we're Dallas-Natives.
I mean, everybody is associated with a film.
We're from Dallas.
And plus, I've screened at the diff before.
Three or four years ago, I had a film named Pearl
and I premiered it here.
And James Faust and all the crew here,
they do a great job.
And we just thought it'd be a great place to roll it out
in our hometown and then go out conquer the world from here.
And what are, and you mentioned something that
people say this all the time.
And I don't know that it's meant as much as it is here
when people say, well, it's a family atmosphere.
This really is.
Oh, yeah.
Like, we see these people out and about.
And it's like, oh, look, it's those guys.
You really, it's not just like a film thing.
It's really more of a family thing.
And everybody wants everybody to succeed.
And everybody wants everybody to have their moment.
And everybody wants to support everybody else.
Very much so, because I mean, look,
it's kind of a blessing and a curse.
There's not a lot of money in the Dallas film scene.
But everybody's charming, that makes sense.
Yeah, well, everybody, we make up for it
because everybody does it out of passion.
And which is probably the real reason people
should be doing this anyway, is a passion
to tell a good story and entertain people.
A wise man once said to me, if you love what you do,
you never work a day in your life.
That's right.
And if you're like us, if you're geeky for film
and you're geeky for entertainment, if you love it,
and you get to actually do it for a living bonus, right?
Where is, where are you gonna take the film from here?
Is it, are there other festivals ready?
Is there distribution ready?
Or is there distribution talk?
Shame on self-promotion, that's what I'm about.
Well, no, we're still, we haven't finalized
the distribution deal, so we're still talking to people.
And we're definitely looking for the right partners
to help this film find its market and find its place.
Because it's tricky, you know, nowadays,
is I'm sure you're aware of the movie industries
turned upside down.
A lot of opportunity, but it's also a lot of challenges
just to get a scene and heard about in the marketplace.
But we're already booked into several other festivals.
So we're doing it, I think the next one
will be Dead Center Film Festival in Oklahoma City
and then we'll be moving on to festivals
all around the country and the world.
And I say we're gonna talk to several different
market and distribution people.
And if we only find the right fit,
we'll certainly come be glad to get in touch with you guys
and promote it and get the word out there.
We have a Facebook page, don't look in the basement too.
And on Facebook, and then we have website,
don't look in the basement.com
and everybody can stay in touch with what we're doing
through those venues as well.
You said something in the top of the interview
that I think may have gotten past a lot of people
and when you said it, it's just a light bulb went off
in my head.
You use the word drive-in film.
And I'm such a huge fan of the drive-in.
The fact that the drive-in is starting to make a comeback.
Oh yeah.
I just all I could see in my head was a double feature.
Yeah, well, let's play the original.
Let's play the new one back to back and let's get it done.
Yeah, we definitely want to include the original
on the DVD release too, so people can see it.
But yeah, it's funny because we grew up in that era,
that was what we did on a Friday or Saturday night.
We go back to station wagon up at the drive-in
with a brown bag full of popcorn.
We hopped at home and watched the movies.
But my kids, oddly enough, there's a great drive-in complex
in Anastex.
Oh, we love the Galaxy.
We love the Galaxy Drive-in.
My kids go there all the time and they're like,
Dad, you have to show your movie.
Absolutely, so we're going to definitely love it.
You took the word drive out of my mouth.
Yeah, I think we would be a great marketing campaign
to do a nationwide drive-in rollout of the thing.
And I'm from the area where one of the biggest drive-ins
in the world in Fort Lauderdale.
They had the Thunderbird Drive-in.
It has 18 screens, and it's also
the world's biggest swap shop during the day,
which kind of perpetuates this stereotype.
But I just love the concept of a drive-in.
And when you said that, I was like, yes, that would be awesome.
Yeah.
There's one more screening, correct?
Yes, this coming Thursday, April 16th at 10, 15 p.m.
at Angelica, I think, theater four.
And you have to do it late.
This is not the kind of movie
that you go to a seven-foot walk.
I saw it at midnight.
I like to see this movie.
I left it 130 or whatever last night.
But it was fun.
If you want a good, just different kind of horror
flick with lots of fun in it.
Yeah, good suspense.
Yeah, I love it.
We've got Jim O'Rear and Scott Teppermann in it.
Jim O'Rear's and a lot of horror films
and Scott Teppermann's from Ghost Tundards International.
And they play a couple of characters
that provide a lot of the comic relief in there.
They're just, they're incredible.
The chemistry together is great.
And I got to sit next to his family during this.
Oh, did you really?
Yeah.
And he's still allowing you to be this close to him now.
The restraining order hasn't?
Yeah, I've got you.
So he lived.
I already had three restraining orders on it.
So you've lived through a horror film.
Don't go on the basement too.
Go see this on Thursday.
We are here at the Angelica Cafe.
Thank you so much, sir.
I appreciate what you're doing.
Hey, please go enjoy the festival.
And I'll see you at the Thunderbird when we premiere there.
Oh, that would be awesome.
Please do.
That'll give me an excuse to go home for a couple of days, too.
All right.
Don is keeping us busy.
You realize we've been on the air almost an hour?
Already?
Yeah.
Cattle might.
We're at the hour, Mark, sir.
Joining us now, and Don actually gave me
a pronunciation version.
So if I screw it up, it's his fault.
Alan Showcart, did they get that right?
That's very close to the way I tell you to myself.
He is the director of a movie called Lady Gray, which
is going to play tomorrow at 5.30 in Angelica 6.
And then Monday night.
So you're getting back to back days.
Welcome to the show, sir.
Tell us what the movie's about.
So the movie is about the life of a community in South Africa,
10 years after the end of apartheid.
And it's the way that all this community
has to live with a trauma of very violent events
from the past.
But it's not a movie about apartheid.
It's really more universal than this.
And it's how history, usually, through tragic events,
links people together in a community.
But it's a very strange link, because it's a link of pain.
And everyone has his own suffering, his own wounds.
And how do you deal with your wounds,
that the ones you cannot share with your neighbor,
and the one you cannot tell to anyone,
and yourself, you're not able to understand the wounds
and the pains of your neighbor or your relatives.
That's all about this.
But it's also full of hope, because there
are some people who have some dreams,
and they succeed in their dreams, which
is a way to deal with that.
Wow.
What brought you to do this project?
First of all, I have very personal links
with South Africa since I'm in teenager.
I was an anti-apartheid activist.
And I've read a lot, of course, newspapers, articles,
and all these.
But also a lot of novelists, South Africa and novelists.
And I've had a career of director of photography.
I was a cinematographer for 20 years in France.
And I've had the opportunity of doing
the photography of a wonderful movie
starring Angela Bassett and Danny Glover, which
was called Busman and Lena in South Africa.
And it was adapted from a theater play
written by Athol Fogaro, who is a great poet,
play writer in South Africa.
And when it was the very first time I went to South Africa,
Mandela was already president for five years.
It was his last year as a president.
And I really enjoyed being in this country,
meeting all these people.
I had only known from so far away.
And there is a French novelist called Uberman Garelli,
but I like very, very much.
I like the characters.
The way these people are simple, father, and son.
And there are a lot of, they deal with very small things,
having food, growing, you know,
rose bushes, dealing with rain.
And they have the weight of the world on their shoulders.
And there are some heroes.
I find sometimes being a human being
is a kind of heroism, you know.
And that's what I like very much in the characters
of this novel.
So I've adapted two of his novels, which
have nothing to do with South Africa,
because they take place in France.
OK.
But as I told you, I really wanted to make a universal movie
because this story could happen anywhere,
where a community has to deal with something which
could have gone into a civil war.
And as I was reading this as an opposite of the film,
I really like the way it's described.
It's like, it's the one thing that you know exists,
but you just don't want to talk about.
And this new person, hopefully I've got this right,
this new person comes into the situation,
which causes them to have to face these things.
And I love that angle on it.
Yes, and it's also a story about people who don't talk.
Or when they talk, they talk about other things
that the one they should talk about.
By the way, there are not so much lines in the movie.
And when I send this great, because I have beautiful actors
in the movie, Peter Sarsgard, that we've seen in the movie.
Oh, I'm a fan.
Yes, he's a great, he's a marvelous actor.
And Emily Mortimer is brilliant.
Oh, that would be more, oh wow.
And Liam Cunningham also.
Nice.
When I send them the script, they say, well,
if they count the number of the lines,
they have to pronounce, they will just throw the script away.
They will never accept to do it.
But they really love the script.
And they've been so close to me.
They really helped me to do the movie.
And they're wonderful.
I love them so much.
How many times have you screened a film before tomorrow?
Has it been screened already?
Yes.
It has been screened in Miami.
OK.
And in France, a couple of screenings.
And the film is going to be released in France on May the 6th.
Oh, wow.
So just a couple of weeks away?
Yes.
Do you have, currently, do you have domestic distribution yet?
Yes, yes, national distribution yet.
And we just wait to see how it does in France
to go in foreign countries.
So really, this is the farthest west it's been.
Is it, sorry?
This is the farthest away.
Oh, yes, yes.
So how are you feeling?
Are you confident in tomorrow?
Are you still kind of nervous?
How are you feeling right now?
I believe in the movie.
I believe in the actors who loved so much the movie
and who gave so much of themselves
and so much flesh and blood and soul to the characters.
I know that these characters, you can really love them
from so many different countries.
I had a screening in Little Havana in Miami.
And a beautiful area of country.
Beautiful.
I love this area.
I spend the whole day there going to a little restaurant
listening to music and all this.
I love the culture.
I'm from that area.
Are you?
Yeah, for Lauderdale, just north of there.
Oh, wonderful.
And so I love that whole section because I really enjoyed being there.
And of course, the screening there.
I had two screenings in Miami and the screening there.
There were a lot of people from South America, originally there.
And I've heard the most beautiful things
I could imagine after the screening.
Some people came to me and some were crying.
I didn't mean to say, a sad movie.
It's full of hope.
But it just, yes, the emotion that people feel, absolutely.
And I was so proud.
I said, well, I'm French.
I've done the movie in South Africa
with American Irish English.
South African, Belgium, French actors.
And some people from South America in Miami
are crying for my movie.
So I believe in cinema.
Yeah, you got something.
We got something here.
So where else is it going?
Any other festivals in the near future that you're going to?
No, no, no.
We're going to concentrate on the release of the film in May.
And then I do some of the places.
I will show the film in Kosovo.
Oh, wow.
Yes.
Wow.
And I don't probably in some of the places,
but my producer doesn't tell me everything.
He went to an itinerary, he goes here.
He was me to be back to tell me where the next place.
Go home, do your laundry, repacket, get on a plane.
I'm really envious of some of the people
that you worked with on this film.
He worked with Liam Cunningham, who's a fan.
Who's in Game of Thrones.
Yes.
Yeah.
Tomorrow night, by the way, he worked with Peter Sarsgard,
who was in the slap, which he was a huge fan of that show.
He was blown away with him in the slap.
Yeah.
And he multimoders in newsroom.
I love that show.
That's your show.
Yes.
First of all, you get, she and that show
add such gravity to that cast.
So I can only imagine what you were able to get out of her.
She's beautiful.
She's really amazing.
And you know, when she read the script,
and we had a Skype call, and she just finished
the second season of newsroom.
And she told me, Alan, I say yes, to your script,
because that's the part I was waiting for.
Really?
Yes.
And she said, I have to talk so much in newsroom.
And in your movie, I have to play so much.
Did you just kind of hang up the phone
and just kind of do a little happy dance?
I was like, yay!
No, it was a Skype call.
I couldn't do it.
But can you hold on one minute?
I'm going to be off camera over here.
Exactly.
I'm going to fix the cup of tea, and then you just
did a jig in the kitchen.
So, Lady Gray, tomorrow at 5.30 in the afternoon,
both of these screenings will be in, oh,
Angelica 6, so you get the bigger house tomorrow.
And then Monday night at 10.45 in Angelica 8.
Thank you so much for joining us, sir.
Best of luck.
Looks like you've already had a great run.
It's going to continue for you.
OK, thank you so much.
We want all of our listeners to come out
if you're in the Dallas area.
Dallas International Film Festival tomorrow and or Monday.
And I've shared the link to the event page
for his screening of this film on our Facebook page.
Oh, outstanding.
Thank you so much, sir.
Thank you.
Enjoy the festival.
Thanks.
You are listening to the Clubhouse Podcast.
We are live at the Dallas International Film Festival.
We're on the cafe at the Angelica.
People are filing in.
The red carpet's going on outside.
So much going on.
Again, over 160 movies over 11 days.
We have seen three movies in three days.
And since we've got a little break in the action,
we should probably talk about them a little bit.
Thursday night, we got to go to the opening night gala
for I'll see you in my dreams, which
was attended by a star, the great Blife Danner, who
won the Star Award.
Was it Star Award?
The Star Award?
Love this film.
You're going to hear me say those words a lot
about the next three movies.
Yeah.
It's going to screen again.
Or did it already screen again?
I think it might have screened earlier today.
Don't quote me on that.
Sam Elliott's in this movie, Maelan Ackermann's
in this movie, Rhea Perlman's in this movie, Mary K.
Places in this movie.
Do I need to keep going?
No, do you really don't?
This movie is so great last night.
We got to see the documentary Raiders of the story
of the greatest fan film ever made about a bunch of kids
in the 80s, who over seven summers
did a shot by shot remake of Raiders of the Lost Ark,
who get together back as adults to try to film the one scene
they didn't get to film.
And when they call this thing, the story of the greatest fan
film ever made, I don't think that's an opinion.
I think that's pretty much a fact at this point.
That's a fact.
I challenge you to find me otherwise.
And then this morning, we came back to the Angelica
to watch that kid begins the make a wish
heard around the world.
I believe is the full title of that.
I'm telling you, I should have brought Kleenex just with me.
And they were the show.
They weren't set to beginning of this thing.
Well, they weren't just like right before the movie.
I was like, get up and go nazzle.
I was just like, I wish I was put on the ticket or something.
Or this media guide.
And they actually did something very, very daring.
They did a special event yesterday at one o'clock.
It was called Blah Airlines Flight 101, presented
by Virgin America.
We kept hearing people talk about this during Raiders last night,
five hours and 40 minutes long.
And when I saw that in the media,
God, I thought it was a misprint.
I was like, what is going on here?
I mean, the film is literally the length of a,
I guess, a transatlantic flight.
Yeah.
And it's the length of the gun with the wind for guns.
Actually, it's longer, isn't it?
Was it gone like five hours even?
It's like, it's like the length of the extended edition
of Dancing with Wolves and all the supplementary features
on the Blu-ray.
It's like Peter Jackson somewhere going, I couldn't do that.
I can't even make film this long.
But what I really love, not only do we
get to see some great movies at the Dallas International
Film Festival, one of the other things I truly, truly
love about the diff is the people.
We get to see some friends that we don't get to see very often
because we're always so busy.
And we get to see people that we like to hang out with
and like to hang out with us.
And everybody's so deck blasted happy.
And that's the beauty of it.
People are having a great time.
It's not that stuffy film feel.
No, it's like, hey, we're all coming to see a movie.
You want to go?
You know?
Because I know sometimes art house films can kind of,
they kind of get this negative stigma attached to it
that I don't think it really deserves to have attached to it.
If you haven't been a part of the Dallas International Film
Festival, do yourself a solid and get down here.
It's going on for another week and a day.
It's really an amazing experience.
You will lose yourself.
It's one of those occasions where you can jump from theater
to theater to theater and not worry about getting thrown
out of the room.
And we've got to do another show next Friday night
from the media lounge across the street.
Boy, that place.
You want to talk about a show you won't want to miss?
That's the one.
Because not only, we're going to do a live show.
But if you want to hear everything we do next Friday night,
we're going to need to subscribe on IG.
But let's talk movies while we get a little break here.
We are being told that there will be the new episode 7 trailer
on Avengers Age of Ultron.
However, we are also hearing there
will be no post-credit scene on Ultron.
Oh, really?
That's what I'm hearing.
So that's the first time they've not
done a post-credit scene on a Marvel film.
In the MCU.
Yeah.
Do I believe that?
No.
I do not.
Because remember, for the first Avengers,
there wasn't one until about two days before release.
That's true.
They went and filmed the show on a scene later on,
because they announced it at one of the conventions.
Yeah, they didn't have a post-credit scene yet.
The complete saga for Star Wars,
speaking of which available now for digital download
with deleted scenes, because apparently,
we just keep finding more stuff.
Are you of the school of thought?
Because when is the next Star Wars celebration?
I know we talked about this.
It's like week after next week.
It's next week and a week after.
So it's very early this year.
So it's before Ultron.
And from what I keep hearing, they're
talking like the trailer may drop at celebration,
as well as the first poster.
OK, so I'm still going to wait until I get a really good
version.
I don't want to watch cell phones footage.
I want to watch the real thing.
Oh, yeah.
Joe and Anthony Russo, officially the directors
for Infinity War, which I am being told,
is the end of the MCU.
That's the end of the run.
Now, does that not mean we're going to get a new team of Avengers
to start the second part of it?
I'm not saying that.
But they're saying that Infinity War is one
and two, which I believe are 18 and 19,
is the end of this particular MCU.
Wow.
But you got to think about it.
Father, time's undefeated, sir.
Yeah, this is true.
You may have to get some younger cats involved.
Olivia Wilde, officially back for Tron 3,
along with Garrett Headland, which makes me extremely happy.
I know it makes friend of the show,
John Coffron, very happy, because he
has a very unhealthy crush on her.
But I can't make fun of him for that,
because people that listen to the show know
that I'm not allowed.
Need for speed getting a sequel.
Why?
Apparently it did very well overseas.
A Chinese production company is already looking into it.
I didn't see it, so I really can't say anything about it.
You've got the fastest and the furious franchise.
Do we really need a need for speed franchise?
What have we seen on all the commercials for the diff?
There are a million ideas.
We've got 160 of the good ones in here.
You better believe they do here at the Dallas International
Film Festival.
Don is walking towards us with people.
So we need to get the wheels back on a little bit here.
Don, let me get you a mic.
OK, there you go.
So we have Billy Seneis, who's the director of Closer to God.
Yeah, go ahead.
Let me turn your microphone on there, sir.
Can you hear yourself?
All right, go ahead and talk to him right into that microphone.
Do I turn it on?
It's already on.
Just talk right into it.
I like to make things as easy as possible here
on the show.
Welcome to the show.
Closer to God is the name of it.
Tell me all about it.
Talk right into the microphone.
I wasn't able to hear you, my friend.
I want everybody to hear you.
Yes, it is a sci-fi, drama, thriller, horror film.
I'll wrap it up together.
It is about a genetic scientist who
successfully creates the first human being.
And after he announces it to the public,
he finds himself a little bit of a, I was going to say,
shitstorm, but I don't know if I can say that on Netflix.
We'll let one fly.
We're a family show, but I'll let that one fly.
He finds himself a kind of an ethical and a legal
and a religious, crazy storm.
And as his movie develops, you find out, OK,
this guy has made an earlier, had an earlier experiment
that went terribly wrong.
Oh, wow.
And you find out it kind of rears its head
and it kind of is a pretty dire consequences.
So tonight at 11.59, so it's still Saturday night
when you see it.
It's the freaky midnight show.
And I think everybody will be satisfied with the freaky
late night experience at the embassy.
And then tomorrow night at 10.15?
Yes, sir.
So you get the back-to-back nights.
Have you screened the film before now?
Or is this the first screenings?
No, this is probably my eighth festival.
It might be my last festival, too.
I'm releasing in July.
Really?
So we got some distribution.
And no, I did an international premiere
of Fantasia in Montreal.
I went to Fantastic Fest in Austin.
How was that?
That was September, correct?
Yeah, it was awesome.
That's such a great time down there.
Those guys have so much fun.
And whenever you get the Alamo involved in anything,
you know you're already off to the races.
Oh, yeah.
But people are winning awards there.
They're going to get down on a knee
and drink a whole beer.
That's the best thing.
You know what?
You put that at the Oscars.
You've got a show, sir.
Yeah, yeah, yeah, exactly.
So how, I mean, we talked to a bunch of different people
so far this evening, some have distributions, some don't.
We just talked to a guy who has distribution.
So he said his butterflies at this point
aren't as intense as they were before.
How does the mood for you feel now versus Montreal?
Oh, sure.
Yeah, once you go through this thing,
and you know, this is my first real viable feature,
you know, for sale.
And so I've had to kind of learn it as I've gone along.
You know, I'm like, oh, I should have gotten the sales rep
to begin with to start the whole thing out.
Or I should have done this or should have done that.
But you kind of learn as you go
and you get the butterflies out of the way.
You get a few under your belt.
And you, and you know, you find your way
and you make mistakes, but you also do your best.
And I got this great distributor.
He's awesome and I'm really happy.
And, you know, we're really excited, you know.
You said, you know, I should have gotten a sales rep.
Did you do a lot of this yourself?
This really is your baby, isn't it?
I mean, I also looked out, yeah, it's completely my baby.
I funded it myself.
You know, as a writer, director, producer.
As you see, probably a lot of these situations, I don't know.
But I think that when you have that much of a hands-on
and that much ownership of it,
to me, it would seem like that's kind of more fun
to do it yourself and to let somebody else kind of take
what you did and do what they do with it.
Sure, but one thing you gotta realize
is nobody cares about your movie as much as you do.
Oh, absolutely.
And so, every process from writing the script
to sound design, I mean, every process in the marketing
and the sales part and the business part is no different.
I mean, you're still finding yourself going,
is that the right choice?
Let me get in there.
Let me really question this and let me try to get in there
and make sure that we're making the right choice
and what's best for my movie.
Because, you know what, I'm gonna be the one
little pit fit.
It's got your name on it.
Yeah.
You know what I mean?
I'm gonna be the one living with it.
You gotta remember that, you know?
The three years down the line,
some of those choices are gonna come on to it.
And those guys have moved on to, you know,
metal film and the same thing.
Has it been that long since you filmed it?
No, I filmed it in 2013, the beginning of 2013.
It took me a year to edit and we premiered at Nashville
about this time last year.
Oh, okay.
So Nashville was the first show.
Yeah, Nashville is the world premiere.
I did my international premiere in Montreal.
And Montreal, okay.
So, you have a release date for national?
No, we're still working it out, but sometime this summer.
So, summer release.
What, did you, was the script yours as well?
Yes.
So, what brought you to that place?
Where you were like, you know what,
this is the story I wanna tell.
Oh, it is, it's Frankenstein.
I mean, I've, I've just a huge fan
of Mary Shelley's Frankenstein.
It was always a huge book, it was amazing.
And I loved all the movies for the 30s too, the things.
Oh, the classic universal monster music, can't you see me?
This guy next to me?
Talk to him about that, man.
Yeah, I know.
And I always wanted to do, I mean, I always wanted to take that.
I mean, I remember, I remember being in bed that night.
And I'd gotten the book down for some reason.
And I was like, yeah, that's what I'm doing next.
And I started actually kind of, you know, adapting it
because it's, you know, you can.
It's, I think it's public domain.
And it started, and I was like, you know,
I think, I think I looked up at IMDB
and all these other Frankenstein movies were coming out, you know.
Del Toro was going to do one or whatever.
And I was like, you know, I really, let's kind of move
into my own thing.
You kind of next level.
Yeah, yeah, and let's, let's, let's, let's transform.
It's kind of do my own interpretation,
kind of reinvent these ideas and things into a modern reality
or something that we might actually face in our lifetime.
And it, you know, with everything going on scientifically
in the news, it's very, very timely.
I think so.
You know, I think it's, the audience
has seemed to be connected with it.
And I think part of that is what you describe, you know,
well, with, with the late showing tonight,
are you going to be there for a Q&A,
you're going to be there with the audience tonight,
and tomorrow or just tonight.
So both screenings, wow, okay.
I'm on Monday, I'm here for the weekend, so.
So how's Dallas been to you so far?
It's great, I used to live here.
Oh, really?
Yeah, yeah, I grew up here.
I went to, I grew up Southwest and Grandbury, Texas.
Uh-huh.
My friends out there.
Yeah, and I went to University of North Texas.
I lived in Fort Worth, I lived on the street on McKinney
before I moved, before I moved to Nashville, so.
Oh, so you're in Nashville now?
Yeah, I've been there since, uh,
well, I left Dallas in about 2002, so.
All right, so tonight, 11.59,
you can hear it midnight, movie's already on.
So I'm not, you're not going to blame me because you missed it.
11.59 tonight, 10.15 tomorrow, closer to God.
I am very interested in this, sir.
Yes, I'm intrigued.
Mr. C. You know, it's an honor to have you with us, sir.
Go enjoy yourself for a few hours.
Thank you so much.
We are keeping moving.
Don has got us running.
I'm going to start charging Don these hours.
I don't know what's going on, man.
No, don't do that because then you won't work as art.
That's true.
I need to take a breath.
Yeah, I need to take a breath.
Everybody knows what I'm like at the, at the, at these things.
Well, the reason I need to take a breath, yeah,
is because of who just sat down.
Yeah.
OK, because before we get into that one,
I want to talk about the other one real quick.
I want to add him to the other movie that he's directing, too.
Are you good?
Do you have a preference of which order you want to go in?
I just produced the other one.
Oh, pretty.
I have.
You're going to have to have to have him.
So let's hold off.
See if we can get to him because I'll grab.
Oh, I'm so excited.
I'm just going to let you tell everybody who you are.
And then we're going to go from there.
Oh, so people might be sorely disappointed.
Oh, I don't think they will be my friend.
So I'm Jeremy Kuhn.
I'm a dialis native.
Happy to come back home.
Two films this year at the festival.
And yeah, let's talk about the one
that we got to see first, because when I heard this film
was going to be at the Dallas International Film Festival,
I'm not going to lie.
I screamed like a little girl.
I'm not going to lie.
And I got to hold a chat.
And I was like, dude, we have to figure this one out.
Because the film is we talked about it just a little while ago,
because we weren't sure if you guys are going to have time
for us, but we had to talk about it.
Raiders, the story of the greatest fan film ever made.
I don't have to look at it.
I know the name of this movie.
We have a very good friend lives in Austin.
And he was a volunteer at South Byte.
He sent me a private message and said,
if this thing comes to Dallas, I don't care what you have to do.
Go.
Yeah, I mean, we first started making it.
I thought of James Faust.
I was like, man, he's going to eat this stuff.
And you knew he would.
James Faust was the artistic director.
I don't know if you were here with Thursday night,
but the guy that introduced him called
in the athletic director.
And of course, that just blew the wheels off of everything.
James Faust, by the way, a quality human being.
Yeah.
He's such a great guy.
And a star athlete, according to the opening.
That's what we're talking about.
And I like, I'm trying to figure out
where to even start asking questions about this thing
because anybody that's of our ilk,
if you are any form of geek, you hear the story
about these kids.
And I'm actually going to let you tell as much of the stories
you want to, because I don't know how much you want to give.
But you hear the story and you go, oh, yeah, I'm in.
I'm in.
So go ahead, give this synopsis as deeply as you want to go,
because it's your movie.
I'll do my little pitch on it, because you haven't
had to do that yet, have you?
Yeah, no, so the snapshot, it's about these three kids
who shot, did a remaker shot shot for shot of Raiders
Lost Ark on DHS in the 80s from 81 to 89s.
And they're, they would from age 11 to 18.
So over the course of the film, their age change,
they shot out of order.
And the stuff they did's insane.
They almost burnt their house down.
They do the truck scene.
Almost burned their friend down.
Yeah, like, I mean, it's just, you watch it.
And it's just so level.
I saw it two years ago for the first time in about 15 minutes
in. I'm like, how do I not know about this?
What's the backstory?
Why, like, I'm making a documentary about this or someone
is, if I'm not doing it, I'm pushing them
so someone else does.
Now there, there is a book.
Yeah, did you use the book for reference?
Or was it kind of one of those we're going to do what we do?
And then get, because the author's in the film.
No, Alan's, Alan's awesome.
So we, yeah, so I went to the screen and they were
selling the book there.
So I bought the book and read it literally overnight.
And then met with Chris the next day
why he was still in town.
And it was just, yeah, so I ended up
opting the book.
We'd love to do like a narrative version of it as well.
But it's kind of a family effort.
We have Alan really kind of formalized the story.
Did a lot of research.
And then we're working with him in Chris and Eric.
It's been like an awesome.
Can I give away my favorite line in the whole film?
Yeah, go for it.
Wouldn't he your interview in his son?
And he says, Stephen Spielberg needed $20 million
to make writers of the Lost Ark.
My dad did it on his allowance.
I was like, I'm done.
I'm done.
Yeah, it's just, we did nothing but talk about this movie
all the way home last night.
I went home last night.
I watched Raiders over and over.
And mostly, but it wasn't really got my goose
about this whole thing.
Did I just say that?
Yeah, it is.
You should have done it.
I know old man Rob, just now, was back in the time
when they made this thing.
It wasn't like there was a thing called the internet.
It was hard to get a camera.
I mean, it wasn't like the ability to be able to remember
and storyboard this.
That's what blew my mind when he storyboarded that thing
after seeing it once.
I mean, okay, if it was 85, 86, you know,
you'd have a chance to maybe get a boot like copy
on video or something, but they started in 81.
And you're just like, he did this all for memory.
Yeah, I don't know if I'm impressed or frightened.
I really don't, but gosh, I love this movie.
Don, what's up?
We are added by the other director, Tim here.
He has a second film coming on.
Which they, I saw their sense of timing last night.
Yeah, it was amazing.
It was like the Q&A done.
We got to go down the hall.
We got another movie getting ready to start.
You know, how much I talk on these things,
but I got to say this.
He did the film Thunderbrook The Heavens.
Was that the whole premiere last night?
I didn't talk right into that thing,
sorry, but I can hear you.
That film, I'm going to say my little review.
It, and you'll tell you about it.
The connection of this brother and sister is incredible.
You feel for these people.
This will hit you in the middle of the heart.
And the sound and music was through the roof.
It was perfect.
That's what you told me earlier today.
You know how we review movies?
Oh, yeah, full price theater.
That's how we do two-pronged questions.
The question is, would you see this again?
The other question is, if you would see it again,
how far would you be willing to go?
And to say that he would say pay full price
at evening show, that's like the highest possible
rate you can give.
This thing will break you up inside.
It was incredible.
But I'll let him tell you about the movie.
I got to get going.
You're still rolling, sir.
Thunderbrook The Heavens.
First of all, were you able to make it on time?
Because I know we were probably monopolizing some of you guys
this time last night after Raiders.
Yeah, we were able to make it.
And the screen went really, really well.
It's a film that's kind of hard to watch.
Raiders is really easy to watch and fun.
Well, it's just like you said, we have another movie.
That's nothing like this.
Right, exactly.
I mean, Thunder is a story that's like really heartfelt,
really emotional.
It's an emotional roller coaster that you go on.
And it's anchored by these two kids that survived
this horrible tragedy where their whole family is killed.
And they're the only ones left.
And it's all about them surviving.
And music plays a big part because that's kind of our only
scale.
And so she uses that to help survive.
And in the end, you start to see the blending of this world
that they're stuck in and the next world where half their family
is already gone.
And so now there's a blending of those two worlds.
I love the title of this film.
Like you read that and you already, I read that
and I already kind of feel tense.
And then to read what the film's about.
And you're just like, OK, now I have this reasoning
to feel this tense right now.
Yeah, and it refers to something that happens at the end.
I mean, a giant clap of thunder and some lightning
have a big moment in the film.
And that idea of breaking the heavens,
like breaking down that barrier between us and that other realm,
that other worlds.
Yeah, Jeremy, you produced on this, right?
Correct.
So was this something that came out of the other project?
Are you guys really truly been working together for years?
And this is just kind of what you do.
We're doing a film school together.
We've known each other and working together for about 15 years.
Tim was our first AD on Napoleon.
So how does this work for you as a producer versus a co-director?
How does that dynamic change?
I don't know.
We're friends.
We've known each other for a long time.
When some ways we're kind of like an old married couple.
We might disagree.
I would know nothing about that.
Yeah.
So I mean, it's kind of like thunder.
Tim came up with thunder and that's really a large piece
that I might feel.
I just have to be fortunate enough to help them make it.
Was it one of those, when you read this script that you go,
look, this is all you, but I will definitely
be there to help you with it?
Yeah, that's the way Jeremy is as a producer.
He's one of those guys that, if he likes something,
and he keeps into it, his goal is to help make your vision happen.
He's been very protective of the creative vision of directors.
And that's one of the greatest things about him as a producer
is that he's so supportive.
And so working with him is always a dream.
I mean, like any creative relationship, as you guys mentioned,
you always kind of get into some minutia of little things.
But Jeremy is just a top-notch producer.
And so when he found Raiders, and he wanted a director,
but he just needed some help, and so he called me.
And of course, I tried to do the same thing
that he's done for me, for him to give him that support
in an area that, I mean, he doesn't need any help to produce,
but in an area of directing.
Well, it's kind of like what's best for the project?
And I knew like me directing the solo for Raiders
was not the best interest of the project.
It was not going to be as good a film had Tim that come on board.
Oh, look, he was joining us.
We've got people joining us.
The more the merrier.
That's why we're on this side of the table.
So we have room to breathe.
So that way, you guys can have many people on that side
of the table as you want.
Joining us right now, you actually know what,
that's your movie you introduced him.
I didn't know if you had their name yet, but so this is Alex
Peter to play Samantha in Thunderbrook, the heavens.
And on the other side here, we have Gavin Howe
who plays William Paul.
So I don't know if you guys were talking to Don just a minute ago.
He got to see this movie last night.
And he was absolutely, you guys melted his brain.
I'm just going to say it right now.
I'm not afraid to say it.
So you get to work with these guys.
First of all, talk about your director and your producer
and how that worked out for you.
They are both so amazing.
And we had such an amazing experience working with them.
We had, from the moment we met, we just
had this instant connection.
And I think that's what made the movie so good
is how well we work together.
Yeah.
So you play two kids that pretty much lose everything.
Your entire world changes.
The foster system comes into play.
Was there a preparation you needed for that?
Did you just dive right into it?
We sort of dived just right into it.
And I mean, we had to do some research.
I did some research about foster homes
and how abusive foster homes and how
difficult that is to live in a situation like that.
Gavin, how about you?
I just did what they told me to.
You know what?
That's not a bad plan.
My wife tries that on me.
And I just don't seem to listen.
I don't know why I don't.
Was it hard for you to really identify
and understand what your character was going through
when you were shooting the movie?
Well, a little bit, but it was really fun.
And after a while, I kind of got used to how it felt.
How long did you guys film it?
How long do we film for it?
I think it was like 12.
A lot lately, especially in this year's Dallas International
Film Festival, a lot of these movies that
are being filmed in like, we got what,
two and I in this business.
Yeah, it was very quick.
Did you feel rushed?
Did you feel like there was a good pace to it
as you were filming?
No, I thought we had a really good pace.
I mean, everything that was...
I felt rushed.
Well, I mean, everything that we had to do, we did.
And that was what was important.
At the end of the day, as actors,
we hear the stories a lot about I was
ready to get this character out of my head.
Because as an actor, you have to put yourself
into a role if you're going to convince people
that you can play this thing, you have to do it right.
How hard was it for you to separate
from those characters at the end of the day?
I mean, it was just...
I was happy when it was over because I was crying so much.
So that was...
More crying.
Yeah, exactly.
But I mean, it wasn't that hard.
I do.
She seriously, on the last day of shooting,
had to cry for like three to four hours straight.
Because we're filming this finale scene
where she's crying.
We kept having to do take over after take.
There was like the little error here,
a little error there.
So after a while, I mean, we had to take a break
so she could rehydrate, so she could...
Yeah, no kidding.
What's she going to say?
Did you just have like a gallon of water by you?
Just like, give me five minutes.
I'm like, you replenish this thing.
Oh, did you, you were serious.
I know.
You know what?
I get that a lot too.
I just had her stay in a bucket of water like Groot
so she could just absorb it through her feet.
It was the between takes.
I was just drinking water.
Just hold back.
I don't know that I could even handle that.
To just constantly just...
And sort of why I feel like my eyes were going to swell shut.
It was really exhausting, but I mean,
I didn't have that much water.
I just had to keep on crying and cry.
Now, were you guys there last night?
I couldn't be there because I was not feeling so well.
I was here.
What?
I'm sorry.
You were there, my friend.
What did you think of how the crowd reacted to the movie?
Did you feel good about it?
Yes.
Were you just like, yeah, I did that.
That's right.
You saw me.
All you people, you saw me.
No.
Did you get to answer any questions after the movie?
Yes, I did.
How did that feel?
Just being up there in front of all those people
and then asking you things that you weren't prepared for?
Kind of like right now.
Yeah.
Kind of like this jerk across the desk.
Really, I was just trying with it.
I was just going up there and yeah.
How did it feel to watch yourself on a movie screen?
I don't know.
It's okay to say, I don't know.
It's fine.
We're good.
It was horrible.
I just, somebody that, I mean, that's never done that kind of thing.
I just don't know how I would feel sitting in a movie theater
and seeing this huge version of me.
Like, I'm not a small dude now.
I don't need to look any bigger, you know what I mean?
So I just don't know how I would feel.
How do you feel about listening to your podcast?
I actually do listen to every episode just because we spend
at the top, every episode starts with corrections of stuff
we screwed up the week before.
But for me, I guess I'm just so used to it
because we've done this, this is our 294th episode
or something like that, not counting our iTunes exclusives
where we review movies.
So now you're talking closer to 400.
So I guess for me, I'm kind of numb to hearing this.
And we're self-deprecating anyways.
Yeah.
You know, it could be harder on us than us.
And then we have a lot of guests on the show that go, dude,
I don't even want to listen because I don't want to hear myself.
Like, well, all you're going to do is you're going to hear
what the rest of us hear, you know?
So, but no, I just have a, we don't want to know that we can,
that people are hearing what we're hearing.
We don't want to know like, wow, I really sound that stupid.
And so I'm going to stop talking right now.
I'm used to it.
Actually, you just get used to it after a while.
So it premiered last night.
Is there another showing during the festival?
So we actually just got out of the second
and final screening.
And it was packed.
I mean, it was like totally full to the brim.
So it was really nice to have that many people there
appreciating the film and the Q&A was really enjoyable afterwards.
And I was glad that Alex got to make it
because she didn't get to be there last night.
I don't want her to do experience what it was like with the audience
and to like hear the people sniffling during the tough times
and like gasping during the scary times
and all that kind of stuff.
How did that feel?
Were you just like, whoa.
I mean, it was,
got your key in our release moment.
It's such a different experience
because I saw an unedited version of it on my iPad a while ago.
And it's watching it on the big screen
with all the people watching it with me.
Because you knew what was coming
when you got to watch it on your iPad.
Now you got to watch it with people that didn't know what was coming.
Yeah, yeah, so that was crazy.
I loved it.
Where's it going from here?
Where is it going from here?
We're working with several distributors
to, we're going to finalize the deal
and then it'll be out there.
So everyone kind of look out for Thunderbrook to Heavens
when it comes out.
And same situation on Raiders, you know,
both of the films are being pursued
and we're just making the right decision.
Now you missed the beginning of the interview.
I have to be, I have to tell you what I told it.
When I found out you guys were screening that here,
I screamed like a little girl.
I'm not going to, we both did.
I have a very good friend that lives in Austin
and he was a volunteer at South Byte
and he saw it down there.
And he sent me a message on Facebook, like, dude,
if it's there, if you don't go, I won't hunt you down to kill you.
Well, it's playing tonight, so come on.
We saw it last night.
Well, we waited a point.
We were going to be here last night to see it.
I would see it again because I am not going to lie.
I'm a grown man.
I weld up three times during that film last night.
And I'm not going to give away what Stone gave away to me
because if I had gone into this completely cold
and not known what he was talking about,
that happens towards the end of the film,
I'm not saying anything.
I want you to experience it.
I want you to experience it for yourself
because God, that movie was fun.
And now I'm bummed I have to wait to see this thing.
I really want to.
Because one of the films that really took me away
a couple of years back dealing with the foster care system
was short term 12.
What a great film.
And when I heard about it, we saw that here, didn't we?
Yes, but the Angelica.
And I mean, I set out there shaking for about 20 minutes.
And when you see these kids, it just kind of slipped
through the cracks like that.
And if your heart doesn't go out to them,
then you obviously don't own a heart.
You need to go to all of our buy one.
You're a communist.
And when I read the description of this,
I'm like, we have to see this.
And we've missed both opportunities to watch it.
But we're hoping distribution on the horizon possibly.
That's right.
So join our Facebook page and let you know.
So yeah, and you know, the foster system
is such an interesting thing because it does so much good.
But there are those cases that slip to the cracks.
And this is one of those cases.
And it's not a film that's about the foster care system.
But it's really like a fairy tale.
And that's just one element in it.
It's sad to say that those kinds of experiences
do happen, but it's not normal.
I mean, normally, you know, they're
doing the best they can with the tough situation.
They do pretty good.
But just in this case, for our story's sake,
it was one of those cases where it didn't work out.
Anything coming up you guys want to talk about?
We are all about shameless self-promotion.
So 9.15 to night, Raiders.
Hot docs and two weeks Raiders.
Right, two weeks?
Three.
October, we'll just come to the hot docs
where most of us should come out and see our Toronto
come check it out.
Do you feel like you should have a double feature?
Do you feel like there should be a double feature coming up
in a couple of months with Raiders and Tixels?
That would be cool.
That would be cool.
Because I'm telling you, that movie?
Totally ready for this.
Yeah.
It would lend itself really well to a couple of other Raiders
in the new Star Wars.
Yeah.
Yeah.
I think I just had a moment.
We were just talking that you're
supposed to get the new trailer on Ultron in a couple of weeks.
Now, but the rumors are they're actually
going to show the trailer at celebration next weekend, too.
But I mean, the guys you got for the,
I really don't want to spend too much time on Raiders
because we've got stars here of your other film.
And I'm sure you really want to talk about this one, too,
because it's like, I've been talking about Raiders
since like Donovan and Dan, seriously.
To get both of those films and get to screen them back
to back last night, like, when did the adrenaline wear off?
It still has.
I'm sorry, I didn't sleep very well last night.
It was really weird to go from Raiders to Thunder
because Raiders is sort of like really fun.
It has some like shocking and moments of real life
that you have to deal with, but Thunder
is like an emotional roller coaster.
I mean, it's draining to experience it.
And to do that second was actually a little more difficult.
I think tonight's going to be better
because we kind of experienced that with Thunder.
And now we're going to go like have fun with it.
You can do it the other way around.
Yeah, so you end up sleeping better, I think, at night.
But I don't know.
I mean, it's been really cool.
We love the Dallas Film Festival.
Dallas International Film Festival is one of our favorites.
They always treat the filmmakers really well.
They got the red carpet going.
You know, you get an experience here
that you don't get it so many film festivals.
I've gotten to film festivals where like,
I brought everybody to the theater that watched the film.
You know, it was almost like a personal screen.
Like, nobody, like, I'm not going to name any names.
I hope I can international film festival.
But like, you know, it's like, you know,
that's not even a real film festival.
And to come here and have people like you here
that want to do interviews and are interested in film,
I mean, it's a really, really cool.
Well, thank you.
So thank you for that.
It's like that very often.
Thank you very much.
I just, I'm done.
I'm like, I'm exhausted.
I'm mentally exhausted right now.
And we are, we have, we do shows longer than this normally.
I've just been so excited about everything.
We love the Dallas International Film Festival.
So the fact that they let us come here and do this,
it kind of gives a different angle to it.
And for guys like you guys, you know,
you guys want to plug anything coming up
that you got going on?
Yeah, what do you got going on?
Well, I just finished filming a new NBC show called
Allegiance, which was unfortunately canceled.
Yes, it was.
Yeah, but it's on Thursday nights if I'm not mistaken.
Yes, it was.
But now all the episodes are available on Hulu,
video on demand.
What else, what else?
iTunes, just, just it's online.
All the episodes are coming out.
And they say that's what's great about things like that
is maybe it doesn't work out,
but you still get your work out there for people to see.
Yeah, so we're very glad that people get to see it.
Because a few years ago, it would have been done
and you never would have been able to find it.
And Alex does an amazing job and it's a check it out.
Yeah, but you got anything up you want to talk about?
Anything coming up for you that you want to do?
Not really.
All right, hey, it's honesty.
Wait a minute, wait a minute.
Just keep them quiet either way.
You're way too minute in me.
She has a Star Wars connection.
You?
Oh, yes, I do.
When I was 11 years old, I did a video game
voiceover for Star Wars.
I don't remember what it's called.
Connect Star Wars.
Oh, for the Connect game.
She was the little philooch has the little dancing thing
that I refuse to do because I don't
want to be recorded dancing in my living room.
My wife and my daughter do that.
What is it, a hologram girl?
It's the riff on a holobat girl.
And I will sit there and laugh for 30 minutes,
watching them, and I'm like, get up, I'm like, yeah, right.
That's going to happen.
That dog don't hunt.
I don't care.
I'm going to watch you and put it on YouTube.
And I did.
And see voiceovers, that's one of the things
that always has the coolest thing in the world.
It really is because you, I mean, you can't use your body.
I mean, you can, but no one gets to see that.
And you can't see your face.
You just have to really over exaggerate.
And it's hard.
And you get to go to work and just like normal clothes.
You don't have to go to hair and makeup.
You just put a hat on, go in there, talking to a microphone,
pick up a check and take it to the house.
Exactly, it's awesome.
That's one of my things.
I want to do voiceover work.
I'm just saying, I want to put it out there.
Well, they do all the Dragon Ball Z stuff here.
So they do in this town.
Anything coming up that you guys are excited about,
whether it's going to be here or somewhere else,
like, I'm excited about Mad Max Fury Road.
Nope, he is all about that.
And my jury's out.
I think it's going to be good.
But I think Thunderdome ruined me so bad that I'm just like,
I have faith, but I cautiously optimistic.
As long as Tom Hardy doesn't talk like Bain
through the whole thing, I'll be fine.
How could I say we're driving for like 30 minutes?
We're kind of a bad drive to car, that doesn't.
We've said this is the year we're going to have no money.
By the end of this year, I'll be remorcaing my house
with all the movies coming out.
Just to go see movies, that's pretty much dedication.
We saw some of the extra scenes.
We were at that screen in South by where they showed
Road Warrior and then, yeah, as Miller came out
and he showed a couple of scenes.
And they, you know, like, I watched a trailer now.
It's like, I don't know, because you see a little CG work
in there and you're like, what makes, you know,
the road where you're so awesome is that it's real people
flying around in the air and like real cars and everything.
But then the scenes that he showed us
looked pretty real.
I mean, they were pretty intense and amazing.
So it looks like they put a little flair in the trailer,
but most of it is kind of classic Road Warrior and Mad Max.
Is that next month?
I think it's like two weeks or something or three.
No, it's like, it's a couple weeks after Ultron.
Yeah, if Miller wasn't involved,
I don't know if I'd be as interested.
The fact that he is involved, I think it lends
it a lot more credibility.
I'm actually seeing that midnight opening night.
Once I got older, I was like, yeah,
this is one of the few movies I'm actually going to do that with.
You know what was weird was I went and saw it
with my mom at South by, you know, and like, as a kid,
I never was, she would never watch the movie like that.
You know, she'd been like, what is this?
There's like crazy stuff in here.
And to sit there and like, she, you know, she loved it,
you know, like all the outfits and everything and like,
we never, when we were kids, like,
some of the stuff our parents took us to see,
like, my mom took me to see Monty Python
and it's the meaning of life.
Like, and I looked back at that film and I was like,
what was I doing when I was like seven?
How did I, how did this not just warp me for life?
You know, it warped me in that movie was when they fed
that guy the extra little statement.
Mr. Creos, so, and we referenced that on.
I was like seven, and it's like four, right?
It did, it did, it did.
We referenced that all the time.
Yeah, and then death shows up.
I remember like, I was watching it and of course,
like, I watch it now.
I'm like, oh, that's hilarious, you know?
But as a kid, I'm like, why did they make them eat
so cool, that's ridiculous.
And after seeing what, what death told everybody did
to make you want to avoid salmon for the rest of your life.
Right, it's true, yeah.
But we're going to go let you guys enjoy yourselves
for a while.
We're going to strap you to the chairs any longer.
Thank you guys so much.
If you haven't seen either one of these films,
I don't care how you do it.
I don't care if you have to like stand on another rooftop
or a drive-in showing it so you can actually see it.
I don't care what you have to do.
Thunder of Heavens, Raiders?
That's a one-two punch, sir.
That's all I'm saying.
I go see it.
Thank you guys so much for joining us.
Thank you.
You guys are awesome.
Thank you so much.
Thank you guys.
Now I get to breathe for a minute.
Okay.
Thank you guys so much.
Go enjoy yourselves.
Please.
All right.
What else we got going on here, sir?
How far are we going to go?
Let's see.
We were talking, I just talked about need for speed.
There's a video game series,
and I've learned a little bit more about this.
Five nights at Freddy's has been optioned
by Warner Bros. for a series of films.
Apparently they're like horror video games.
It's an independent game.
It's where at pretty much the cradle of independent film
with this film festival, it's, to me,
it sounds like, do you remember the secret of Monkey Island?
Yes.
It's kind of that point and click survival.
Robotic teddy bears, that's all I'm saying.
But they've optioned it into a film.
They make it sound like it's a chucky cheese and hell.
I need that.
Which some people would argue that chucky cheese is hell.
You mean that?
Actually, who was it that sang that song when it Tim Wilson?
Junky cheese, hell.
Oh, that's true.
Yes, that is right.
John Singleton is out of the two-pock biopic, Carl Franklin
is in, but John Singleton's going to make his own
separate two-pock biopic.
Now that makes no sense to me.
I think he had a problem with the script.
I think he wants to do his own storytelling.
And you know what?
I can't fault John Singleton, whatever works for him.
I can't do it.
Also, coming up, Ryan Gosling, going to do a remake
of The Hundred Mansion?
Because the Eddie Murphy one was such a smash.
Just saying.
I saw the headline and I went, really?
OK, fair enough, fair enough.
Also, another remake, Scarlett Johansson
is going to be the lead in the remake of Creature
from the Black Lagoon.
We knew that was happening.
We knew that Universal is going to be
remaking a lot of their monster movies.
But Scarlett Johansson going to be the lead in Creature
from the Black Lagoon?
She's not playing the Creature.
No, she's the female.
OK, so he say the lead.
That's like Faye Ray played the monkey.
Well, I'm going to say the lead would be the Creature now.
No, no, no.
Also, we have some casting for Independence Day 2.
Brent Spiner, Joey King, and Vivica A. Fox is returning.
How is Brent Spiner returning?
No, Vivica A. Fox is returning.
The other two are new people.
Remember, Vivica A. Fox was in the original.
So I was Brent Spiner, and he got killed.
Maybe it's a ghost.
It was Dr. Oken, maybe they're doing a flashbacker.
All right, we're going to pause our normal station
identification this point, because we have another guest.
I mean, Liz Frankie is here.
I'm going to turn her microphone on right now.
Welcome.
Talk right into that thing so everybody can hear you.
Directed a short called Tredding Water, which block?
Shorts block three.
So it's on Tuesday and Wednesday, Tuesday at 7 p.m.
And Wednesday at 2 p.m. and Wednesday at 7 p.m.
All right, tell me all about it.
It is a short film that I was a director, like you said,
but I also wrote it and starred in it.
And it is what I would call a deeply personal story.
It's based on what it's like to be a caregiver.
And it's based on my personal experiences
taking care of my elderly father after my mom.
So you had this thing on multiple levels.
And this is something that's always fascinated me.
People who direct and star at the same time.
How hard is that?
And which set of shoes is that harder to walk in,
the director to the actor or the actor to the director?
That's a really good question.
Probably too good of a question.
I don't think I've ever told anyone that either, so I'll take it.
Yeah, it was really difficult.
And sometimes I think it was almost insane.
And I literally was like, I don't know if I can do this.
But I was so close to the story that I just kind of felt
like I should just jump in and really go for it
if I was going to do it.
And after writing it, when I first started writing the script,
it was meant maybe it was something that was more cathartic.
And then when I showed people, people really responded to it.
And I kind of felt like, oh, maybe I should really make this.
And then I just kept meeting so many people who were dealing
with the same type of thing, people from all walks of life,
all ages, all ethnicities.
And I kind of felt like, well, then this is not just my story.
It's a story for a lot of people.
Absolutely.
So then whether it's like you're giving a glimpse
to people who haven't experienced it or helping people,
that are experienced that they could relate to it,
maybe find some comfort in this story.
So I wasn't sure whether I would direct it or I would act in it.
It was my first time to direct.
And so I was looking at possibly other directors.
But then as it would kind of go along,
I'd be like, I don't know if I want to lose control of this
or lose control of that.
So then I thought, OK, well, maybe I'll hire an actress.
But because I know the story so well,
again, I had a good team of people.
I had three producers that were very familiar
with the story who I've worked with before.
And they were like, Liz, I think you can do both.
Do you think it would have been harder for you
as a director to direct someone in the role
that was so personal to you?
That I think that may of what brought you just let me do this,
because I totally think so.
And it's like one of those things where I guess
if I would have had the time to interview or audition
more actresses and find someone who really did have
that sense of understanding it, then maybe it
would have been so difficult.
But we didn't have that time.
And then also filming a short, you're doing it over a few days.
You don't have much time.
So like you said, really just knowing it,
it makes you move faster with kind of what you need
to be able to do when you're filming short.
Have you watched it in its entirety yet?
Oh, yes, yes, yes, many times.
So how is that to not nut the, let me try that in English for you.
To not only know that that's you, but to literally know
that that's you, are you able to pull yourself away from it
as you watch it and see it for what it is?
Or is that difficulty still there?
It's a weird thing because I think in working on projects,
I try to separate myself.
So I'll call sometimes the character by the character name
if I'm kind of talking as the director or the producer,
or I'll say like she or he, you know, or,
and then when I'm the actress, it's like I.
So I do try to separate that and try
to look at the project objectively as far as what's
in the best interest for the film, you know,
when I'm working on it.
But I do find that as I watch the film,
there are moments that I'm instantly like just,
I have an visceral emotional reaction
because of what it's based on.
And I will say that to add to this,
we filmed at my parent's house,
which is where I, I guess you say where I grew up.
Right.
After my mom passed away, she had pancreatic cancer
and it was sudden, my sister and I wanted my dad
to be able to stay in his home.
So we started taking care of him so he could do that.
And so we ended up filming the short film at our, at the house.
And so there's so much, just emotion associated with that
and so much reality.
And even like the crew and the rest of the cast talked about it.
It was like how, the goal was to make the story authentic
and realistic and having all of this built in just really
helped do that.
Was it therapeutic for you?
Yeah.
It really, it totally was.
And it's, I think it's in some ways I would say
there's an element of being kind of like a love letter
to like my dad and my sister and my mom.
And I think when you're able to just put yourself out there,
express these emotions, it does end up being therapy, you know?
I need to see this.
Yeah, it's kind of something that Chad went through himself
a few years ago on a certain level.
But do you feel like you've told the story
do you need that you need to tell
or do you want to expand this into a feature?
I feel like this is a very good snapshot
with a beginning, middle and end.
I initially had an idea for a feature
that was similar in tone and messages,
but it wasn't the exact same story.
So I had that idea first, but I thought,
let me just try a short first.
So I would love to go and actually create the feature
with the same type of theme, you know,
about how it turns your world upside down
when you are forced to take care of a parent.
In my case, my dad has dementia, mobility issues.
I mean, he needs full-time care.
And my family was really close.
And so you kind of feel like, I can't,
I've got to be there for him now.
Although it's very difficult.
I will say that I try to capture what happens to most people.
So although my sister and I have each other,
a lot of people falls on one person.
And that's what I found so many times
talking to so many different people.
So in the movie, it's one person that's doing it.
And so I was trying to capture some of the isolation
that happens, you know.
The stages that they go, the stages of grief
that they go through.
Did they go through and all that stuff?
And I guess it was a weird thing
because I remember meeting this older Asian lady.
And I can't, and she was like, you know,
so we just started talking.
And I had somehow got into the conversation
that I was taking care of my father.
And she was like, oh, I took care of my mom for six years.
And she's like, is he to the point now
where he's not gotten, he doesn't get out of bed anymore?
And she's saying this in broken English.
She's an elderly lady.
And I was like, it's an unspoken language.
It's an universal language, yeah.
They've gone through this that you totally like.
And I guess I always go back to when someone has a child,
a baby, everyone understands that.
Oh, you're not going to see them for a while,
how stressed out you are, how you feel like you're,
like there's so many things that you feel like
you have no idea how to handle.
Right.
But people can understand that.
But when you're now taking care of an elderly parent,
it's almost like taking care of a little kid.
It's exactly what it is.
But people don't think of it that way.
They still expect you to be able to meet for dinner
or go out for drinks or do, you know.
And it's like, life is different.
Yeah, it's different, yeah.
If they've never gone through,
they can never understand how, what that challenge is like.
Right.
It's really hard to go through a total row reversal.
Right.
That this was them when you were fresh in the crib.
Yes.
And now you're basically having to pay it,
they paid it forward to you, now you're paying them back.
And there's funny moments in the story too.
I didn't want it to be heavy from beginning answer.
There's some comedic moments, which I'm sure you can understand
that's what happens in life.
It's crazy circumstances where you're freaking out
and do something crazy.
And there's still some laughter, you know,
and then tears or whatever.
But it's a thing where, you know,
I just don't think that people understand too
that when you're talking about it's still your parent.
So sometimes they don't want to necessarily do
what you want them to do that's in their best interest.
Unlike a child, it's still, you can tell a child do this.
It's your parent, so sometimes they don't really want to.
And so it's a weird dynamic.
Because they don't want to listen.
And it's also your parent.
So there's that dynamic too.
It's really hard to tell your father don't do that.
Right.
And then also now you're taking care of a parent
like you would a little kid.
There's also embarrassing things involved with the...
They feel dehumanized by him.
Yes.
And so I dressed all, I tried to dress all these things
in that kind of short amount of time.
So is this the, how many times has this been publicly shown
before the block next week?
Oh, this will be the first time.
Really?
Yeah.
Outstanding.
Is there plans of bringing it anywhere else
that you can talk about afterwards?
I don't...
I would love to.
I don't have any immediate plans.
Like I have nothing to say, nothing to announce as far as that.
Well, give shameless plugs so people can go out there
where they need to if they need to find it.
Oh, I see.
Yeah, it's a good idea.
That's what we're all about.
Shame on self-promotion, trust me.
That's awesome.
Especially for indie filmmakers, we could sure use it.
And we're all about it.
So there's a Facebook page.
That's just facebook.com, backslash.
I'll put it on our Facebook page as well.
Yes.
And I guess, and I have a production company with my husband
called Hungry Bear.
Okay.
So the Hungry Bear.com is our website.
The Hungry Bear, just Hungry Bear.
Just Hungry Bear.
Okay, Hungry Bear.com.
We have made several independent films over the last several years.
The last few years we focused on family films.
Okay.
We have a series of family dog movies out that are like in Walmart
and Best Buy and iTunes and Amazon called Adventures of Bailey.
And so I've got that stuff on the site as well.
Have a film coming out in Walmart in June called Summer Shadow
and another family kind of dog movie.
Cool.
Yeah.
So we try to do both.
We try to do more, a little bit more commercially minded,
more mainstream type films that are geared to go out into the marketplace.
And then more artistic passion projects that we just really feel like
we want to get out there with no end result.
You know, we just want to share these types of stories.
That's a great business model, too.
You get to get the stuff that you know that's going to be that massive.
But you get to do what you want, too.
And that's important.
Exactly.
Exactly.
So go check it out.
Shredding Water.
Give the times again.
Oh, Tuesday at 10 p.m. and Wednesday at 7 p.m.
As part of short block three.
Yes.
At the Angelica.
All right.
We'll go enjoy the festival.
Thank you for being here with us.
I appreciate that.
And I'm sorry that you.
I'm sorry that you had to go through something similar and that you can relate to it.
Live wise.
Yeah.
But I appreciate you.
Thank you.
I appreciate you for doing something like this because it's.
It's a good coping mechanism for someone that has gone through it.
Thank you so much.
All right.
Thank you for doing it.
Thank you.
All right.
Take care.
We're almost at two hours, sir.
It's trying to feel like Jerry Lewis.
Jerry Lewis.
You know, I the lady with the telethons.
All right.
We're going to backtrack a little bit.
Because we can't talk enough about this movie.
We can't do it.
And I'm not being sarcastic.
I'm being honest to God.
Oh, yeah.
Because when Don gives a movie this high a praise that he gives.
I've got to roll with it because Don is a very, very tough critic, especially when it comes to film.
Don, I'm going to turn to Mike on, brother.
There you go.
I had the emotion of...
Remember when we saw once at the AT&T?
I do.
I was there.
That emotional.
Really?
Yeah.
Wow.
Yeah.
The bond that these kids have is stronger than my hatred for Michael Cole.
And his hatred for Michael Cole rivals Mike.
Wow.
Or John Cena.
Yeah.
Well, that's not called that part.
But I'm just saying that the bond of these two kids was just what they went through just to stay together and everything.
So we're going to go back to Thunderbrook to Heavens.
Yeah.
Great.
Incredible.
I can't recommend it enough.
And ladies, I'm going to let you introduce yourselves.
Sure.
My name is Hailey Scalzen.
I'm one of the producers from Thunderbrook to Heavens.
And I also produced some of Liz Brennan's music videos.
And she can introduce herself.
I'm Liz Brennan.
She's not...
She covered it.
So we're...
And that's that.
Liz Brennan.
That's all you need to know.
So, Dallas International Film Festival movie premieres last night.
Have you exhaled yet?
Or it's like we've gotten through the second screening now.
We've got more to do.
I exhaled during the second screening because after last night, of course, I'm really nervous thinking what's...
What's everyone going to think?
And then everyone set amazing things last night.
And so coming into it tonight, you know, I just relaxed and knew, okay, those people last night can't be much different than the people tonight.
And it was the same reaction we're so happy.
And that was very nervous because I had seen Raiders.
And I was like, well, Tim can't top Raiders because Raiders is awesome.
Did that movie just not melt your brain?
I was like, this is the greatest documentary I've ever seen.
And then I was like, oh, this can't be good.
So I bought my champagne upstairs.
And I was like, I was ready for it not to be good.
And then that movie blew my mind, too.
Was it hard after it was so well received last night?
Did you kind of have to wake up this morning and go, okay, I have to put this out of my head because I don't want to ride myself too high.
Here's the thing.
Everything Tim scales and touches is gold.
It really is. I mean, I'm always promoting his stuff that whether I have something to do with it or not.
And so once I've seen it and I know this is the product that we can put out there and people can be proud of, I just go all out for it.
I don't get nervous that, you know, last night's going to be better than tonight.
I mean, it was the same type of response tonight.
We're really thrilled.
Liz, did you get to do any work with the film?
I didn't do any work with the film, but I'm here to support both of them.
Haley's my best friend and produced my music videos and Tim directed and did my last two music videos.
Let's talk about that.
Let's talk about your music career. Tell us about it.
What kind of music are you doing?
Well, my last EP, which Tim was involved with, the director of, I call it, Demented Pop.
That's the style.
Nice.
And it's really out there quirky stuff and the videos are over the top.
Tim does an awesome job on them and that's on YouTube and it's the Liz Brennan YouTube.
And the new stuff sounds a bit more like Fleetwood Mac and Meatloaf.
Okay.
And that's...
Meatloaf, a local production.
He was born right down the street.
He was.
Yeah, he was born right here and down.
Marvin Lee a day.
That's his real name.
He's called Meatloaf because his high school football coach said he was shaped like a meatloaf.
I know the story of why he's called Meatloaf.
I just never had a real name.
I never wondered, hey, what are Meatloaf and Meatloaf and Fleetwood Mac and a sound like together,
listen to Liz Brennan.
I'm a fan of both.
So...
And so that's dropping about June, June 10th or so.
But did to fly is her single that's going to drop really soon.
Yep.
All self-produced.
I'm assuming the way you're talking.
Or...
It's...
No, I had a producer on it.
His name is Kevin Killin and he did Peter Gabriel so well.
Which is like my favorite album all day.
It's years of age.
His rock and roll of fame induction last year.
I could watch on a movie.
Because he does one of the single greatest songs ever written in your eyes.
It can't touch it.
Yeah, I walked into the studio.
I'm like, Kevin, I always talk to him back in a British accent.
I'm like, make it sound like in your eyes and he's like, no Liz.
That...
Do you just stand there for a minute and go, dude, do you know who you are?
Seriously.
Like, do you...
Are you always raping to me about Kevin?
He knows this person and he had to do with this album and I'm...
And Stevie Nick stole his handbrush.
Crazy stories, of course.
You can imagine.
And what I really love about where the industry is right now is...
There's so many people getting opportunities.
Because we talked about this earlier.
Technology has made it so easy for you to just go out there and you can record your own demos.
And you can even do your own...
I could record an album in my office at my house.
Because the technology has moved and it's given such...
Blood gates have been opened in such a way that you're getting to hear voices that you wouldn't get to hear otherwise.
It's true.
But then there's a lot out there.
A lot more is put out there and you have to determine what's good and what's bad.
And that's why you go to iTunes and you check out Liz Brennan.
But when you...
The great story is when Haley, I first showed her my first song ever and she played it for Tim in the car.
And I asked him a million times like, can you do a music video for me?
And he's like, I don't know.
And Haley had a playing in the background of her in the car and Tim was like, what is this song?
She's like song M.G.F.
And he heard it and said, I got to do this music video.
So we went out to Utah and we went out to the salt flats and recorded this unbelievable video.
And it's on YouTube.
We got to check it out.
We also did the sweater song.
That's what I'm watching right now.
Are you serious?
Yes.
Is it undone?
The sweater song?
No.
It's not an original sweater song.
In fact, we got all these people to go to this crazy farmhouse that she owns in upstate New York.
And the guy from Gilligan's Island actually used to own it in Bob Denver.
Anyways, tricked out 60s style wallpaper.
It's very colorful.
So we drag all these people out to do this crazy music video where people are dancing from different parts of the future,
coming and teaching them dancers from the 70s, the 80s, the 90s.
And someone says, so I'm confused because this is called the sweater song.
Why aren't we doing the Weezer song?
She goes, what sweater song?
This is just so involved in her music and putting out new original stuff.
She doesn't even realize that they're like, is this a rip?
We're going to be doing this song.
My dance moves in the sweater song coming up.
And you might see me beginning to fall over in one of the dance scenes.
Some crazy shoes on.
And now I'm watching MGM.
Oh, man, that one gets crazy.
We got puppets that are kind of doing some inappropriate stuff.
Yeah, because the sweater song was so sane.
So your team America world police?
You know, you know, we like to just make people a little uncomfortable,
but to the point that they like it.
So outside of your music, what's in your iPod right now?
It's in heavy rotation.
Oh, gosh, it's Van Morrison right now.
They just released more of his stuff recently.
There's a new collection came out.
Listen to the same 12 songs over and over again for about a year.
So I'm in like a set of 12 from Moon Dance right now.
I'm a big Van Morrison fan.
His greatest hits collection I can listen to on a loop.
Is there anybody right now that you look at and you go, they've got it.
Shoot.
I've been trying to come up with a good answer for that.
But that's okay because for, you know, he and I talk about this all.
For huge music fans, I'm a musician, you know, I DJed for 21 years.
I hosted karaoke for 16 years.
And it's a lot like fashion.
Jeff Fox really once said, you get to a point on the fashion train where you go,
this is where I get off.
And that's how you dress for the rest of your life.
And musically, it's kind of the same way.
You get to a certain point with music where you go, okay, this is my limit.
This is where I cut it off.
I actually think that's part of the difference of the new stuff I'm making.
And the old stuff I'm making, old stuff I made, it sounded more like a fashion statement.
And this entertains me.
This is like funny.
And then the new stuff is all about like real stuff and what, what I'm actually feeling.
But then you get to a point where you're mus, when you make the music that you want to make,
that to me is where you get to a point as an artist of where you really start to hit your stride.
This is the music that I want to make because this is the music that I'm into and this,
this is what makes me happy.
And here's the thing.
I moved to Austin recently and I kept telling her.
She was in New York City.
I said, you got to come out to Austin because this girl wishes that she lived through the 60s.
She is totally a hippie at heart.
Her dad was at Woodstock.
Like that's just who she is.
You look at her outfit, right?
I know.
I know.
I wish the listeners could see what she's wearing.
But anyways, and so that's the kind of music that inspires her.
And that's what she wants to bring back into the popular culture.
It's the mood.
Yeah.
Is that real rock music?
Oh, yeah.
Okay.
So we've gotten the plugs here.
Give all the plugs you can.
Say if it's selfless.
Shameless.
I can't say this today.
Shameless self promotion.
Go.
Oh.
Okay.
Oh.
Oh.
YouTube dot com slash.
It's all the Liz Brennan.
It's all the Liz Brennan.
So YouTube, the Liz Brennan.
Website, the Liz Brennan.
Instagram.
Facebook dot com.
Facebook class.
The Liz Brennan.
Liz Brennan was just too plain.
You just got to be the one and only one.
My Twitter handle is yes, that Rob Irvin.
So I can't make fun of you.
So.
And he's like, like, like nine people who know who I am.
So I take that as with pride.
Best of luck to you.
Thank you so much.
Go enjoy the festival.
We will.
And see Thunderbrook Heavens.
Yes.
The Groke the Heavens.
Sorry.
I have keep doing that.
It's amazing.
You're, it's catching now.
Now you've passed.
You've passed.
You've passed.
You've passed.
You're, it's catching now.
Now you've passed it to her, now she can't.
Well, so I mean, I can actually talk for the rest of the show.
No, I just can't talk today.
Oh, all right ladies, thank you so much.
Thank you.
Thank you,grunting.
I appreciate y'all coming by and hanging out with us.
Thank you.
Alright so it looks like we've got one more guest, Chad.
This is the longest show we've done in a while.
Let's see where he's going.
He's going to sit here.
Don, do you want to introduce our last guest?
We have Joseph, who is one of the producers of Sacrifice, which is screening right now
as we speak.
Now, how do you say you're last to Samese?
Samese, I apologize.
Okay.
So, do you want to tell us about the film or whatever, the basic plot and stuff like that?
Sure.
Talk right to the microphone so everybody can hear you.
Sorry.
There you go.
There you go.
Wow.
Let me guess it doesn't go well.
As it always does with teens and guns, something goes wrong.
There is an attempt to cover it up and then covering it up, it just makes things worse.
I feel like I've seen a trailer for this recently.
Is there a trailer out there for public consumption?
Not yet.
No.
Okay.
But, dude.
But if someone stole an idea, I want to know about it.
Who?
Don't remember Roni.
As well as Melora Walters from the office.
No, that's...
You think of Melora Harden?
Melora Walters was in Big Love.
Okay.
I know this name.
She was the female lead in Cabin Boy.
I was very excited.
Oh, yes.
She does all the Paul Thomas Anderson movies, like Choosing Boogie Nights and all the time.
So, is this the first showing of the film?
No, we had a screening yesterday at 415 in the afternoon.
Which, again, I was actually really happy because it didn't feel like...
Like just now, we were actually sold out.
They had to add seats.
And the reason I'm actually here right now is I gave up my seat.
You couldn't even see them for your own movie.
But, you know, that's a good thing.
That's the best thing.
I mean, I've already seen it.
So, someone who hasn't seen it gets to see it.
And what are the longer films that we've seen so far?
No, it's okay.
An hour or 45?
Yes.
And this is an hour or 45.
There's only one film that I don't think from a runtime can be beat.
Because it was five hours and 40 minutes long.
All right.
But what brought you to this project?
Well, sort of the company that I work for.
It's called Junto Box Films.
And let me see how to describe it.
The way I was sort of described it.
Do you remember the show Project Green Light?
Yes.
So, I always sort of say it's Project Green Light and Facebook had a baby.
Oh, wow.
So, yeah.
So, what it is, it's crowdsourced.
And what happens is that we have a membership.
People can submit their script.
And what they do is through social networking,
they get people to like their script.
And the more likes it gets, it sort of rises through the ranks.
I'm going to shortcut it a little.
And then we end up with about five finalists.
And the five finalist scripts go to our, what we call a mentor.
And in this case, our mentor was Forest Whitaker,
who's the co-chairman of the company.
You could have had worse people to work with.
A huge Forest Whitaker fan.
Oh, what?
Huge fan of that man.
Me too.
Yeah.
Oh, yeah.
Also from Texas.
So, yeah.
So, Forest read the scripts.
He picks the one he likes and then we make it.
So, yeah.
We finance it.
We provide all the crew and production support and everything.
So.
That's how it works.
Okay.
I mean, was last night the first showing?
Yeah.
Well, first showing here.
Okay.
Where is it shown before this?
We also played at the Woodstock Film Festival and then also at Anchorage.
Oh, wow.
New York to Alaska.
Yeah.
We were just talking about it.
And one of the interviews.
He probably wishes he had one that.
That's green.
The one that's green.
The one that's green.
Well, what was cool about it though is like Anchorage is.
Oh, yeah.
I'm sorry.
It started with Woodstock.
It's Woodstock.
So, it's very hippiey, very hippiey laid back.
Right.
So, yeah.
So, that was like the cool thing.
And then Anchorage.
You know, Anchorage is December.
So, very cool.
Perfect time.
Perfect time.
Although it didn't snow when I was there.
So, I was a little disappointed by that.
So, and the thing is, you know, I actually, I'm from LA.
So, to go from Anchorage to Woodstock, you know, where there's actual weather.
It was kind of nice.
Oh, jeez.
So, where is any plans for the film from here?
Well, obviously we all hope for distribution.
We've got sort of a few things in the fire right now.
Various people looking at it and stuff like that.
Nothing I could really delve into right now.
But, yeah.
Is there a pair enough?
Obviously, yeah.
I hope it's hard to get it to as many ways for people to see this possible.
So, you had the screening last night.
Screen tonight.
Any other screenings during the festival?
Uh, no.
It's just the two.
How long did it take you to film it?
It's hard.
How long did it take you to film it?
Uh, maybe around...
Actually, it wasn't.
Probably 22 to 24 days.
So, that's about the average of the people we've interviewed tonight.
Oh, really?
Yeah.
People are cranking their films at, like, right around three weeks.
Yeah, right around three weeks.
Part of it's budgetary part of it.
True.
Well, no, all of it's budgetary.
There's no...
Well, plus you have to fight the elements.
Yeah.
Yeah, yeah.
I think what they had to go through for Raiders for that one, yeah.
Shot.
Well, and you're also talking...
You can edit things a lot faster when you're...
When you're digital now.
Sure.
Yeah.
Uh, an interesting story, too, is...
The director is actually married to the editor.
So, you know, it was literally a thing of...
You know, him bringing drives home every night.
Literally taking your work home with you.
He's editing as we're shooting.
So, yeah, it was...
It was very, uh, very organic.
Any shameless plugs, websites.
Social media.
Uh, JuntoBoxFilms.com is...
Again, it's our...
I like that name.
I'd really do.
JuntoBoxFilms.
JuntoBoxFilms.
Say it as many times as you want.
JuntoBoxFilms.
Exactly.
Thank you.
I'm back.
Facebook, Twitter, Instagram, all that good stuff.
Uh, I think so, but yeah.
The main site has all the links to that, so yeah.
All right.
I'm sure you're ready to go relax somewhere.
I was going to get a drink, baby.
So, we would...
Thank you so much for joining us.
Thanks for having us.
Sacrifice.
Check out the film when it comes to somewhere near you.
It's here at the Dallas International Film Festival.
We're so glad you're here.
Thank you.
Go enjoy your evening, my friend.
Thank you.
Thank you very much.
Have a good one.
You two the same.
Don.
How you doing, brother?
Don for the official fact checker of this show and a man
that's done a lot of running for us tonight.
And a talent getter for the show.
You did.
You got a lot of talent for us tonight, sir.
That talent wrangler.
Talent wrangler.
Talent wrangler.
Talent wrangler.
It's still a bunch of fun and getting these people,
meeting these people and...
You get to see a lot of these films.
I mean, the Raiders, I don't know.
I didn't get to talk with you guys.
But I loved it as much as you guys did.
It was amazing.
Yeah, and I saw that horror film.
And then I saw that red on yellow, the Western.
Oh, right on yellow.
You can kill fellow.
You can kill fellow.
Yeah, that was a very gritty Western.
Like I was telling you, it's that mix of the Hillary Swank film
with Django and Chain.
The Homesmen?
Yeah, Homesmen to get the bad and the ugly Django combined in one.
That was a very realistic movie,
which I really enjoyed.
So we got what?
This is only day three of an 11-day festival.
I know we had the media night,
and we had the Gala and all that.
That was incredible.
And there's still movies for us to watch at the festival.
Next Friday, we're going to be live from the media.
Two shows?
Two shows.
Well, one show.
The live.
The other one you want to subscribe on.
I think if you want to hear for it.
Because next Friday night is the Honors Gala,
where they give away all the awards for the shows
or in the festival.
Again, over 160 different films shown over 11 days.
It is the ninth annual Dallas International Film Festival.
Anything else we want to go over before we do the plugs, gentlemen?
Again, I just can't say how much thunder broke the heavens
was just boom me away.
Oh, there are three for that.
We can see Mr. Faust walking by us right now,
the artistic director of the Dallas International Film Festival,
and a quality human being.
We got to think the diff.
Everybody, Julie, Mr. Faust.
And Jill, can you let us do this?
Oh, yeah.
You know, yeah.
Our second year in a row here at the Dallas International Film Festival
having a great time.
We've got more movies to watch that are coming up.
We're going to give you reports on all of them.
You'll get written reviews from us on theclubhousepodcast.com.
And which is our website?
Oh, there you go.
Which is our website?
You slack and do.
All right.
Yeah, but it's been a long time.
All right. Are we ready to do the plugs?
Yes, we are.
Let me get to where I need to be to do that.
Because I have the work and iPod here,
and not normally the way we do the show.
Do, do, do, do.
And here we go.
Visit our website.
www.theclubhousepodcast.com.
Find out everything you need to know and some stuff you don't.
Like our Facebook page.
Look up the clubhouse podcast on Facebook.
Put the word podcast on the end, or it's something completely different.
Follow this show on Twitter at ClubhouseShow.
You can follow me on Twitter.
I am at Yes, that Rob Irvin that has spelled E-R-V-I-N.
I am at Chad N-P-G-6-9.
I'm at Fondango, and you can email me at Don at theclubhousepodcast.com.
Email Don for details on us doing a live show for you.
We love doing live shows much like we're doing right now.
You can email me if you'd like questions, comments, concerns.
So I'm going to go pound sand.
I'm Rob at theclubhousepodcast.com.
I am Chad at theclubhousepodcast.com.
Sharlah Parker is on Pinterest,
because we are morally obligated to say that.
And Jules Womack has a senior husband in almost 18 hours.
And it's going to go even longer at the next couple of days.
Our normal show every Sunday night at 7 a.m.
Of course, not a show tomorrow night,
because we're doing the show tonight.
And not a show next Sunday night,
because we'll be doing a show on Friday night.
So until the next time we talk,
for Chad, for Don, for the Empire,
I'm Rob, the clubhouse is closed.
Documentary on Britney Palmer,
I'm telling you, wins every award in the history of ever.
The preceding was a sooner or greater production.
Get a go, get a go!
Why, because I have to.