October 11, 2024 • 35 mins
In this special episode, producer Michael Noens of the Imbibe Cinema podcast invites you to listen to a conversation between actors Jonathan C. Legat and Stephanie Wyatt as they reflect on their performances in the independent film Coasting (2010).
Two people, both in relationships, find love in the most unlikely place: a remote hotel bar in the small Midwest town of Stillwater. Now they'll have to deal with more than anyone's fair share of difficulty, including family issues, their current partners, and the distance, to try to make it work.
This episode features select excerpts from the film's original motion picture score, courtesy of Leaky Faucet Music (ASCAP).
Remember to imbibe responsibly! If you haven't seen COASTING watch the film before you listen to the episode at imb.watch/coasting. Get tickets to see the film at Music Box Theatre in Chicago on Tuesday, October 15 at musicboxtheatre.com.
To begin your Imbibe Cinema membership, visit imb.watch/membership.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Michael Noens (00:02):
Hello there and welcome to a special episode of
Imbibe Cinema.
I'm Michael Nowens and I'mthrilled to share that Season 3
is in production and will debutnext month on November 27th.
We've got several specialguests lined up and some other
fun surprises, so keep an earout for more of our shenanigans
(00:23):
before you head into theThanksgiving weekend.
All right, real quick, beforewe begin, I'd like you to
consider supporting the show bybecoming an Imbibe Cinema member
.
When you become a member, youget access to a variety of
exclusive content, includingmonthly limited release
independent films and upcomingmember-only podcast content.
(00:45):
Another great benefit ofbecoming a member is that you
get access to the 2025 BlueWhiskey Independent Film
Festival virtual experience nextspring.
That means you get to watch allparticipating official
selections from wherever you arein the United States.
That's right, it's justincluded in the membership.
The United States that's right,it's just included in the
(01:08):
membership.
So it should come as nosurprise to you that the Imbibe
Cinema Podcast is brought to youby the Blue Whiskey Independent
Film Festival, otherwise knownas BWIF.
The festival celebratesindependent, character-driven
films of all lengths, styles andgenres.
To learn more, visit bwifcom.
That's B-W-I-F-F dot com.
So, as I mentioned earlier, wehave a special episode for you
(01:31):
today, an episode that I'mparticularly excited about
because the film we'rediscussing is one that I
produced and directed 15 yearsago, and that film is coasting.
That's a taste of composer JeffSchell's original score.
(02:02):
While my producing partner,dave Grelk, and I were cutting
the film, we had tracks fromSimon and Garfunkel from
beginning to end.
The film was very segmentedwith them, but it captured the
feel that we were going for.
We got so used to watching thefilm with songs like April Come
she Will, america Bookends themeand so many others that it
(02:26):
became near impossible toimagine it without them.
Enter Jeff Schell.
A great composer, ties thewhole film together with music
that tells a story on its own,and that's exactly what Jeff did
with this beautifully uniquescore.
As I mentioned, my producingpartner on the film was
(03:12):
screenwriter Dave Grohlke.
We developed the story andcharacters together, and then
Dave brought it all to life onthe page with his brilliant and
witful dialogue and, of course,his signature references and
Easter eggs.
Stephanie Wyatt (03:24):
You choose a topic, anything goes anything
goes, yeah I'm full of secretswhere you're from.
The birds sing a pretty songyeah, and there's always music
in the air, and it's that latehour in the evening where you
invariably tell someone youdon't know something fairly
embarrassing about yourself in ahotel bar.
Michael Noens (03:45):
Those are the film's stars, jonathan C Leggett
and Stephanie Wyatt, twowonderfully talented actors and
delightful human beings that ledthis great cast of characters.
A while back, during theCOVID-19 pandemic actually, I
got on a call with John andStephanie to catch up and talk
(04:05):
about this gem of a picture thatwe made oh so many years ago.
Let's go ahead and jump intothat conversation with Stephanie
and John as they reflect ontheir time on set.
Stephanie Wyatt (04:17):
John, I want to ask you the first question.
Jonathan C. Legat (04:21):
All right.
Stephanie Wyatt (04:22):
Which is what is?
What is your best memory on set?
Because I definitely had some.
I have so many from that set.
Jonathan C. Legat (04:32):
Yes, yeah, that's.
That's more than fair, I wouldsay my my best memories on that
set are are are of the, thepeople that we were working with
.
I think that, like the outtakesspecifically help with that.
I think the one thatimmediately comes to my mind is
(04:55):
the time that I tried to concussmyself on the ball.
We're, you and I are at the barhaving a conversation and I
decide to uh play, blow my ownbrains out and and, and you know
, do the whole thing, and then,like you know any limp person, I
slam my head on the bar andimmediately looked at everyone.
(05:19):
I went, uh, what?
Yeah, I think that might be myabsolute favorite moment is I
heard that from across the baroh, yeah, it was loud, it's in
the outtake, you hear it, it's,it's an act of thud.
Yeah, what about you?
Your favorite moment on set ohgod, there really are.
Stephanie Wyatt (05:41):
I mean, I agree with you.
When I think back to coasting,I think of it felt like and I
mean this with in the sense ofso much fun and camaraderie.
It felt like filmmaking, likesummer camp, because we also
kind of made it during thesummer, you know, but it just in
the sense of like I just, youknow, I felt like I was making
(06:03):
this movie with my friends, andI don't think that I quite
understood how good it was goingto be.
I knew it was going to be good,like I love the script and I
love you guys, but then you know, when you have that much fun,
you're like, oh, you know, Idon't know, and then it was so
good.
I don't know, and then it wasso good.
I think my favorite actingmoment, though, was probably
(06:27):
with you, john, because I don'tknow if you remember this moment
, and it was, I think.
As far as an actor, it was.
One of the moments that Iprobably felt the most was do
you remember when we're at thedoor of the hotel room you
already know where we going andand you're deciding like I can't
(06:48):
do this and I'm begging you,and we remember that moment.
I don't know how we got thereso easily, except for, obviously
, great direction and greattrust between us.
But I, that moment to me wasprobably one of the most honest
moments in for me as an actor.
Like I just remember, likeknowing, like I didn't have to
(07:12):
be anything other than in thatmoment with you and and you know
it only could have happenedwith you know the trifecta, you
know that was there at the timebecause it's so much trust and
vulnerability.
But but that moment, man, andlike it was so funny, because
like it wasn't even like afterit finished, you were like, whew
, you're so in it.
Oh yeah, you know that it waslike, oh, my God, we just lived
(07:34):
that.
Jonathan C. Legat (07:34):
Oh, no, I know, you know it was
heartbreaking because that scenewas, as you know, as honest as
you get and yeah, no, youabsolutely crushed that scene
too.
Stephanie Wyatt (07:49):
So, yeah, that's well, it's because I had
I mean I really and other moviesthat we ended up doing and I
mean I'm sure you can speak onthis.
I know Mike has directed somany movies at this point but as
just being a romantic lead oreven just romantic with anyone
in a movie, or being vulnerableman, you learn.
And I, you know, did a fewother things after coasting,
(08:12):
where it was so much harder, andagain I was like so I was
gifted this gift of thisdirector that I was friends with
and trusted, and then thisco-star that I was friends with
and trusted, and I don't thinkthat you quite realize how
absolutely much of a gift thatis.
Until you're with people youknow, and I'm not saying it's
(08:32):
bad, but you just don't havethat.
With over the tavern, um, atheatrical play the first time
(08:53):
that we met, um, you played mydaughter over the tavern was one
of my favorite plays I've everdone in my whole life.
And just I and I know I'm told,I feel like I've told you it's
a story, but just for thegeneral public to know, I had no
intention of you know, I was inChicago and in Logan Square and
I was like, oh, I'm just tryingto, like you know, do anything
(09:15):
get out there.
And I remember driving out andI was driving and driving and I
was like the hell am I going.
You know I'm totally lost, nosense of direction.
And then I arrive at thisbeautiful theater and you guys
are there and I honestlyremember auditioning and being
(09:37):
like that fucking sucked man,that sucked.
And I left and like I felt likeMike.
You Mike was just in his world,being Mike and he was just like
you know, for me, I was stillin my head of like convinced, I
sucked that.
I felt like he was like, oh yeah, bye.
And I was like man, what wereyou doing, you know?
(09:58):
And so I, I left, and then Igot a call back, but I didn't
get there and it's like all youguys know each other.
And now I'm like man, this is,this is bad.
They must be really needingpeople.
You know Cause I know I didthat audition, mike, mike and I
connected, I, I, I knew I waslike I know I get him, I, I dig
(10:21):
that, I dig this guy Like I werehere creatively, you you know.
And then you and I readtogether at some point, john,
and it just was like so easy andlike the rest was just kind of
history and it was a freakingblast.
Yeah, it's a blast no, I lovedthat show so the fact that we
all kind of got that warm up andthen went into coasting- yes
(10:43):
just made it so much more fun.
Would you perform any of thescenes or subject matter
differently Now, if we did itright now?
Jonathan C. Legat (10:58):
um, the.
There's only one scene that Iwould really like to to redo, um
, and it's it's for the mostselfish reason of of all.
It's great.
Actually, I guess there's two.
They have the same relation towhat was happening.
Um, I was very congested, uh,at at one point during the
(11:23):
filming, and I know specificallythere's two scenes where it is
it's really apparent how stuffedup I was.
There's the scene in the gazebowith Emily Skyle, and then the
one that my lovingbrother-in-law and my wife never
let me live down, which whichis In the Washroom with Chris
(11:44):
Weiss.
When I simply say two words andthey will say that to me
anytime I get congested they'relike Harris, don't, yeah, watch
the movie again.
Stephanie Wyatt (12:02):
And when you hear me say that like just, I'm
like full woody allen right now,I'm like harry, don't, like
horrible you know, I did noticein that scene that you were like
I mean because I know you yousounded like this much different
.
Jonathan C. Legat (12:17):
But I always thought it was like oh, he's
very emotional he's having a badallergy attack and he is
congested af and it's onlybecause of that.
It's like I'm trying to likesubject matter wise.
I honestly think that that we,we did such, we did such a good
(12:40):
job, um, but like we were sohonest with each other and with
the characters and with thesubject matter, that like to me
trying to redo any of thosescenes, um, or or trying to
tackle it in a different way,just it.
It would not feel as as honest,I think, in in the way of the
film and so to to me it's purenarcissistic, you know,
(13:05):
selfishness.
I'd want a performance backjust to make it cleaner.
Stephanie Wyatt (13:12):
There's no shame in that, john, yeah.
Jonathan C. Legat (13:13):
What about you.
Stephanie Wyatt (13:16):
I think there was one scene where we were
filming outside and I wastalking to my, my boy, my was he
my boyfriend or fiance, I can'tremember but Adam on the phone
and he was watching a footballgame and, um, I do what the
cicadas no, forget this.
(13:38):
I was so into what I was doing Ididn't even realize there were
cicadas.
There could have been a dyingcat and I would have wouldn't
have noticed.
I was performing, okay, but Ithink I wasn't, um, the way you
know, like I don't know, forsome reason.
I mean, this is like thetiniest thing.
(13:59):
It was just like I just wasnwasn't like invested in him as
much as I would be like knowing,like you know, when a
relationship, the worst part ofa relationship is not even the
end, it is when you know it'sending.
That's the worst part.
Okay, the end is like rippingthe bandaid off, it's the slow
death that just stops.
(14:20):
And that's where, that's wherewe were and I think you know,
once again, I didn't give itthat like tired gravity and you
know, and it's like it's such asmall thing, but you know
nitpicky, nitpicky things likethat.
Jonathan C. Legat (14:37):
See, I actually love the performance
specifically of the hope thatyou get, as if you know the
relationship is not about to endwhen he's like, hey, can you,
you know?
And you're like, oh well,you're like there's a renewed
thing, and he's like, can you,can you pick me up some Taco
Bell?
And it's like, good, like, Ithink you absolutely crushed
(15:01):
that gut, like I, I think youabsolutely crushed that.
Stephanie Wyatt (15:06):
Well, thank you , yeah, I just I, you know it's.
It's those nitpicky things thatwhen you look back you're like
you know well those are.
Jonathan C. Legat (15:09):
Those are especially also hard to do when
one you don't know the otherperson's performance.
Michael Noens (15:14):
So you're you're playing in a vacuum.
Jonathan C. Legat (15:17):
uh, you know, but I, I, but I love that scene
, other than the cicadas.
Stephanie Wyatt (15:23):
Yeah, they are there, though I remember hearing
them on the other side ofthings.
Jonathan C. Legat (15:36):
Do you like watching yourself in films?
No, okay, no, I do.
I don't think it's bad.
Stephanie Wyatt (15:46):
No, let me, let me say this.
So, like when, when coasting,uh, first came out, I was like
you know, I'd like peek and Iactually okay, when I watched
coasting with my family, I, um,I had them watch it and I just
had a pillow right here, um, buthere's the thing I don't think
(16:07):
it's, I think you have to.
I, I mean, I don't know, um,maybe we should call Meryl she,
maybe she has better advice, but, um, I know that there are
things that like when, whetherit was mike or just whoever is
directing you, that, whether youdidn't nail, or like, um,
something's going on, you're notconnecting, whether you're
(16:28):
watching playback or whetheryou're watching the actual
finished product.
I, I think you can learn ohyeah and I think that's why it's
actually good.
That's like you know taking atest but not looking at.
Good, that's like you knowtaking a test but not looking at
.
You know, like the final gradedthing, like so I I do feel I
know a lot of people don't and Iget that, but for me I had to
(16:50):
be like no, I can learn, I canlearn from this because I want
to be better.
You know, like why the footballplayers watch the game in the
locker room yeah, interview,interview the tapes.
Yeah, football stuff, but yeah,you know, they watch, they watch
that.
Michael Noens (17:34):
You know, most of the guys here don't care if
they win or not.
You know what I mean Just to beable to build a car for this
event bring it out here.
Stephanie Wyatt (17:47):
Race your buddies, run on the beach all
day is just fantastic.
Michael Noens (17:50):
You better clear that out.
I've never raced on the beachbefore in my life.
No, I just hope I can keep itout of the water.
That's about it.
The Race of Gentlemen is adocumentary that was filmed over
the course of three years aboutmen who build hot rods and then
(18:11):
race them at an annual eventwith the same name.
Members can watch the Race ofGentlemen on Imbibe Cinema
Streaming, along with anarrative short film from Turkey
called Mirrity, now throughOctober 31st 2024.
Now back to the show.
Jonathan C. Legat (18:28):
When it comes to the subject matter.
Obviously two cousins who don'tknow their cousins but they
fall in love and in the end theyobviously search each other out
.
What was your initial thoughtwhen you read the script to the
subject matter?
Stephanie Wyatt (18:49):
Man, it's so funny because my thoughts then
and my thoughts now are sodifferent.
But I think at the time, youknow, I felt like I don't.
I think at the time I didn'tsee how it could really happen.
I'll say it like that like Ifelt like, um, you would find
(19:10):
out, and you would kind of beable to say, oh, I had these
feelings, but I found thesethings out.
I can cut that off.
As a human that's now lived alittle more and fallen in love
with people that you're notsupposed to fall in love with,
or all you know, or you don'twant to be in love with, you
kind of realize that's like justnot how it goes, buddy, you
(19:34):
know, and you're just kind of.
You know, it's that thing whereit's like if we only could
choose who we love sometimes.
You know it's that thing whereit's like if we only could
choose who we love sometimes,you know.
So at the time I thought it wasreally interesting because I
was like man, we're taking alittle bit of a you know,
creative leap.
I can dig that.
Royals do it.
I am from Kentucky.
It's not that far fetched.
You know, I'm just kidding.
(19:56):
What about you?
What do you think?
Jonathan C. Legat (19:59):
I will state I was a little spoiled because I
knew of the script before, butat the same time it was one of
the major things that drew me tothe script and to Wesley in
general.
I mean, you know it'sindependent films, so there's
(20:19):
your opportunity to really kindof try to stretch it, but at the
same time I don't feel likeit's that much of a stretch.
As you said, you know once,once you've lived a little, you
know who you fall in love with,is, is, is who you fall in love
with, and, and, and I feel thatthe script does such a great job
of of making the honestdiscussion of like we, you know,
(20:44):
we know that we should not bedoing this, and yet maybe
there's something to this and dowe go down this road or no, we
shouldn't.
We've been, uh, waxing andwaning and, and I think that
it's it's how it dealt with thesubject matter and just came to
the point of like love is love.
Stephanie Wyatt (21:02):
Yeah, I, I, I like what you just said.
It's funny because so many Ithink love stories, whether it's
you know the affair or you knowsome other kind of forbidden
thing, it's all kind of likevery similar in that sense.
And yeah, I just I felt like itwas a really uh, it was an
(21:23):
interesting twist because I hadnot, had not really seen that.
You know, I know this is one ofthe questions that I'm kind of
jumping, but I'm like dying tojust tell you this.
And, mike, I was thinking ofyou because I remember us having
a conversation of the moment,um, where we met at the bar
again the second time and we hadthat moment where we come
(21:44):
together which was so love it.
Still to this day I can see it.
It's just so great you only comeso far down the bar yes, and
even the way the shot was likeframed and you know the push I
mean just was all great.
But it is interesting because Ithink I remember Mike talking
to me about this moment, becauseI remember the first few times
(22:04):
the gravity was not there andI'm not even sure I still got
the gravity in the actual takethat was used.
But I will say, when Mike and Iwere talking about that, at
that time I was like, yeah, Iget it, I get it, I get it.
Yeah, I got it, I got it.
But I don't now living life more.
I was like I didn't get it.
(22:24):
You know what I mean, like Ididn't.
I didn't feel like the doorscene that we were talking about
.
I felt that I knew that I livedthat, I lived that with you in
that moment, you know.
But that scene, for whateverreason, I think I was going
through so much stuff personally, just so much going on.
I don't know I, whatever Mikewas seeing, he was seeing what I
(22:48):
.
Now I now see what he wasseeing, if that makes sense.
You know what I mean yeah, sothat's a scene.
You feel that, uh, that youwould try to do differently you
know, as an actor you want tofeel that edification of knowing
.
You felt it, yes, and it's likeI kind of did, but I don't
think I felt it to the extentthat I could have, but the whole
(23:11):
movie really was.
It was, you know, kind of likethis romantic comedy dramedy
that had so much more depth thatlike I don't know again, as you
live life, you're just like god, dude, that was saying so much,
you know.
Jonathan C. Legat (23:29):
Yeah, I think the side characters are some of
the best to that film, you know.
I mean, you've got AdamRosowitz as your partner in
crime, and then Emily Skyle asmine, chris Chris Wright, chris
(23:51):
Weiss, kyle as mine, chris Chrisright, chris Weiss, and of
course, tricia, and then, god,my parents.
Madeline Franklin is.
Stephanie Wyatt (24:00):
Oh my God.
Yeah, dude and Madeline.
You know, when we did thosescenes I was she's so freaking
brilliant yes, she just is Onwith that character.
And it was intimidating.
It was intimidating acting withher, you know, because I knew
(24:23):
that she just was a freakingninja.
I mean, she just is, you know,and she just was there.
There was no question if shewas there with you, she was
there, you know.
No, she just was there.
There was no question if shewas there with you, she was
there, you know.
Jonathan C. Legat (24:35):
No, she is incredibly professional, yeah,
but I will state, no matter whatends up happening, the scene
where we're in the car and allof a sudden she just shows up in
the window I jump every time,like every time it's, she's just
stepping into frame and you'relike, oh God, you're so every
time it's stepping into frameand you're like, oh God, there's
(24:56):
some dead.
Stephanie Wyatt (24:57):
Yeah, you know what scene I wish I was there
with you guys was that dinnerscene you all filmed?
Jonathan C. Legat (25:05):
Oh, that was fun.
Stephanie Wyatt (25:06):
Man, you could see the fun.
I want you to know it wassomeone who was not there.
Yeah, I had FOMO, seriously bad.
Jonathan C. Legat (25:13):
There was a absolute mess.
You could see the joy, the true, sincere joy in your all spaces
of that scene were there uhspecific moments with, uh I mean
(25:37):
you, you mentioned emily skyle,um, but uh where other?
There are other moments uh thatyou remember, uh with different
cast mates oh yeah, oh yeah.
Stephanie Wyatt (25:47):
Um, I mean chris weiss just cracked me up.
You and Chris together are just.
You are ridiculous.
I mean you all cannot be betterbrothers.
Jonathan C. Legat (25:58):
What I said we are a lot together.
Stephanie Wyatt (26:02):
You guys are cracking me up.
Was it BJ?
That was the janitor?
Jonathan C. Legat (26:08):
Yes, bj Foley steals the scenes.
Stephanie Wyatt (26:13):
I mean steals, the freaking scenes, steals.
I'm so glad I'm like you getthat.
I can still just see him liketurning off the vacuum and being
like eking out of the scene.
Yep.
Jonathan C. Legat (26:31):
Sing the line of dialogue and you're like I
get everything that's going onwith him yeah, you really do you
.
Stephanie Wyatt (26:38):
I mean, he crushed it.
You know, and I think you know,I loved your breakup scene with
emily, not the gazebo one inthe hotel room when she came and
then, um, she's like, you know,I can't you know she, I mean as
much as that.
She was so opposite of you andyou guys were not a match.
(27:00):
She had so many valid points.
Like you were kind of wantingher to be different, she was
wanting you to be different.
I don't know.
That scene was so such a reallyinteresting breakup scene in
the sense it was balanced.
Jonathan C. Legat (27:13):
There wasn't a real villain yeah, no cool you
know, yeah, so yeah nailed thatperformance too yeah I, I, I
did.
I did feel like the villain anda piece of shit while filming.
Stephanie Wyatt (27:28):
So that's triple check yeah uh, also
someone that, um, I just thoughtyou know we mentioned madeline
and uh, but bill redding, um,having that conversation with
you at the bar, yeah man, Iwatched that the other day and
(27:49):
was just like, oh, oh, he, oh,he's so good, yep.
Jonathan C. Legat (27:55):
Like I said, every performance in this is
just honest.
It really is oh what about the?
Stephanie Wyatt (28:01):
read-through.
I wanted to ask you about that.
What were your all's thoughtson the read-through?
And I ask you this becauseEmily Skyle was telling me some
stuff about the read-throughthis is like what two years ago
or whatever and she said awfulthings about all of you.
No, I'm just kidding, no, no,no.
I think I was so intimidatedand excited and overwhelmed by
(28:28):
this opportunity that at theread-through for me, I was just
like whew, whew, whew, okay, wegot this, you got this.
And Emily mentioned how, like Iguess, when she was like either
coming in or leaving orsomething, I just was like hi,
you know, and like ran away,scurried, oh okay, and she took
(28:48):
it as you know, like at the time, I was like look, I'm the star,
you know.
Michael Noens (28:53):
like at the time I was like look, I'm the star
which I mean.
Stephanie Wyatt (28:59):
I wish that were more of it.
It was more of just like apainful insecurity that I was
like.
These people are really good, Idon't know if I can do this.
Michael Noens (29:09):
I'm having a mental breakdown.
Jonathan C. Legat (29:13):
I mean I remember the read through was at
Essence Photography and I meanwe round tabled that thing.
I don't recall anything otherthan just absolute amazing fun
the entire time.
Stephanie Wyatt (29:34):
I agree, I yeah no, I agree, because our, when
we read, when we read thisscript, like I had walked in
with like a knot in my stomachand I was like you got this, you
got this good thoughts in, badthoughts out, good bad, good,
bad, good bad and and like um,but the it flowed, it was just,
it really just was like it.
It was like the easiest game oftennis, you know.
(29:57):
Like it just flowed and I waslike, okay, I feel better.
Jonathan C. Legat (30:00):
I will state it does help that most of the
crew and some of the cast kneweach other and, uh, I think even
those people who this was theirfirst, either CNGM or you know,
I mean, you and I workedtogether in two plays now we've
(30:20):
at least established before wegot to film, you know, I mean
like I don't.
I feel like CNGM and a lot ofthe people in, like the Palatine
area and even Chicago ingeneral are just kind of
welcoming um and uh.
You know, if you end up walkinginto a group that is already
kind of established, uh,especially with CNGM, I don't
(30:44):
feel that they're everstandoffish and like look, this
is the group, felt warm andfuzzy.
Stephanie Wyatt (31:01):
Well, I consider myself new to it, and I
definitely did so.
I got us off track.
Jonathan C. Legat (31:14):
No, that's all right.
Comedy, is this?
At first I was going to say thescene I would have loved to
have been there for.
Stephanie Wyatt (31:19):
Thank you.
Jonathan C. Legat (31:20):
Thank you, was the sex scene between you
and Adam.
And then I went oh no, I wasthere.
I was helping with lighting andcameras.
So I'm like oh no, I was there,okay, man.
Stephanie Wyatt (31:34):
I just Adam.
Jonathan C. Legat (31:36):
He had.
Just the stupid things he wouldsay after finishing were just
so outlandishly funny.
Stephanie Wyatt (31:47):
Yeah, try being under him, Try not to laugh.
Jonathan C. Legat (31:49):
I can literally only imagine.
Stephanie Wyatt (31:58):
Yeah, he was.
I just he was such a good sportabout it, though oh yeah
because I mean that's so, andwith our sex scene yes god it
was you, because it's like thoseare, so I don't care.
I mean I, you know, for likethe actors that get straight up
butt naked like monster's ballsituation.
(32:20):
That's so much trust yes, youknow.
Jonathan C. Legat (32:23):
I mean thanks , thanks to us having worked
together.
Uh, I can only imagine being ona set where you don't know, uh,
you don't have any sort ofrapport with that individual.
Yet by the end of the nightyou're going to yeah.
But, you know like there is alot of trust to that and so that
(32:46):
was much easier to go throughthose scenes.
You know knowing the person,being able to trust that person.
Stephanie Wyatt (32:55):
Yeah, well, also trust the crew that's
seeing you in a super vulnerableposition, you know.
Jonathan C. Legat (33:02):
Staring at you.
Stephanie Wyatt (33:04):
Yeah, staring watching and you know, I mean I
think our chemistry in thatmovie was so it was because you
and I had become such goodfriends and there was such again
back to the trust thing, youknow, and we just had like this
amazing rapport and I thinkthat's why that chemistry works
(33:24):
so well and I think it showed.
Jonathan C. Legat (33:27):
Yeah, I think that I believe us, whatever
that's worth.
Stephanie Wyatt (33:44):
The next time we are all together, perhaps we
can think, maybe we'll just docoasting too.
I don't know, somebody'srevenge, I don't know.
Jonathan C. Legat (33:55):
Somebody's revenge, I don't know who's
revenge when our children dowhat?
Maybe we meet our other cousins, we start questioning the
family tree, yeah.
Stephanie Wyatt (34:12):
Family tree that could be fun.
Jonathan C. Legat (34:16):
I like it.
Film it for the 20 year.
Michael Noens (34:19):
Yeah, sure, yeah, let's do it Well, kids Well
thank you guys, absolutely.
Stephanie Wyatt (34:24):
Love you guys, love you guys too.
Yes, love you guys.
Tell everyone.
Jonathan C. Legat (34:29):
I said hi Will do All right.
Stephanie Wyatt (34:32):
Bye guys, bye guys.
Tell everyone I said hi will doalright, bye guys, bye guys
thanks for taking this trip downmemory lane with me.
Michael Noens (34:41):
Coasting is now available to watch for free on
Imbibe Cinema streaming.
Visit imbibecinemacom andcreate an account with our free
Flight of Cinema bundle.
Opportunities to see the filmon the big screen begin next
week, october 15, 2024, at theMusic Box Theater in Chicago,
and there will likely be someother pop-up screenings
(35:04):
throughout next year as it isthe film's 15th anniversary.
Just a quick reminder a greatway to support this show and the
Blue Whiskey Independent FilmFestival is to become an Imbibe
Cinema member.
It's only $59.99 per year andthe benefits are pretty great,
(35:24):
so please consider joining.
You can find a link on how tobecome a member in our show
notes.
New episodes of the ImbibeCinema podcast will begin
Wednesday, november 27th.
Until then, cheers.
Hello there and welcome to a special episode of
Imbibe Cinema.
I'm Michael Nowens and I'mthrilled to share that Season 3
is in production and will debutnext month on November 27th.
We've got several specialguests lined up and some other
fun surprises, so keep an earout for more of our shenanigans
(00:23):
before you head into theThanksgiving weekend.
All right, real quick, beforewe begin, I'd like you to
consider supporting the show bybecoming an Imbibe Cinema member
.
When you become a member, youget access to a variety of
exclusive content, includingmonthly limited release
independent films and upcomingmember-only podcast content.
(00:45):
Another great benefit ofbecoming a member is that you
get access to the 2025 BlueWhiskey Independent Film
Festival virtual experience nextspring.
That means you get to watch allparticipating official
selections from wherever you arein the United States.
That's right, it's justincluded in the membership.
The United States that's right,it's just included in the
(01:08):
membership.
So it should come as nosurprise to you that the Imbibe
Cinema Podcast is brought to youby the Blue Whiskey Independent
Film Festival, otherwise knownas BWIF.
The festival celebratesindependent, character-driven
films of all lengths, styles andgenres.
To learn more, visit bwifcom.
That's B-W-I-F-F dot com.
So, as I mentioned earlier, wehave a special episode for you
(01:31):
today, an episode that I'mparticularly excited about
because the film we'rediscussing is one that I
produced and directed 15 yearsago, and that film is coasting.
That's a taste of composer JeffSchell's original score.
(02:02):
While my producing partner,dave Grelk, and I were cutting
the film, we had tracks fromSimon and Garfunkel from
beginning to end.
The film was very segmentedwith them, but it captured the
feel that we were going for.
We got so used to watching thefilm with songs like April Come
she Will, america Bookends themeand so many others that it
(02:26):
became near impossible toimagine it without them.
Enter Jeff Schell.
A great composer, ties thewhole film together with music
that tells a story on its own,and that's exactly what Jeff did
with this beautifully uniquescore.
As I mentioned, my producingpartner on the film was
(03:12):
screenwriter Dave Grohlke.
We developed the story andcharacters together, and then
Dave brought it all to life onthe page with his brilliant and
witful dialogue and, of course,his signature references and
Easter eggs.
Stephanie Wyatt (03:24):
You choose a topic, anything goes anything
goes, yeah I'm full of secretswhere you're from.
The birds sing a pretty songyeah, and there's always music
in the air, and it's that latehour in the evening where you
invariably tell someone youdon't know something fairly
embarrassing about yourself in ahotel bar.
Michael Noens (03:45):
Those are the film's stars, jonathan C Leggett
and Stephanie Wyatt, twowonderfully talented actors and
delightful human beings that ledthis great cast of characters.
A while back, during theCOVID-19 pandemic actually, I
got on a call with John andStephanie to catch up and talk
(04:05):
about this gem of a picture thatwe made oh so many years ago.
Let's go ahead and jump intothat conversation with Stephanie
and John as they reflect ontheir time on set.
Stephanie Wyatt (04:17):
John, I want to ask you the first question.
Jonathan C. Legat (04:21):
All right.
Stephanie Wyatt (04:22):
Which is what is?
What is your best memory on set?
Because I definitely had some.
I have so many from that set.
Jonathan C. Legat (04:32):
Yes, yeah, that's.
That's more than fair, I wouldsay my my best memories on that
set are are are of the, thepeople that we were working with
.
I think that, like the outtakesspecifically help with that.
I think the one thatimmediately comes to my mind is
(04:55):
the time that I tried to concussmyself on the ball.
We're, you and I are at the barhaving a conversation and I
decide to uh play, blow my ownbrains out and and, and you know
, do the whole thing, and then,like you know any limp person, I
slam my head on the bar andimmediately looked at everyone.
(05:19):
I went, uh, what?
Yeah, I think that might be myabsolute favorite moment is I
heard that from across the baroh, yeah, it was loud, it's in
the outtake, you hear it, it's,it's an act of thud.
Yeah, what about you?
Your favorite moment on set ohgod, there really are.
Stephanie Wyatt (05:41):
I mean, I agree with you.
When I think back to coasting,I think of it felt like and I
mean this with in the sense ofso much fun and camaraderie.
It felt like filmmaking, likesummer camp, because we also
kind of made it during thesummer, you know, but it just in
the sense of like I just, youknow, I felt like I was making
(06:03):
this movie with my friends, andI don't think that I quite
understood how good it was goingto be.
I knew it was going to be good,like I love the script and I
love you guys, but then you know, when you have that much fun,
you're like, oh, you know, Idon't know, and then it was so
good.
I don't know, and then it wasso good.
I think my favorite actingmoment, though, was probably
(06:27):
with you, john, because I don'tknow if you remember this moment
, and it was, I think.
As far as an actor, it was.
One of the moments that Iprobably felt the most was do
you remember when we're at thedoor of the hotel room you
already know where we going andand you're deciding like I can't
(06:48):
do this and I'm begging you,and we remember that moment.
I don't know how we got thereso easily, except for, obviously
, great direction and greattrust between us.
But I, that moment to me wasprobably one of the most honest
moments in for me as an actor.
Like I just remember, likeknowing, like I didn't have to
(07:12):
be anything other than in thatmoment with you and and you know
it only could have happenedwith you know the trifecta, you
know that was there at the timebecause it's so much trust and
vulnerability.
But but that moment, man, andlike it was so funny, because
like it wasn't even like afterit finished, you were like, whew
, you're so in it.
Oh yeah, you know that it waslike, oh, my God, we just lived
(07:34):
that.
Jonathan C. Legat (07:34):
Oh, no, I know, you know it was
heartbreaking because that scenewas, as you know, as honest as
you get and yeah, no, youabsolutely crushed that scene
too.
Stephanie Wyatt (07:49):
So, yeah, that's well, it's because I had
I mean I really and other moviesthat we ended up doing and I
mean I'm sure you can speak onthis.
I know Mike has directed somany movies at this point but as
just being a romantic lead oreven just romantic with anyone
in a movie, or being vulnerableman, you learn.
And I, you know, did a fewother things after coasting,
(08:12):
where it was so much harder, andagain I was like so I was
gifted this gift of thisdirector that I was friends with
and trusted, and then thisco-star that I was friends with
and trusted, and I don't thinkthat you quite realize how
absolutely much of a gift thatis.
Until you're with people youknow, and I'm not saying it's
(08:32):
bad, but you just don't havethat.
With over the tavern, um, atheatrical play the first time
(08:53):
that we met, um, you played mydaughter over the tavern was one
of my favorite plays I've everdone in my whole life.
And just I and I know I'm told,I feel like I've told you it's
a story, but just for thegeneral public to know, I had no
intention of you know, I was inChicago and in Logan Square and
I was like, oh, I'm just tryingto, like you know, do anything
(09:15):
get out there.
And I remember driving out andI was driving and driving and I
was like the hell am I going.
You know I'm totally lost, nosense of direction.
And then I arrive at thisbeautiful theater and you guys
are there and I honestlyremember auditioning and being
(09:37):
like that fucking sucked man,that sucked.
And I left and like I felt likeMike.
You Mike was just in his world,being Mike and he was just like
you know, for me, I was stillin my head of like convinced, I
sucked that.
I felt like he was like, oh yeah, bye.
And I was like man, what wereyou doing, you know?
(09:58):
And so I, I left, and then Igot a call back, but I didn't
get there and it's like all youguys know each other.
And now I'm like man, this is,this is bad.
They must be really needingpeople.
You know Cause I know I didthat audition, mike, mike and I
connected, I, I, I knew I waslike I know I get him, I, I dig
(10:21):
that, I dig this guy Like I werehere creatively, you you know.
And then you and I readtogether at some point, john,
and it just was like so easy andlike the rest was just kind of
history and it was a freakingblast.
Yeah, it's a blast no, I lovedthat show so the fact that we
all kind of got that warm up andthen went into coasting- yes
(10:43):
just made it so much more fun.
Would you perform any of thescenes or subject matter
differently Now, if we did itright now?
Jonathan C. Legat (10:58):
um, the.
There's only one scene that Iwould really like to to redo, um
, and it's it's for the mostselfish reason of of all.
It's great.
Actually, I guess there's two.
They have the same relation towhat was happening.
Um, I was very congested, uh,at at one point during the
(11:23):
filming, and I know specificallythere's two scenes where it is
it's really apparent how stuffedup I was.
There's the scene in the gazebowith Emily Skyle, and then the
one that my lovingbrother-in-law and my wife never
let me live down, which whichis In the Washroom with Chris
(11:44):
Weiss.
When I simply say two words andthey will say that to me
anytime I get congested they'relike Harris, don't, yeah, watch
the movie again.
Stephanie Wyatt (12:02):
And when you hear me say that like just, I'm
like full woody allen right now,I'm like harry, don't, like
horrible you know, I did noticein that scene that you were like
I mean because I know you yousounded like this much different
.
Jonathan C. Legat (12:17):
But I always thought it was like oh, he's
very emotional he's having a badallergy attack and he is
congested af and it's onlybecause of that.
It's like I'm trying to likesubject matter wise.
I honestly think that that we,we did such, we did such a good
(12:40):
job, um, but like we were sohonest with each other and with
the characters and with thesubject matter, that like to me
trying to redo any of thosescenes, um, or or trying to
tackle it in a different way,just it.
It would not feel as as honest,I think, in in the way of the
film and so to to me it's purenarcissistic, you know,
(13:05):
selfishness.
I'd want a performance backjust to make it cleaner.
Stephanie Wyatt (13:12):
There's no shame in that, john, yeah.
Jonathan C. Legat (13:13):
What about you.
Stephanie Wyatt (13:16):
I think there was one scene where we were
filming outside and I wastalking to my, my boy, my was he
my boyfriend or fiance, I can'tremember but Adam on the phone
and he was watching a footballgame and, um, I do what the
cicadas no, forget this.
(13:38):
I was so into what I was doing Ididn't even realize there were
cicadas.
There could have been a dyingcat and I would have wouldn't
have noticed.
I was performing, okay, but Ithink I wasn't, um, the way you
know, like I don't know, forsome reason.
I mean, this is like thetiniest thing.
(13:59):
It was just like I just wasnwasn't like invested in him as
much as I would be like knowing,like you know, when a
relationship, the worst part ofa relationship is not even the
end, it is when you know it'sending.
That's the worst part.
Okay, the end is like rippingthe bandaid off, it's the slow
death that just stops.
(14:20):
And that's where, that's wherewe were and I think you know,
once again, I didn't give itthat like tired gravity and you
know, and it's like it's such asmall thing, but you know
nitpicky, nitpicky things likethat.
Jonathan C. Legat (14:37):
See, I actually love the performance
specifically of the hope thatyou get, as if you know the
relationship is not about to endwhen he's like, hey, can you,
you know?
And you're like, oh well,you're like there's a renewed
thing, and he's like, can you,can you pick me up some Taco
Bell?
And it's like, good, like, Ithink you absolutely crushed
(15:01):
that gut, like I, I think youabsolutely crushed that.
Stephanie Wyatt (15:06):
Well, thank you , yeah, I just I, you know it's.
It's those nitpicky things thatwhen you look back you're like
you know well those are.
Jonathan C. Legat (15:09):
Those are especially also hard to do when
one you don't know the otherperson's performance.
Michael Noens (15:14):
So you're you're playing in a vacuum.
Jonathan C. Legat (15:17):
uh, you know, but I, I, but I love that scene
, other than the cicadas.
Stephanie Wyatt (15:23):
Yeah, they are there, though I remember hearing
them on the other side ofthings.
Jonathan C. Legat (15:36):
Do you like watching yourself in films?
No, okay, no, I do.
I don't think it's bad.
Stephanie Wyatt (15:46):
No, let me, let me say this.
So, like when, when coasting,uh, first came out, I was like
you know, I'd like peek and Iactually okay, when I watched
coasting with my family, I, um,I had them watch it and I just
had a pillow right here, um, buthere's the thing I don't think
(16:07):
it's, I think you have to.
I, I mean, I don't know, um,maybe we should call Meryl she,
maybe she has better advice, but, um, I know that there are
things that like when, whetherit was mike or just whoever is
directing you, that, whether youdidn't nail, or like, um,
something's going on, you're notconnecting, whether you're
(16:28):
watching playback or whetheryou're watching the actual
finished product.
I, I think you can learn ohyeah and I think that's why it's
actually good.
That's like you know taking atest but not looking at.
Good, that's like you knowtaking a test but not looking at
.
You know, like the final gradedthing, like so I I do feel I
know a lot of people don't and Iget that, but for me I had to
(16:50):
be like no, I can learn, I canlearn from this because I want
to be better.
You know, like why the footballplayers watch the game in the
locker room yeah, interview,interview the tapes.
Yeah, football stuff, but yeah,you know, they watch, they watch
that.
Michael Noens (17:34):
You know, most of the guys here don't care if
they win or not.
You know what I mean Just to beable to build a car for this
event bring it out here.
Stephanie Wyatt (17:47):
Race your buddies, run on the beach all
day is just fantastic.
Michael Noens (17:50):
You better clear that out.
I've never raced on the beachbefore in my life.
No, I just hope I can keep itout of the water.
That's about it.
The Race of Gentlemen is adocumentary that was filmed over
the course of three years aboutmen who build hot rods and then
(18:11):
race them at an annual eventwith the same name.
Members can watch the Race ofGentlemen on Imbibe Cinema
Streaming, along with anarrative short film from Turkey
called Mirrity, now throughOctober 31st 2024.
Now back to the show.
Jonathan C. Legat (18:28):
When it comes to the subject matter.
Obviously two cousins who don'tknow their cousins but they
fall in love and in the end theyobviously search each other out
.
What was your initial thoughtwhen you read the script to the
subject matter?
Stephanie Wyatt (18:49):
Man, it's so funny because my thoughts then
and my thoughts now are sodifferent.
But I think at the time, youknow, I felt like I don't.
I think at the time I didn'tsee how it could really happen.
I'll say it like that like Ifelt like, um, you would find
(19:10):
out, and you would kind of beable to say, oh, I had these
feelings, but I found thesethings out.
I can cut that off.
As a human that's now lived alittle more and fallen in love
with people that you're notsupposed to fall in love with,
or all you know, or you don'twant to be in love with, you
kind of realize that's like justnot how it goes, buddy, you
(19:34):
know, and you're just kind of.
You know, it's that thing whereit's like if we only could
choose who we love sometimes.
You know it's that thing whereit's like if we only could
choose who we love sometimes,you know.
So at the time I thought it wasreally interesting because I
was like man, we're taking alittle bit of a you know,
creative leap.
I can dig that.
Royals do it.
I am from Kentucky.
It's not that far fetched.
You know, I'm just kidding.
(19:56):
What about you?
What do you think?
Jonathan C. Legat (19:59):
I will state I was a little spoiled because I
knew of the script before, butat the same time it was one of
the major things that drew me tothe script and to Wesley in
general.
I mean, you know it'sindependent films, so there's
(20:19):
your opportunity to really kindof try to stretch it, but at the
same time I don't feel likeit's that much of a stretch.
As you said, you know once,once you've lived a little, you
know who you fall in love with,is, is, is who you fall in love
with, and, and, and I feel thatthe script does such a great job
of of making the honestdiscussion of like we, you know,
(20:44):
we know that we should not bedoing this, and yet maybe
there's something to this and dowe go down this road or no, we
shouldn't.
We've been, uh, waxing andwaning and, and I think that
it's it's how it dealt with thesubject matter and just came to
the point of like love is love.
Stephanie Wyatt (21:02):
Yeah, I, I, I like what you just said.
It's funny because so many Ithink love stories, whether it's
you know the affair or you knowsome other kind of forbidden
thing, it's all kind of likevery similar in that sense.
And yeah, I just I felt like itwas a really uh, it was an
(21:23):
interesting twist because I hadnot, had not really seen that.
You know, I know this is one ofthe questions that I'm kind of
jumping, but I'm like dying tojust tell you this.
And, mike, I was thinking ofyou because I remember us having
a conversation of the moment,um, where we met at the bar
again the second time and we hadthat moment where we come
(21:44):
together which was so love it.
Still to this day I can see it.
It's just so great you only comeso far down the bar yes, and
even the way the shot was likeframed and you know the push I
mean just was all great.
But it is interesting because Ithink I remember Mike talking
to me about this moment, becauseI remember the first few times
(22:04):
the gravity was not there andI'm not even sure I still got
the gravity in the actual takethat was used.
But I will say, when Mike and Iwere talking about that, at
that time I was like, yeah, Iget it, I get it, I get it.
Yeah, I got it, I got it.
But I don't now living life more.
I was like I didn't get it.
(22:24):
You know what I mean, like Ididn't.
I didn't feel like the doorscene that we were talking about
.
I felt that I knew that I livedthat, I lived that with you in
that moment, you know.
But that scene, for whateverreason, I think I was going
through so much stuff personally, just so much going on.
I don't know I, whatever Mikewas seeing, he was seeing what I
(22:48):
.
Now I now see what he wasseeing, if that makes sense.
You know what I mean yeah, sothat's a scene.
You feel that, uh, that youwould try to do differently you
know, as an actor you want tofeel that edification of knowing
.
You felt it, yes, and it's likeI kind of did, but I don't
think I felt it to the extentthat I could have, but the whole
(23:11):
movie really was.
It was, you know, kind of likethis romantic comedy dramedy
that had so much more depth thatlike I don't know again, as you
live life, you're just like god, dude, that was saying so much,
you know.
Jonathan C. Legat (23:29):
Yeah, I think the side characters are some of
the best to that film, you know.
I mean, you've got AdamRosowitz as your partner in
crime, and then Emily Skyle asmine, chris Chris Wright, chris
(23:51):
Weiss, kyle as mine, chris Chrisright, chris Weiss, and of
course, tricia, and then, god,my parents.
Madeline Franklin is.
Stephanie Wyatt (24:00):
Oh my God.
Yeah, dude and Madeline.
You know, when we did thosescenes I was she's so freaking
brilliant yes, she just is Onwith that character.
And it was intimidating.
It was intimidating acting withher, you know, because I knew
(24:23):
that she just was a freakingninja.
I mean, she just is, you know,and she just was there.
There was no question if shewas there with you, she was
there, you know.
No, she just was there.
There was no question if shewas there with you, she was
there, you know.
Jonathan C. Legat (24:35):
No, she is incredibly professional, yeah,
but I will state, no matter whatends up happening, the scene
where we're in the car and allof a sudden she just shows up in
the window I jump every time,like every time it's, she's just
stepping into frame and you'relike, oh God, you're so every
time it's stepping into frameand you're like, oh God, there's
(24:56):
some dead.
Stephanie Wyatt (24:57):
Yeah, you know what scene I wish I was there
with you guys was that dinnerscene you all filmed?
Jonathan C. Legat (25:05):
Oh, that was fun.
Stephanie Wyatt (25:06):
Man, you could see the fun.
I want you to know it wassomeone who was not there.
Yeah, I had FOMO, seriously bad.
Jonathan C. Legat (25:13):
There was a absolute mess.
You could see the joy, the true, sincere joy in your all spaces
of that scene were there uhspecific moments with, uh I mean
(25:37):
you, you mentioned emily skyle,um, but uh where other?
There are other moments uh thatyou remember, uh with different
cast mates oh yeah, oh yeah.
Stephanie Wyatt (25:47):
Um, I mean chris weiss just cracked me up.
You and Chris together are just.
You are ridiculous.
I mean you all cannot be betterbrothers.
Jonathan C. Legat (25:58):
What I said we are a lot together.
Stephanie Wyatt (26:02):
You guys are cracking me up.
Was it BJ?
That was the janitor?
Jonathan C. Legat (26:08):
Yes, bj Foley steals the scenes.
Stephanie Wyatt (26:13):
I mean steals, the freaking scenes, steals.
I'm so glad I'm like you getthat.
I can still just see him liketurning off the vacuum and being
like eking out of the scene.
Yep.
Jonathan C. Legat (26:31):
Sing the line of dialogue and you're like I
get everything that's going onwith him yeah, you really do you
.
Stephanie Wyatt (26:38):
I mean, he crushed it.
You know, and I think you know,I loved your breakup scene with
emily, not the gazebo one inthe hotel room when she came and
then, um, she's like, you know,I can't you know she, I mean as
much as that.
She was so opposite of you andyou guys were not a match.
(27:00):
She had so many valid points.
Like you were kind of wantingher to be different, she was
wanting you to be different.
I don't know.
That scene was so such a reallyinteresting breakup scene in
the sense it was balanced.
Jonathan C. Legat (27:13):
There wasn't a real villain yeah, no cool you
know, yeah, so yeah nailed thatperformance too yeah I, I, I
did.
I did feel like the villain anda piece of shit while filming.
Stephanie Wyatt (27:28):
So that's triple check yeah uh, also
someone that, um, I just thoughtyou know we mentioned madeline
and uh, but bill redding, um,having that conversation with
you at the bar, yeah man, Iwatched that the other day and
(27:49):
was just like, oh, oh, he, oh,he's so good, yep.
Jonathan C. Legat (27:55):
Like I said, every performance in this is
just honest.
It really is oh what about the?
Stephanie Wyatt (28:01):
read-through.
I wanted to ask you about that.
What were your all's thoughtson the read-through?
And I ask you this becauseEmily Skyle was telling me some
stuff about the read-throughthis is like what two years ago
or whatever and she said awfulthings about all of you.
No, I'm just kidding, no, no,no.
I think I was so intimidatedand excited and overwhelmed by
(28:28):
this opportunity that at theread-through for me, I was just
like whew, whew, whew, okay, wegot this, you got this.
And Emily mentioned how, like Iguess, when she was like either
coming in or leaving orsomething, I just was like hi,
you know, and like ran away,scurried, oh okay, and she took
(28:48):
it as you know, like at the time, I was like look, I'm the star,
you know.
Michael Noens (28:53):
like at the time I was like look, I'm the star
which I mean.
Stephanie Wyatt (28:59):
I wish that were more of it.
It was more of just like apainful insecurity that I was
like.
These people are really good, Idon't know if I can do this.
Michael Noens (29:09):
I'm having a mental breakdown.
Jonathan C. Legat (29:13):
I mean I remember the read through was at
Essence Photography and I meanwe round tabled that thing.
I don't recall anything otherthan just absolute amazing fun
the entire time.
Stephanie Wyatt (29:34):
I agree, I yeah no, I agree, because our, when
we read, when we read thisscript, like I had walked in
with like a knot in my stomachand I was like you got this, you
got this good thoughts in, badthoughts out, good bad, good,
bad, good bad and and like um,but the it flowed, it was just,
it really just was like it.
It was like the easiest game oftennis, you know.
(29:57):
Like it just flowed and I waslike, okay, I feel better.
Jonathan C. Legat (30:00):
I will state it does help that most of the
crew and some of the cast kneweach other and, uh, I think even
those people who this was theirfirst, either CNGM or you know,
I mean, you and I workedtogether in two plays now we've
(30:20):
at least established before wegot to film, you know, I mean
like I don't.
I feel like CNGM and a lot ofthe people in, like the Palatine
area and even Chicago ingeneral are just kind of
welcoming um and uh.
You know, if you end up walkinginto a group that is already
kind of established, uh,especially with CNGM, I don't
(30:44):
feel that they're everstandoffish and like look, this
is the group, felt warm andfuzzy.
Stephanie Wyatt (31:01):
Well, I consider myself new to it, and I
definitely did so.
I got us off track.
Jonathan C. Legat (31:14):
No, that's all right.
Comedy, is this?
At first I was going to say thescene I would have loved to
have been there for.
Stephanie Wyatt (31:19):
Thank you.
Jonathan C. Legat (31:20):
Thank you, was the sex scene between you
and Adam.
And then I went oh no, I wasthere.
I was helping with lighting andcameras.
So I'm like oh no, I was there,okay, man.
Stephanie Wyatt (31:34):
I just Adam.
Jonathan C. Legat (31:36):
He had.
Just the stupid things he wouldsay after finishing were just
so outlandishly funny.
Stephanie Wyatt (31:47):
Yeah, try being under him, Try not to laugh.
Jonathan C. Legat (31:49):
I can literally only imagine.
Stephanie Wyatt (31:58):
Yeah, he was.
I just he was such a good sportabout it, though oh yeah
because I mean that's so, andwith our sex scene yes god it
was you, because it's like thoseare, so I don't care.
I mean I, you know, for likethe actors that get straight up
butt naked like monster's ballsituation.
(32:20):
That's so much trust yes, youknow.
Jonathan C. Legat (32:23):
I mean thanks , thanks to us having worked
together.
Uh, I can only imagine being ona set where you don't know, uh,
you don't have any sort ofrapport with that individual.
Yet by the end of the nightyou're going to yeah.
But, you know like there is alot of trust to that and so that
(32:46):
was much easier to go throughthose scenes.
You know knowing the person,being able to trust that person.
Stephanie Wyatt (32:55):
Yeah, well, also trust the crew that's
seeing you in a super vulnerableposition, you know.
Jonathan C. Legat (33:02):
Staring at you.
Stephanie Wyatt (33:04):
Yeah, staring watching and you know, I mean I
think our chemistry in thatmovie was so it was because you
and I had become such goodfriends and there was such again
back to the trust thing, youknow, and we just had like this
amazing rapport and I thinkthat's why that chemistry works
(33:24):
so well and I think it showed.
Jonathan C. Legat (33:27):
Yeah, I think that I believe us, whatever
that's worth.
Stephanie Wyatt (33:44):
The next time we are all together, perhaps we
can think, maybe we'll just docoasting too.
I don't know, somebody'srevenge, I don't know.
Jonathan C. Legat (33:55):
Somebody's revenge, I don't know who's
revenge when our children dowhat?
Maybe we meet our other cousins, we start questioning the
family tree, yeah.
Stephanie Wyatt (34:12):
Family tree that could be fun.
Jonathan C. Legat (34:16):
I like it.
Film it for the 20 year.
Michael Noens (34:19):
Yeah, sure, yeah, let's do it Well, kids Well
thank you guys, absolutely.
Stephanie Wyatt (34:24):
Love you guys, love you guys too.
Yes, love you guys.
Tell everyone.
Jonathan C. Legat (34:29):
I said hi Will do All right.
Stephanie Wyatt (34:32):
Bye guys, bye guys.
Tell everyone I said hi will doalright, bye guys, bye guys
thanks for taking this trip downmemory lane with me.
Michael Noens (34:41):
Coasting is now available to watch for free on
Imbibe Cinema streaming.
Visit imbibecinemacom andcreate an account with our free
Flight of Cinema bundle.
Opportunities to see the filmon the big screen begin next
week, october 15, 2024, at theMusic Box Theater in Chicago,
and there will likely be someother pop-up screenings
(35:04):
throughout next year as it isthe film's 15th anniversary.
Just a quick reminder a greatway to support this show and the
Blue Whiskey Independent FilmFestival is to become an Imbibe
Cinema member.
It's only $59.99 per year andthe benefits are pretty great,
(35:24):
so please consider joining.
You can find a link on how tobecome a member in our show
notes.
New episodes of the ImbibeCinema podcast will begin
Wednesday, november 27th.
Until then, cheers.
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