That's a Wrap with Marcus Friedlander

Episode Transcript
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James Jay Edwards (00:25):
Welcome to Eye On Horror the official
podcast of iHorror.com. This isepisode 113, Otherwise known as
season six episode 14. I'm yourhost James Jay Edwards and with
me as always, is your other hostJacob Davison How you doing
Jacob?

Jacob Davidson (00:41):
Could be better just had some oral surgery
yesterday so feeling a littlesore.

Are you on painkillers?

Yes.

Ah right we got drugged up Jacob today this
is gonna be fun.

Well, I mean it's not even like the ad like
actual drug drugs. It's justlike high dose ibuprofen

Oh, that's not fun. All right, well, we'll
let we'll we'll pick up thetalking where you can't also
with us as always is your otherother host Jon Correia, How you
doing Correia?

Jonathan Correia (01:15):
They didn't even give you the strong stuff?
That happened to me when I whenI had my wisdom teeth taken out
they gave me the really strongibuprofen and I was so
disappointed. I was like, oh manwent home and like just you
know, what's like the operationdrugs wore off. I was just like,
Oh man, I guess I'll just sithere and watch Drugs Inc all

(01:35):
day.

Didn't even give you a Tylenol with Codeine
No What's been going on? What doyou guys been see anything good
lately?

I saw one of my favorite movies of the years
of the year in theaters.

Let's hear it.

Did you guys see Bottoms yet?

Yeah. I love Bottoms.

Oh man Bottoms is fucking fantastic. It's a
it's the same team who did ShivaBaby and, which is also
brilliant. If you haven'twatched that. First of all, I
think it's on Max or Hulu butdefinitely get the blu ray
because the blu ray disc is justis a bagel with schmear. It's

(02:16):
one of my favorite artworks, butBottoms, was directed by Emma
Seligman. And it's got RachelI'm butchering names this
morning. Rachel Sennott, who isalso in Shiva Baby. And they
wrote it as well. But Bottoms,is I, just when you think that

(02:39):
the teenage sex comedy is dead,Bottoms comes out and goes no,
it's not dead. It just needs tonot be boring white guys trying
to lose their virginity. Insteadwe get like angry lesbian incels
who who try to get laid bystarting a fight club in their
school.

Yeah, I love that they're constantly referred
to as the ugly untalented gays.

Like, no gays are accepted just not the
untalented or ugly ones. Likethe whole movie. And they're
just so angry. It's great.

And also it's just got the right amount of
like absurdity to it it's almostlike a cartoon. And there there
is a lot of violence and justkind of like Yeah, it's like the
Heather's type thing where it'slike the school hierarchy stuff
is serious business.

Oh yeah.
There's so many great moments init and it's but it's also like
wears it's heart on its sleevesyou know like the like the
comedies there but it's allaround really good and I think
I'll watch pretty much anythingwith Rachel Sennott at this
point because between Bottoms,Shiva Baby, and Bodies Bodies
Bodies, she's she's killing it.

Let's move on to something that's remotely
horror.

That's remotely horror they beat the
shit out of each other.

I saw A Haunting in Venice. Oh shit.
It's not a Haunting inConnecticut three goes to
Georgia to a haunting events. Itis it's an Agatha Christie
adaptation that you know KennethBranagh has been doing those
last few years he had a Murderon the Orient Express and then
Death in the Nile. And now he'sdoing a haunting in Venice. It's
it's after the Agatha Christiebook Halloween Party. And it

(04:23):
actually is, I mean, it's it's amurder mystery at its core, but
it's also kind of a supernaturalghost story, because what it is,
is they go to this house thatwell, the whole thing is Tina
Fey plays an author, I guesskind of like Agatha Christie.
And she, Hercule Perot is kindof in isolation, you know, kind

(04:44):
of retired, semi retired, andshe's an old friend is so she
brings him out of retirement.
She says, look, there's thismedium doing this seance on
Halloween. And it's this closeto having me as a believer, I
need you to come with me anddisprove this. So he goes there
to disprove the seance and ofcourse, at the seance people
die. So it is like a spookyghost story because they're kind

(05:05):
of in this haunted place when ithappens. But you know, and
Hercule Perot is Kenneth Branaghwith one of the most amazing
mustaches you're ever going tosee on a movie character. And
he, you know, he does his stuff.
In fact, at one point when thebodies start not piling up, but

(05:26):
you know, after the first bodybecause there's more than one
murder. When the the first bodygoes, there's a storm and it's
in Venice, so they can't get thepolice can't get to them on the
canals. And this is a big momentwhere he's coming out of
retirement. He goes, call thepolice tell them Perot is on the
case. It's real dramatic, butit's it's fun. It's it's a it's

(05:51):
another one of those movies,that I'm not sure why they
didn't wait another month and doit for Halloween. You know, it's
because it is real spooky. Andit actually takes place on
Halloween. It's just I don'tknow, but anyway, it's, it's a
lot of fun.

Is everyone scared to compete with Saw X? Is
that? Is that what's happening?
Well, I know. I know. People arescared to compete with you know,
the Eras Tour movie because theybumped up Exorcist Believer for
that. But like, yeah, it seemslike even before that everyone's
like, no, no, don't touchOctober. Jigsaw is back. Like,
yeah, we're not touching that.

I'm not gonna lie. I am kind of excited for
that Eras Tour movie, becausegoing to the eras tour doesn't
excite me just because I thinkthe live music experience unless
it's in, you know, a club thatholds like, 80 people, I'm kind
of over plus the expense. Imean, I couldn't even afford to
park at one of those shows. ButI kind of do want to see the

(06:50):
show. Soall my friends who have been to
one of her concerts were like,it's fucking insane. And like
the videos I've seen, I'm like,Yeah, if that's shot Well, like
that. That would be insane. Evenif you're just kind of into.
Did you guys what we're goingoff like lots of non horror
tangents today. Did you guys seeMiss Americana, the Netflix

(07:12):
documentary about Taylor Swift.
It it's weird because I mean, Icould take or leave her music.
But as a person I really likeher. She's, she's got her head
on straight. She doesn't takeany crap. You know? And it's
it's just, she's just reallylikable and seems like a really
genuine person. If MissAmericana is the documentary and

(07:32):
it basically it's kind of hangsout with her while she basically
came out against Trump, youknow, and and stuff. So that was
like a big, you know, she's atone point, she's sitting with
her publicist, and it might evenbe her mom. And she's about to
tweet out, you know, herthoughts about you know,
politics, and she's, Oh, do wedo this? I'm scared. I'm scared

(07:53):
and her publicist is like, I'mscared for you. This could
really you know, cuz she's fromwhat? Tennessee, Kentucky you
know, she's from the, you know,the area that you know, she's
not supposed to think that way.
But she's very progressive. Butyeah, I'm, I'm low key excited
for that Eras Tour. Honestly,

but anyways, back to A Haunting in Venice,
because I'm very interestedbecause I liked the Hercule
movies And I was very, a theydidn't shoot it in secret, but
it felt like it because it waslike, during COVID. And like,
you know, Death at the Nile waslike, got super fucked both and
just like timing with COVID. Andthen the fact that like, you

(08:36):
know, the two of the leads cameout, it's like, what one
extremely problematic, but onekind of, and then it was just
like, and then and then allsudden, they're like, yeah No,
he shot a third one. And it waslike, what? Yeah, one? When did
he have the time?

it doesn't quite well, it doesn't have
quite the size of cast as theother two, which is might be a
symptom of, you know, COVID andit also doesn't have as many big
names Michelle Yeoh is in it.
And she she plays the medium.
And she's a lot of fun. And likeJamie Dornan is in it and a
Oh love himthe woman from Stillwater with

(09:13):
Matt Damon, um what's your name?
Camille Cotton, isn't it? So itdoesn't have huge names. Tina
Fey aside from Kenneth Branagh,Tina Fey might be the biggest
name in it, but it you know, soit's not quite I mean, he's the
other ones were just starstudded ensembles. And this
one's a little more low key it'sa lot of I know that face you

(09:34):
know, I know that face. Cool.
And it does have that spookysuit. There's places in it where
you're like, Wait, was thatcharacter real? You know, he
like what was that a ghost? Youknow, you're it's it you know,
it's more than just a murdermystery. It's kind of like a
haunted house movie too now I

know. We got the origin of his moustache and
Death on the Nile. But do we getany more origins of other
eccentric attributes to Hercule?

I don't think so. I know it's because it
starts off where he's likebasically in seclusion, and
there are people lined up at hisdoor saying, Hey, can you help
me solve this mystery, you know,and he is like nah. It's funny
because it shows him with like amagnifying glass and like a
fingerprint brush, but he'stending his garden with it.

So this is basically the Commando of the
Agatha Christie movies.

It kind of is. He gets pulled out of
retirement by like an oldfriend. You know, Tina Fey and
Tina Fey, I guess her her writermade him famous because she
based a book on him.

Okay, so it's kind of meta with her being like
the Agatha Christie type.

Yeah, you can totally tell that Tina Fey's
character is based on yourAgatha Christie base that on her
Agatha Christie has a remarkablewriter because what is she
right, like 90 books, and mostof them are good. They don't
really lean on. I mean, theylean on a murder mystery
formula, but there are surprisesin all of them. So yeah, that's

(11:04):
like Who else has that kind ofoutput? That's consistently
good.

And this was the first time this book was
that adapted. Right? I thinkthat was like one of his things.

I'm not sure I'm not aware of any other
adaptations of it. But I can'tsay for absolutely sure this is
the first but yeah, KennethBranagh has got a long list of
stuff to adapt if he wants tokeep doing these.

As long as someone is still paying for
them. I'm sure he'll keepwanting to do them.

you know. So I got my I got my Severin Films
order in from the halfway toBlack Friday sale. And I got the
new stuff. The 4k of Fulci's ThePsychic and The Last Horror
Film. Nice. Yeah, Jon, did youget yours?

I got mine.
But I did. Well, I did the LastPicture Show. Because it had it
was

Last Horror Film

or last horror film. Yeah. Because that's the
only time they were selling it.
I don't know if they're ever. Iknow. They're definitely not
going to do it with the Maniac 2slip cover. But oh, yeah, I
think they said they're not ableto do it again, actually, like
the

Just a one off.

So I had to hop on that. But I got
Nightmares instead of ThePsychic. But I did get the music
box for the psychic. And so I'vebeen playing with my music box.

I got that too.
It's very, very cute.

It's so cute.
And it makes me regret notgetting The Psychic as well. So
I might have to get that soon.
But it I mean, wallet was tight,so I was like I can only get two
out of the three.

Yeah, same here though. Those are some heavy
duty 4k releases.

But they're gorgeous. I haven't been able to
go through the discs yet. ButNightmares and The Last Horror
Film are both just like thepackaging is, ugh, Severin
killed it again

Yeah. And I watched The Last Horror Film and
it it is surprisingly clever andfun because it's basically Joe
Spinell as another obsessiveguy, you know, kind of like
Maniac but not exactly and alsoin the ad like it's this film
angle because like he's a taxidriver obsessed with this
actress and making a horrormovie and he goes to the Cannes

(13:09):
Film Festival 1981 where theyactually shot guerilla style.
You know, like a lot of footagewith him like weaving through
the festival and like there'sthese murders happening, but
like the question is, is he thekiller or is something else
happening? And it's really coolbecause like Joe Spinell is is

(13:29):
the lead in this and it makes mewish that there were more movies
where Joe Spinell was lead.
Did either of you get the JoeSpinell plush? Guys?
I did not. Dracula's JoeSpinell.
I have too many plushies rightnow like I made the joke one
time I was like, Oh, I luckedout not gonna throw pillow
partner you know partners intothrow pillows. And Lindsey went

(13:51):
Yeah, cuz you're the throwpillow partner. I was. Oh, no, I
am aren't I?
I mean, you just got thisGhostface plush.

Yeah, I just got Ghostface

did you get I sent you that link to the
cryptid to the cuddly. cryptidsyou haven't gotten moth man yet?

No, no, we're like I said we're trying to
we're trying to be we're tryingto be good boys. Now I got my
ultramans I got you knowGhostface

those cuddly cryptids they're they're they're
a little pricey though. They'relike 30 bucks each but the The
Jersey Devil it is totally cute.
It almost looks like a My LittlePony version of a Jersey Devil.
He's but that's what they arecuddly. cryptids

it's cute, but I just got one of Gus from Saga,
the comic books and he's soadorable. He's got his little
boots on and his little brainoveralls. Like I can't talk the
cuteness of Gus snare. If onlyhe came with an axe.

I saw another cool documentary where you could
tell there weren't a lot ofhorror releases because we're
kind of going all over theplace. This documentary that it
was one of those ones that wasfor two bucks, something Do so I
rolled the dice it's calledvolcanic UFO mysteries, have
either you guys heard of this?

with a title like that I think you underspent
bud!

what's it about? It's it's kind of I mean,
it's pretty short too it's likean hour long but it basically
the thesis of this is thatvolcanoes provide the energy to
UFOs and it shows a lot of likepictures or even video of like
volcanoes about to erupt andthen a UFO will kind of fly into

(15:33):
it and then the volcano willsettle down you know, it's it's
it basically explores the,explores the ties between
volcanoes and UFO activity iswhat it does. But I love those
kinds of documentary like the InSearch of, you know, type
things. I mean,

yeah, that just reminds me were super early
pre concept on a Sasquatchpicture, and just doing some of
the research into some of thecommon threads with Sasquatch is
and Bigfoots. And like, gettingmore into like, the conspiracy
theory side of Sasquatchs abouthow they're creatures or beings

(16:16):
that have access tointerdimensional portals and
stuff. And that's why never, youonly catch glimpses and stuff
and like,

that's actually true. Oh, yeah. I don't
know if it's so muchinterdimensional portals, but
what it is, is and I've saidthis before Sasquatch, there are
a lot of Native American tribesthat believe Sasquatch is can
exist on multiple levels. Andthat's why, yeah, that's why

(16:45):
when you go on a Bigfoot hunt,you never find him because he
Well, I say he but there arefemale Sasquatches. But
Sasquatch is they'll they onlyreveal themselves to people they
want to reveal themselves to soif you're looking for them,
you're not going to find them.
But if you're just wanderingthrough the forest with your
dog, and then all sudden, hey,I'm a Sasquatch.

It's like the end to Harry and the Hendersons.
You know, I will say thisthough, I do have a buddy who is
working on a doc of, a Bigfootdoc. And they do have this weird
phenomenon on some some of thesewoods where it's like high
activity. And he's a he's askeptic, but he's doing the
camera with it. But there'sstuff that he can't deny, like,

(17:30):
in these areas, there's weirdphenomenon of like, like, your
phone will die like thebattery's dead. And it's like,
it's like a sudden drain likeyour phone. And it's not just
like cell phones. It's also likecamera batteries, all these
other stuff. But then once youleave the area, it turns back
on. And like the power level iswhere it was before. That's a
weird thing that you can't quiteexplain like you can explain

(17:53):
like, oh, I can't access stuffor Oh, my battery died maybe.
But like it coming back. That'sa weird angle. But he Yeah, he
developed a way to like save tolike keep the camera battery.
He's he's an engineering genius.
It's annoying, how quick he isto figure out stuff but he
figured out a way to like keepthe batteries going. So I
wouldn't be surprised if his doclike blows up because it's like

(18:16):
the stuff that he's figured outhow to do to actually be able to
record in those areas is insane.

All you have to do is spin the crank on the
side

we're talking digital here, not analog. Kind
of slightly off topic. I mean,we cover comic books. I did
finally watch the new Justiceleague Warworld which is one of
the new animated films that's apart of the Tomorrowverse era
because the era that Jay isgoing through right now that's

(18:51):
the previous like new 52 DCanimated universe and then
afterwards with starting withSuperman: Man of Tomorrow, they
they kicked off a new one andWarworld is the new one and it's
all right. It's it's basicallylike it's you follow Batman,

(19:11):
Wonder Woman and Superman inlike different worlds because
like it opens up with WonderWoman in the world of Jonah Hex
if you remember he's the facescarred Western character from
DC so it's Wonder Woman in theOld West. And it's it's like a
story there and then like, itsuddenly ends and then next

(19:34):
thing you know you're in aprehistoric world. And then it
becomes Batman is like a in aheavy metal type prehistoric
supernatural mythos world wherethere's the character Warlord,
who was a DC characters and likethat sci fi like John Carter
type thing, and they fightdinosaurs and stuff and then

(19:58):
Wonder Woman shows up at the endand Then the next story is like
Superman and like a 50s alien,paranormal, paranormal, or alien
invasion, like communist blackand white picture. And like with
each story like towards the end,like one of the other characters
ends up so then you end up withall three in that one and you're

(20:20):
just like What the hell's goingon it turns out they're all on
Warworld which is Mogles thingand like it's like a whole
convoluted thing where they'rebeing forced to imagine being in
the scenario so that like theycan fuel the giant battle
station Warworld off their fearso you can tell it's very

(20:41):
convoluted but it's it's fun. Imean, there's there you know,
the animations fun like I said,the different styles where it's
like the prehistoric planet islike done in like a very like,
Heavy Metal type style and thewet Westerns Western and then
like, the alien one is like 50sparanoid communist paranoia.
voice cast is all right, theygot Jensen Ackles, as you know,

(21:02):
from Supernatural as Batman, andit's okay. It's it's, it's also
like one of DCs animated films,like few R rated ones. So it
gets a little bloody, but itjust kind of ends. And I'm like,
what was the point of all this?
You know,

How long is it? Is it those movies are
usually like an hour 20 Is thisone?

It's an hour and 30 Okay, so it's not it's
not too too bad. It was just Idon't know. I think it was a
little too hyped for it becauseI was like, yeah, it's gonna be
R Rated, it's gonna be bloodyand they got Jonah hacks in it
and like these deep cuts likewar lord and stuff like it's
gonna be dope. And then like,they get to the Warworld. You
have like because like the wholetime you watch it, you're like,
this is leading to somethingthis is leading something and

(21:42):
then it gets there and then itjust kind of ends and it's like,
kind of felt like like, it feltambitious but like, didn't lead
up to ending the I don't know ifthere's like gonna be another
sequel or something. Because theTomorrow verse movies are very,
like, kind of connected, but notsuper. It's like that Justice
Society and a few others, butyeah, that's fine.

That's how I was gonna ask Is there another
movie because that's the way Ifelt in Spider Man: Across the
Spider-verse. I was like, I waslike, this is leading up to
something and then when I'mlike, There's no way they can
wrap this up in you know,whatever they have left and then
they didn't there's gonna beanother part.

Well, what that would there was very
clearly like, stay tuned forpart two. Yes, one it just, it's
like it. They don't do that. AndI'm like, Oh, ok

Across The Spider-verse ends on a huge
cliffhanger. It's like, youknow, there's like a big
cliffhanger and then they saystay tuned for Beyond the spider
or whatever it's going to be

whenever that comes out.

Yeah, well, yeah. Wherever anything comes
out, and these days, we neverknow.

I got one more slightly kind of adjacent movie
where this is the adjacentepisode. We're talking about
horror adjacent stuff.
Telemarketers on HBO or, not HBOmax, on max. And

will always be HBO Max. Yeah.

Anyways, anyways, Telemarketers is a
three part Docu-, crime Docuseries. That's how that's how we
keep this related. But it'sproduced by the Safdie Brothers
and Danny McBride with his RoughHouse production, so like a
Jonah Hill, Jody Hill, and thenare also producing on it. But

(23:31):
it's this. It's about these twoguys who worked at a
telemarketing call center, andthey would call for like police
union FOPs, eventually cancerassociations and all these, and
they started filming, likefilming in 2003. But the thing
is, is like one of them's aheroin addict, and the other one
is just like a juveniledelinquent at that point, you

(23:53):
know, this is back in 2003. Andthey're just shooting a bunch of
footage in the office of like,all the shenanigans that go on
and it gets the company ends upgetting shut down by the
government because what theystarted doing was saying that
they were the police calling toraise money and it like kicks
off like a 20 year journey.
Through these three episodes.

(24:14):
You follow them like fall out ofcontact with each other and like
get more into this conspiracysides of it, but it's so good. I
wouldn't my first job in LA wasworking at a call center. It
wasn't quite as Dungy is thisone because that the one in the
movies it's in Newark, NewJersey, so of course there's

(24:36):
that but they get really intolike, how these call centers
they call for the FOP, which isthe police union, which is
essentially like they're sayinglike, donate money for fallen
police officers or injuredpolice officers and their
families. when really you'reraising money for their Hangout
bar. They're their littleclubhouse their, because it's

(24:56):
the fraternity of police and,

and it's like a frat house.

Yeah, and police unions are corrupt as
fuck. It's one of the mostcorrupt things out there. So
like I'm a I'm a huge, strongunion strong union supporter,
except for the police union.

police union is too powerful. It's like yeah,
you can literally kill someoneand not lose your job.

But that's and that's the thing with this too,
is that every time these liketelemarketing companies get shut
down and stuff, it's the policeunions are never touched, even
though there's like all thesedocumentations showing that
they're working together andthey're coming up with these
things. But it's it's abrilliant documentary. Partly
because the two main guys whoshot and produced it had no

(25:44):
business especially in thebeginning on making a fucking
documentary at all. They'rereally bad at it. Like the early
like, you can tell somebody camein like late during the like,
the last leg of it and and likehelped like, you know, piece it
all together and like make itmore professional. But boy, are
they endearing, They're justadorable. But yeah, dude like

(26:06):
the conspiracies thenonconspiracies like the actual
like stuff that they reveal.
It's like so messed up and sofucked and it but it's so good.
I can't recommend it enough.
Telemarketers. It's threeepisodes. So it's like a three
hour watch, baby. But like, ifyou're going to watch, if your

(26:26):
clock, if you're going on to maxfuck The Flash, go watch
Telemarketers.

And now let's move on to our guest today.
Today, we've got thecinematographer for the new
movie. That's a Wrap MarcusFriedlander. How're you doing
Marcus?

Marcus Friedlander (26:40):
I'm fantastic. Thank you very much
for having me.

Cool. Thanks for being here on this early
morning. The question I alwayslike to start with people is how
did you get started in yourcareer as a cinematographer?

Good question. Yeah. For me, it's I
grew up in LA, I kind of justalways knew I wanted to work in
film, in the film industry insome way. And specifically
production. The first time Iever walked onto a set when I
was in film school, or just Ijust knew, you know, he felt the
energy, I felt the chaos. And Iwas like, Yep, this is where I
was meant to be. And didn't knowexactly exactly where I was
going to land. I knew somethingI wanted to do knew I wanted to
work in storytelling, I knew Iwanted to work specifically in

(27:13):
visual storytelling. It was kindof a balance between directing,
DPing, and writing for a goodamount of the early part of my
career. When I was in highschool, I directed a bunch of
shorts, and I shot and editedand wrote and, you know, put
myself through the ringer andlearned a ton of painful lessons
that you learn when you firststart making movies about all
these ideas that are my headdidn't just appear on screen for
some reason. And that was a verygood learning experience, and

(27:35):
then went to film school withthe assumption I was going to be
a cinematographer. So I went forproduction as a cinematography
major, Cal State Northridge. Andthen my first semester, I was
lucky enough to start working onsets, friend of mine got me a PA
job, which, you know, as thesethings go, they just kind of
bounce, bounce bounce. And by mysophomore year, I was taking my

(27:55):
first real production classafter having been worked as a
first AC for like six months atthat point. And one of the
questions on my final was,what's the C stand? And I was
like, this is this is a waste oftime. Why am I doing this?

Way beyond that.

Exactly. So I switched to screenwriting. And
it turned out to be the singlebest decision I've ever made my
entire life, recommended toevery single person I've ever
talked to. Production is great,you learn a lot, you know, that
you may not have access to youwant to three point lighting,
those types of things. But in aworld where no film school
exists in a world where theinternet exists, it seems like
such a waste of time to spendthat much money that much time

(28:28):
and that much focus academicallyon things that you can learn
with five minutes of your ownresearch. So instead, I learned
storytelling, I learned moreimportantly, how humans work. I
learned how to communicateideas. I learned psychology and
sociology and history and sight,you know, all the things that
you really get out of a liberalarts degree. And every one of
those things made me aninfinitely better filmmaker than

(28:48):
learning what a C stand isletting the three point lighting
is in a classroom, you know. Andthat from that I was lucky
enough to kind of do a balanceof theoretical in class learning
about how the world works andpractical onset still working as
a first AC, still making my wayup through the ranks. And then
by the roughly my senior year ofcollege, I was like, I'm ready

(29:09):
to do it, started a productioncompany with a friend that
wanted to shoot features knewnobody was gonna hire a 20 year
old to shoot features and neverdone it before. So we started
producing stuff ourselves, I wasable to hire myself as a DP and
the ball was kind of rollingfrom there. The first one we did
was was October 2015. And thatwas my first feature. And the
one I'm about to start tomorrowis my 39th feature. And what is

(29:33):
it? 7,7-8 years? Something likethat,

yeah, we we do want to talk about your
resume as we go up. But, um, buthow was the film program up
there at CSUN? I mean, becauselike, we Jon and I both been to
film school. I was at San DiegoState and I loved the program
there. But like you said it.
It's kind of what you get out ofit. I mean, like there are

(29:55):
people, everybody kind of findstheir niche and I Um, and I
think you're right. I thinkeverybody who wants to go to
film school should focus onscreenwriting. You know, even if
they have no interest in it, youknow, even if you want to be a
sound guy, take somescreenwriting, you know, even if
you want to be, you know, a setdirector or a set designer, take
some screenwriting. How's theprogram up there? Is it? Is it a

(30:17):
good program?

So I liked, I liked a lot of things about
the production program. Thefirst class that I was talking
about that had that final to me,also was able to direct it was
really kind of the last thingthat I direct before I really
fully went into duping was ashort film called Hell Bent
Hotdogs that about a competitivehot dog eater who takes stomach

(30:41):
steroids to win a hot dog eatingcontest, but the stomach
steroids make them massivelyhallucinate. It's a ton of fun
to shoot, it's still somethingI'm very happy with. But I show
it to people when they ask, youknow, what have I done a lot, a
lot of fun. So like things likethat I absolutely loved and I
met a couple of filmmakers inthat group that I still work
with, but and tons of people,you know, especially at the
start of our careers, we're allthrowing jobs to each other,
hey, I got a DP job, you want tocome AC for me, you know, those
types of things. All that wasincredibly invaluable. But as

(31:03):
you get deeper into the program,in my opinion, it was just
getting less and less desirable,when you get to the senior
thesis program. And this allcould have changed. This was
almost 10 years ago, now maybelonger at CSUN. But when you
have to the senior thesisprogram, you had to pay $10,000
to continue working. And thatwasn't necessarily to direct
your movie that was just youcould maybe you produce maybe

(31:25):
first ADed, maybe you ended, youknow, you could have gotten the
short end of the stick and stillhad to pay 10 grand. That was
one of the onuses of me startinga production company and said
was I raised this money, whywould I give it to you when I
could give it to myself and seewhen my opinion greater returns
from it. That being said, a lotof my friends stayed in the
production program and have donevery well for themselves and

(31:46):
definitely don't want todisparage it completely. It just
wasn't right for me. Yeah,that's uh, that sounds kind of
shady that you have to put upthat kind of I mean, we always
the I think the important thingabout film school is you have
access to equipment, and youhave access to people. And like
you said, when whenever we woulddo projects, we would split it
however many people were in thegroup, and we never had to just

(32:06):
put in 10 grand each to makeanything. That's that. That
sounds kind ofYeah, it didn't seem like the
best use of time, the best useof money. But for a lot of
people, it was a lot of peopleit was their first chance to
make something and then theyjust kind of said, Hey, this is
what I can do for the rest oftheir early career. And yes, I
don't want to disparage youcompletely. I want to tell
people don't go to film schoolbecause in my opinion, it's a

(32:26):
very, I'm a big fan of the termmicrocosm of life. Film School
think was very much a microcosmof life. Where microcosm of the
film industry where the peoplewho wanted to make films, met
people, connected, work theirway to make films, and the
people who are expected to justget hired did nothing. That's
kind of the way the filmindustry works. You know, there

(32:47):
are some people who will justget a phone call. Like, I'm very
lucky to be at a point in mycareer where my phone rings, and
I don't really have to reach outto things which I'm very, very
blessed to say. But it took 10years to get there type of
thing. And if I hadn't been youknow, that kind of hustle idea
of I want to meet everyone I canI want to connect everyone.
Let's go get a beer. Let's goget coffee, let's talk What do
you want to do with your life?

(33:09):
You're not in that kind ofheadspace. When you're in film
school, you're gonna have a lotof trouble outside of film
school, too. And I'd like toterm to use you only get what
you put in. It's just as truefor everything in life as it is
for film school as well.

Yeah, definitely the biggest lesson,
or the most lessons you can getfrom film is being on set. I
know that sounds a littlecliche, but like when you're in
the thick of it. Yeah. Likeyou'll, you'll learn what a C
stand is real fucking quick.

Exactly. I knew I wanted to do this. But it
wasn't until the first time Iwas on set and felt that energy.
I'm a big energy guy, but reallyjust kind of felt and was in
that world. Like, yeah, this is100% the right chaos to me.

Yeah, you can squeak through film school
without really doing much, butyou're cheating yourself.
Because, you know, you have tohelp out with everyone's
projects, because then you get afeel for for everything. You
know, if you the more you can doon set, the more valuable you
are so

100% 100% Now, your latest film, That's A
Wrap that recently just came outin the last few weeks on VOD and
all that. Tell tell us a bitabout this project because with
that it's a very meta kind offun slasher but with like giallo
influences all over I mean, eveneven when it's meta the

(34:19):
characters point out so much ofit like there's one point where
they're like, it's a Giallofilm, You know, red JellO, like
in the hospital? No Giallo , youknow?
Exactly. I love that whole beatit Sarah and better, just
absolutely fantastic. And thatwhole sequence and I'm very

(34:42):
excited for people to see thestart of that scene and then the
very end of that scene, as wellas they're very happy with the
way that that climax.

Yeah, the end was was real good. But I mean,
it's definitely a film that woreits influences on its sleeves,
but well. So with the cameraworkand whatnot like how much of the
influence of like previousslashers and Giallo films were
present,

Yeah definitely so references were a
big part of this was my firstmovie with Marcel and I always
start with references, you know,what are we? What are we doing
here? What are we referencing?
What are we homaging? What do wemetaing, you know, and Scream is
his favorite movie of all time.
So you can see the very obviousscreaming references as well.
And then Suspiria, of course,massive reference in many
different films that I've doneover my career. And it's so fun

(35:27):
to can you, continue coming backto the same, the same thing and
kind of find a new version ofit. I did a an art horror film
in like 2018, that was aSuspiria reference. That was not
Giallo as a whole, it was justabout these ideas of the strong
color cast type of thing. Sothen getting into this movie
going very true to the Gialloaspect. Was was lovely, because

(35:49):
the color aspect of it is great,but it's really more about the
impact of it, the genre esqueaspect of it. And so Marcel
said, Look at Scream, look atSuspiria and then specifically
look at American Horror StoryHotel, which is kind of been a
running joke for us every moviewe do. It's look at this pilot
of this season of AmericanHorror Story. And that's what
kind of we're focusing on. SoGarden of Eden, it was American

(36:13):
Horror Story New York. And thenthis one, there actually isn't
quite so much but a little bitof totally blanking on the name
of the one that takes baleen onethat takes place out of the
desert, except that with someblack and white. So references
were big, the way we move thecameras all related to Suspiria.
And to kind of Giallo and at theend of the day, my goal is to
communicate the ideas that thedirector wants and director

(36:35):
wanted to Scream with as muchGiallo influence as possible.
And yeah, that's what I think weended up delivering.
What was the shoot schedule,like on this one was it was it a
quick shoot, orvery much so I think was eight
shooting days for the wholemovie. But it was all took place
in the same studio and theparking lot outside the studio.
And the way it was written wasto specifically take advantage
of that. So we spent I think waslike two days in the main party

(36:58):
room. And then every day theshoot was alright, we're in this
room shooting every scene that'sin this room or in this room
shooting every scene in thisroom and the way the story is
written it's mostly right today,it's about this character story.
And then tomorrow, it's aboutthat character story. The only
day that was very tough was thelast day of the shoot where we
shot the whole opening in themovie we bounced around the
entire studio inside outsiderain gags kills, you know, it

(37:18):
was definitely a tough day.
Yeah, there

was definitely a lot going. Opening with the
because just the whole, like youwere saying the whole film takes
place in a studio. And whenit's, it's because I never want
to sound dismissive with this,but it's all takes place in the
studio was shot in a studio. Didyou have that problem? Any
problems of going? Alright, Ineed to say wait, no, that's a

(37:44):
set piece. That's not my actualequipment or anything like that.
Because some people would belike, Oh, that's smart, because
you save money because you don'thave to hide the cables or
something. But that's not trueat all, because you still gotta
move

on. So I made, I made a very specific
rule for us that we did kind ofbreak at times, but wasn't super
happy with in the Edit whatever.
Yeah, but we've made a veryspecific rule of time that we
were going to make a separationbetween active production and
passive production. So if a Cstand cart is in the background
of the shot, that's fine. Butthe stand that a light is on
it's lighting, an actor's facecan't be in the shot. And as
long as we kind of maintain thatbalance, we can have as much

(38:18):
film gear as we want. And neverreally feel like we're making a
movie so to speak and ruiningthe the gag. There was only a
couple times where like, I thinkin the opening that rain gag
thing that happens you catch alittle bit of the C stand that's
holding the rain gag. And I waslike, I don't feel like that
needed to be in the movie. ButMarcel I talked about, he's
like, No, I do want to kind oflampshade the rain gag aspect of
it is like okay, yeah, I'll backoff on that one. But for the

(38:41):
most part, no cables that we seeare actually plugged in no
stands that we see are actuallyholding lights, and it's more.
It's all just set deck. Yeah,cuz

I was looking for that because especially when
you have the high contrast withwith the color palette that
you're working with, and theharsh lights and everything. I'm
like, where is it? I know it'scoming from up there. Let's see
if it gets a shot because youcan get away with it
technically, but I like that,that you went out of your way of
this is passive This is active.
So keep the active out

of it. I didn't want it to feel like a
music video because that's a bigpart of the music video look is
this very strong color contraststuff where lights in frame and
you have the actor or the talentcrossing, you do these big
flares, I was like, that didn'treally feel like the the Giallo
version of this story. So likefor instance, in the party room,
we got a big backdrop like a itwas like about 20 or so feet,

(39:33):
fake night sky type of thing.
That's a backside backdrop forone of the scenes that was
hiding all my stamps, basicallywe were using that to light you
know and hiding stands behindeverything. You know, everything
that was actually being lit wasbeing hid cleverly the same way
I would do if I was doing youknow, any other movie, you know,
but this one when we pan across,there's all the gears in the
background and

great. Did you guys reuse the premiere for it
because the movie inside themovie that they're wrapping
party for is called That's aWrap. Did you guys reuse the
premiere backdrop for thepremiere

for the step and repeat for the actual
career? Of course, of course, ofcourse. That just adds them to
the meta aspect of the film. Youknow, it wouldn't be we wouldn't
be completing the story if webought totally new gear for the
premiere.

Well, and that's one of the things I
really enjoyed about it. It'sjust those little, like nods and
stuff, where it's like, oh, theydefinitely use that banner for
the premiere later. That's more.
That's, that's great accountingright there.

It's actually really funny that we're
talking about the movie within amovie because that was one of
the key aspects for me for, Ihad worked with Sara before I
did a movie with her. The AugustI think it was before we had
shot this one was just lastsummer. And I hadn't met Marcel
hadn't met Joe but did kind ofknow of them. And I was a bit
worried because I don't comefrom the horror world. I come

(40:46):
more from like the indie artworld and found horror kind of
later in my life. And there'slike a little bit of I don't
want to say negativeassociation, but a little bit of
genre obsession with a lot ofhorror filmmakers or filmmakers
for the loss of the film itself.
And that's something that I getkind of worried about when I get
into meta thing. People are soobsessed in the meta that they
forget to tell the story. Sosomething that was kind of weary
about when I was interviewingwith them. And then the first

(41:06):
first interview they showed methe movie within a movie stuff
the trailer that they were goingto be showing you in the thing,
and I was like, this is exactlyhow I would have lit and shot
this like what like this isfantastic. That's amazing. I
clearly you guys know whatyou're doing. I don't need to be
worried about anything.

You mentioned your catalogue of work 39 movies
in seven years I think were thenumbers

Something like that yeah,

Scrolling through and this is going to
sound like I'm making fun of youbut I absolutely I absolutely am
not eat our collective favoritemovie here at Eye On Horror is
Rampage so you know we lovemovies like this, but let's
let's go over some of thesetitles. 20.0 Megaquake, Super
Volcano,

Yep

Bullet Train Down,

Yep

What was there was one what is it? Eight
there it is Ape Vs. Monster

Ape Vs.
Monster, that I think is theworst reviewed movie I've ever
shot.

Alien Conquest, Triassic Hunt. Okay.
Are these Asylum movies

Very much so. Yeah.

Okay.
Because, and you have to admirewhat Asylum does I mean, I think
that they

I have a lot of love for them. A lot of love
and respect for them.

I think Asylum had Atlantic Rim out
before Pacific Rim was out

Antlantic Rim shot by Jared Cohen or
direct directed by Jared Cohen,who is a good friend of mine.
We've done like a dozen moviestogether since, I was actually
that was supposed to be thefirst one I did with him and
ended up scheduling didn't workout.

I mean, you you've got to love Asylum. So
now what what is it like workingon these movies? Because I mean,
especially as a DP, is this allgreen screen stuff? I mean,
what's it like working on anasylum set?

Yeah, the turnaround must be insane,

well, you do do like seven movies a year. So
of course,

As we all joke about, we all did terrible
things to survive during thepandemic. What I did was make a
bunch of 6 day Asylum movies, wedid like tenish a year for a
couple of years. They are quitehectic, usually five to six days
of principle and then one tothree days of pickups once they
kind of move together and figureout what's actually going on.

(43:13):
And it's usually mostly entirelypractical. There's just about 75
or so VFX shots budgeted permovie, balloons a little bit and
of those 75 Good 20 30-40 are inthe script, just big wide shots.
You know, here's the planetexploding, here's a missile cut,
you know, those types of shots.
And I enjoy making these moviesbecause I'm not directing them
and I'm just DPing them and it'smy job you know, whatever crazy

(43:36):
nonsense you had me fine, it'smy job to light it and shoot it
make it look as good aspossible. And I'm very happy to
do that. And it was anincredible training course for
me, you know, graduate schooltype of thing because before I
started working on Asylum stuff,I knew how to light a face I
knew how to shoot a scene, butwhat I didn't know was how to
light a stage and that's reallyhow you shoot these movies as
quickly as we shoot them is,we'll light you know they'll

(43:57):
give me an hour and a lightinstead of lighting just a close
up I'll light the entire stageevery single spot everyone
stands will have a backlight andthe key and then we'll just
shoot for two days straightwithout really relighting
anything. Its like the one Ijust did one for first island
called Arctic Armageddon I thinkit was and we ended up shooting
I think it was 52 pages in twodays.

Jesus seat

because it was just it was the B movie
aspect of it. It was everyonestanding on the bridge of the
Star Trek ship was a submarinebut it's benched essentially
Star Trek and two cameras on thefront you know back and forth
and all the masters and then wemoved in on the second day and
did all the turnarounds andcleaned up all the close ups

See this is why I will never crap on I don't
like a even reviewing yield. Ifyou ever listened to the show or
anything I don't I'm not harshbecause I know like it's gnarly
the it I'm addicted to it as hedoes you know to be on set but
like it's always gnarly and sohearing Like, yeah six days
shoots you know, and 52 pages intwo days like, whoa man that's

(45:05):
stressing me out i Sounds likeit can get addicting very
quickly.

It there is a certain engaging to it I come
from I used to play sportsgrowing up, especially, you
know, team sports was always mything and filmmaking for me as
the team sport that I can do asan adult. And Asylum movies. And
I say this all the time, a lotmore athletics and there's
artistry, it's really just aboutworking hard enough to capture
as many scenes as you need tocapture in a day. And then if
you can make it look good andgreat, that's a bonus in their

(45:33):
mind that they don't really careabout because the movie is sold
and you know, they'll make theirmoney no matter what. But I
pride myself on if you look atthe reviews on you know like
IMDB, like which i Whenever Ifeel too good about myself.
That's what I do. I'll readthose reviews just kind of knock
me down a peg type of thing.
Most reviews are like, this isthe worst movie of all time, but
it looks kind of good. It's likegreat. I'm so happy with that.

I got a shout out. Yes,

yeah, exactly. And we've done some
really crazy stuff like the sixday one has become kind of a
standard. So when I firststarted doing it was like eight
to 10 days, and it was likeseven, eight days, and then five
to six. You know, they keep kindof just walking in there by the
sound and seeing what they canget away with. You know, they're
running a business, you know,it's their, their world, they
can do whatever they want with.

I've worked on a bunch of Discovery reality
shows. It's not exactly it's notdissimilar at all. Exactly.

But the craziest one we did you kind of
mentioned it was 20.0, it wasSuper Volcano, 20.0 Megaquake,
and I think it ended up callingIce Storm was a trilogy, we shot
a block shot altogether. So wedid. Basically their plan was
you can do one six day movie.
What if you do three at the sametime? Like that sounds like a
terrible idea.

(46:41):
In the six days?
no in one after another, so

Oh Okay.

Originally, it was a different director and
this line producer ended updoing it who hired. That
director ended up dropping outof the project. So Jared Cohen
and I got brought in to do thatone. And we looked at the
scripts, we looked at thescripts weren't even written
yet. We looked at thetreatments. And we said, this
looks like about a 25 dayproject. And they said, Great,
we gave the last team 18 days,but we think it's going to be
actually 15 days. Can you do a15? I said, Absolutely not. This

(47:10):
is a 25 Day project, they saidgreat, we'll compromise and call
it 18 days, and then we ended upshooting for 22 days. I was like
yeah, I mean, yeah. But it wasabout 16 and a half pages a day
for a month for 22 daysshooting.
And that's three movies. Thatwas a trilogy?
Yeah, it was it was either goingto be three movies or a TV show.
They hadn't kind of reallydecided and it was like, we'll
see what the project looks endsup looking like and that one

(47:34):
had, they didn't have thescript. And when we started and
we just kept shooting reallywithout fully finished scripts.
And it plays better as moviethat a TV show. Yeah, three
movies than a TV show.

Now with the Asylum. Is there a time crunch?
Because they they seem to liketo rip things off before the
thing they're ripping off iseven a thing. So yeah, you know,
like, like, we're talking aboutAtlantic Rim. And it was out
before Pacific Rim. I feel likeas soon as it was announced, is
there a writer in there? Youknow?

Oh, yeah, they they definitely will see a
trailer, they'll see somethingat Comic Con. Yeah, whenever the
first time something pops up,and these movies are not,
they're usually not toocomplicated. So you can
probably, you know, you canfigure out what the movies
actually gonna end up being andfind your own version of it
pretty quickly. Like the firstone I ever did for Asylum was
Nazi Overlord, which was the JJAbrams Overlord movie. And they
had no idea what the second halfof the movie was. So ours was

(48:27):
basically just like SavingPrivate Ryan, they went to go
rescue somebody. And then turnsout that person's like a Nazi
scientist was zombies attack,you know, they kind of worked in
zombies somehow. And that wasthat was enough. But they they
presell all these movies, theyusually have a slight like 20,
30, 40 in a year that they knowthat they're gonna go through.
And by the time we start preproduction, there's a delivery
date. So maybe we can pushproduction a day or two type of

(48:50):
thing, if we're, you know,behind, but not much more than
that, like, from inception ofthe idea to delivery of the film
is usually about four months orso. Yeah,

they really are like, the modern day, you
know, like Canon was doing preselling the thing ahead of time
to certain the market so thatyou can get funding and then
like, yeah, that Corman by theidea of like, how fast and cheap
can we make this you know,

and I have a lot of love for film factories
as a concept. You know, the, thepure capitalism aspect of it
just always has fascinated meand in a world that there is no
guarantee where your next job isgoing to come from. In the film
world. It's very comforting tohave something like the Aslyum,
you know if the whole worldshuts down because of a
pandemic. I know, I can continueworking. Very, very nice to have
and I got a lot of respect forthem. For me, they just hit

(49:34):
their 25th anniversary, I thinkit was last year. That's an
unbelievable accomplishment inthe film industry, no matter
what you're doing,

and that's why I say, you know, it's gonna
sound like we're making fun ofyou, but I mean, you respect the
Asylum. I mean, they get theyget shit done. They and they
have no they have no qualmsabout you know, I mean, they
know they're ripping offwhatever the newest trend is,
and that's kind of become theiridentity.

Exactly like and the pre sell images that
some some of the pre sell imagesare a bit absurd, but we have to
build the whole movie aroundthem. So I did the Moonfall,
they call it Mockbusters by theway, I did the Moonfall
Mockbuster, just called MeteorMoon. And they pre sold that
movie on the image of aconvertible Mustang flying
through space with a top downand two astronauts in it going

(50:20):
to fix something. So basically,the whole movie is about getting
to that shot and we get to itand it's just, it's glorious,
and it's cheesy and it's it's asAsylum as Asylum gets. I had a
lot of fun crafting a shot likethat and putting a sequence like
that together.

Correia is a big fan of Moonfall. Great.
Yeah, I know. He's not he's not

just you promised me the moon falling,
which had was like a decentthing. But like, getting there.
I mean, your sequence sounds waycooler. Yeah. To be honest,
like,

Meteor Moon did a better job of getting
there,

it's just one of those that like, you
think about it for one second,and they're in space. They turn
on an internal combustionengine, they put a car in gear,
they create friction. I mean,just so many things, but
whatever. Nobody cared, that wasthe space. It's like,
it's like the opening that HeavyMetal with like, just to get rid
of we'll go. That's awesome.
See, that sounds like a dreamproject. To me. It's like yeah,

(51:18):
oh, we have an opportunity tolive action heavy metal Fuck
yeah, let's do this.
That was a six day movie thatdefinitely could have this is
this is another part of theAsylum world that's always so
difficult is because thesethings are so regimented, so
quick. Usually, casting happensvery, very late. Because the
scripts are being reworked. Theydon't necessarily know if they
need the role or not. Andbecause actors are cast like a

(51:39):
day, or two or three before,they're usually not done with
fittings and costumes, by thetime we're ready to roll
cameras. So on most Asylummovies that I've worked on, the
first day of shooting, we don'troll a camera for on a six day
movie, we don't really camerafor several hours, while we're
waiting for some sort of customapproval. This was another case
of we were duped ready to dothat sequence. And they hadn't
approved the space, you know,whatever their space outfits are

(52:01):
yet. And so I'm sitting therewith the camera looking at my
watch, like, we really got toshoot guys. And like, yeah,
we're on the phone with peopleand producers are arguing back
and forth. And it's like, thisis the time where I wish we had
a little bit more preproduction. Yeah, because you
really, I mean, you can't makeCitizen Kane, obviously. But you
can make something fun andwatchable in six days if
everyone's firing and allcylinders, but it really does
require and especially theactors, because the dialogue is

(52:22):
very technical. It's all sci fimumbo jumbo type of thing. And
I've worked with some actors youhand on the script to go
Alright, cool, let's do it.
We'll do a five page monologueand then give them to some
actors and you can't take thescript away from them. They have
to read it to get through thescene. You know, it's but if
everyone's firing on allcylinders, you really can make
something a lot of fun.

That's crazy.
Yeah,

sounds like you guys do it on the reg.

I mean, it really was like once one a month
for most of the pandemic and nowI'm doing doing a lot of stuff
with Tubi but the strike isgoing on so nothing really
happened Tubi and I'm doing alot of stuff with lifetime again
and you know a lot of indiestuff as well but it's nice to
know that if the whole worldcollapses I can continue making
AsylumYeah, Asylum is still gonna as
long as there's a movie to mockyou know, Asylum will have work

(53:04):
for you.

So what is what's on the horizon for you?
What's what's next.

So about to start shooting a film called
brutes for neon noir, anotherMarcel film starting starting
tomorrow for the next two weeksand then sometime in October
finishing off the rest ofhopefully in October and then if
the strike finishes I'm going tobe back to back films and
Mississippi and thenMississippi/Dominican Republic

(53:34):
I'm really excited for them toget first time shooting outside
the country doing Tubi back toback Tubi action films for like
the 2.5 range which much nicerthan you know the the Asylum
range that I've been workingwith a lot recently. So if the
strike ends I'll be doing thatand if the strike doesn't then
I'm going back to Kentucky to doback to back Lifetime films
there and said so I'm lucky tosay I got work either way, but I

(53:58):
would definitely like for thestrike to be over and I think it
would be elsewhere as well.

So how is Lifetime still working through
the strike?

This is all non union stuff. But yeah, so
it's a company that I do a lotof Lifetime stuff with normally
for like about one and a halftimes the budget or so the last
one we just did. So we did asmaller version of it in
Kentucky instead of in LA andthey got tax credits and you
know, all that good stuff. Andit was it was fun movie. David
Bonilla was the directors. Greatdirector love working with him

(54:28):
was our second movie together.
And just be would it be nice ifthe actors were SAG and
everyones getting paid a littlebit more? Yeah, that's what it
is.

non union world. That's that's where I
live Reality TV. So.

All right, cool. Well, thanks for spending
this morning with us. Everyone.
See That's A Wrap. I believeit's available now. Right it's
out Yeah,

yeah. It's uh, it's on rent rentable and,
you know, kind of anywhere youcan rent a movie and then I
think in the next two weeks orso, it'll be on a avon, you
know, the Tubis and those typesof worlds. Oh,

great. Cool.
All right. So That's A Wrap isthe name of the movie. And
pretty much any Asylum movie youlook at look at look for the
cinematographer. And it'sprobably Marcus.

Hopefully not for the rest of my life. But

hey, it's a badge of honor. We like I say
you it sounds like we're makingfun of you. But there's respect
there because we love thosemovies. Yeah,

well, that's the other thing is I made a
bunch of smaller films at thestart of my career that nobody
ever saw that most of themdidn't even get released. And
people were like, you say, no,what do you have sensing? You do
stuff? Can I see it? No, no,really, because it's not really
out anywhere. And then I starteddoing Asylum stuff. And I'll
travel to you know, a shootingkind of a lot of different
states now. And like I did amovie in New Mexico and I met
the stunt team there and they'reall huge Asylum fans, they had
my DVDs or something movies, Ishot and asked me to sign and I

(55:41):
was like, this is a very weirdkind of response. But it's nice
to we're working in theentertainment business. It's
nice to make something thatpeople enjoy watching and for
two hours makes their life alittle bit better.

Everybody's seen Ape Vs Monster.

Too many people have seen Ape Vs Monster.

It's always interesting. Like I've worked
with like, you know, big showrunners or something on like
something, you know, primetimeshow and they'll see my Monster
Squad Show and be like, Oh,Monster Squad. Like just like
chatting about Monster Squad.
It's like, you work on like,much bigger things. What are you
you should be stoked on MonsterSquad. So like, everyone's a fan
of everything, man. Yeah, that'sit's only the people that like,

(56:17):
want to have an ego about stuffor go. You work on. So it's
something you know, and it's notone thing. It's another so like
me. Exactly.

And at the end of the day, we all got bills
to pay. This is you know, we'dall just be artists making just
exactly the movies we want. Butyeah, it's expensive.

Yay. So long as rents getting paid and people
are treated well like

and and no overtime. Oh, that's the other
thing I just want to mentionreal quick. One of the other
things I love about Asylum,there's super anti overtime,
like even 15 minutes of overtimeis too much for them. We shoot
12 hours as soon as we're done,line producer turns the
generator off, get off setEverybody go home type of thing.
And if they were the type ofpeople who said we're doing
movies in six days, but you haveto work 18 hours they would not
have made you know

that's that's even more impressive. Yeah, six
day shoots and you and your noOT? that's yeah, that's that's
respectful.

It's a factory that's great. The
factory where can where canpeople find you on the socials
to keep up with what you gotcoming up.

So my DP Instagram page is
@Marcus_Friedlander_DOP. It's avisual resume for me. So I
actually don't post a lot ofpictures. Just kind of project
by project by project. Problemis it takes like, two weeks to a
month to do each one of thesetakes so so long so when I'm not
shooting, that's what I'mworking on. But I need to like
not work for several months kindof catch up with where I'm at,

(57:38):
which I guess champagne problemto have. But it posts lots of
stories and stuff. Lots ofthings when I'm on set, you
know, definitely feel free tofollow me there and my website
as well.
MarcusFriedlanderdop.com For myreal resume and all that good
stuff.

All right, cool. Yeah. Well, thank you for
joining us and everybody seeThat's a Wrap. For us. Our theme
song is by Restless Spirits. Sogo give them a listen. And our
artwork is by Chris Fisher. Sogo give him a like and you can
find us on any of the socialsunder @EyeOnHorror or at
ihorror.com which is the websitewe call home. Thanks Marcus

(58:12):
Friedlander for spending themorning with us and talking
about Thats a Wrap and everybodysee That's a Wrap. And we will
see you in a couple of weeks. Sofor me James Jay Edwards.

I'm Jacob Davison.

I'm Jonathan Correia

and I'm Marcus Freeman,

Keep your Eye On Horror.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}That's a Wrap with Marcus Friedlander

Episode Transcript

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That's a Wrap with Marcus Friedlander

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