September 20, 2025 • 34 mins
This week in PREVIOUSLY ON… Jason and Rosie discuss Daredevil: Born Again season 3 being green lit, ABC's decision to pull Jimmy Kimmel off the air after facing pressure from Nexstar and the FCC, Borderlands 4 PC performance issues and trailers for the new Anaconda remake and Now You See Me, Now You Don't. Plus, we have an interview with director Bryn Chainey to discuss his feature length debut psychological horror film Rabbit Trap, available on digital and video on demand begining September 30th.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On today's episode, we're tiling about news and the latest
trailers and everything that's going on this week. Hello, my
(00:23):
name is Jason Concepcion had I'm Rosie Night and welcome
back to ext Revision, the podcast where you dive deep
at your favorite shows, movies, comments and pop culture.
Speaker 2 (00:30):
Coming to you from my heart.
Speaker 1 (00:31):
We'll bring you three episodes a week, plus news and
this is news.
Speaker 3 (00:34):
This is news finally and oh my good guys, more week. Honestly,
every week, every week is like the longest week in history.
So we will be talking about that long week. We
will be talking about how Jimmy Kimmel's show has been
indefinitely pulled, and we will also be talking about issues
(00:55):
with Borderlands for and Marvel News and a small is
bored of trailers because things just keep going even when
everything's falling apart, guys, and yeah, we're doing it, We're
doing it.
Speaker 4 (01:08):
It's news. It's news.
Speaker 2 (01:11):
First up in News.
Speaker 1 (01:12):
Daredevil Born Again, Green Liak for season three as season
two is I believe just wrapping up. I think it, yeah,
just wrapped right. But here's the quote from Brad Winderbaum,
the head of Content and Streaming and Television streaming and
Animation at Pearl Series said that, uh, yeah, we're greenlit.
(01:33):
In terms of Daredevil, Yeah, we're greenlit for season three
and we start shooting next year.
Speaker 2 (01:37):
So very exciting.
Speaker 4 (01:38):
I'm excited me too.
Speaker 3 (01:41):
I also want to pose, he said. In terms of
Dad Devil, Yeah, we're greenlit for season three. Potential season
three name change, no more Born Again, maybe a different
Moniker or something. We were interview with a vampire just
changed the third season to the vampire the stat I
think we could see something here where we change a
little bit more, be a team.
Speaker 4 (02:00):
Name or a Dad Evil thing.
Speaker 3 (02:02):
But yeah, I also love that this is such classic
Hollywood news. It's like the quote is literally him being like, yeah,
we're gonna do that. We're making the show. It's like
we're making it and guess what, guys, calm, wait up next?
Speaker 1 (02:13):
In uh oh, Jimmy Kimmel has been pulled off the
air indefinitely by ABC Television, ostensibly over remarks about the
Assassin and the Charlie Kirk murder, but the background of
(02:35):
this is also clearly that next Our Communications, the group
that initially pulled Kimmel kind of on their own from
their network of from their network of.
Speaker 2 (02:50):
Of programming and regions.
Speaker 1 (02:52):
That this is because they have a merger in the offing.
They want to buy another regional broadcast network and clearly
seeking to curry favor with the administration, has decided to
pull Jimmy Kimmel, and then ABC kind of acquiesced and
saying yeah, yeah, let's I guess maybe seeking to either
(03:14):
also do you curry favor with the administration or to
just kind of bring down the temperature has done this.
Speaker 3 (03:20):
I was gonna say, I think that is what we're
getting at, because you've got the quote from the head
of the FCC.
Speaker 1 (03:26):
Who said, quote, this is a very very serious issue
right now for Disney. We can do this the easy
way or the hard way. These companies find ways to
take action on Kimmel or there is going to be
additional work for the FCC ahead.
Speaker 4 (03:37):
Very troubling, not good, trembling, bad times.
Speaker 1 (03:41):
People have been talking about canceling their Hulu and their
Disney subscription.
Speaker 2 (03:45):
And that was actually this is all very very crazy.
Speaker 3 (03:49):
There were protests yesterday outside Disney, and those seem to.
Speaker 4 (03:53):
Be going on. I think that, yeah, crazy stuff.
Speaker 3 (03:58):
It is interesting to see this be the to mock
for a lot of people. But you know what, I'm
glad people are notes saying and yeah, let's let's.
Speaker 4 (04:05):
See what happens next in twenty twenty five.
Speaker 3 (04:07):
Zeo, let's see what happens there, twenty six, what's happening.
Speaker 2 (04:12):
Let's take a quick break. We'll be right back the cornings. Yeah,
and we're back.
Speaker 1 (04:27):
Borderlands four came out this week, a series that I
personally love and play on consoles, so you do not
have any problems playing, but if you have a gaming
PC you might be experiencing problems. And a lot of
this is coming from you know, we've heard so much
in recent years about ray tracing, which is a technology
(04:49):
for producing graphics for games. You know, I first encountered
it on what's it called cyber Cyber or whatever seventy seven,
and I always turned it off because my gaby BC
can't handle it. And now there's DLSS Deep Learning super Sampling,
which basically is causing Borderlands to run like absolute dogshit
(05:14):
on many and many a computer.
Speaker 3 (05:16):
If you don't turn on this specific feature, the game
does not run properly. Yeah, and this is an issue
because according to the PC requirements that were on Steam,
it should be able to just run on your basic
gaming computer. But it doesn't. And this has been causing
a lot of drama. I feel like Boardlands is having
a it's been a tough three hundred and sixty five
(05:38):
days or whenever it was since they released the movie
and now this happening. But Jason, as a console player,
how is the game outside of the PC really fun?
Speaker 2 (05:46):
Yeah, it's Borderlands. It's really fun.
Speaker 1 (05:48):
It's comical, lots of guns, et cetera. All the things
that you want from a Borderlands game. It's there for
you in Borderlands. For if you're playing it on console,
as I do. Up neck trailers, folks with lots of
trailers headlined by well, let's just go through the first
of all, Good Boy, The boy coming out out sober
(06:11):
third is a horror movie from the pov of a
dog and it's a dog, a beautiful Australian Shepherd seeming dog,
protecting his family and it kind of Saw meets Yes
End of Home Alone type of way, and I love it.
Speaker 3 (06:29):
I know, it's very exciting. I think the notion is
the original pitchures. It's like a haunted house movie, but
the dog is trying to protect you. It's all from
the pov of the dog. The person does not know,
so that adds to the suspense. And this is really interesting.
This was going to be a very small platform release
straight through BOD after that, but the trailer did such
big numbers. I think it was over a million that
(06:51):
IFC decided like, okay, we're going for a full wide release,
I think this could be a secret word of mouth hit.
I know here with don Naw, you know we have
we have a good girl in our family. We also
have Kylo, we have multiple lions, we got multiple great dogs.
I know Common also has a dog. I'm sorry, I
(07:11):
forgot your dog's name.
Speaker 1 (07:12):
Listen dogs dogs dogs. And is a fan of and
and Rosie is a fan of cozy content. Dogs are
cozy content. And I think a cozy dog movie where
a dog kills every all the bad guys.
Speaker 4 (07:25):
Yea, but I mean, who doesn't want.
Speaker 1 (07:26):
To see themself escape safely is something that I think
a lot of people would take solace in.
Speaker 4 (07:33):
Yes, I think so too.
Speaker 2 (07:35):
Can you see listen?
Speaker 4 (07:37):
Can you see him?
Speaker 2 (07:38):
We could see him again?
Speaker 4 (07:39):
Because now you see me, Now you see Me? Crew
is back with now you see Me? Now you don't
why movies keep getting made.
Speaker 3 (07:47):
Like I gotta say, and I say that as someone
who has watched these movies many times. If you've seen
My lab box, I have like a weird obsession with
these movies.
Speaker 4 (07:54):
How did they get made? Also, like the movie who
does Lewis Literier?
Speaker 3 (08:01):
Have have like nude pigs of how how did this
get made? Like twenty five years after David Blaine was popular,
Like sleight of hand, close up magic isn't even a
thing people care about that much anymore.
Speaker 4 (08:12):
I'm obsessed with these movies.
Speaker 3 (08:14):
I also please join the discord send me a postcard,
dm me.
Speaker 4 (08:18):
Is magic real in these movies?
Speaker 3 (08:20):
Because I thought the end of the first movie revealed
that magic was real, But then when I watched it
again and I watched the second movie, I didn't know.
Also interesting new editions here we have Justice Smith. We
also have the kid from the Leftovers. I'm like, Bro,
you were like in an Oscar nominated movie, this is
where you went next?
Speaker 5 (08:36):
Well?
Speaker 4 (08:36):
I expect it really well.
Speaker 1 (08:38):
First of all, I think that one of the things
that that Now You See Me franchise does is it
is a place where critically acclaimed true Oscar level actors
can get a fucking bag.
Speaker 4 (08:55):
They can get let me gay, let me get my bag.
Speaker 1 (08:59):
And that is actually yes, with a fedora or a
bowler hat.
Speaker 4 (09:04):
Yeah, and in a tuxedo. And that is.
Speaker 2 (09:09):
What's going on here.
Speaker 3 (09:10):
If you haven't watched these movies, they're so insane, watch them,
you know, imbibe your favorite, you know, a substance of
whatever that may be, whether it's a coffee or a
joint or whatever, and watch this ship because these are
crazy movies. The new one sees a new team of
young magicians upcoming, gotta find what happened to the Four Horsemen,
(09:31):
And there is an unexpected studio connection. If you loved
the Studio, If in the last two episodes you were
wondering why Dave Franco kept doing magic and pranking everyone,
it's because he learnt the magic on the set of
this movie. So you must watch these movies to truly
understand the jokes of the studio.
Speaker 1 (09:49):
Well, here's the other thing they're clearly going for. And
this is a lot My last thing on this Passing
the Furious is on its last legs. Like true, it's creaky.
It's creaky. I think very clearly. There are multiple series
out there that are being positioned as potentially the thing
(10:10):
that picks up the fast and the Furious audience or
fills that niche.
Speaker 2 (10:14):
And I think this is one of those things.
Speaker 4 (10:16):
And let's see if they do it now you sid me,
do it now you don't.
Speaker 3 (10:20):
Could be my soon it will be now you see me,
Now you see a dinosaur when they cross over with
Jurassic Park, the one crossed over a fantastic board.
Speaker 4 (10:28):
Never did, I mean cost them the furious.
Speaker 1 (10:31):
The only thing they need to do right, and it's
the thing they seem to be doing with Now you
see Me, Now you don't, is make it more diverse.
The Fastings worked because you had the Asian guy, the O,
the black guys, you have the Latino characters, you had
the whitest guys. It was it was the most diverse
action movie franchise ever in history or even movie franchise.
Speaker 2 (10:54):
And I think with the new crew.
Speaker 1 (10:57):
Coming in, maybe Now You See Me is trying to
do that up next and most I'm most excited for
this trailer.
Speaker 4 (11:05):
Ana Conda.
Speaker 2 (11:06):
It's not a reboot, it's not a remake.
Speaker 1 (11:10):
It's a reimagining of Anaconda as its own interior universe.
The Anaconda trailer, the movie starring Jack Black, Paul Rudd,
The wonderful in everything Steve's On is about, and I
urge you, we urge you to watch this trailer. It's
about a group getting back together to remake Anaconda, to
(11:34):
make a sequel, and they're seeking there like an independent
film crew that worked on the original now they want
to do a sequel and they're like seeking funding, meeting
to write a script. So there's like it it's just
kind of really wonderful and a wonderful way to think about. Yeah,
very silly movie Anaconda.
Speaker 3 (11:53):
And it seems like they are at like childhood friends.
They loved the movie. They always wanted to remake it.
They have to do it. They're like, we got to
run and gun it. We've only got like nine thousand
dollars to make the movie.
Speaker 4 (12:04):
And then we see them head in they have their snake.
Speaker 3 (12:07):
Very quickly, the snake dies and they have to head
into the real jungle and find a giant super anaconda.
Speaker 4 (12:14):
It looks so fun, so silly.
Speaker 2 (12:17):
It's very tropic thunder kind of.
Speaker 3 (12:20):
Yes, tropic thunder, Son of Rambo kind of like, yes,
I think this is the kind of way that we
need to see reboots and reimaginings and continuations of franchises.
We need to see them taking these kind of funny,
unexpected turns. And I think even though this does look
(12:42):
very comedic, obviously, Jack Blackpool at Steve's on, I'm so
happy to see Steve's on again. He's always so wonderful
and everything. As you said, Jason, I think that this
is a really clever way to take what to many
people may seem like a campy, outdated movie they don't
necessarily have good feelings about, which, by the way, go
back can rewatch it.
Speaker 4 (13:00):
Because it's actually really good.
Speaker 3 (13:02):
The original Anaconda is actually why does it have a budget?
Like it's like a fifty million dollar like Spielbug movie.
Speaker 4 (13:09):
Like, the budget is good, the settings are good, the
snake is good.
Speaker 3 (13:12):
Jennifer Lopez is good when she was an actor, Ice
Cube is good.
Speaker 2 (13:17):
John Voight the last time I enjoyed John.
Speaker 3 (13:21):
We used to make movies, guys, We used to respect
action films. As super producer Joelle said, this is a
Christmas movie. I think this could be a total banger,
very interesting counterprogramming to Avatar, Fire and Ash feels insane
that that movie is coming out this year. But yeah,
this will be the Christmas movie I'm looking forward to, guys.
Speaker 4 (13:41):
I cannot wait.
Speaker 1 (13:41):
Also shouts to the King of silver Lake, Jack Black,
who I see almost on a weekly cadence walking around
the streets of Silver Lake in the same tied ie
shirt and crocs with a backpack. Yesterday, just yesterday, I
saw him yesterday locking his electric bicycle to the street
(14:03):
sign in front of the Vista as he was going inside.
I think to either see a screening of one battle
after another or to watch all the kill bills.
Speaker 2 (14:12):
Anyway, fine, let's seek a.
Speaker 1 (14:14):
Quick break and we'll be right back with our interview
with director Bryn Cheney, the director of the new Dev
Patel starring feature Rabbit Trap.
Speaker 4 (14:24):
Oh it's a good one.
Speaker 5 (14:26):
Yeah, Hey Bryn, how's it going, Hi, Rosie, I'm all right.
Speaker 6 (14:40):
How are you? Yeah? Good?
Speaker 7 (14:42):
Thank you for taking time talk to me. I loved
the movie. I that was wonderful.
Speaker 6 (14:45):
Oh thanks, that's good. That's gonna make things easier.
Speaker 7 (14:48):
Yeah, yeah, yeah, yeah. How many people have gone and
been like a terrible movie?
Speaker 6 (14:52):
I hate so either none or everyone And they're really
good at lying. But you know, either way.
Speaker 7 (14:58):
Well, that is the of making art is once we
put it out there, we've got to be like at
the people like it.
Speaker 6 (15:04):
Yeah, I know it's rough.
Speaker 7 (15:05):
It comes really stressful. So I got to see a
brain Dead on a big screen. It was wonderful. I
would love to just know starting off kind of like
what was the origin story of this movie for you?
Like where was where did it first click that this
was a story you wanted to tell.
Speaker 6 (15:24):
I think I think the very very early seed of
it was in a short film that I did in
thirteen and that did a film called Morrets in the
Wood Woes, which is a very like a modern fairy
tale that I made when I was living in Germany,
and I used that film as a way to connect
I've also been very interested in folklore of something I
grew up reading, Like some of the earliest books I
(15:46):
read or read to me were books about goblins and
fairies and trolls, and they were as a kid, they
were presented to me, at least I received them in
my little brain as part of nature, expressions of natural force.
And I had always wanted to do with films that
(16:06):
worked in that space where where there's more of a
folk tale or fairy tale logic where the natural world
and the unconscious realm or the psychological even lower than
that kind of unconscious, but those things are entwined or
connected somehow. So I tried it out with a short
(16:27):
film about a little boy who's got home problems and
then he encounters a woodland spirit who offers help. This
spirit might actually be a trickster. And I made that
film and it was partially it partially worked, partially didn't,
But I felt still like I wanted to explore that
(16:48):
that place where Yeah, just trying, I guess, trying to
just trying to figure out can I make films that
use folk logic or they use a fable kind of technique.
The cinema is pretty rigid, we have most Western cinema
is very rigid in the kind of ways that stories
are told, with certain kinds of structures and set up
some payoffs and ways that exposition are done. And I'm
(17:12):
on a bit of a mission to see if I
can bring some fairy tale logic into movies. This grew
out I think of that inclination. Yeah, yeah, And I
wrote it alone for a long time and then I
took it to my Dream Production Company, which was Spec
Division who was at Elijah Woods Production company that did
Mandy and at Night The Greasy Strangler. I mean, I
(17:36):
watched those movies and I thought, whichever fucking weird, beautiful
weirdos made these films, I think they're going to get
what I'm aiming for. So I managed to get them
a pitch deck and they just jumped at it straight away,
and then they've just been the most wonderful supportive partners.
And I think, yeah, you were at the screening you.
Speaker 7 (17:57):
Yeah, yeah, they were there. It was I was kind
of blown away too because I'm from England. I've written
quite like one of the things I love and that
I've written quite extensively about is like Daphne Orham and
Dealing Derbyshire. Yeah, I love them like I'd wanted I
have one of the I have, like there's I've got
a trip tick of novels that I'm working on and
(18:19):
all of them are about a different analogue thing in
British history, and one of them is is that kind
of that kind of space? Yeah, I absolutely will, because
like I was just blown away because in my mind
that era of music and even they did a really
great documentary that was like a half documentary. Yeah, I
(18:41):
watched it a film first a few years ago. Even
that had that eeriness to it because I think the
music they were making was something entirely new, and I
think the power of that can kind of go beyond
the veil. So I loved that. And part of Elijah
and the producer was saying, you know, Daniel, they were
(19:03):
saying like they already loved that music, and they already
knew about the radiophonic orchestras. So what did it feel
like to pitch it to them and have them completely
understand it? Because I feel like it must have been
a mind blower what it was it was.
Speaker 6 (19:19):
It was a mind blow that they even replied. And
I mean, I graduated film school nearly twenty years ago, right,
and so I've made quite a few short films and
this is my third time trying to make a feature,
and I've had I've tried to get an agent at
different times and I couldn't. I've done a lot of
pitching workshops people, and I was kind of none of
(19:40):
it ever really took off, and it never really felt
right to be someone that, at least for me to
go out and try to be what some other people want.
Convince people to like the things I'm writing. Please make
this please. It resulted in so much kind of pain
and like failure, and you know, so with this project,
(20:01):
I decided to do it differently where I was really
targeted about who I went to. I wrote, I wrote
my own favorite movie, and then I looked at loads
of movies being made in that space to figure out
who is making who's going to love this, and who's
going to genuinely love this without maybe having to trick
them or pure So they were the only people I
(20:25):
sent the project to. It took like a year or
so to get an introduction, and it was it was
quite securitous and like crafty. Once they got it, I
was relieved that they loved it, but I wasn't surprised.
This was like a targeted, targeted move from me. Yeah,
(20:45):
and I just that's been really the big lesson for
me and making the film is if you write what
you genuinely love and then take it to people exactly
as it is then and only give it to people
I don't know, like, if someone doesn't get it, move on, yeah, exactly,
And the right people have shown up along the way,
and this film took it still took a long time
(21:07):
to make, and it was a real challenge in a
lot of ways. It was a low budget movie. We
made remote environments in nineteen days on thirty five mil film.
But the people that were on the journey, but really
really on the journey, they made people like so many
of the heads of departments said this is my dream film,
(21:28):
Like I read this and this was the one I'm
waiting for, And we're now so close as people. Of course,
that's the journey.
Speaker 7 (21:36):
That's the dream, right in making cool stuff with cool
people who get it is magic And Okay, So speaking
of that, could you talk about casting dev and Rosie
and Jade, Because they are the movie and it is
such an unbelievable cast it just you immediately just are
in the world with them and completely get it. So
(21:57):
could you talk a little bit about about picking those
is your your leading trio?
Speaker 6 (22:02):
Yeah? Sure. When I wrote the film, I didn't have
anyone in mind. I just love characters for who I
thought they were, and because it's a movie with some
pretty weird swings. It's got some psychedelic stuff, some strippy things,
and it makes some pretty mysterious and dreamy shifts. So
I think this movie will only work at all if
(22:22):
the performances are very grounded and are very emotionally tactile
or electric. You need people who were just there emotionally,
because because the movie is so mysterious, you want the
emotions to be present pretty clear way. So with Devil
was my first choice. We didn't think we'd get someone
(22:44):
on like that kind of level of like fame. I
never wrote thought I want a famous person. Actually thought
I'd prefer to have like unknowns real. But once we'd
financed the film we were able to go out and
look at casting. We decided to take a couple of
big swings first, so can we just go the Death Betel?
(23:05):
And then we looked into it, and he was his
agent was willing to look at the script. He read
it really quickly, like within forty eight hours or so
of sending it. I was sitting down with him in
London having a coffee Wow Trees and myth and how
he was really looking for projects that were director led
and a personal voice, and he was just he was
(23:27):
down to something risky. I think because also he just
made his own his own feature.
Speaker 7 (23:33):
Yeah, Monkey man such a good movie, yeah.
Speaker 6 (23:35):
And such a labor of love for him, I think
down to go into even riskier territory and just to
trust it, give a filmmaker a shot, and like to
support a project it a bit. It's so personal. So
that was dev And then Rosie. I saw her in
(23:56):
Blue Jean, which her performance in that is just astounding.
She is, genuinely I think one of the greatest actresses
working today.
Speaker 7 (24:03):
She's unbelievable. And I feel like in this movie specifically,
if people didn't know about her, they're gonna know about her.
Like the micro expressions on her face, the way you
can see everything she's thinking and feeling throughout the movie
is just so effective. Because the other thing I was
(24:24):
going to ask you not to, Jade, is also amazing,
So I do want you to talk about that. But like,
this is a movie where the mythological and the fantastical
are like in the music and in the sound design,
which I think is very brave. Like you're not going
to see a fairy, you know, in this movie, but
they seem to exist in that soundscape. So could you
(24:47):
talk a little bit about how you make a supernatural
movie about the faye? But you never physically show what
people would assume. You know, a fay looks like.
Speaker 6 (24:59):
Yeah, great, question like how do you do it? How
did we do it?
Speaker 7 (25:04):
How did it happen?
Speaker 6 (25:06):
How did we do that? I mean part of it
was budgetary, Like it was so like there were some
sequences where there was meant to be some sort of
light or shimmering and strange. The veil was actually a
physic going to be a visual presence in the film
as I'd written it, And we did not have the
budget for anyone really complex v effects or on set
practical effects because we were moving so much and so fast.
(25:28):
So there was really a budget reason, how can I
do this story only with sound and to do it
in a way that's not cheap and not just have
like creepy groaning offscreen feel like it's conscious and alive
and just coming in and out of reality. So so
(25:48):
much of it was down to Graham Resnik, who was
design on the film. He came on during the edit
and started building sound designs and textures and things long
before we'd lock the edit, and we could use those
in the edit sequence. And it would things to go
back and forth between the editor and the sound design
and composer, and so based on what they would create,
(26:11):
it would shift the edit and with it was a
very like fluid around, a collaborative way of piecing the
movie together. And the script itself has whole sound sequences
written into it.
Speaker 7 (26:24):
Yes that they were talking about that yesterday. How you
would kind of in then and describe the sound.
Speaker 6 (26:29):
Yeah, yeah, to leave space for it, and that was
also part of the performances. You know, you mentioned Rosie.
Kind of the best things about Rosie is that she
really knows how to inhabit a silence, sit in the
screen and think and listen in a way where it's
just it's so captivating to watch because you can see
every little shift in her psyche and feeling as something
(26:51):
is being processed. And that gave us so much to
work with sounds where we can fill those gaps. And
one little detail is that the cinematographer Andreas Johannesson, who
did It's a beautiful job on the film. We were
talking about aspect ratios and which which aspect Raso're going
to shoot on and we we we talked about frozen
(27:13):
cons of each and we landed on this wide screen
format because when you frame a close up in wide screen,
you give all this, you have all this negative space,
and that is the space where the sound is going
to live. A film that was closer, it becomes much
more about the face and the eyes, but negative space
(27:33):
it can be about the things around them. Yeah, and
we did little things like every every close I mean
lots and lots of close ups are actually done profile
with the ear in the center of the frame. Like
all the way through we've tried to put sound at
the front of the language of the film. Little things also,
like the characters will say, Daphne will say, most people
(27:57):
will takee men like I see what you mean? Do
you see what? I make sure that do you hear?
Do you hear talking about to make sure that the
language was hearing for until until whatever this is. This
is crazy detail of that.
Speaker 7 (28:11):
No, No, I think that's amazing. I love that idea,
And I did think there was a lot of great
set up, like the kind of romantic moment that they
have where it's like the eyes of how you enter
the world and sound the ear is of how the
world enters you. It's like a really great thesis for
the movie. Okay, before I go, I have a little
(28:31):
bit of time left, so as somebody who I also
love like folklore and all this stuff. Something that I
found about the movie that I think is may help
it find like a wider audiences. Have you kind of
read much contemporary modern kind of fantasy? Okay, well here's
a just in case it happens, here's a tip. There
(28:53):
is an author called Holly Black and she writes Fay
dark fantasy kind of ya. But a lot of the
law and understanding of what you do in the movie
is very similar, because I think she's working from the
same stuff. So I'm just hoping that there is a
much wider audience for this than people may think, because
(29:14):
I think there is this understanding of the Fay and
the notion that they're not necessarily like the beautiful, sparkly
creatures we've thought told as children, and kind of learning
a bit more about that world, I was like, Oh,
this is really interesting. I'd love to see if it
has a bigger wider audience because a lot of women,
especially are reading books that are steeped in this world
(29:35):
just in a different way, you know. So yeah, I'm
very excited for that. Now the movie is about to
be out in the world. Is there like a moment
or a soundscape that you're most excited for people to experience.
Speaker 6 (29:51):
I mean Darcy's first encounter with the fairy folk when
he goes into the woods. It's impossible to miss because
it's a yeah, it's literally the microphone following sound the
woods that took us so long to create, and it's
got so many beautiful textures coming through it that I
(30:11):
think it's just a beautiful bit of sound design work.
So that bit, and but also I do want to
say that we did something. This is just a little
bonus for anyone that really likes the film, is that
we did something different with the sound design and the credits.
Most movies will start a song during the credits to
break the tension and let you know it's time to leave,
(30:32):
it's okay to go. But my sound designer, Graham, right
in the last day of the mix brought me this.
It was like, okay, I've done something. Sit down over listen,
and he did this beautiful kind of eight minute sound design.
It's almost like a meditation journey of sound design where
you go through different environments we've encountered in the film,
(30:53):
like storms, the inside of a cave to the underground
itself and then into the fairy the sound of the fairies,
and it's this beautiful, kind of flowing journey of sound.
And on the second screening at Sundance, I was really
happy to see that the audience started to clock, Oh,
this is actually rush to enjoy, to like lie back
(31:15):
and maybe just go on a little sound journey. People
starting to lie down and close their eyes.
Speaker 7 (31:20):
I love that.
Speaker 6 (31:21):
I'm gonna do it as well. And it was such
a beautiful way to end a movie instead of just
going jumping up or getting on your side, for everyone
just to stop, lie down, have a silent moment of
just letting the sound wash over you and then reflect
on what's just happened in the film. Yeah, that's my dream.
Is that more people?
Speaker 4 (31:38):
Well, I love that.
Speaker 7 (31:39):
I mean even at Brain Dead, everyone sat one that
when those credits were going on, they kept the lights
down and kind of set up the Q and A,
but we were all just sitting there kind of having
it wash over us.
Speaker 6 (31:52):
Oh, this is a thing. Should I clap? Should I go?
And then I think at some point you go, oh no,
I'm allowed to just sit here for a bit and
do the thing. That the movie is about, which is
stop and listen to the outside and to the inside.
Speaker 7 (32:09):
Mm hm.
Speaker 6 (32:10):
So I hope people love that bit of it as well.
Speaker 7 (32:13):
I love that and thank you for letting now my
listeners will know, so they'll be able to do that
when they go and see it.
Speaker 6 (32:19):
Yeah.
Speaker 7 (32:19):
I think the movie is won ful. I'm excited for
other people to see it. And yeah, I'm also excited
for the inevitable vinyl soundtrack, which I feel like has
to be coming.
Speaker 6 (32:29):
That would be great. Yeah, we should put out on
a reel to reels as well.
Speaker 4 (32:32):
Oh my gosh, imagine I feel late.
Speaker 7 (32:34):
Yeah, I feel like Muton and Elijah would be down.
Speaker 6 (32:39):
We just need the film to do quite well to justice.
Speaker 7 (32:42):
We're doing it. We're going to go see it. Guys,
go see it. Street themes, diolic and zeros. Yeah, thank
you so much, brend. This was a joy, and I
appreciate you taking the time to talk to me.
Speaker 3 (32:53):
That was my chat with Brin Cheney. I cannot recommend
enough guys go see Rabbit Trap. It's such a unique, fun,
weird folk horror movie. Dev Patel is shining as usual,
so's Rosie mceeu and it's a truly a gem, and
newcomer Jade Crude one of the creepiest performances you'll ever see.
Speaker 4 (33:14):
So thanks again, Brinn.
Speaker 3 (33:15):
Rabbit Trap is out now and here's what's coming up next.
Speaker 4 (33:19):
On X ray Vision.
Speaker 1 (33:21):
On next week's episode of X ray Vision, We're diving
into Peacemaker, We're diving into the finale of Alien Earth
and more.
Speaker 2 (33:26):
That's it for news. Thanks for listening.
Speaker 4 (33:28):
Bye.
Speaker 1 (33:34):
X ray Vision is hosted by Jason steps Young and
Rosie Knight and is a production of iHeart Podcast.
Speaker 3 (33:40):
Our executive producers are Joel Monique and Aaron Kaufman.
Speaker 2 (33:43):
Our supervising producer is Abu Safar.
Speaker 3 (33:46):
Our producers are Common, Laurent Dean Jonathan and Faye Wag.
Speaker 1 (33:50):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 3 (33:54):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator.
On today's episode, we're tiling about news and the latest
trailers and everything that's going on this week. Hello, my
(00:23):
name is Jason Concepcion had I'm Rosie Night and welcome
back to ext Revision, the podcast where you dive deep
at your favorite shows, movies, comments and pop culture.
Speaker 2 (00:30):
Coming to you from my heart.
Speaker 1 (00:31):
We'll bring you three episodes a week, plus news and
this is news.
Speaker 3 (00:34):
This is news finally and oh my good guys, more week. Honestly,
every week, every week is like the longest week in history.
So we will be talking about that long week. We
will be talking about how Jimmy Kimmel's show has been
indefinitely pulled, and we will also be talking about issues
(00:55):
with Borderlands for and Marvel News and a small is
bored of trailers because things just keep going even when
everything's falling apart, guys, and yeah, we're doing it, We're
doing it.
Speaker 4 (01:08):
It's news. It's news.
Speaker 2 (01:11):
First up in News.
Speaker 1 (01:12):
Daredevil Born Again, Green Liak for season three as season
two is I believe just wrapping up. I think it, yeah,
just wrapped right. But here's the quote from Brad Winderbaum,
the head of Content and Streaming and Television streaming and
Animation at Pearl Series said that, uh, yeah, we're greenlit.
(01:33):
In terms of Daredevil, Yeah, we're greenlit for season three
and we start shooting next year.
Speaker 2 (01:37):
So very exciting.
Speaker 4 (01:38):
I'm excited me too.
Speaker 3 (01:41):
I also want to pose, he said. In terms of
Dad Devil, Yeah, we're greenlit for season three. Potential season
three name change, no more Born Again, maybe a different
Moniker or something. We were interview with a vampire just
changed the third season to the vampire the stat I
think we could see something here where we change a
little bit more, be a team.
Speaker 4 (02:00):
Name or a Dad Evil thing.
Speaker 3 (02:02):
But yeah, I also love that this is such classic
Hollywood news. It's like the quote is literally him being like, yeah,
we're gonna do that. We're making the show. It's like
we're making it and guess what, guys, calm, wait up next?
Speaker 1 (02:13):
In uh oh, Jimmy Kimmel has been pulled off the
air indefinitely by ABC Television, ostensibly over remarks about the
Assassin and the Charlie Kirk murder, but the background of
(02:35):
this is also clearly that next Our Communications, the group
that initially pulled Kimmel kind of on their own from
their network of from their network of.
Speaker 2 (02:50):
Of programming and regions.
Speaker 1 (02:52):
That this is because they have a merger in the offing.
They want to buy another regional broadcast network and clearly
seeking to curry favor with the administration, has decided to
pull Jimmy Kimmel, and then ABC kind of acquiesced and
saying yeah, yeah, let's I guess maybe seeking to either
(03:14):
also do you curry favor with the administration or to
just kind of bring down the temperature has done this.
Speaker 3 (03:20):
I was gonna say, I think that is what we're
getting at, because you've got the quote from the head
of the FCC.
Speaker 1 (03:26):
Who said, quote, this is a very very serious issue
right now for Disney. We can do this the easy
way or the hard way. These companies find ways to
take action on Kimmel or there is going to be
additional work for the FCC ahead.
Speaker 4 (03:37):
Very troubling, not good, trembling, bad times.
Speaker 1 (03:41):
People have been talking about canceling their Hulu and their
Disney subscription.
Speaker 2 (03:45):
And that was actually this is all very very crazy.
Speaker 3 (03:49):
There were protests yesterday outside Disney, and those seem to.
Speaker 4 (03:53):
Be going on. I think that, yeah, crazy stuff.
Speaker 3 (03:58):
It is interesting to see this be the to mock
for a lot of people. But you know what, I'm
glad people are notes saying and yeah, let's let's.
Speaker 4 (04:05):
See what happens next in twenty twenty five.
Speaker 3 (04:07):
Zeo, let's see what happens there, twenty six, what's happening.
Speaker 2 (04:12):
Let's take a quick break. We'll be right back the cornings. Yeah,
and we're back.
Speaker 1 (04:27):
Borderlands four came out this week, a series that I
personally love and play on consoles, so you do not
have any problems playing, but if you have a gaming
PC you might be experiencing problems. And a lot of
this is coming from you know, we've heard so much
in recent years about ray tracing, which is a technology
(04:49):
for producing graphics for games. You know, I first encountered
it on what's it called cyber Cyber or whatever seventy seven,
and I always turned it off because my gaby BC
can't handle it. And now there's DLSS Deep Learning super Sampling,
which basically is causing Borderlands to run like absolute dogshit
(05:14):
on many and many a computer.
Speaker 3 (05:16):
If you don't turn on this specific feature, the game
does not run properly. Yeah, and this is an issue
because according to the PC requirements that were on Steam,
it should be able to just run on your basic
gaming computer. But it doesn't. And this has been causing
a lot of drama. I feel like Boardlands is having
a it's been a tough three hundred and sixty five
(05:38):
days or whenever it was since they released the movie
and now this happening. But Jason, as a console player,
how is the game outside of the PC really fun?
Speaker 2 (05:46):
Yeah, it's Borderlands. It's really fun.
Speaker 1 (05:48):
It's comical, lots of guns, et cetera. All the things
that you want from a Borderlands game. It's there for
you in Borderlands. For if you're playing it on console,
as I do. Up neck trailers, folks with lots of
trailers headlined by well, let's just go through the first
of all, Good Boy, The boy coming out out sober
(06:11):
third is a horror movie from the pov of a
dog and it's a dog, a beautiful Australian Shepherd seeming dog,
protecting his family and it kind of Saw meets Yes
End of Home Alone type of way, and I love it.
Speaker 3 (06:29):
I know, it's very exciting. I think the notion is
the original pitchures. It's like a haunted house movie, but
the dog is trying to protect you. It's all from
the pov of the dog. The person does not know,
so that adds to the suspense. And this is really interesting.
This was going to be a very small platform release
straight through BOD after that, but the trailer did such
big numbers. I think it was over a million that
(06:51):
IFC decided like, okay, we're going for a full wide release,
I think this could be a secret word of mouth hit.
I know here with don Naw, you know we have
we have a good girl in our family. We also
have Kylo, we have multiple lions, we got multiple great dogs.
I know Common also has a dog. I'm sorry, I
(07:11):
forgot your dog's name.
Speaker 1 (07:12):
Listen dogs dogs dogs. And is a fan of and
and Rosie is a fan of cozy content. Dogs are
cozy content. And I think a cozy dog movie where
a dog kills every all the bad guys.
Speaker 4 (07:25):
Yea, but I mean, who doesn't want.
Speaker 1 (07:26):
To see themself escape safely is something that I think
a lot of people would take solace in.
Speaker 4 (07:33):
Yes, I think so too.
Speaker 2 (07:35):
Can you see listen?
Speaker 4 (07:37):
Can you see him?
Speaker 2 (07:38):
We could see him again?
Speaker 4 (07:39):
Because now you see me, Now you see Me? Crew
is back with now you see Me? Now you don't
why movies keep getting made.
Speaker 3 (07:47):
Like I gotta say, and I say that as someone
who has watched these movies many times. If you've seen
My lab box, I have like a weird obsession with
these movies.
Speaker 4 (07:54):
How did they get made? Also, like the movie who
does Lewis Literier?
Speaker 3 (08:01):
Have have like nude pigs of how how did this
get made? Like twenty five years after David Blaine was popular,
Like sleight of hand, close up magic isn't even a
thing people care about that much anymore.
Speaker 4 (08:12):
I'm obsessed with these movies.
Speaker 3 (08:14):
I also please join the discord send me a postcard,
dm me.
Speaker 4 (08:18):
Is magic real in these movies?
Speaker 3 (08:20):
Because I thought the end of the first movie revealed
that magic was real, But then when I watched it
again and I watched the second movie, I didn't know.
Also interesting new editions here we have Justice Smith. We
also have the kid from the Leftovers. I'm like, Bro,
you were like in an Oscar nominated movie, this is
where you went next?
Speaker 5 (08:36):
Well?
Speaker 4 (08:36):
I expect it really well.
Speaker 1 (08:38):
First of all, I think that one of the things
that that Now You See Me franchise does is it
is a place where critically acclaimed true Oscar level actors
can get a fucking bag.
Speaker 4 (08:55):
They can get let me gay, let me get my bag.
Speaker 1 (08:59):
And that is actually yes, with a fedora or a
bowler hat.
Speaker 4 (09:04):
Yeah, and in a tuxedo. And that is.
Speaker 2 (09:09):
What's going on here.
Speaker 3 (09:10):
If you haven't watched these movies, they're so insane, watch them,
you know, imbibe your favorite, you know, a substance of
whatever that may be, whether it's a coffee or a
joint or whatever, and watch this ship because these are
crazy movies. The new one sees a new team of
young magicians upcoming, gotta find what happened to the Four Horsemen,
(09:31):
And there is an unexpected studio connection. If you loved
the Studio, If in the last two episodes you were
wondering why Dave Franco kept doing magic and pranking everyone,
it's because he learnt the magic on the set of
this movie. So you must watch these movies to truly
understand the jokes of the studio.
Speaker 1 (09:49):
Well, here's the other thing they're clearly going for. And
this is a lot My last thing on this Passing
the Furious is on its last legs. Like true, it's creaky.
It's creaky. I think very clearly. There are multiple series
out there that are being positioned as potentially the thing
(10:10):
that picks up the fast and the Furious audience or
fills that niche.
Speaker 2 (10:14):
And I think this is one of those things.
Speaker 4 (10:16):
And let's see if they do it now you sid me,
do it now you don't.
Speaker 3 (10:20):
Could be my soon it will be now you see me,
Now you see a dinosaur when they cross over with
Jurassic Park, the one crossed over a fantastic board.
Speaker 4 (10:28):
Never did, I mean cost them the furious.
Speaker 1 (10:31):
The only thing they need to do right, and it's
the thing they seem to be doing with Now you
see Me, Now you don't, is make it more diverse.
The Fastings worked because you had the Asian guy, the O,
the black guys, you have the Latino characters, you had
the whitest guys. It was it was the most diverse
action movie franchise ever in history or even movie franchise.
Speaker 2 (10:54):
And I think with the new crew.
Speaker 1 (10:57):
Coming in, maybe Now You See Me is trying to
do that up next and most I'm most excited for
this trailer.
Speaker 4 (11:05):
Ana Conda.
Speaker 2 (11:06):
It's not a reboot, it's not a remake.
Speaker 1 (11:10):
It's a reimagining of Anaconda as its own interior universe.
The Anaconda trailer, the movie starring Jack Black, Paul Rudd,
The wonderful in everything Steve's On is about, and I
urge you, we urge you to watch this trailer. It's
about a group getting back together to remake Anaconda, to
(11:34):
make a sequel, and they're seeking there like an independent
film crew that worked on the original now they want
to do a sequel and they're like seeking funding, meeting
to write a script. So there's like it it's just
kind of really wonderful and a wonderful way to think about. Yeah,
very silly movie Anaconda.
Speaker 3 (11:53):
And it seems like they are at like childhood friends.
They loved the movie. They always wanted to remake it.
They have to do it. They're like, we got to
run and gun it. We've only got like nine thousand
dollars to make the movie.
Speaker 4 (12:04):
And then we see them head in they have their snake.
Speaker 3 (12:07):
Very quickly, the snake dies and they have to head
into the real jungle and find a giant super anaconda.
Speaker 4 (12:14):
It looks so fun, so silly.
Speaker 2 (12:17):
It's very tropic thunder kind of.
Speaker 3 (12:20):
Yes, tropic thunder, Son of Rambo kind of like, yes,
I think this is the kind of way that we
need to see reboots and reimaginings and continuations of franchises.
We need to see them taking these kind of funny,
unexpected turns. And I think even though this does look
(12:42):
very comedic, obviously, Jack Blackpool at Steve's on, I'm so
happy to see Steve's on again. He's always so wonderful
and everything. As you said, Jason, I think that this
is a really clever way to take what to many
people may seem like a campy, outdated movie they don't
necessarily have good feelings about, which, by the way, go
back can rewatch it.
Speaker 4 (13:00):
Because it's actually really good.
Speaker 3 (13:02):
The original Anaconda is actually why does it have a budget?
Like it's like a fifty million dollar like Spielbug movie.
Speaker 4 (13:09):
Like, the budget is good, the settings are good, the
snake is good.
Speaker 3 (13:12):
Jennifer Lopez is good when she was an actor, Ice
Cube is good.
Speaker 2 (13:17):
John Voight the last time I enjoyed John.
Speaker 3 (13:21):
We used to make movies, guys, We used to respect
action films. As super producer Joelle said, this is a
Christmas movie. I think this could be a total banger,
very interesting counterprogramming to Avatar, Fire and Ash feels insane
that that movie is coming out this year. But yeah,
this will be the Christmas movie I'm looking forward to, guys.
Speaker 4 (13:41):
I cannot wait.
Speaker 1 (13:41):
Also shouts to the King of silver Lake, Jack Black,
who I see almost on a weekly cadence walking around
the streets of Silver Lake in the same tied ie
shirt and crocs with a backpack. Yesterday, just yesterday, I
saw him yesterday locking his electric bicycle to the street
(14:03):
sign in front of the Vista as he was going inside.
I think to either see a screening of one battle
after another or to watch all the kill bills.
Speaker 2 (14:12):
Anyway, fine, let's seek a.
Speaker 1 (14:14):
Quick break and we'll be right back with our interview
with director Bryn Cheney, the director of the new Dev
Patel starring feature Rabbit Trap.
Speaker 4 (14:24):
Oh it's a good one.
Speaker 5 (14:26):
Yeah, Hey Bryn, how's it going, Hi, Rosie, I'm all right.
Speaker 6 (14:40):
How are you? Yeah? Good?
Speaker 7 (14:42):
Thank you for taking time talk to me. I loved
the movie. I that was wonderful.
Speaker 6 (14:45):
Oh thanks, that's good. That's gonna make things easier.
Speaker 7 (14:48):
Yeah, yeah, yeah, yeah. How many people have gone and
been like a terrible movie?
Speaker 6 (14:52):
I hate so either none or everyone And they're really
good at lying. But you know, either way.
Speaker 7 (14:58):
Well, that is the of making art is once we
put it out there, we've got to be like at
the people like it.
Speaker 6 (15:04):
Yeah, I know it's rough.
Speaker 7 (15:05):
It comes really stressful. So I got to see a
brain Dead on a big screen. It was wonderful. I
would love to just know starting off kind of like
what was the origin story of this movie for you?
Like where was where did it first click that this
was a story you wanted to tell.
Speaker 6 (15:24):
I think I think the very very early seed of
it was in a short film that I did in
thirteen and that did a film called Morrets in the
Wood Woes, which is a very like a modern fairy
tale that I made when I was living in Germany,
and I used that film as a way to connect
I've also been very interested in folklore of something I
grew up reading, Like some of the earliest books I
(15:46):
read or read to me were books about goblins and
fairies and trolls, and they were as a kid, they
were presented to me, at least I received them in
my little brain as part of nature, expressions of natural force.
And I had always wanted to do with films that
(16:06):
worked in that space where where there's more of a
folk tale or fairy tale logic where the natural world
and the unconscious realm or the psychological even lower than
that kind of unconscious, but those things are entwined or
connected somehow. So I tried it out with a short
(16:27):
film about a little boy who's got home problems and
then he encounters a woodland spirit who offers help. This
spirit might actually be a trickster. And I made that
film and it was partially it partially worked, partially didn't,
But I felt still like I wanted to explore that
(16:48):
that place where Yeah, just trying, I guess, trying to
just trying to figure out can I make films that
use folk logic or they use a fable kind of technique.
The cinema is pretty rigid, we have most Western cinema
is very rigid in the kind of ways that stories
are told, with certain kinds of structures and set up
some payoffs and ways that exposition are done. And I'm
(17:12):
on a bit of a mission to see if I
can bring some fairy tale logic into movies. This grew
out I think of that inclination. Yeah, yeah, And I
wrote it alone for a long time and then I
took it to my Dream Production Company, which was Spec
Division who was at Elijah Woods Production company that did
Mandy and at Night The Greasy Strangler. I mean, I
(17:36):
watched those movies and I thought, whichever fucking weird, beautiful
weirdos made these films, I think they're going to get
what I'm aiming for. So I managed to get them
a pitch deck and they just jumped at it straight away,
and then they've just been the most wonderful supportive partners.
And I think, yeah, you were at the screening you.
Speaker 7 (17:57):
Yeah, yeah, they were there. It was I was kind
of blown away too because I'm from England. I've written
quite like one of the things I love and that
I've written quite extensively about is like Daphne Orham and
Dealing Derbyshire. Yeah, I love them like I'd wanted I
have one of the I have, like there's I've got
a trip tick of novels that I'm working on and
(18:19):
all of them are about a different analogue thing in
British history, and one of them is is that kind
of that kind of space? Yeah, I absolutely will, because
like I was just blown away because in my mind
that era of music and even they did a really
great documentary that was like a half documentary. Yeah, I
(18:41):
watched it a film first a few years ago. Even
that had that eeriness to it because I think the
music they were making was something entirely new, and I
think the power of that can kind of go beyond
the veil. So I loved that. And part of Elijah
and the producer was saying, you know, Daniel, they were
(19:03):
saying like they already loved that music, and they already
knew about the radiophonic orchestras. So what did it feel
like to pitch it to them and have them completely
understand it? Because I feel like it must have been
a mind blower what it was it was.
Speaker 6 (19:19):
It was a mind blow that they even replied. And
I mean, I graduated film school nearly twenty years ago, right,
and so I've made quite a few short films and
this is my third time trying to make a feature,
and I've had I've tried to get an agent at
different times and I couldn't. I've done a lot of
pitching workshops people, and I was kind of none of
(19:40):
it ever really took off, and it never really felt
right to be someone that, at least for me to
go out and try to be what some other people want.
Convince people to like the things I'm writing. Please make
this please. It resulted in so much kind of pain
and like failure, and you know, so with this project,
(20:01):
I decided to do it differently where I was really
targeted about who I went to. I wrote, I wrote
my own favorite movie, and then I looked at loads
of movies being made in that space to figure out
who is making who's going to love this, and who's
going to genuinely love this without maybe having to trick
them or pure So they were the only people I
(20:25):
sent the project to. It took like a year or
so to get an introduction, and it was it was
quite securitous and like crafty. Once they got it, I
was relieved that they loved it, but I wasn't surprised.
This was like a targeted, targeted move from me. Yeah,
(20:45):
and I just that's been really the big lesson for
me and making the film is if you write what
you genuinely love and then take it to people exactly
as it is then and only give it to people
I don't know, like, if someone doesn't get it, move on, yeah, exactly,
And the right people have shown up along the way,
and this film took it still took a long time
(21:07):
to make, and it was a real challenge in a
lot of ways. It was a low budget movie. We
made remote environments in nineteen days on thirty five mil film.
But the people that were on the journey, but really
really on the journey, they made people like so many
of the heads of departments said this is my dream film,
(21:28):
Like I read this and this was the one I'm
waiting for, And we're now so close as people. Of course,
that's the journey.
Speaker 7 (21:36):
That's the dream, right in making cool stuff with cool
people who get it is magic And Okay, So speaking
of that, could you talk about casting dev and Rosie
and Jade, Because they are the movie and it is
such an unbelievable cast it just you immediately just are
in the world with them and completely get it. So
(21:57):
could you talk a little bit about about picking those
is your your leading trio?
Speaker 6 (22:02):
Yeah? Sure. When I wrote the film, I didn't have
anyone in mind. I just love characters for who I
thought they were, and because it's a movie with some
pretty weird swings. It's got some psychedelic stuff, some strippy things,
and it makes some pretty mysterious and dreamy shifts. So
I think this movie will only work at all if
(22:22):
the performances are very grounded and are very emotionally tactile
or electric. You need people who were just there emotionally,
because because the movie is so mysterious, you want the
emotions to be present pretty clear way. So with Devil
was my first choice. We didn't think we'd get someone
(22:44):
on like that kind of level of like fame. I
never wrote thought I want a famous person. Actually thought
I'd prefer to have like unknowns real. But once we'd
financed the film we were able to go out and
look at casting. We decided to take a couple of
big swings first, so can we just go the Death Betel?
(23:05):
And then we looked into it, and he was his
agent was willing to look at the script. He read
it really quickly, like within forty eight hours or so
of sending it. I was sitting down with him in
London having a coffee Wow Trees and myth and how
he was really looking for projects that were director led
and a personal voice, and he was just he was
(23:27):
down to something risky. I think because also he just
made his own his own feature.
Speaker 7 (23:33):
Yeah, Monkey man such a good movie, yeah.
Speaker 6 (23:35):
And such a labor of love for him, I think
down to go into even riskier territory and just to
trust it, give a filmmaker a shot, and like to
support a project it a bit. It's so personal. So
that was dev And then Rosie. I saw her in
(23:56):
Blue Jean, which her performance in that is just astounding.
She is, genuinely I think one of the greatest actresses
working today.
Speaker 7 (24:03):
She's unbelievable. And I feel like in this movie specifically,
if people didn't know about her, they're gonna know about her.
Like the micro expressions on her face, the way you
can see everything she's thinking and feeling throughout the movie
is just so effective. Because the other thing I was
(24:24):
going to ask you not to, Jade, is also amazing,
So I do want you to talk about that. But like,
this is a movie where the mythological and the fantastical
are like in the music and in the sound design,
which I think is very brave. Like you're not going
to see a fairy, you know, in this movie, but
they seem to exist in that soundscape. So could you
(24:47):
talk a little bit about how you make a supernatural
movie about the faye? But you never physically show what
people would assume. You know, a fay looks like.
Speaker 6 (24:59):
Yeah, great, question like how do you do it? How
did we do it?
Speaker 7 (25:04):
How did it happen?
Speaker 6 (25:06):
How did we do that? I mean part of it
was budgetary, Like it was so like there were some
sequences where there was meant to be some sort of
light or shimmering and strange. The veil was actually a
physic going to be a visual presence in the film
as I'd written it, And we did not have the
budget for anyone really complex v effects or on set
practical effects because we were moving so much and so fast.
(25:28):
So there was really a budget reason, how can I
do this story only with sound and to do it
in a way that's not cheap and not just have
like creepy groaning offscreen feel like it's conscious and alive
and just coming in and out of reality. So so
(25:48):
much of it was down to Graham Resnik, who was
design on the film. He came on during the edit
and started building sound designs and textures and things long
before we'd lock the edit, and we could use those
in the edit sequence. And it would things to go
back and forth between the editor and the sound design
and composer, and so based on what they would create,
(26:11):
it would shift the edit and with it was a
very like fluid around, a collaborative way of piecing the
movie together. And the script itself has whole sound sequences
written into it.
Speaker 7 (26:24):
Yes that they were talking about that yesterday. How you
would kind of in then and describe the sound.
Speaker 6 (26:29):
Yeah, yeah, to leave space for it, and that was
also part of the performances. You know, you mentioned Rosie.
Kind of the best things about Rosie is that she
really knows how to inhabit a silence, sit in the
screen and think and listen in a way where it's
just it's so captivating to watch because you can see
every little shift in her psyche and feeling as something
(26:51):
is being processed. And that gave us so much to
work with sounds where we can fill those gaps. And
one little detail is that the cinematographer Andreas Johannesson, who
did It's a beautiful job on the film. We were
talking about aspect ratios and which which aspect Raso're going
to shoot on and we we we talked about frozen
(27:13):
cons of each and we landed on this wide screen
format because when you frame a close up in wide screen,
you give all this, you have all this negative space,
and that is the space where the sound is going
to live. A film that was closer, it becomes much
more about the face and the eyes, but negative space
(27:33):
it can be about the things around them. Yeah, and
we did little things like every every close I mean
lots and lots of close ups are actually done profile
with the ear in the center of the frame. Like
all the way through we've tried to put sound at
the front of the language of the film. Little things also,
like the characters will say, Daphne will say, most people
(27:57):
will takee men like I see what you mean? Do
you see what? I make sure that do you hear?
Do you hear talking about to make sure that the
language was hearing for until until whatever this is. This
is crazy detail of that.
Speaker 7 (28:11):
No, No, I think that's amazing. I love that idea,
And I did think there was a lot of great
set up, like the kind of romantic moment that they
have where it's like the eyes of how you enter
the world and sound the ear is of how the
world enters you. It's like a really great thesis for
the movie. Okay, before I go, I have a little
(28:31):
bit of time left, so as somebody who I also
love like folklore and all this stuff. Something that I
found about the movie that I think is may help
it find like a wider audiences. Have you kind of
read much contemporary modern kind of fantasy? Okay, well here's
a just in case it happens, here's a tip. There
(28:53):
is an author called Holly Black and she writes Fay
dark fantasy kind of ya. But a lot of the
law and understanding of what you do in the movie
is very similar, because I think she's working from the
same stuff. So I'm just hoping that there is a
much wider audience for this than people may think, because
(29:14):
I think there is this understanding of the Fay and
the notion that they're not necessarily like the beautiful, sparkly
creatures we've thought told as children, and kind of learning
a bit more about that world, I was like, Oh,
this is really interesting. I'd love to see if it
has a bigger wider audience because a lot of women,
especially are reading books that are steeped in this world
(29:35):
just in a different way, you know. So yeah, I'm
very excited for that. Now the movie is about to
be out in the world. Is there like a moment
or a soundscape that you're most excited for people to experience.
Speaker 6 (29:51):
I mean Darcy's first encounter with the fairy folk when
he goes into the woods. It's impossible to miss because
it's a yeah, it's literally the microphone following sound the
woods that took us so long to create, and it's
got so many beautiful textures coming through it that I
(30:11):
think it's just a beautiful bit of sound design work.
So that bit, and but also I do want to
say that we did something. This is just a little
bonus for anyone that really likes the film, is that
we did something different with the sound design and the credits.
Most movies will start a song during the credits to
break the tension and let you know it's time to leave,
(30:32):
it's okay to go. But my sound designer, Graham, right
in the last day of the mix brought me this.
It was like, okay, I've done something. Sit down over listen,
and he did this beautiful kind of eight minute sound design.
It's almost like a meditation journey of sound design where
you go through different environments we've encountered in the film,
(30:53):
like storms, the inside of a cave to the underground
itself and then into the fairy the sound of the fairies,
and it's this beautiful, kind of flowing journey of sound.
And on the second screening at Sundance, I was really
happy to see that the audience started to clock, Oh,
this is actually rush to enjoy, to like lie back
(31:15):
and maybe just go on a little sound journey. People
starting to lie down and close their eyes.
Speaker 7 (31:20):
I love that.
Speaker 6 (31:21):
I'm gonna do it as well. And it was such
a beautiful way to end a movie instead of just
going jumping up or getting on your side, for everyone
just to stop, lie down, have a silent moment of
just letting the sound wash over you and then reflect
on what's just happened in the film. Yeah, that's my dream.
Is that more people?
Speaker 4 (31:38):
Well, I love that.
Speaker 7 (31:39):
I mean even at Brain Dead, everyone sat one that
when those credits were going on, they kept the lights
down and kind of set up the Q and A,
but we were all just sitting there kind of having
it wash over us.
Speaker 6 (31:52):
Oh, this is a thing. Should I clap? Should I go?
And then I think at some point you go, oh no,
I'm allowed to just sit here for a bit and
do the thing. That the movie is about, which is
stop and listen to the outside and to the inside.
Speaker 7 (32:09):
Mm hm.
Speaker 6 (32:10):
So I hope people love that bit of it as well.
Speaker 7 (32:13):
I love that and thank you for letting now my
listeners will know, so they'll be able to do that
when they go and see it.
Speaker 6 (32:19):
Yeah.
Speaker 7 (32:19):
I think the movie is won ful. I'm excited for
other people to see it. And yeah, I'm also excited
for the inevitable vinyl soundtrack, which I feel like has
to be coming.
Speaker 6 (32:29):
That would be great. Yeah, we should put out on
a reel to reels as well.
Speaker 4 (32:32):
Oh my gosh, imagine I feel late.
Speaker 7 (32:34):
Yeah, I feel like Muton and Elijah would be down.
Speaker 6 (32:39):
We just need the film to do quite well to justice.
Speaker 7 (32:42):
We're doing it. We're going to go see it. Guys,
go see it. Street themes, diolic and zeros. Yeah, thank
you so much, brend. This was a joy, and I
appreciate you taking the time to talk to me.
Speaker 3 (32:53):
That was my chat with Brin Cheney. I cannot recommend
enough guys go see Rabbit Trap. It's such a unique, fun,
weird folk horror movie. Dev Patel is shining as usual,
so's Rosie mceeu and it's a truly a gem, and
newcomer Jade Crude one of the creepiest performances you'll ever see.
Speaker 4 (33:14):
So thanks again, Brinn.
Speaker 3 (33:15):
Rabbit Trap is out now and here's what's coming up next.
Speaker 4 (33:19):
On X ray Vision.
Speaker 1 (33:21):
On next week's episode of X ray Vision, We're diving
into Peacemaker, We're diving into the finale of Alien Earth
and more.
Speaker 2 (33:26):
That's it for news. Thanks for listening.
Speaker 4 (33:28):
Bye.
Speaker 1 (33:34):
X ray Vision is hosted by Jason steps Young and
Rosie Knight and is a production of iHeart Podcast.
Speaker 3 (33:40):
Our executive producers are Joel Monique and Aaron Kaufman.
Speaker 2 (33:43):
Our supervising producer is Abu Safar.
Speaker 3 (33:46):
Our producers are Common, Laurent Dean Jonathan and Faye Wag.
Speaker 1 (33:50):
A theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 3 (33:54):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi our discord moderator.
Hosts And Creators
Jason Concepcion
Rosie Knight
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