August 5, 2025 • 9 mins
Michael Shanks. Director: Rebooted. Michael Shanks is known for Rebooted (2019), Time Trap (2013) and Together (2025)
Mark as Played
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. If
you are a love would 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 2 (00:20):
Oh Broadcasting live from Houston, Texas and around the world
and are around the world. TV host, best selling author
and radio personality, Brad Gilmour brings you a collection of
conversations with stars from movies. Matthew McConaughey, Brad Gilmore, Mark
(00:43):
wohlburg By, how are you the legendary mister Christopher Lloyd Christopher,
how are we doing? I'm doing good, Ray inswered, Jessica
Alba and Lizzie Matthis ladies, thank you so much for
joining me.
Speaker 3 (00:53):
Thank you.
Speaker 4 (00:53):
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.
Speaker 5 (01:02):
I appreciate this.
Speaker 3 (01:03):
Bud Kelly Ripper, thank you, for having me.
Speaker 5 (01:06):
Comedy Jay Leno joins us, Jay, how you doing, hey, Brad?
Speaker 2 (01:09):
What's going on?
Speaker 4 (01:09):
Chris Tucker is in the bill and Chris Tucker, good
morning to you.
Speaker 2 (01:12):
Hey you.
Speaker 4 (01:14):
George Lopez joins us right now, George, how are you doing?
Speaker 2 (01:17):
So good morning music, Lola Man, thank you, thank you
for having me.
Speaker 4 (01:22):
The legendary front man of ac DC.
Speaker 1 (01:24):
Brian Johnson joins us right now, Brian, how you doing?
Speaker 2 (01:28):
Good morning?
Speaker 4 (01:29):
Brock what look talking me? Funny Live Megan Trainer. Chloe
Bailey joins us. I appreciate the time, appreciate.
Speaker 3 (01:36):
You and more and more. This is the collection.
Speaker 6 (01:41):
Now you're host of the boat, Michael, Thank you so
much taming the time to talk to me.
Speaker 4 (01:53):
Congratulations on the movie, man.
Speaker 3 (01:55):
Hey, thank you so much. I'm so excited to talk
about it.
Speaker 5 (01:58):
Okay, look, let's start there because I'm always fascinated by process,
Like that's the most fascinating thing for me when it
comes to a filmmaker, especially one who writes and directs
the movie. So where did the origin of the idea
come from? Where you wanted to start on this screen play?
And then how different did it look by the shooting draft?
Speaker 3 (02:18):
That's a great question. I mean, the jumping off point
was the fact that I being with my long term
partner for almost seventeen years now, and when I was
writing the film, it was kind of almost ten years
and we were living together, and I was just kind
of confronting that part of a relationship that was new
to me, where I realized we kind of were living
the same life, that I was sort of becoming more
(02:39):
like her, she was becoming more like me. We had
the same friends, we breathed the same air, and just
that weird feeling of wondering, am I sort of stopping
am I losing my individuality but by sort of sharing
a life with this other person. And I told my partner, Hey,
I think I'm going to write the script, and she
said that's upsetting to me, but that's a good idea,
or you should do it, and I'm like, okay, cool.
(03:00):
And then you know, writing the first the difference between
the first draft of the final draft, it's it's funny
because something's are fundamental, Like the very final shot of
the film was in the very very very first draft,
and it describes like the camera movement and even kind
of like the light, and it's exactly the same, and
I'm so proud of that that there was kind of
a fundamental kind of kernel to that. But as it's
(03:23):
just the thing that really changed actually from the first
draft of the final draft on a broad level, was
putting more of my own kind of personal story and
my personal kind of fears and anxieties and trauma into
the film, because that was something that I was worried about.
I was like, I've never written something so vulnerable before.
But the more specificity I put into the script, the
(03:45):
more it kind of came to life, the less generic
it became. And I think that the film is so
much better for it. But it does feel strange now
two days away from the story being in front of
millions of people that you know they're all going to
see my dirty laundry.
Speaker 5 (03:58):
Well, that's what I was going to ask, is you
know you've spent now so many years from this from
you know, the screenplay, to the production of the film,
going through the edit, and now you're doing the press,
which is normally the final lap here before release.
Speaker 4 (04:11):
I was gonna ask you you are a answered.
Speaker 5 (04:13):
It's anxious, but to be able to say that you're done,
like one of the hardest things. I wrote a book
one time, and that was the hardest thing I've ever
done in my life.
Speaker 4 (04:20):
And when I was finished.
Speaker 5 (04:21):
With it, I was like, oh, there's so many things
I could still change and go back and tweak, but
you know what, I just got to let it go
and let it go to the people.
Speaker 4 (04:28):
Is that kind of what you're feeling?
Speaker 3 (04:30):
One percent?
Speaker 6 (04:31):
You know what?
Speaker 3 (04:31):
The said old cliche that odd is the never finished,
only abandoned, And that's a bit how I feel. But
when we screened it someun dance, the screening was so
good and everybody loved it and we had this amazing deal.
What we sold, this amazing sale to Neon who have
come on as how distribute is. After that, they said
to me, hey, look, if there's anything that you kind
of wanted to keep tweaking with, you know, let us
(04:53):
know we could potentially do that. And there are all
some things in the film where if I had my
in my heart of hearts, I could say would mind
doing that and just kind of tweaking that a little bit.
But I kind of felt like, no, you know, I
like it being sort of a time capsule of this
place and this experience, and it's played well and everybody's
kind of loved it so far, so I just didn't
want to mess with a good thing. But when I
(05:14):
sit and watch the screenings with audiences, there's you know,
every now and then I'm like, ah, that's it, that's
a little one second too long, and that's a look.
Speaker 5 (05:21):
You know, it really is never finished, but it's nice
for me on to be so, you know, allowing you
as an artist to continue to tweak things. They really
have a great eye for projects, and I'm sure it's
been lovely to be able to work with them.
Speaker 3 (05:35):
Yeah, they're incredibly collaborative as well. I just absolutely love
with working with them.
Speaker 4 (05:38):
And what's been the collabor What was the collaboration like
on set? You know, with with Dave and Allison.
Speaker 5 (05:43):
Obviously they bring their own chemistry to it, you know,
being the the you know, their real life couple, but
being able to work on set, did y'all have like
a nice collaboration.
Speaker 3 (05:52):
Absolutely. By the time we were on set, David Allison
and I have been kind of talking, I don't know,
something like a year on Zoom meeting and just you know,
going over the script because we had such a limited
budget for the ambition. Of this film that by the
time we were on set, we needed to go, go, go,
So there was no time for amy and a ring,
there was no time for improv. We were you know,
(06:13):
I had storyboard of the whole film. They knew the
whole film. We all knew the film kind of backwards
and forwards, and so we were. We were this wonderful
team and there's such lovely passionate people that that passion
kind of infected the whole crew, and it was. It
should have been a stressful shoot because we had so
much to pull off with such limited resources, but actually everybody,
(06:33):
the whole crew like it was a giddy time. It
kind of felt like a big student film or something
where we were just all kind of delighted because, you know,
unlike certain films that perhaps have sort of a drier tone,
this was a movie where we might go from a
scene of extreme emotional intensity and then the next scene
we'd be wheeling out some crazy practical effects, some crazy puppets,
(06:54):
and suddenly everybody's like, what are we doing? I can't
believe we get to get away with making this insane
horror sequence.
Speaker 5 (07:01):
So okay, final final question for you, Just again, writers
sometimes make the worst editors, right, that's another adage, because
we know every word is important.
Speaker 4 (07:11):
You put it there for a reason when you wrote
the script.
Speaker 5 (07:13):
Was there something on set that as you were shooting,
you go, you know what, I know this isn't gonna work.
Speaker 4 (07:18):
I'm gonna have to cut this.
Speaker 3 (07:20):
Well again, with independent filmmaking, like every single thing every day,
there are compromises that you're making. And there was a
scene that I'd written and it was just kind of
a scene of transporting two characters from one location to
the next. But it's after and we've written this. I've
written it in such a way that we're gonna have
to shoot it in kind of like six different shots,
and we didn't have time to do that. And as
(07:41):
that day was beginning and I was trying to figure
out how we're gonna do this, how we're gonna do this,
the first assistant director was standing in the doorway giving
a security briefing, and the light was hitting him in
a way where I could really clearly see his shadow,
and I thought, you know what, we can just reduce
this whole scene down to one shot if we just
shoot that doorway, open the door and we see the
shadow of those two characters walking past, and that reduced
(08:04):
our six shot scene that we could never do into
a single shot and we cuddle the dialogue from it
and it works beautifully. And when I watched the movie,
I think that's one of my favorite directorial decisions and
it was just like totally improvised in the moment.
Speaker 4 (08:19):
Love it, Love it well, congratulations on the movie. I'm
glad everyone's going to get to see it. In pleasure
talking to you
Hey guys, Brad Gilmour here. Want to give a big
shout out to our title sponsor, Walker Texas Lawyer. If
you are a love would 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 2 (00:20):
Oh Broadcasting live from Houston, Texas and around the world
and are around the world. TV host, best selling author
and radio personality, Brad Gilmour brings you a collection of
conversations with stars from movies. Matthew McConaughey, Brad Gilmore, Mark
(00:43):
wohlburg By, how are you the legendary mister Christopher Lloyd Christopher,
how are we doing? I'm doing good, Ray inswered, Jessica
Alba and Lizzie Matthis ladies, thank you so much for
joining me.
Speaker 3 (00:53):
Thank you.
Speaker 4 (00:53):
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.
Speaker 5 (01:02):
I appreciate this.
Speaker 3 (01:03):
Bud Kelly Ripper, thank you, for having me.
Speaker 5 (01:06):
Comedy Jay Leno joins us, Jay, how you doing, hey, Brad?
Speaker 2 (01:09):
What's going on?
Speaker 4 (01:09):
Chris Tucker is in the bill and Chris Tucker, good
morning to you.
Speaker 2 (01:12):
Hey you.
Speaker 4 (01:14):
George Lopez joins us right now, George, how are you doing?
Speaker 2 (01:17):
So good morning music, Lola Man, thank you, thank you
for having me.
Speaker 4 (01:22):
The legendary front man of ac DC.
Speaker 1 (01:24):
Brian Johnson joins us right now, Brian, how you doing?
Speaker 2 (01:28):
Good morning?
Speaker 4 (01:29):
Brock what look talking me? Funny Live Megan Trainer. Chloe
Bailey joins us. I appreciate the time, appreciate.
Speaker 3 (01:36):
You and more and more. This is the collection.
Speaker 6 (01:41):
Now you're host of the boat, Michael, Thank you so
much taming the time to talk to me.
Speaker 4 (01:53):
Congratulations on the movie, man.
Speaker 3 (01:55):
Hey, thank you so much. I'm so excited to talk
about it.
Speaker 5 (01:58):
Okay, look, let's start there because I'm always fascinated by process,
Like that's the most fascinating thing for me when it
comes to a filmmaker, especially one who writes and directs
the movie. So where did the origin of the idea
come from? Where you wanted to start on this screen play?
And then how different did it look by the shooting draft?
Speaker 3 (02:18):
That's a great question. I mean, the jumping off point
was the fact that I being with my long term
partner for almost seventeen years now, and when I was
writing the film, it was kind of almost ten years
and we were living together, and I was just kind
of confronting that part of a relationship that was new
to me, where I realized we kind of were living
the same life, that I was sort of becoming more
(02:39):
like her, she was becoming more like me. We had
the same friends, we breathed the same air, and just
that weird feeling of wondering, am I sort of stopping
am I losing my individuality but by sort of sharing
a life with this other person. And I told my partner, Hey,
I think I'm going to write the script, and she
said that's upsetting to me, but that's a good idea,
or you should do it, and I'm like, okay, cool.
(03:00):
And then you know, writing the first the difference between
the first draft of the final draft, it's it's funny
because something's are fundamental, Like the very final shot of
the film was in the very very very first draft,
and it describes like the camera movement and even kind
of like the light, and it's exactly the same, and
I'm so proud of that that there was kind of
a fundamental kind of kernel to that. But as it's
(03:23):
just the thing that really changed actually from the first
draft of the final draft on a broad level, was
putting more of my own kind of personal story and
my personal kind of fears and anxieties and trauma into
the film, because that was something that I was worried about.
I was like, I've never written something so vulnerable before.
But the more specificity I put into the script, the
(03:45):
more it kind of came to life, the less generic
it became. And I think that the film is so
much better for it. But it does feel strange now
two days away from the story being in front of
millions of people that you know they're all going to
see my dirty laundry.
Speaker 5 (03:58):
Well, that's what I was going to ask, is you
know you've spent now so many years from this from
you know, the screenplay, to the production of the film,
going through the edit, and now you're doing the press,
which is normally the final lap here before release.
Speaker 4 (04:11):
I was gonna ask you you are a answered.
Speaker 5 (04:13):
It's anxious, but to be able to say that you're done,
like one of the hardest things. I wrote a book
one time, and that was the hardest thing I've ever
done in my life.
Speaker 4 (04:20):
And when I was finished.
Speaker 5 (04:21):
With it, I was like, oh, there's so many things
I could still change and go back and tweak, but
you know what, I just got to let it go
and let it go to the people.
Speaker 4 (04:28):
Is that kind of what you're feeling?
Speaker 3 (04:30):
One percent?
Speaker 6 (04:31):
You know what?
Speaker 3 (04:31):
The said old cliche that odd is the never finished,
only abandoned, And that's a bit how I feel. But
when we screened it someun dance, the screening was so
good and everybody loved it and we had this amazing deal.
What we sold, this amazing sale to Neon who have
come on as how distribute is. After that, they said
to me, hey, look, if there's anything that you kind
of wanted to keep tweaking with, you know, let us
(04:53):
know we could potentially do that. And there are all
some things in the film where if I had my
in my heart of hearts, I could say would mind
doing that and just kind of tweaking that a little bit.
But I kind of felt like, no, you know, I
like it being sort of a time capsule of this
place and this experience, and it's played well and everybody's
kind of loved it so far, so I just didn't
want to mess with a good thing. But when I
(05:14):
sit and watch the screenings with audiences, there's you know,
every now and then I'm like, ah, that's it, that's
a little one second too long, and that's a look.
Speaker 5 (05:21):
You know, it really is never finished, but it's nice
for me on to be so, you know, allowing you
as an artist to continue to tweak things. They really
have a great eye for projects, and I'm sure it's
been lovely to be able to work with them.
Speaker 3 (05:35):
Yeah, they're incredibly collaborative as well. I just absolutely love
with working with them.
Speaker 4 (05:38):
And what's been the collabor What was the collaboration like
on set? You know, with with Dave and Allison.
Speaker 5 (05:43):
Obviously they bring their own chemistry to it, you know,
being the the you know, their real life couple, but
being able to work on set, did y'all have like
a nice collaboration.
Speaker 3 (05:52):
Absolutely. By the time we were on set, David Allison
and I have been kind of talking, I don't know,
something like a year on Zoom meeting and just you know,
going over the script because we had such a limited
budget for the ambition. Of this film that by the
time we were on set, we needed to go, go, go,
So there was no time for amy and a ring,
there was no time for improv. We were you know,
(06:13):
I had storyboard of the whole film. They knew the
whole film. We all knew the film kind of backwards
and forwards, and so we were. We were this wonderful
team and there's such lovely passionate people that that passion
kind of infected the whole crew, and it was. It
should have been a stressful shoot because we had so
much to pull off with such limited resources, but actually everybody,
(06:33):
the whole crew like it was a giddy time. It
kind of felt like a big student film or something
where we were just all kind of delighted because, you know,
unlike certain films that perhaps have sort of a drier tone,
this was a movie where we might go from a
scene of extreme emotional intensity and then the next scene
we'd be wheeling out some crazy practical effects, some crazy puppets,
(06:54):
and suddenly everybody's like, what are we doing? I can't
believe we get to get away with making this insane
horror sequence.
Speaker 5 (07:01):
So okay, final final question for you, Just again, writers
sometimes make the worst editors, right, that's another adage, because
we know every word is important.
Speaker 4 (07:11):
You put it there for a reason when you wrote
the script.
Speaker 5 (07:13):
Was there something on set that as you were shooting,
you go, you know what, I know this isn't gonna work.
Speaker 4 (07:18):
I'm gonna have to cut this.
Speaker 3 (07:20):
Well again, with independent filmmaking, like every single thing every day,
there are compromises that you're making. And there was a
scene that I'd written and it was just kind of
a scene of transporting two characters from one location to
the next. But it's after and we've written this. I've
written it in such a way that we're gonna have
to shoot it in kind of like six different shots,
and we didn't have time to do that. And as
(07:41):
that day was beginning and I was trying to figure
out how we're gonna do this, how we're gonna do this,
the first assistant director was standing in the doorway giving
a security briefing, and the light was hitting him in
a way where I could really clearly see his shadow,
and I thought, you know what, we can just reduce
this whole scene down to one shot if we just
shoot that doorway, open the door and we see the
shadow of those two characters walking past, and that reduced
(08:04):
our six shot scene that we could never do into
a single shot and we cuddle the dialogue from it
and it works beautifully. And when I watched the movie,
I think that's one of my favorite directorial decisions and
it was just like totally improvised in the moment.
Speaker 4 (08:19):
Love it, Love it well, congratulations on the movie. I'm
glad everyone's going to get to see it. In pleasure
talking to you
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