August 10, 2025 • 14 mins
In
Bears Rebecca Fonte's film "How Far Does The Dark Go?"**, the question of "how far does the dark go" refers to the depths of morality, desire, and transformation within a tumultuous lesbian vampire romance.
Bears Rebecca Fonte's film "How Far Does The Dark Go?"**, the question of "how far does the dark go" refers to the depths of morality, desire, and transformation within a tumultuous lesbian vampire romance.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey guys, Brad Gilmour here, want to give a big
shout out to our title sponsor, Walker Texas Lawyer.
Speaker 2 (00:06):
If you are a love would.
Speaker 1 (00:07):
Have been injured in an accident, whether that be a car, truck,
motorcycle accident, or some kind of other issue. Hit up
Walker Texas Lawyer at seven one three five five to
two one one one seven or Walker Texas Lawyer dot com.
Speaker 3 (00:20):
Oh Broadcasting live from Houston, Texas and around the world
and are around the world.
Speaker 4 (00:30):
TV host, best selling author and radio personality, Brad Gilmour
brings you a collection of conversations with stars from movies.
Speaker 3 (00:40):
Matthew McConaughey, Brad Gilmore, Mark wohlburg By, how are you
the legendary mister Christopher Lloyd Christopher, how are we doing?
Speaker 5 (00:48):
I'm doing good?
Speaker 3 (00:49):
Says Jessica Alba and Lizzie Matthis ladies, thank you so
much for joining me.
Speaker 2 (00:53):
Thank you. Kevin Coster joins us, Thank you so much,
Thank you Television. Jimmy Fallon joins us this morning. Jimmy,
how you doing, my friend? Good morning. Thank you so
much Brad for having me. I appreciate this. Bud Kelly Ripper,
thank you for having me comedy. Jay Leno joins us, Jay,
how you doing, hey, Brad? What's going on? Chris Tucker
is in the bill and Chris Tucker, good morning to you.
Speaker 3 (01:12):
Hey you.
Speaker 2 (01:14):
George Lopez joins us right now, George, how are you doing?
So good morning music, Lola Manro, thank you, thank you
for having me. The legendary front man of AC d C.
Speaker 3 (01:24):
Brian Johnson joins us right now, Brian, how you doing?
Speaker 5 (01:28):
Good morning?
Speaker 2 (01:29):
Brock what looking talking me? Funny Megan Trainer. Chloe Bailey
joins us. I appreciate the time, appreciate you and more
and more.
Speaker 5 (01:39):
This is the collection.
Speaker 2 (01:41):
Now your host of the boat.
Speaker 3 (01:52):
I am so excited to be talking to the writer
and director of the film How Far.
Speaker 2 (01:59):
Does the Dark Go?
Speaker 3 (02:00):
And they join me right now, Bears Rebecca Fonte, how
are you doing, Bears?
Speaker 2 (02:04):
Rebecca?
Speaker 5 (02:05):
I'm good? Thanks Brad.
Speaker 2 (02:06):
Hey, Look, first of all, congratulations on the movie.
Speaker 3 (02:08):
It's such an incredible feat to finish something like this,
to start it, to finish it, to go through the
whole process, and obviously you're very very intimately involved with
this film, in particular wearing many many a hat. So
talk to me just about the feeling of it finally
of you saying picture locked, We got it.
Speaker 2 (02:27):
How does that feel?
Speaker 5 (02:28):
Oh my gosh. I mean, it's been so long. We
started filming this during COVID.
Speaker 4 (02:32):
We actually had to take a nine month break at
one point in time when a third of our cast
and crew got COVID during the shoot, and then come
back the next year and finish the film. So it's
it's been a long process. But to see it through
from beginning to end, it just really feels like.
Speaker 5 (02:52):
It feels like giving birth to a baby a little bit.
Speaker 4 (02:55):
You know, this is this is the thing that has
been with me the longest in my life, I think,
And I'm ready for the world to look at it
and tell me if it's.
Speaker 5 (03:03):
Beautiful or ugly, and hopefully beautifully ugly.
Speaker 2 (03:07):
You know, let me tell you, let me tell you
it's beautiful.
Speaker 3 (03:09):
I really enjoyed the film for such a powerful film
in so many different ways, and you should be very
proud of it, and you should look at it like
a child. But tell me, like I'm always fascinated by
kind of the germ of inspiration. Where it started? So,
where did this movie or this film begin in your brain?
When was that moment.
Speaker 4 (03:30):
So I used to run a film festival in Austin
called the Other World's Film Festival, which says science fiction
and horror film festival. And there was a short film
there about nine minutes long about a vampire and her
lover and a child, like a small child that they
had stolen and whether or not to like take that
(03:52):
child and turn.
Speaker 5 (03:53):
It into a vampire.
Speaker 4 (03:55):
And I got to have a good relationship with a
woman who came up with that orient start as the vampire,
and the conversation just continued and eventually turned out that
she wanted to make a feature of it, and I
started writing and we came up with a you know,
a much longer and more involved story, and you know,
(04:16):
that process took about a year, and then you know,
it was It was really interesting because it was a
it was a gift from her just to come up
with the germ of the story and then hand it
off to me and and really just allow me to
play in a world that I wanted to create, but
then also build it around her since she was always
(04:37):
going to be the lead vampire played. She plays evy
N in the film. So the first big change that
was made was that the went from a child to
be an older an older adult, which we thought would
be really interesting if she had raised this child for fifty,
you know, fifty plus years and he now looked like
twice as old as her.
Speaker 5 (04:55):
And he was on the verge of dying.
Speaker 4 (04:57):
And so that changed a big part of of kind
of the conflicts in the story.
Speaker 3 (05:02):
So from draft one to the draft that you go
through to production on and start shooting on, Like, how
different are the two drafts or is that process?
Speaker 2 (05:11):
Was it wildly different?
Speaker 3 (05:12):
Was it pretty much you kind of nailed it the
first time around and just fine tune it.
Speaker 5 (05:16):
Was It's incredibly different.
Speaker 4 (05:18):
Yeah, you know, the whole process took over a year,
and so that first draft really plays a lot more
like just a comedy, almost a comedy with a lot
of like medical drama. And there's one thing that bores me,
it's like medical drama, Like I'm not I'm not a
(05:40):
Chicago Med kind of girl. So I wanted to get
a lot more of the horror into it and a
lot more of the romance. So, you know, once I
refocused it on being a supernatural romance between the vampire
and her nurse kidnappe that that changed a lot of it.
Speaker 5 (05:56):
And then when I found.
Speaker 4 (05:58):
Sort of the mood and the tone that I wanted
to go for, which was really sort of this late
seventies sort of seventies vampire exploitation, we like to call
it vamploitation, kind of films of.
Speaker 5 (06:14):
The euro scene, euro art house scene.
Speaker 4 (06:17):
And so once it became that, then that really informed
a lot of the decisions and like how we were
gonna shoot, and even a lot of the dialogue and
what you can get away.
Speaker 3 (06:27):
With, you know, for people who've probably worked on screenplays
before written something, you know, obviously the save the Cat
model is out there that a lot of people use
in the beat Sheet, And I remember reading that book
and they always said, it's like when you're pitching the movie,
it's this meets this, right, Like you know, this movie
meets this movie is what I'm going for. Did you
(06:47):
have like two films in particular that you were thinking
of to try to help formulate the tone, because the
tone is so hard, especially in an inventive film like
this to nail exactly.
Speaker 4 (06:57):
It's funny that you say save the cat because that's
literally my face favorite book on screenwriting, and and I
structure my beags exactly, Like if I am not hitting
my one act point by you know, page twenty or whatever, yeah,
I just get very frustrated. I never really had two
comparison movies. It was more along the lines of that
I wanted to do like a vampire, a lesbian vampire film,
(07:23):
you know, which exists from the seventies and was always
made by men, usually for the late night crowd, and
so I wanted to do it with a lens on
it being more romantic and uh, you know, more more
for a female audience. So it was just sort of
it was more a genres a genre conversation.
Speaker 3 (07:41):
So let me ask you this, because there's a there's
an old saying that writers fall in love with their words,
directors fall in love with their actors, and editors don't
like either rite.
Speaker 2 (07:54):
And you you've had to wear all of those heads.
Speaker 3 (07:58):
Is it difficult when you spend all this time because
obviously a writer, I mean I remember Quentin Tarantino always
talking about the dialogue is so important and he wants.
Speaker 2 (08:06):
The actors to hit it just so.
Speaker 6 (08:08):
But then when you get it in front of you
and you're doing the movie, something that you imagine your
head might not be connecting and clicking the way that
you want it, and it has to be some so
difficult to say, maybe we go a different direction here,
maybe we leave that out, maybe we do this. Was
that hard to make that transition from writer to director.
Speaker 4 (08:28):
For me, it's it's almost impossible from writer to director, although.
Speaker 5 (08:33):
It's very easy from director to editor.
Speaker 4 (08:35):
So I find when I'm directing, I'm always like saying
that the script is perfect, and we have to just
trust the writer, because that's how my background is in theater,
and that's how we're You're not allowed to change the
words to David mammontt play. You just have to do
what he told you to do, right. And so as
a director, I'm like, well, let's get the script. I
worked on the script for you know, a year. In
(08:56):
my mind, it's got to be perfect or else I
wouldn't be shooting it. So let's shoot it the way
it's And then when I'm editing, that's when I start
to really play and move things around, lose whole scenes,
grab dialogue from one scene and overlay it on another scene.
And that's really plus nobody's hanging over my shoulder at
that time, you know, When you're directing, you're always on
such a very tight timescale. You know, you're shooting, maybe
(09:20):
you have fifteen days to shoot, you know, a ninety
page script. When you're editing, especially at the indie level,
you can do as much time as you need, and
I certainly did. And there were many of this film
in the stage, a lot more, I think than there
were direct stage.
Speaker 3 (09:42):
Oh well, yeah, I can imagine the editing process though,
but it is kind of where, you know, some of
those dreams I don't want to say go to die.
I guess that'd be the wrong characterization of it, but
they go to where it's like, man, I shot this
and I saw it in my head, but there's just
something about the pacing isn't working, or you know, the
you know, it was a three page scene, but it
(10:03):
feels better as a page and a half.
Speaker 2 (10:05):
You know, I got to cut these around.
Speaker 3 (10:07):
But it also it must take like I don't know
if you were like a math person in school, but
it seems like it's a lot of calculus that has
to go on to be able to construct that together.
Speaker 2 (10:17):
How long did the edit take?
Speaker 5 (10:21):
Over a year?
Speaker 4 (10:24):
You know, I did have the benefit of us taking
time between the first time we shot and then the
second time, so I was able to edit a little
bit about what we shot before we all got COVID
and then came back, so I had a little sense
at least of the tone and what we needed to get.
Speaker 5 (10:37):
But but yeah, the.
Speaker 4 (10:38):
Math continues, the cats of like you want to hit
this point by this time? Like to me, that continues
into the edit, and I'm like, well, if the movie's
going to be ninety minutes, then the midpoint has to
be a minute forty five. And I'm still trying to
like get those those tones right, and if it's not working,
then I'm like, well, maybe this whole scene needs to move,
and maybe the scene needs to be an act one,
(11:00):
or this scene needs to be at the end of
the film because something is feeling unbalanced.
Speaker 5 (11:05):
And I really find that that helps.
Speaker 4 (11:06):
Me more more than anything to have, especially when you're
an editor and a director and you're on your own
and you can do anything you want.
Speaker 2 (11:14):
It's nice than a curse, though given a curse.
Speaker 4 (11:17):
Exactly, so if you make some barriers for yourselves and
say like, well, okay, well this movie can't be longer
than ninety five minutes, no matter what well, then you
have to make sure that it's not longer than ninety
five minutes.
Speaker 2 (11:27):
Did you ever find a point?
Speaker 3 (11:29):
So I've never directed a film or anything like that,
but I did write a book and it wasn't it
wasn't a novel, it was it was nonfiction. But I
found myself when I was going through the edit, asking
myself several times is this any good?
Speaker 2 (11:43):
Like? Is this a good in what I'm working on? Good?
Or am I just amusing myself?
Speaker 3 (11:47):
Did you ever have that crisis of confidence and go
is this good?
Speaker 2 (11:51):
Or do I just like it?
Speaker 5 (11:52):
I think I still have that, Brad.
Speaker 4 (11:55):
You know, it's hard, especially when you are writing, directing,
and editing. Then you know you have to have some
people that you trust to show it to. And with
this film, you know it also, I didn't want to
show it to anybody until I knew I had the
tone right, because I didn't want somebody to watch it
and judge it on the basis of something that wasn't.
So with this movie, there's always been music behind everything.
(12:16):
You know, It's it's almost cut like a music video.
And so until I got some of that stuff right,
I didn't want anybody to see it. And then when
I was ready, I was like, who is the most
perfect audience? And I picked two people and I sat
down with them and I just watched it. I didn't
say anything, you know, I watched it with them, and
afterwards I just got their their knee jerk reaction and
(12:37):
when they were like, yeah, it works. And they're not
even film people, you know, they're just they're just people
who I would hope that would enjoy this movie.
Speaker 3 (12:45):
You know.
Speaker 5 (12:45):
It's just like and.
Speaker 4 (12:46):
They and they gave me the thumbs up, and so
I started to feel a lot better about it after that.
Speaker 2 (12:50):
Well you should feel great about it. The movie works.
Speaker 3 (12:53):
And I can't wait for everybody to be able to
see this movie. And I'm going to go back and
watch it now with my Blake Schnyder save it Cat
beat sheet and I'm gonna look for him and I'll
let you know. I'm gonna say, oh, you hit all
the beats. But it's been a pleasure speaking with you.
And congratulations again on the film.
Speaker 5 (13:08):
Thank you so much, Brad.
Speaker 2 (13:10):
Have a good one you too.
Hey guys, Brad Gilmour here, want to give a big
shout out to our title sponsor, Walker Texas Lawyer.
Speaker 2 (00:06):
If you are a love would.
Speaker 1 (00:07):
Have been injured in an accident, whether that be a car, truck,
motorcycle accident, or some kind of other issue. Hit up
Walker Texas Lawyer at seven one three five five to
two one one one seven or Walker Texas Lawyer dot com.
Speaker 3 (00:20):
Oh Broadcasting live from Houston, Texas and around the world
and are around the world.
Speaker 4 (00:30):
TV host, best selling author and radio personality, Brad Gilmour
brings you a collection of conversations with stars from movies.
Speaker 3 (00:40):
Matthew McConaughey, Brad Gilmore, Mark wohlburg By, how are you
the legendary mister Christopher Lloyd Christopher, how are we doing?
Speaker 5 (00:48):
I'm doing good?
Speaker 3 (00:49):
Says Jessica Alba and Lizzie Matthis ladies, thank you so
much for joining me.
Speaker 2 (00:53):
Thank you. Kevin Coster joins us, Thank you so much,
Thank you Television. Jimmy Fallon joins us this morning. Jimmy,
how you doing, my friend? Good morning. Thank you so
much Brad for having me. I appreciate this. Bud Kelly Ripper,
thank you for having me comedy. Jay Leno joins us, Jay,
how you doing, hey, Brad? What's going on? Chris Tucker
is in the bill and Chris Tucker, good morning to you.
Speaker 3 (01:12):
Hey you.
Speaker 2 (01:14):
George Lopez joins us right now, George, how are you doing?
So good morning music, Lola Manro, thank you, thank you
for having me. The legendary front man of AC d C.
Speaker 3 (01:24):
Brian Johnson joins us right now, Brian, how you doing?
Speaker 5 (01:28):
Good morning?
Speaker 2 (01:29):
Brock what looking talking me? Funny Megan Trainer. Chloe Bailey
joins us. I appreciate the time, appreciate you and more
and more.
Speaker 5 (01:39):
This is the collection.
Speaker 2 (01:41):
Now your host of the boat.
Speaker 3 (01:52):
I am so excited to be talking to the writer
and director of the film How Far.
Speaker 2 (01:59):
Does the Dark Go?
Speaker 3 (02:00):
And they join me right now, Bears Rebecca Fonte, how
are you doing, Bears?
Speaker 2 (02:04):
Rebecca?
Speaker 5 (02:05):
I'm good? Thanks Brad.
Speaker 2 (02:06):
Hey, Look, first of all, congratulations on the movie.
Speaker 3 (02:08):
It's such an incredible feat to finish something like this,
to start it, to finish it, to go through the
whole process, and obviously you're very very intimately involved with
this film, in particular wearing many many a hat. So
talk to me just about the feeling of it finally
of you saying picture locked, We got it.
Speaker 2 (02:27):
How does that feel?
Speaker 5 (02:28):
Oh my gosh. I mean, it's been so long. We
started filming this during COVID.
Speaker 4 (02:32):
We actually had to take a nine month break at
one point in time when a third of our cast
and crew got COVID during the shoot, and then come
back the next year and finish the film. So it's
it's been a long process. But to see it through
from beginning to end, it just really feels like.
Speaker 5 (02:52):
It feels like giving birth to a baby a little bit.
Speaker 4 (02:55):
You know, this is this is the thing that has
been with me the longest in my life, I think,
And I'm ready for the world to look at it
and tell me if it's.
Speaker 5 (03:03):
Beautiful or ugly, and hopefully beautifully ugly.
Speaker 2 (03:07):
You know, let me tell you, let me tell you
it's beautiful.
Speaker 3 (03:09):
I really enjoyed the film for such a powerful film
in so many different ways, and you should be very
proud of it, and you should look at it like
a child. But tell me, like I'm always fascinated by
kind of the germ of inspiration. Where it started? So,
where did this movie or this film begin in your brain?
When was that moment.
Speaker 4 (03:30):
So I used to run a film festival in Austin
called the Other World's Film Festival, which says science fiction
and horror film festival. And there was a short film
there about nine minutes long about a vampire and her
lover and a child, like a small child that they
had stolen and whether or not to like take that
(03:52):
child and turn.
Speaker 5 (03:53):
It into a vampire.
Speaker 4 (03:55):
And I got to have a good relationship with a
woman who came up with that orient start as the vampire,
and the conversation just continued and eventually turned out that
she wanted to make a feature of it, and I
started writing and we came up with a you know,
a much longer and more involved story, and you know,
(04:16):
that process took about a year, and then you know,
it was It was really interesting because it was a
it was a gift from her just to come up
with the germ of the story and then hand it
off to me and and really just allow me to
play in a world that I wanted to create, but
then also build it around her since she was always
(04:37):
going to be the lead vampire played. She plays evy
N in the film. So the first big change that
was made was that the went from a child to
be an older an older adult, which we thought would
be really interesting if she had raised this child for fifty,
you know, fifty plus years and he now looked like
twice as old as her.
Speaker 5 (04:55):
And he was on the verge of dying.
Speaker 4 (04:57):
And so that changed a big part of of kind
of the conflicts in the story.
Speaker 3 (05:02):
So from draft one to the draft that you go
through to production on and start shooting on, Like, how
different are the two drafts or is that process?
Speaker 2 (05:11):
Was it wildly different?
Speaker 3 (05:12):
Was it pretty much you kind of nailed it the
first time around and just fine tune it.
Speaker 5 (05:16):
Was It's incredibly different.
Speaker 4 (05:18):
Yeah, you know, the whole process took over a year,
and so that first draft really plays a lot more
like just a comedy, almost a comedy with a lot
of like medical drama. And there's one thing that bores me,
it's like medical drama, Like I'm not I'm not a
(05:40):
Chicago Med kind of girl. So I wanted to get
a lot more of the horror into it and a
lot more of the romance. So, you know, once I
refocused it on being a supernatural romance between the vampire
and her nurse kidnappe that that changed a lot of it.
Speaker 5 (05:56):
And then when I found.
Speaker 4 (05:58):
Sort of the mood and the tone that I wanted
to go for, which was really sort of this late
seventies sort of seventies vampire exploitation, we like to call
it vamploitation, kind of films of.
Speaker 5 (06:14):
The euro scene, euro art house scene.
Speaker 4 (06:17):
And so once it became that, then that really informed
a lot of the decisions and like how we were
gonna shoot, and even a lot of the dialogue and
what you can get away.
Speaker 3 (06:27):
With, you know, for people who've probably worked on screenplays
before written something, you know, obviously the save the Cat
model is out there that a lot of people use
in the beat Sheet, And I remember reading that book
and they always said, it's like when you're pitching the movie,
it's this meets this, right, Like you know, this movie
meets this movie is what I'm going for. Did you
(06:47):
have like two films in particular that you were thinking
of to try to help formulate the tone, because the
tone is so hard, especially in an inventive film like
this to nail exactly.
Speaker 4 (06:57):
It's funny that you say save the cat because that's
literally my face favorite book on screenwriting, and and I
structure my beags exactly, Like if I am not hitting
my one act point by you know, page twenty or whatever, yeah,
I just get very frustrated. I never really had two
comparison movies. It was more along the lines of that
I wanted to do like a vampire, a lesbian vampire film,
(07:23):
you know, which exists from the seventies and was always
made by men, usually for the late night crowd, and
so I wanted to do it with a lens on
it being more romantic and uh, you know, more more
for a female audience. So it was just sort of
it was more a genres a genre conversation.
Speaker 3 (07:41):
So let me ask you this, because there's a there's
an old saying that writers fall in love with their words,
directors fall in love with their actors, and editors don't
like either rite.
Speaker 2 (07:54):
And you you've had to wear all of those heads.
Speaker 3 (07:58):
Is it difficult when you spend all this time because
obviously a writer, I mean I remember Quentin Tarantino always
talking about the dialogue is so important and he wants.
Speaker 2 (08:06):
The actors to hit it just so.
Speaker 6 (08:08):
But then when you get it in front of you
and you're doing the movie, something that you imagine your
head might not be connecting and clicking the way that
you want it, and it has to be some so
difficult to say, maybe we go a different direction here,
maybe we leave that out, maybe we do this. Was
that hard to make that transition from writer to director.
Speaker 4 (08:28):
For me, it's it's almost impossible from writer to director, although.
Speaker 5 (08:33):
It's very easy from director to editor.
Speaker 4 (08:35):
So I find when I'm directing, I'm always like saying
that the script is perfect, and we have to just
trust the writer, because that's how my background is in theater,
and that's how we're You're not allowed to change the
words to David mammontt play. You just have to do
what he told you to do, right. And so as
a director, I'm like, well, let's get the script. I
worked on the script for you know, a year. In
(08:56):
my mind, it's got to be perfect or else I
wouldn't be shooting it. So let's shoot it the way
it's And then when I'm editing, that's when I start
to really play and move things around, lose whole scenes,
grab dialogue from one scene and overlay it on another scene.
And that's really plus nobody's hanging over my shoulder at
that time, you know, When you're directing, you're always on
such a very tight timescale. You know, you're shooting, maybe
(09:20):
you have fifteen days to shoot, you know, a ninety
page script. When you're editing, especially at the indie level,
you can do as much time as you need, and
I certainly did. And there were many of this film
in the stage, a lot more, I think than there
were direct stage.
Speaker 3 (09:42):
Oh well, yeah, I can imagine the editing process though,
but it is kind of where, you know, some of
those dreams I don't want to say go to die.
I guess that'd be the wrong characterization of it, but
they go to where it's like, man, I shot this
and I saw it in my head, but there's just
something about the pacing isn't working, or you know, the
you know, it was a three page scene, but it
(10:03):
feels better as a page and a half.
Speaker 2 (10:05):
You know, I got to cut these around.
Speaker 3 (10:07):
But it also it must take like I don't know
if you were like a math person in school, but
it seems like it's a lot of calculus that has
to go on to be able to construct that together.
Speaker 2 (10:17):
How long did the edit take?
Speaker 5 (10:21):
Over a year?
Speaker 4 (10:24):
You know, I did have the benefit of us taking
time between the first time we shot and then the
second time, so I was able to edit a little
bit about what we shot before we all got COVID
and then came back, so I had a little sense
at least of the tone and what we needed to get.
Speaker 5 (10:37):
But but yeah, the.
Speaker 4 (10:38):
Math continues, the cats of like you want to hit
this point by this time? Like to me, that continues
into the edit, and I'm like, well, if the movie's
going to be ninety minutes, then the midpoint has to
be a minute forty five. And I'm still trying to
like get those those tones right, and if it's not working,
then I'm like, well, maybe this whole scene needs to move,
and maybe the scene needs to be an act one,
(11:00):
or this scene needs to be at the end of
the film because something is feeling unbalanced.
Speaker 5 (11:05):
And I really find that that helps.
Speaker 4 (11:06):
Me more more than anything to have, especially when you're
an editor and a director and you're on your own
and you can do anything you want.
Speaker 2 (11:14):
It's nice than a curse, though given a curse.
Speaker 4 (11:17):
Exactly, so if you make some barriers for yourselves and
say like, well, okay, well this movie can't be longer
than ninety five minutes, no matter what well, then you
have to make sure that it's not longer than ninety
five minutes.
Speaker 2 (11:27):
Did you ever find a point?
Speaker 3 (11:29):
So I've never directed a film or anything like that,
but I did write a book and it wasn't it
wasn't a novel, it was it was nonfiction. But I
found myself when I was going through the edit, asking
myself several times is this any good?
Speaker 2 (11:43):
Like? Is this a good in what I'm working on? Good?
Or am I just amusing myself?
Speaker 3 (11:47):
Did you ever have that crisis of confidence and go
is this good?
Speaker 2 (11:51):
Or do I just like it?
Speaker 5 (11:52):
I think I still have that, Brad.
Speaker 4 (11:55):
You know, it's hard, especially when you are writing, directing,
and editing. Then you know you have to have some
people that you trust to show it to. And with
this film, you know it also, I didn't want to
show it to anybody until I knew I had the
tone right, because I didn't want somebody to watch it
and judge it on the basis of something that wasn't.
So with this movie, there's always been music behind everything.
(12:16):
You know, It's it's almost cut like a music video.
And so until I got some of that stuff right,
I didn't want anybody to see it. And then when
I was ready, I was like, who is the most
perfect audience? And I picked two people and I sat
down with them and I just watched it. I didn't
say anything, you know, I watched it with them, and
afterwards I just got their their knee jerk reaction and
(12:37):
when they were like, yeah, it works. And they're not
even film people, you know, they're just they're just people
who I would hope that would enjoy this movie.
Speaker 3 (12:45):
You know.
Speaker 5 (12:45):
It's just like and.
Speaker 4 (12:46):
They and they gave me the thumbs up, and so
I started to feel a lot better about it after that.
Speaker 2 (12:50):
Well you should feel great about it. The movie works.
Speaker 3 (12:53):
And I can't wait for everybody to be able to
see this movie. And I'm going to go back and
watch it now with my Blake Schnyder save it Cat
beat sheet and I'm gonna look for him and I'll
let you know. I'm gonna say, oh, you hit all
the beats. But it's been a pleasure speaking with you.
And congratulations again on the film.
Speaker 5 (13:08):
Thank you so much, Brad.
Speaker 2 (13:10):
Have a good one you too.
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