October 8, 2025 • 35 mins
Want to connect with Tj & Plaideau? Send us a text message.
A 48-hour film sprint on a horse rescue ranch. Cowboy kung fu. Seven hours of beautiful footage left on the floor. That’s where our talk with New Orleans filmmaker Scott Nielsen kicks off—and it only gets wilder from there. Scott breaks down the kind of pre-production you can and should do before you even have a script: scheduling people, page targets, asset wrangling, and designing coverage that respects the clock. He walks us through how tight lenses, aggressive blocking, and “shoot-for-the-timeline” thinking can turn chaos into a finished film that already breathes.
Sponsored by Jana McCaffery Attorney at Law. Have you been injured? New Orleans based actor, Jana McCaffery, has been practicing law in Louisiana since 1999 focusing on personal injury since 2008. She takes helping others very seriously and, if you are a fellow member of the Louisiana film industry and have been injured, she is happy to offer you a free consultation and a reduced fee to handle your case from start to finish. She can be reached at Have you been injured? New Orleans based actor, Jana McCaffery, has been practicing law in Louisiana since 1999, specializing in personal injury since 2008. She takes helping others very seriously. If you have been injured, Jana is offering a free consultation AND a reduced fee for fellow members of the Lousiana film industry, and she will handle your case from start to finish. She can be reached at janamccaffery@gmail.com or 504-837-1234. Tell Her NOLA Film Scene sent you
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U . & check out our website: nolafilmscene.com
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_02 (00:00):
Hi, I'm Scott Nielsen.
(00:01):
I'm a filmmaker based in NewOrleans, Louisiana.
And I am uh excited to do myfirst podcast on NOLA Film
Scene.
Breaking the podcast cherry withthese guys.
SPEAKER_05 (00:12):
Welcome to NOLA Film Scene with TJ Play-Doh.
I'm TJ.
And as always, I'm Play-Doh.
SPEAKER_04 (00:19):
Welcome, Scott.
Nice to see you.
SPEAKER_02 (00:21):
Thanks.
SPEAKER_05 (00:21):
Welcome, Scott.
It's good to see you again.
We haven't seen each other sincethe 48-hour competition this
year.
SPEAKER_02 (00:27):
Yes.
Yes.
That was my first 48-hourcompetition.
It was cool.
I am getting super uh just as aside note.
I've been getting with everybodyat the 48-hour film festival
that team, our little team.
Yeah.
And I have been making a wholenew strategy for pre-production
so that things can be scheduledand organized and done in a in a
(00:47):
in a more strategic manner,let's say.
So we get some good results.
SPEAKER_05 (00:52):
It's what experience gives you.
Not planning the story, youknow, doing any part of that.
Just what can we do for thiskind of strategy?
What can we do for lining up ourassets?
Good thought.
SPEAKER_02 (01:03):
How are we going to schedule people?
How are we going to, you know,make sure that our pages are the
right length?
Make sure that we're there's youknow, there's there's a lot of
pre-production you can do withno script.
Yeah.
You'd be surprised.
SPEAKER_05 (01:14):
And not practicing the story itself, but you could
practice writing a seven-pagestory.
You know, because you I thinkyours was 15 this year?
SPEAKER_02 (01:23):
12.
Not nine.
And it was 12 minutes of videowhen it was finished.
SPEAKER_05 (01:28):
Yeah.
And we had to cut it down toseven.
So that's always slicing up yourstory.
It's like your baby.
You don't want to hurt it, butyou gotta get it in the footing.
SPEAKER_02 (01:37):
What I was thinking is I cannot believe I was out
there for seven hours shootingthings that I had to throw out.
SPEAKER_04 (01:43):
Yeah.
SPEAKER_02 (01:44):
Like from a mechanical standpoint, it's
like, can you imagine if I hadhad seven hours that I could
have fit in?
SPEAKER_04 (01:50):
I've always found that that's the hardest part
about doing thesetime-constrained film
competitions is paring it downbecause a lot of times you end
up with a lot of really goodfootage and you have to be quick
and decide, okay, what's gonnalook the best, what's gonna tell
the best story.
And it's harder to get itshorter, I think, than it is to
fill the space.
(02:11):
I don't think we've ever doneanything where there wasn't
enough content.
SPEAKER_02 (02:15):
Yes.
And when you're shooting stuff,a lot of the time you want
coverage, right?
So when you're shooting stuffmost of the time, you're like, I
mean, unless you're like WesAnderson and every single shot
and every single second ispre-planned and pre-organized
exactly the way it's supposedto.
Most of the time you're lookingfor coverage because you need
coverage.
You know, but in in a 40-hourfilm fest, no, no, no, no, no.
It needs it needs to be like aWes Anderson movie.
(02:37):
Like it needs to be so that onthat day, you're just like bang,
bang, bang, bang, every singlething is done so that you could
basically just take your rawfootage, throw it on a timeline
in an order, and have a movie,right?
That's about the right length,and then make it good from
there.
SPEAKER_05 (02:51):
Right.
I I loved our film, you know, itwas a lot of fun.
I got to play a bad guy, I gotto play a real creepy guy.
I made we hit cut, and it's oneof those ones, and I've talked
about it here a little bit, buteveryone around shuddered,
especially the lady who's like,oh, he's creepy.
And just to watch that energy gothrough our crowd, I was like,
oh, we got something here.
SPEAKER_02 (03:09):
Yeah, that you definitely enjoy getting to
block people.
I don't get to work with youdon't get to work with humans a
lot.
And even when you work withhumans, or I don't get to work
with humans a lot, even when Ido, like I have some contracted
work and there's some basicblocking, but it's more like
setting up a set.
It's cool to get to do likemovie blocking, like that intro
we did where he comes in and youcome in and then da-da-da, and
(03:30):
then I can set up those shotsand I can sort of visualize all
of the the beats as I'm goingthrough it.
It's a really good practice forthat, because it's all on the
fly, but you're like, okay,well, I need this to be
engaging, so how am I gonnashoot these pieces all together?
Which is which is really likenormally that's all thought
through, or it's much moresimple.
And it was it was cool to get tosort of be like, okay, here
(03:50):
we're gonna do it, you know?
It's a good practice.
And I like the kung fu fight.
I thought the kung fu fight wasgreat.
I didn't.
I got my butt kicked.
SPEAKER_04 (03:58):
Talking about enjoying the kung fu fight, and
I enjoyed it as well.
I thought it was great.
SPEAKER_05 (04:03):
It was it was great.
Our protagonist, uh, he had doneit for many years, and I did not
know he had that kind of rangeleft in him.
Let's just say he's an olderguy, and you know.
SPEAKER_02 (04:13):
Also, if you shoot real tight and have everyone
just take one quick fast stepforward, yeah, it does give a
lot of it does sell a lot ofimpression.
For both of you though.
Right.
Both of you.
SPEAKER_05 (04:24):
Yeah, oh I'm not I'm not like ha ha ha him because
I'm old, fat, and out of shape.
And I was watching him and whenhe moved, he kind of led with
his face.
He didn't mean to, and I waslike, hey, look at this.
And then my first time youturned the camera around me,
first thing I did, led with myface.
SPEAKER_02 (04:41):
Well, but if you're only taking one step, I think I
actually told you to.
Because I need you to look likeyou're Goku running.
Like I need you to look likeyou're like, you know, like
lightning fast, which I didn'treally even need you to take a
step.
I just needed you to go like,you know, so it's whatever I was
supposed to do, I did it wrong.
SPEAKER_05 (04:56):
Just how I was telling him he was doing it
wrong, because I have no ideawhat I'm doing when it comes to
action.
SPEAKER_02 (05:01):
And I loved the commitment of that kid who got
roundhouse kicked and wentstraight onto the concrete floor
with the horses and the strawand the horse poop.
Yeah.
I was like, man, that kid.
Way to go, that kid.
SPEAKER_05 (05:11):
Wasn't horse poop, but I was in horse pee.
I was like, oh, I can tell he'sbeen right.
Son of a we did it was kung fu.
We were dressed as cowboys,basically, you know, kind of
like if you grow up with yourbullies, what would happen if
you and your high school bullieswhen you're in your 40s and 50s?
And it was on the Wind DancerEquestrian Rescue Ranch.
(05:31):
Almost said farm, but ranch.
I got that out there.
Oh, they had miniature donkeys,they had uh full-size donkeys,
horses, they had their dogs.
So in between takes, you hadplenty of animals to, you know,
play with and pass the time.
It could be quite pungent downthere on the ground.
SPEAKER_04 (05:46):
Did you have you ever run into or did you have
bullies when you were in highschool, Brian?
SPEAKER_05 (05:51):
Mine were first day of kindergarten through high
school, and they mostly sang thePlay-Doh theme song at me back
in the 70s.
SPEAKER_04 (05:59):
I get it.
SPEAKER_05 (06:00):
You can make it with Play-Doh.
Flashback, I'm sorry.
SPEAKER_04 (06:03):
So I'm sure it's probably hard to picture with my
size now, but when I was afreshman in high school, I was
little.
When I got my driver's licensein tenth grade, I was five, six,
I think, 145 pounds.
So I was shorter than that evenin ninth grade.
Excuse me.
And there was a senior that wasdrunk in the gym.
(06:23):
I I don't remember why we werein there.
Maybe it was a break period oror whatever.
And I walk I don't know why Iwalked up.
I think a guy I rode the buswith was up there in his little
friend group, and for whateverreason, he thought I would be a
good target, and he hit me andknocked me down the bleachers in
the in the basketball gym, and Itumbled and everybody laughed.
And it was it didn't go well.
(06:44):
And I knew I couldn't take theguy.
I mean, he was twice my size.
SPEAKER_02 (06:48):
I was beat up.
I was a I was a big kid.
I was always a big kid, sopeople pretty much always left
me alone.
But I got beat up in, I don'tknow, middle school, I can't
remember what year, by thetiniest little fucker.
He was like, he was like fourfoot ten and all like wiry like
iggy pop for a kid.
And it took him it took him anentire period, an hour, to beat
(07:09):
me up in gym class because hewas real fast.
So he would like run up behindme when I wasn't looking and
punch me in the back of the headand run away.
And then I'd be like, oh likeGodzilla.
Oh, I'll try and grab him, andhe'd be gone.
And eventually ended up with abig strawberry in the back of my
head.
So it does not matternecessarily if you are big.
Now, if I grabbed him, Iprobably could have just broke
(07:29):
him in half.
SPEAKER_05 (07:30):
Yeah.
SPEAKER_02 (07:30):
But I couldn't catch the little guy.
SPEAKER_05 (07:32):
You were gentle giant.
So now that we've we lived allour trauma.
SPEAKER_04 (07:37):
Wait, well, I just I wanted to there's a second part
to the story.
No, that's all good.
So fast forward, I came homefrom the military when I was, I
don't know, 26 or 27.
I moved back to my my hometown,and I came home jacked, ripped
in the best shape of my life.
You know, 230, just shredded.
(07:58):
And I ran into him at the movietheater.
And he came up to me with hisgirlfriend at the time, and he's
like, Man, I hope you don'tremember that.
And his eyes were like saucers,and he was the same size he was
when he was a senior, you know,probably five, nine, yeah, 160
pounds, not not very bigcompared to me at six foot two
thirty.
(08:18):
And he apologized.
He said, Please don't hold itagainst me now.
And it kind of felt good to geta little bit of redemption later
to get that apology.
SPEAKER_05 (08:27):
Totally.
SPEAKER_04 (08:28):
Anyway, sorry, I digressed a little bit.
No, no, no.
But it was the your film was astory about bullies and totally.
SPEAKER_05 (08:34):
I don't I don't think you went too far.
We've touched on our trauma, andyou can look at comedians and
actors, and they take thattrauma, and that's how they get
inspired to get into the biz.
Yeah.
So, Scott, what got you into thebiz?
SPEAKER_02 (08:47):
So when I was a kid, I wanted to be Danny Elfman.
SPEAKER_05 (08:51):
Yeah.
SPEAKER_02 (08:51):
I wanted to write music for movies.
And then in high school, I was atheater nerd.
And then in college, I was amusic composition major with a
minor in theater art.
And I did that for a while.
And then I well, I mean, Iworked in theater.
So I worked in Cincinnati andFlorida and Seattle uh in
theater.
Then I met a girl that wasn't anactor.
(09:13):
Well, she was an actor, but shewasn't an uh repertory actor.
She was like in college, what dothey call like a towny?
She lived in the city, shewasn't part of the repertory,
she was in the thing.
And then we fell in love, andthen it was like, but I don't
want to go to so and so in fourmonths and somewhere else in six
months, and then have fivemonths with nothing to do and go
somewhere else for nine months.
(09:33):
That sounds terrible.
And so I needed another thing todo, but I have very little
skills.
I am skilled in making artthings.
That's what I've got as a thing,right?
SPEAKER_00 (09:44):
Yeah.
SPEAKER_02 (09:44):
So I was like, okay, well, I'll go work in TV.
So I worked in TV news for awhile and I had a fishing show.
I shot for I was a director offor a while, eventually.
And then when I quit working inTV, I got a job as a corporate
video editor trainer, did videoedit training that way.
I did that for a while, and thenduring COVID, I had a lot of
downtime.
So I was like, oh, you know whatI'm gonna do?
I'm gonna go learn Unreal Enginebecause I've already got all my
(10:07):
framing and blocking andlighting skills and all this
stuff, and I'll so I maybe I canmake films while I'm trapped
here.
So I made this, I'm gonna be onokay monster movie show called
Spoopy Movie Time.
It's you can see it, it's all ifyou if you Google it, it's
there.
Where I just did, because ofcourse I couldn't make a whole
show.
I didn't have that, like theamount of time to animate
(10:28):
something is a lot, right?
So I just took like publicdomain films and made little
intersegments that wereanimated, and I got better at
it.
And then, you know, that justsort of started growing into
something.
And then uh, you know, I wentand got my drone license.
I got a couple, and then I endedup with a couple of
subcontracts.
So I have a couple creative uhcommercial contracts that I do,
(10:48):
and essentially, like thosethose commercial video
production contracts, Ibasically take that money and
put it back into movie making.
SPEAKER_05 (10:55):
Nice.
SPEAKER_02 (10:56):
And some drone stuff like uh real estate drone
footage and that kind of stuckstock footage of skylines, that
kind of thing.
And then that movie kind of thatstuff all goes back into my
filmmaking, my personalfilmmaking projects.
Cool so that I'm not that'sreally cool.
My money I'm not m wasting thefamily money, right?
The the corporate money ispaying the the mortgage, and my
(11:18):
commercial business is businessis paying for my films.
SPEAKER_04 (11:21):
That's incredible.
I mean, that's brilliant,actually.
That's the way to do it.
Yeah, for sure.
I I'm gonna geek out a littlebit here.
What I thought thought thevisual quality of your 48 was
incredible.
What camera body did you shootthat on?
SPEAKER_02 (11:35):
I shot it on um I got two black magic 6Ks.
It's not the camera, it's theformat that beat and the lens.
I mean, there's two really okay.
There's there okay.
There's six.
Wait, no, seven.
SPEAKER_05 (11:47):
Oh, go ahead.
SPEAKER_02 (11:47):
There's a lot of shit you gotta keep in your head
that's fundamentals, but youdon't really think of them as as
things, like because they'rejust what you do, right?
SPEAKER_03 (11:54):
Sure.
SPEAKER_02 (11:55):
You so there's rules to follow unless you choose to
break those rules.
And when you choose to breakthose rules, you do it on
purpose.
So right, so like a very obviousone is the rule of thirds,
right?
You sure follow the rule ofthirds always.
You follow depth, you know,having making sure you establish
depth of field.
So I don't know if you rememberwhen we were doing the 48, I'm
like, I gotta change lensesbecause I couldn't like in the
(12:17):
fight in the beginning when youguys are bullying them, I don't
have the ability to use anF-stop to have a real aperture
because I'm shooting at adistance and you guys are going
into the image is flat.
But people don't like that andthey don't like to watch it and
it doesn't feel intimate.
So as soon as we got closer, Iwas like, sorry, everyone, I
know it's 110 degrees out andI'm dressed completely in
fucking black, but I have to gofix this.
(12:38):
So then I went and I changed outmy lenses to a cinema lens so
that we get separation in thebackground and the foreground,
right?
These are all just rules thatyou know and you just follow
them, right?
And then making sure yourlighting is adequate, right?
You can't always, you can'talways have always the best, but
make sure you're following somekind of minimal lighting rules,
(12:58):
super important.
And then like your film formats,right?
So like I'm using, I'm shootingit at 24 frames with the shutter
at 180, which is basically film.
It's the motion blur that youget from film.
And then I shoot in a formatcalled B-Raw, which is uh has a
lot of color depth.
So one of the things is likewhen I was editing that 48-hour
film, coloring is part of myprocess.
(13:20):
Unlike say if I'd shot on anormal camera, I'd have been
able to just put that all up.
But if you put up raw, I don'tknow if you've ever seen what
raw video looks like.
Yes, but it looks almost likeblack and white with like
highlights.
Yeah.
So I had to go through andliterally like recolor that
movies, and then you sort ofbuild a template and then you
color the film.
So that's basically that becauseof theater.
(13:41):
I I don't like like if I havechoices, I don't light anything
naturally.
People tell you, oh, you know,you gotta have every light has
to have a point, and everysource you have has to have a
reason for the source.
Look at this, look at me.
There's some pink over here.
What the what the fuck is thisback here?
There's a thing over there,there's a red thingy over my
(14:01):
corner shoulder.
Because I want you to havethings to look at as I move.
I learned a lot in theater.
Like there is a whole thing intheater where they'll tell you
if you can figure out where toput a blinking light somewhere
in the back of the stage andjust have it go in some kind of
trick, it will improve theattention of your audience by
like 50%.
Because people need something tolook at when they're not
(14:25):
looking, right?
So I light like stage lighting,which again, like when we did
the nighttime video, right?
What did I do?
I made it blue with like treebranches coming through against
the window.
Like night is not blue.
In no world is night blue,except like old sitcoms and
theater, right?
But subconsciously, the secondyou see that you go, Well,
(14:46):
clearly it's nighttime becausethe uh blue is there to tell us
that it is in fact nighttime.
So I really like that.
And like, yeah, you follow therules in case you unless you
don't.
So I followed the rules, exceptfor when he was having his weird
little mental breakdowns, andthen I did a Dutch angle, or I
changed the lighting effect, orI did something because I feel
like here's what here's what Imean.
Your light should always have anintention, but your intention
(15:09):
doesn't always have to be real.
Your intention can be emotional.
Like when you go and you stoodthere and you're like, dang, I
did the double snap zoom and Iput that under light, right?
That's not a motivated light,but it's a motivated light to
express your character.
SPEAKER_03 (15:22):
Yeah, cool.
Yeah, that makes sense.
SPEAKER_02 (15:24):
But I'm just kind of weird.
Like I like bright colors andweird angles, and I like this
part is not normal.
So when I when I when I takethis and I put it in, it's like
uh who is Sakura Blue of was itVan Gogh?
No, it wasn't Van Gogh.
Yeah, it was Van Gogh.
Van Gogh and also the littleguy.
SPEAKER_05 (15:41):
To Latrec.
SPEAKER_02 (15:42):
Letrec, Toulouse Latrec, right?
Their art is very amber, andthere's this whole idea that
possibly because of all theabsinthe that they were using,
it caused cataracts in the backof their eyes.
So so they're in here, was itright?
So even when like ToulouseLatrec, he's drawing the ladies,
and the ladies look beautiful,but it has and and relatively
accurate, it has this weirdamber hue or whatever, because
(16:04):
they're he's seeing whateverhe's seeing through his eyes.
He's not interpreting genius,he's interpreting what he sees.
SPEAKER_05 (16:10):
Yeah.
SPEAKER_02 (16:11):
I think that's kind of what happens in here.
Like I'm just expressing whatI'm seeing, but what I'm seeing
looks weird.
But it's I I hope it's engaging,you know, at the end.
Right.
SPEAKER_03 (16:20):
Yeah.
SPEAKER_05 (16:21):
But you have to interpret it whether it's your
eyes or not, in your style.
Because if it was just somethingbland, something everyone could
do, who needs you?
SPEAKER_02 (16:29):
Yeah, I mean, I'd say there is a real I mean,
being able to just makesomething that is a news story
that makes the thing look likethe news story and follows all
of the laws and rules requiredto make things feel real is a
whole skill in and of itselfthat I absolutely do not have.
I like things to be expressive,you know.
(16:50):
I like that Nazis look.
I like I like things to looklike they're in a sound stage.
I like things to look like JohnCarpenter films where you've got
like you know you're in a soundstage, so like the outside world
behind what you're in isn'tthere.
Like, like if you think of likelike the Batman movie, the first
the Michael Keaton Batman movie,right?
You see everything that you'resupposed to see, and there's
(17:11):
nothing else to see.
Everything else is black becausehe built it inside the studio
and he didn't give theimpression that anything else
was beyond that, because this itprobably goes back to doing
theater for so long.
Because what's important is infront of you, and I like that.
SPEAKER_05 (17:25):
Interesting inspired the animated series, which is
this whole groundbreaking thing.
It was you know drawn on blackpaper just so it would be the
night.
And speaking of styles, you andI were talking about a film
you've done, and so could youdescribe that for us?
SPEAKER_02 (17:40):
Yeah, so I have made a movie.
This is my third movie.
Well, I made two shorts, andthis is my first full-length
film, and it's animated, and itis called Night of the Otter,
and it is inspired by 60s hammerfilms.
So, you know, the vampire andFrankenstein films done in
Britain where it's like they'relike salacious and sexy, but
(18:01):
it's not like they're horny, butthey're not like raunchy.
You know what I mean?
Yeah, they have that thatsalacious inappropriateness, but
not necessarily like graphicallysalaciously.
It's not nudity, it's the thething off the shoulder.
Yeah, or it's like or or there'ssome boobs, but they're not in
it doing anything.
They're just walking down thestairs, or they're you know what
(18:22):
I mean?
It's it's like that that youknow what I'm saying?
SPEAKER_05 (18:24):
Yeah, or they're wearing something very sheer.
Yes, then those boobs areattached to people.
It's not just two boobs walkingdown the stairs.
SPEAKER_02 (18:30):
Well, no, no, no.
I just mean like nobody's havingsex or anything.
It's just or if they are havingsex, then then you don't they're
fully clothed, right?
It's that sort of weird, thatsort of weird in between.
But like sometimes like there'sone, it's got a lot of there's a
lot of Dutch angles, a lot ofbright colors, a lot of not
necessarily motivated lighting,right?
We're we're we're lighting formood, we're not lighting for
reality, right?
(18:50):
So yeah, it's it's it's likethat.
It's animated.
Um, it took me like two years tomake.
It's got that's what I'd say.
I would say it's like uh it'slike a hammer film mixed with
well, I mean it's it's amusical.
Because like it had one musicalnumber in it, and I was like,
well, this is good.
That's great.
And then I saw, have you seenRRR?
The Indian film RRR?
SPEAKER_05 (19:10):
Yes.
SPEAKER_02 (19:10):
Okay, so like halfway through this, I saw RRR.
SPEAKER_05 (19:13):
Let me let me follow you, Scott.
RRR is an Indian movie, TJ, andhe's not a superhero, but he's
an action star.
And so the story I can't evenremember the story.
SPEAKER_02 (19:22):
There's two of them.
Imagine the Fast and the Furiousin India, set in 1900s as
historical fiction, but it's amusical, and it's like three and
they just break into the musicout of nowhere.
It is excellent, it is anexcellently crafted film.
And I I was so inspired by that.
I was like, wow, they could doall this drama and action and
(19:43):
crazy, and also have wild, hecan fight a tiger bare chested,
and then three minutes laterthey can do a number about him
getting his head cut off orwhatever.
I can't remember what they weregonna do to him, but they were
executing him very awful way.
Yeah, and he's like, I'm so sad,my head's gonna be cut off, and
it really sucks, right?
(20:04):
And I and it just sort ofinspired me.
I'm like, well shit, if he canwrite a musical with that, I
mean I have little critters andsome naked people, I could
absolutely throw some musicalnumbers in here, and it'd just
be so much better.
So it's like RRR and a hammerfilm, but animated.
SPEAKER_05 (20:22):
Interesting.
Blew my mind.
I thought you had a questiontoo, but anyway.
So the animation process, I knowit's usually done.
You record the script and thenyou do the animation after.
Because it was just you, did youstart animating first and then
have some people voice things,or how did that work for you?
No, I had people.
SPEAKER_02 (20:39):
Oh, there's one more thing about this movie, too.
No, no, no, no.
Well, yeah, because it is gonnabe at the Lake Charles Film
Festival, October, I don't know,whichever, I don't know.
They haven't told me when itwhich day it airs, but so the
first move two movies I did, onewas called Ulfednar, it's a
werewolf movie, and one wascalled Shadow Man, is like a
seven-minute short, and they'reall very dark dark and bleak and
(21:01):
sad.
And when I submitted them all toFilm Hub or Film Film Freeway, I
won all kinds of things.
I won like Best Cinematographyfor the Canadian Cinematography
Awards for a short.
I mean, I just won.
It was and and like half thelike I would say Ulfidnar, about
about a third of the things Isubmitted to, I got in, and
about half of those I won.
(21:22):
And Shadow Man was even better.
And then you know how manypeople watched it?
Zero people, zero people.
So this time I was like, Joe BobBriggs, Blood Breasts and
Beasts.
I'm gonna try, I'm gonna make a78-minute-long exploitation film
from my favorite genre ofexploitation films, and I'm I'm
gonna I'm gonna I couldliterally do drive-in totals on
(21:42):
it.
Now, nobody seems to be, it'snot a big fan with the
festivals.
I've been rejected fromeverything except for like two,
but I'm hoping that that willtranslate into eyeballs.
It's an experiment, basically.
SPEAKER_05 (21:53):
Yeah.
Interesting.
Keep on plugging.
Yeah, we're all out of breath.
SPEAKER_03 (21:56):
No, sorry, I'm I'm checking something technical.
I'm paying attention, I promise.
SPEAKER_05 (22:00):
But no, we know.
I'm just I was gonna saysomething.
It's like, wait, you are yougonna talk?
You want to talk?
Can I talk?
You want to talk?
SPEAKER_02 (22:06):
I have wild and crazy ADHD, so I just keep
talking.
SPEAKER_05 (22:09):
That's okay.
No, no, no, you're doing great.
SPEAKER_04 (22:10):
No, it's all good.
SPEAKER_05 (22:11):
What's next for you?
What what would you like to donext?
You know, you've done I knowwe're talking about getting
ready for the next 48.
You've done animation, you'vedone live acting.
Anything that you really want todo next?
SPEAKER_02 (22:21):
I want to make a how catch'em.
Are you guys familiar with theterm how catch'em?
I know.
Okay, well, you know who doneit.
SPEAKER_05 (22:27):
Yeah.
SPEAKER_02 (22:28):
Right?
Okay.
So the how the how catch em isthe opposite of that.
So uh poker face is a how catchem.
Columbo is a how catch em.
Okay.
Where you spend the first likeand I'd like to do more live
action because I I I I enjoydoing live action and it's great
practice.
It makes all of my othercontract work better too.
(22:48):
Because most of my contract workis live action.
So if I'm making things that arelive action, it's helpful.
Essentially, the premise is likethe first 20 minutes or so, you
follow the ver the murderer andyou get the motivation, you get
how they do it, why they do it,you know, everything.
So you understand it.
And then like a third of the wayin, right?
Natasha Leon or Peter Faulk comein and okay.
(23:09):
I know, you know, I'm a smartguy, and I'm really stupid, but
I just don't and then you watchhim solve the crime, and you're
really still just alwaysfollowing the murderer, right?
Like if you think of likeColumbo, you don't know where he
comes from, you don't know wherehe went to, right?
He just appears in the guy'sdoor.
He's like, ah, yeah, and thenyou have to and you watch the
murderer sort of squirm.
(23:30):
Yeah, as um, I think it was oncedescribed as they're eaten alive
by a duck, right?
Just right away with no, it justyou know, never.
And I really like that ideabecause it allows it, it really
gives actors a lot of ability tolike ham it up, right?
You get people who really canperform.
SPEAKER_05 (23:45):
Yeah.
SPEAKER_02 (23:45):
It's not as hard as a who-done it.
Like who-dunits are kind of hotright now, right?
Because like knives out came outand they're much back at the
Christie ones, and now a lot,oh, you know, only murders in
the buildings, and then like alot of other people started at
doing them.
And the writing mechanics of awhodunit really hard because you
have to keep track of all thefacts, make sure you give the
viewer the proper information sothat they may so that they can
(24:07):
be able to solve it, then makesure they can't solve it, and
then right, and then it also hasto pace boom, boom, boom, boom,
boom, boom, all the way through,right?
SPEAKER_00 (24:14):
Right.
SPEAKER_02 (24:14):
And I was like, Well, I'm not, I'm not, I have
ADHD in autism.
So, what I would rather havethan trying to figure out that
George R.
R.
Martin, everything has to haveits own place in this endless
string of accuracy, perfection,and organization, right?
Is feelings, vibes.
You get the idea of whathappened, and then it's clever
as you watch whoever it isslowly pick up pick pull the
(24:36):
strings of the sweater, and youget to watch the murderer as
their sweater comes un undone.
Unraveled.
Unraveled teaser there.
Yeah, yeah, yeah.
But that's you see what I'msaying?
Like that's yeah, I and I Ithink that would be more
interesting, and you can buildthe anxiety, right?
All those things can like youcan watch all those things
happen in real time as it'smoving along.
And I've kind of like got theoriginal, I've got like the
(24:58):
first, I've got whatever thatthree sentences is that c
encapsulates the beginning ofyour script, you know, like who
them who the characters are andwhat they're doing and why.
And then I I but that's where Iam right now.
Yeah.
So that's what I'd like to donext.
But really, I'm just trying toget more more gigs, more work.
We're gonna try the gang thatfence post productions.
They're gonna try a set.
(25:19):
I hope they're gonna do theseven and seven.
Yeah, we're gonna test out thisnew pre-production structure,
right?
But all these things, you know,they give you an opportunity to
meet new people.
You guys, nice to meet you.
And and you know, you people getto kind of see your work.
Like you said, you saw you sawmy film or our film, which I
appreciate, and then you'relike, wow, cinematography was
(25:40):
really good.
Thanks.
So, you know, if you think, oh,I want to do a commercial, well,
that one guy that did that kungfu scene, he was pretty great,
right?
But that just you know, I guessI want more work.
That's what I want to do.
I want more jobs because that'swhat I do.
Yeah, that tracks the same way.
That's right.
SPEAKER_05 (25:58):
That tracks.
TJ, how many times have we beentalking to someone who's like,
Oh, you're working on something?
I'm there.
I volunteer as tribute.
SPEAKER_03 (26:05):
That's right.
And if I don't say it, Brianwill.
SPEAKER_05 (26:07):
Yeah, definitely.
I've inspired you to start startsaying, like, oh, come on, come
on, give me a job.
SPEAKER_02 (26:12):
The answer is yes.
Yes, very I'm bad at marketingmyself.
So I was hoping maybe if I dothings like this a little bit
more, I could do a little bitbetter.
SPEAKER_04 (26:20):
I am I'm bad at it too.
That's why I've got Brian.
SPEAKER_02 (26:23):
Brian is excellent.
Brian is excellent at it.
I am terrible at it.
That's what says, like, I haveno because I would rather just
work.
Like I just want to make stuff.
Like I don't wanna, you know, Idon't want my I don't I don't
care.
Yeah, you know.
SPEAKER_05 (26:36):
I thank you.
Thank you both.
SPEAKER_04 (26:38):
If it wasn't for Brian's marketing, uh there
wouldn't be a single personexcept for maybe my family
listening to this podcast.
Hick would listen to it.
Maybe enough.
Yeah, that's for sure.
SPEAKER_05 (26:51):
Watching wrestling all my life, you see how to do a
promo.
They cut a promo on somebody.
I didn't watch much much NASCAR.
Let me try that again inEnglish.
I didn't watch much money.
I didn't watch much NASCAR, butthose guys do the same.
Plus, it's all advertising ontheir jumpsuits, but promote,
promote, promote.
And then I can look back in mylife and I used to do sales.
(27:13):
I sold encyclopedias door todoor.
I did telemarketing for a littlewhile, and I sold cutlery, which
you can't do door to door.
It's by appointment.
So if I have, you know, I get tosee you, Scott.
I say, you know any people, I'llgive you a I'll give you this
free pair of scissors orwhatever.
Oh, here's TJ's phone number.
So it's referral because youcan't knock on somebody's door
and go, Would you like theFrench chef knife like Jason
had?
SPEAKER_01 (27:33):
I'm uh deadly nightshade salesman.
I sell cyanide, arsenic, anddeadly nightshade.
I know would you like me to comein and uh show you the aerosol
version of it?
SPEAKER_00 (27:42):
Yeah.
SPEAKER_01 (27:43):
Exactly.
SPEAKER_05 (27:44):
So I learned I'm very good at demonstrating, but
when I'm selling a$600 set ofknives or a$2,000 set of
encyclopedias, kids'encyclopedias was the internet
before it was all electronics.
SPEAKER_04 (27:55):
Paper version of the internet.
SPEAKER_05 (27:56):
Yeah.
And people would go, oh, I can'tafford that.
I love what you did.
It was great talking to you.
I love what you Yeah, Iunderstand.
I didn't have the heart, Iwasn't cutthroat enough to do
that.
So basically, those skills havenow turned up to be let me tell
you about my podcast.
I take I had took an Uber todayand have this card.
Talks about the podcast.
Do you like podcasts?
Boom.
Here's a QR code, here's ourstuff, here's some people we've
(28:18):
talked to.
Oh, great.
You know, and through thatconversation, same thing, push,
push, push.
It has backfired a few times.
I can go too far.
You know, and on social media.
SPEAKER_02 (28:28):
Grandpa was like 90.
He hit, he flirted witheveryone.
Everyone.
And I was like, dude, you'relike 90.
And he's like, yeah.
So at my age, you gotta cast awide debt, right?
So I'm gonna get rejected like85, 95% of the time.
But if I don't take the shot100% of the time, then I miss
that 5%.
Exactly.
SPEAKER_01 (28:47):
Okay, grandpa.
SPEAKER_05 (28:48):
All right.
And to grandpa's credit, nursinghomes have become, let's say, a
hotbed of activity and leave itat that.
It's something to look forwardto in our old age.
SPEAKER_04 (28:58):
I think I'm not totally a lot of stuff just came
into focus, Brian, with yourlast couple of stories there.
SPEAKER_05 (29:06):
There you go.
SPEAKER_04 (29:07):
Things are starting to add up now.
SPEAKER_05 (29:09):
And since they've added up, we're gonna have to
subtract by shutting us down.
It's time to go, ladies andgentlemen, boys and girls.
Scott, we've had a great timetalking to you.
SPEAKER_02 (29:18):
It was been really cool.
I've I've not done this before,so I it was cool to do something
fun and exciting.
SPEAKER_05 (29:24):
Broke your second cherry for the year of 2025.
The eight-hour film and now apodcast.
And Night of the Otter.
And it's going to a festival inOctober.
SPEAKER_02 (29:32):
Will it be No, yeah, it's going to Lake Charles Film
Festival in uh October 3rd and4th.
And then um I have it set forrelease on the 15th, which means
probably to be an Amazon, but Idon't know and some other
things, but almost guaranteedleave them, and then you see
what happens after that.
SPEAKER_05 (29:48):
We will put that in our notes and say where people
can find it.
And of course, when I post it onsocial media, I'll put all the
links you you give me.
SPEAKER_04 (29:55):
All right.
Well, Scott, thank you forjoining us.
It's been it's been a lot offun.
SPEAKER_02 (30:00):
Nice and it was nice meeting you.
And if you ever need a stupidguy to make comedy, non-ending
comedy rambles, it's what I do.
Or filmmaker.
Yeah.
Yeah.
Well, also I am I what I shouldhave said in the podcast, in
case you ever have questions orwhy not, I was my basic function
almost the my entire career hasbeen a video editor.
(30:20):
So news, shows, everything isvideo editing.
So yeah, I suppose if you everneed a video editor expert or
you want to talk about like DaVinci versus Premier or
something, I uh I'm pretty goodat that.
SPEAKER_04 (30:31):
Oh no! Excellent.
Yeah, we use uh we use Premierefor our editing.
SPEAKER_02 (30:36):
Yeah.
Might I suggest DaVinci?
SPEAKER_04 (30:39):
So I've used I started in DaVinci.
My closest friend from themilitary is a game streamer, and
for a little while I was editingsome of his streams on Da Vinci
because it was free.
So that's how I got my feet wet.
But when we started doing this,we were having some issues
cleaning up the audio.
So I tried audition, it was justnight and day different for me.
SPEAKER_02 (31:03):
Though there's been a lot of improvements, but I I'm
a certified premiere trainer.
SPEAKER_04 (31:08):
Oh wow.
SPEAKER_02 (31:08):
Because I I try I teach video editing, right?
It's one of my one of it's mycorporate job.
I'm a certified premieretrainer.
Brian's eyes just went to it'sfine, but I switched to DaVinci
about a year ago and I have itlooked two years ago.
SPEAKER_04 (31:22):
Well, it's almost necessary running a black magic
camera.
SPEAKER_02 (31:25):
Yeah, well, DaVinci's kind of what sucked me
into the black magic camera.
Um now I have also have the theblack magic cloud store, this
high-speed storage.
I've got a like a 10 gigabit,eight 10 gigabit throughput,
eight terabyte high-speedstorage drive that I keep
everything on.
I've gotten complete I've boughtthe Kool-Aid.
I am in the Kool-Aid, but I willsay, if it doesn't cost you$600
(31:46):
a year every year to have, itgives you more money to do
things like buy hardware, youknow?
That's basically why I quitPremiere in the first place.
And then I stuck with Da Vincibecause of the color tools.
The color tools are so yeah.
We just got into that, right?
I had to I recolored all of thefilm.
Like, oh, it looks allcinematic.
The reason it looks cinematic isbecause I have Da Vinci Color to
(32:09):
recolor everything that I did.
SPEAKER_04 (32:11):
So have they improved their audio tools any?
Yeah.
I like being able to exportstraight to audition, clean it,
fix it, and then itautomatically populates back
into Premier.
SPEAKER_02 (32:22):
So yeah, so I'm right using the bridge.
SPEAKER_04 (32:24):
Yeah.
SPEAKER_02 (32:25):
I I it has its own audition now built in.
Huh.
DaVinci.
And it also has Fairlight,right?
As Fairlight, which works very,very well.
And it has a lot of now, a lotof the same stuff that Premier
had, like the AI ducking and andnoise canceling and all that
kind of stuff that has improvedimmensely.
(32:46):
And it's$300 for two licenses.
So and that's it.
It's not$300 for two licenses,and then next year it's$300 for
two licenses.
Like I got a license from buyingmy camera, and I bought a
license beforehand.
So I have four seats, but Idon't use four seats.
And I started at DaVinci 17 andI'm now at DaVinci 20.2.
Those are the only times I paidfor anything.
(33:07):
So that's a good plus.
The hardest part is the aftereffects is fusion.
Fusion is hard to learn becauseit doesn't use timelines, it
uses nodes.
It actually works a lot likeUnreal Engine does, where their
version of their C coding, butno, it's see.
I told you, if you want a nerdwho can talk about color or
video editing, if you watch amove, if you see a movie like uh
(33:30):
what's that really good moviewith Ewan McGregor?
And it's total shit, but thenyou watch the director's
version, it's brilliant.
It's the sequel to The ShiningDoctor.
Oh, Doctor's sleep.
SPEAKER_04 (33:40):
Yeah.
SPEAKER_02 (33:40):
The movie that came out, hot garbage.
But if you go find thedirector's movie, the director's
version, I highly recommend it.
It's a brilliant fucking movie,but the color is awful.
They colored it all, and itlooks like he's got liver spots,
and because they didn't gettheir the color space right and
all this stuff.
So yeah, if you ever need a nerdto explain things that look bad,
(34:01):
yeah, good at that.
SPEAKER_05 (34:02):
Or good.
Maybe a little bonus content wecan have.
SPEAKER_02 (34:05):
Oh yeah, like oh man, I love to talk about
sinners for like an hour.
It's fucking beautiful film.
And I even talking about thecool Michael B.
Jordan, Michael B.
Jordan.
I mean, the references that theyuse, they use like impressionist
paintings from like the 18th,from early 19th century to frame
their stuff.
They have all these referencesto John Carpenter films.
They have, I fucking love thatmovie.
(34:26):
I mean, the movie is great, butlike I just got sucked into
like, oh my god, look at thisframing.
Oh my god, look what they didwith the colors.
Oh my god, look what they'redoing with the costuming.
Oh look, that's a reference to aJohn Carpenter movie.
Oh, look, like, just loved it.
So, yeah.
SPEAKER_05 (34:39):
If you like Sinners, you should go back and watch our
Kevin Cheatham episode becausehe was in Sinners.
SPEAKER_02 (34:44):
Oh, I definitely should.
Good play, good, good sell, too.
SPEAKER_05 (34:48):
I was gonna say, that's how you promote.
SPEAKER_03 (34:49):
See what you did there, Brian.
SPEAKER_05 (34:51):
Thank you.
Thank you.
Lesson learned.
Great talking to you, Scott.
Everyone else, we'll see youlater.
Come back next week.
See you next time.
Bye.
Hi, I'm Scott Nielsen.
(00:01):
I'm a filmmaker based in NewOrleans, Louisiana.
And I am uh excited to do myfirst podcast on NOLA Film
Scene.
Breaking the podcast cherry withthese guys.
SPEAKER_05 (00:12):
Welcome to NOLA Film Scene with TJ Play-Doh.
I'm TJ.
And as always, I'm Play-Doh.
SPEAKER_04 (00:19):
Welcome, Scott.
Nice to see you.
SPEAKER_02 (00:21):
Thanks.
SPEAKER_05 (00:21):
Welcome, Scott.
It's good to see you again.
We haven't seen each other sincethe 48-hour competition this
year.
SPEAKER_02 (00:27):
Yes.
Yes.
That was my first 48-hourcompetition.
It was cool.
I am getting super uh just as aside note.
I've been getting with everybodyat the 48-hour film festival
that team, our little team.
Yeah.
And I have been making a wholenew strategy for pre-production
so that things can be scheduledand organized and done in a in a
(00:47):
in a more strategic manner,let's say.
So we get some good results.
SPEAKER_05 (00:52):
It's what experience gives you.
Not planning the story, youknow, doing any part of that.
Just what can we do for thiskind of strategy?
What can we do for lining up ourassets?
Good thought.
SPEAKER_02 (01:03):
How are we going to schedule people?
How are we going to, you know,make sure that our pages are the
right length?
Make sure that we're there's youknow, there's there's a lot of
pre-production you can do withno script.
Yeah.
You'd be surprised.
SPEAKER_05 (01:14):
And not practicing the story itself, but you could
practice writing a seven-pagestory.
You know, because you I thinkyours was 15 this year?
SPEAKER_02 (01:23):
12.
Not nine.
And it was 12 minutes of videowhen it was finished.
SPEAKER_05 (01:28):
Yeah.
And we had to cut it down toseven.
So that's always slicing up yourstory.
It's like your baby.
You don't want to hurt it, butyou gotta get it in the footing.
SPEAKER_02 (01:37):
What I was thinking is I cannot believe I was out
there for seven hours shootingthings that I had to throw out.
SPEAKER_04 (01:43):
Yeah.
SPEAKER_02 (01:44):
Like from a mechanical standpoint, it's
like, can you imagine if I hadhad seven hours that I could
have fit in?
SPEAKER_04 (01:50):
I've always found that that's the hardest part
about doing thesetime-constrained film
competitions is paring it downbecause a lot of times you end
up with a lot of really goodfootage and you have to be quick
and decide, okay, what's gonnalook the best, what's gonna tell
the best story.
And it's harder to get itshorter, I think, than it is to
fill the space.
(02:11):
I don't think we've ever doneanything where there wasn't
enough content.
SPEAKER_02 (02:15):
Yes.
And when you're shooting stuff,a lot of the time you want
coverage, right?
So when you're shooting stuffmost of the time, you're like, I
mean, unless you're like WesAnderson and every single shot
and every single second ispre-planned and pre-organized
exactly the way it's supposedto.
Most of the time you're lookingfor coverage because you need
coverage.
You know, but in in a 40-hourfilm fest, no, no, no, no, no.
It needs it needs to be like aWes Anderson movie.
(02:37):
Like it needs to be so that onthat day, you're just like bang,
bang, bang, bang, every singlething is done so that you could
basically just take your rawfootage, throw it on a timeline
in an order, and have a movie,right?
That's about the right length,and then make it good from
there.
SPEAKER_05 (02:51):
Right.
I I loved our film, you know, itwas a lot of fun.
I got to play a bad guy, I gotto play a real creepy guy.
I made we hit cut, and it's oneof those ones, and I've talked
about it here a little bit, buteveryone around shuddered,
especially the lady who's like,oh, he's creepy.
And just to watch that energy gothrough our crowd, I was like,
oh, we got something here.
SPEAKER_02 (03:09):
Yeah, that you definitely enjoy getting to
block people.
I don't get to work with youdon't get to work with humans a
lot.
And even when you work withhumans, or I don't get to work
with humans a lot, even when Ido, like I have some contracted
work and there's some basicblocking, but it's more like
setting up a set.
It's cool to get to do likemovie blocking, like that intro
we did where he comes in and youcome in and then da-da-da, and
(03:30):
then I can set up those shotsand I can sort of visualize all
of the the beats as I'm goingthrough it.
It's a really good practice forthat, because it's all on the
fly, but you're like, okay,well, I need this to be
engaging, so how am I gonnashoot these pieces all together?
Which is which is really likenormally that's all thought
through, or it's much moresimple.
And it was it was cool to get tosort of be like, okay, here
(03:50):
we're gonna do it, you know?
It's a good practice.
And I like the kung fu fight.
I thought the kung fu fight wasgreat.
I didn't.
I got my butt kicked.
SPEAKER_04 (03:58):
Talking about enjoying the kung fu fight, and
I enjoyed it as well.
I thought it was great.
SPEAKER_05 (04:03):
It was it was great.
Our protagonist, uh, he had doneit for many years, and I did not
know he had that kind of rangeleft in him.
Let's just say he's an olderguy, and you know.
SPEAKER_02 (04:13):
Also, if you shoot real tight and have everyone
just take one quick fast stepforward, yeah, it does give a
lot of it does sell a lot ofimpression.
For both of you though.
Right.
Both of you.
SPEAKER_05 (04:24):
Yeah, oh I'm not I'm not like ha ha ha him because
I'm old, fat, and out of shape.
And I was watching him and whenhe moved, he kind of led with
his face.
He didn't mean to, and I waslike, hey, look at this.
And then my first time youturned the camera around me,
first thing I did, led with myface.
SPEAKER_02 (04:41):
Well, but if you're only taking one step, I think I
actually told you to.
Because I need you to look likeyou're Goku running.
Like I need you to look likeyou're like, you know, like
lightning fast, which I didn'treally even need you to take a
step.
I just needed you to go like,you know, so it's whatever I was
supposed to do, I did it wrong.
SPEAKER_05 (04:56):
Just how I was telling him he was doing it
wrong, because I have no ideawhat I'm doing when it comes to
action.
SPEAKER_02 (05:01):
And I loved the commitment of that kid who got
roundhouse kicked and wentstraight onto the concrete floor
with the horses and the strawand the horse poop.
Yeah.
I was like, man, that kid.
Way to go, that kid.
SPEAKER_05 (05:11):
Wasn't horse poop, but I was in horse pee.
I was like, oh, I can tell he'sbeen right.
Son of a we did it was kung fu.
We were dressed as cowboys,basically, you know, kind of
like if you grow up with yourbullies, what would happen if
you and your high school bullieswhen you're in your 40s and 50s?
And it was on the Wind DancerEquestrian Rescue Ranch.
(05:31):
Almost said farm, but ranch.
I got that out there.
Oh, they had miniature donkeys,they had uh full-size donkeys,
horses, they had their dogs.
So in between takes, you hadplenty of animals to, you know,
play with and pass the time.
It could be quite pungent downthere on the ground.
SPEAKER_04 (05:46):
Did you have you ever run into or did you have
bullies when you were in highschool, Brian?
SPEAKER_05 (05:51):
Mine were first day of kindergarten through high
school, and they mostly sang thePlay-Doh theme song at me back
in the 70s.
SPEAKER_04 (05:59):
I get it.
SPEAKER_05 (06:00):
You can make it with Play-Doh.
Flashback, I'm sorry.
SPEAKER_04 (06:03):
So I'm sure it's probably hard to picture with my
size now, but when I was afreshman in high school, I was
little.
When I got my driver's licensein tenth grade, I was five, six,
I think, 145 pounds.
So I was shorter than that evenin ninth grade.
Excuse me.
And there was a senior that wasdrunk in the gym.
(06:23):
I I don't remember why we werein there.
Maybe it was a break period oror whatever.
And I walk I don't know why Iwalked up.
I think a guy I rode the buswith was up there in his little
friend group, and for whateverreason, he thought I would be a
good target, and he hit me andknocked me down the bleachers in
the in the basketball gym, and Itumbled and everybody laughed.
And it was it didn't go well.
(06:44):
And I knew I couldn't take theguy.
I mean, he was twice my size.
SPEAKER_02 (06:48):
I was beat up.
I was a I was a big kid.
I was always a big kid, sopeople pretty much always left
me alone.
But I got beat up in, I don'tknow, middle school, I can't
remember what year, by thetiniest little fucker.
He was like, he was like fourfoot ten and all like wiry like
iggy pop for a kid.
And it took him it took him anentire period, an hour, to beat
(07:09):
me up in gym class because hewas real fast.
So he would like run up behindme when I wasn't looking and
punch me in the back of the headand run away.
And then I'd be like, oh likeGodzilla.
Oh, I'll try and grab him, andhe'd be gone.
And eventually ended up with abig strawberry in the back of my
head.
So it does not matternecessarily if you are big.
Now, if I grabbed him, Iprobably could have just broke
(07:29):
him in half.
SPEAKER_05 (07:30):
Yeah.
SPEAKER_02 (07:30):
But I couldn't catch the little guy.
SPEAKER_05 (07:32):
You were gentle giant.
So now that we've we lived allour trauma.
SPEAKER_04 (07:37):
Wait, well, I just I wanted to there's a second part
to the story.
No, that's all good.
So fast forward, I came homefrom the military when I was, I
don't know, 26 or 27.
I moved back to my my hometown,and I came home jacked, ripped
in the best shape of my life.
You know, 230, just shredded.
(07:58):
And I ran into him at the movietheater.
And he came up to me with hisgirlfriend at the time, and he's
like, Man, I hope you don'tremember that.
And his eyes were like saucers,and he was the same size he was
when he was a senior, you know,probably five, nine, yeah, 160
pounds, not not very bigcompared to me at six foot two
thirty.
(08:18):
And he apologized.
He said, Please don't hold itagainst me now.
And it kind of felt good to geta little bit of redemption later
to get that apology.
SPEAKER_05 (08:27):
Totally.
SPEAKER_04 (08:28):
Anyway, sorry, I digressed a little bit.
No, no, no.
But it was the your film was astory about bullies and totally.
SPEAKER_05 (08:34):
I don't I don't think you went too far.
We've touched on our trauma, andyou can look at comedians and
actors, and they take thattrauma, and that's how they get
inspired to get into the biz.
Yeah.
So, Scott, what got you into thebiz?
SPEAKER_02 (08:47):
So when I was a kid, I wanted to be Danny Elfman.
SPEAKER_05 (08:51):
Yeah.
SPEAKER_02 (08:51):
I wanted to write music for movies.
And then in high school, I was atheater nerd.
And then in college, I was amusic composition major with a
minor in theater art.
And I did that for a while.
And then I well, I mean, Iworked in theater.
So I worked in Cincinnati andFlorida and Seattle uh in
theater.
Then I met a girl that wasn't anactor.
(09:13):
Well, she was an actor, but shewasn't an uh repertory actor.
She was like in college, what dothey call like a towny?
She lived in the city, shewasn't part of the repertory,
she was in the thing.
And then we fell in love, andthen it was like, but I don't
want to go to so and so in fourmonths and somewhere else in six
months, and then have fivemonths with nothing to do and go
somewhere else for nine months.
(09:33):
That sounds terrible.
And so I needed another thing todo, but I have very little
skills.
I am skilled in making artthings.
That's what I've got as a thing,right?
SPEAKER_00 (09:44):
Yeah.
SPEAKER_02 (09:44):
So I was like, okay, well, I'll go work in TV.
So I worked in TV news for awhile and I had a fishing show.
I shot for I was a director offor a while, eventually.
And then when I quit working inTV, I got a job as a corporate
video editor trainer, did videoedit training that way.
I did that for a while, and thenduring COVID, I had a lot of
downtime.
So I was like, oh, you know whatI'm gonna do?
I'm gonna go learn Unreal Enginebecause I've already got all my
(10:07):
framing and blocking andlighting skills and all this
stuff, and I'll so I maybe I canmake films while I'm trapped
here.
So I made this, I'm gonna be onokay monster movie show called
Spoopy Movie Time.
It's you can see it, it's all ifyou if you Google it, it's
there.
Where I just did, because ofcourse I couldn't make a whole
show.
I didn't have that, like theamount of time to animate
(10:28):
something is a lot, right?
So I just took like publicdomain films and made little
intersegments that wereanimated, and I got better at
it.
And then, you know, that justsort of started growing into
something.
And then uh, you know, I wentand got my drone license.
I got a couple, and then I endedup with a couple of
subcontracts.
So I have a couple creative uhcommercial contracts that I do,
(10:48):
and essentially, like thosethose commercial video
production contracts, Ibasically take that money and
put it back into movie making.
SPEAKER_05 (10:55):
Nice.
SPEAKER_02 (10:56):
And some drone stuff like uh real estate drone
footage and that kind of stuckstock footage of skylines, that
kind of thing.
And then that movie kind of thatstuff all goes back into my
filmmaking, my personalfilmmaking projects.
Cool so that I'm not that'sreally cool.
My money I'm not m wasting thefamily money, right?
The the corporate money ispaying the the mortgage, and my
(11:18):
commercial business is businessis paying for my films.
SPEAKER_04 (11:21):
That's incredible.
I mean, that's brilliant,actually.
That's the way to do it.
Yeah, for sure.
I I'm gonna geek out a littlebit here.
What I thought thought thevisual quality of your 48 was
incredible.
What camera body did you shootthat on?
SPEAKER_02 (11:35):
I shot it on um I got two black magic 6Ks.
It's not the camera, it's theformat that beat and the lens.
I mean, there's two really okay.
There's there okay.
There's six.
Wait, no, seven.
SPEAKER_05 (11:47):
Oh, go ahead.
SPEAKER_02 (11:47):
There's a lot of shit you gotta keep in your head
that's fundamentals, but youdon't really think of them as as
things, like because they'rejust what you do, right?
SPEAKER_03 (11:54):
Sure.
SPEAKER_02 (11:55):
You so there's rules to follow unless you choose to
break those rules.
And when you choose to breakthose rules, you do it on
purpose.
So right, so like a very obviousone is the rule of thirds,
right?
You sure follow the rule ofthirds always.
You follow depth, you know,having making sure you establish
depth of field.
So I don't know if you rememberwhen we were doing the 48, I'm
like, I gotta change lensesbecause I couldn't like in the
(12:17):
fight in the beginning when youguys are bullying them, I don't
have the ability to use anF-stop to have a real aperture
because I'm shooting at adistance and you guys are going
into the image is flat.
But people don't like that andthey don't like to watch it and
it doesn't feel intimate.
So as soon as we got closer, Iwas like, sorry, everyone, I
know it's 110 degrees out andI'm dressed completely in
fucking black, but I have to gofix this.
(12:38):
So then I went and I changed outmy lenses to a cinema lens so
that we get separation in thebackground and the foreground,
right?
These are all just rules thatyou know and you just follow
them, right?
And then making sure yourlighting is adequate, right?
You can't always, you can'talways have always the best, but
make sure you're following somekind of minimal lighting rules,
(12:58):
super important.
And then like your film formats,right?
So like I'm using, I'm shootingit at 24 frames with the shutter
at 180, which is basically film.
It's the motion blur that youget from film.
And then I shoot in a formatcalled B-Raw, which is uh has a
lot of color depth.
So one of the things is likewhen I was editing that 48-hour
film, coloring is part of myprocess.
(13:20):
Unlike say if I'd shot on anormal camera, I'd have been
able to just put that all up.
But if you put up raw, I don'tknow if you've ever seen what
raw video looks like.
Yes, but it looks almost likeblack and white with like
highlights.
Yeah.
So I had to go through andliterally like recolor that
movies, and then you sort ofbuild a template and then you
color the film.
So that's basically that becauseof theater.
(13:41):
I I don't like like if I havechoices, I don't light anything
naturally.
People tell you, oh, you know,you gotta have every light has
to have a point, and everysource you have has to have a
reason for the source.
Look at this, look at me.
There's some pink over here.
What the what the fuck is thisback here?
There's a thing over there,there's a red thingy over my
(14:01):
corner shoulder.
Because I want you to havethings to look at as I move.
I learned a lot in theater.
Like there is a whole thing intheater where they'll tell you
if you can figure out where toput a blinking light somewhere
in the back of the stage andjust have it go in some kind of
trick, it will improve theattention of your audience by
like 50%.
Because people need something tolook at when they're not
(14:25):
looking, right?
So I light like stage lighting,which again, like when we did
the nighttime video, right?
What did I do?
I made it blue with like treebranches coming through against
the window.
Like night is not blue.
In no world is night blue,except like old sitcoms and
theater, right?
But subconsciously, the secondyou see that you go, Well,
(14:46):
clearly it's nighttime becausethe uh blue is there to tell us
that it is in fact nighttime.
So I really like that.
And like, yeah, you follow therules in case you unless you
don't.
So I followed the rules, exceptfor when he was having his weird
little mental breakdowns, andthen I did a Dutch angle, or I
changed the lighting effect, orI did something because I feel
like here's what here's what Imean.
Your light should always have anintention, but your intention
(15:09):
doesn't always have to be real.
Your intention can be emotional.
Like when you go and you stoodthere and you're like, dang, I
did the double snap zoom and Iput that under light, right?
That's not a motivated light,but it's a motivated light to
express your character.
SPEAKER_03 (15:22):
Yeah, cool.
Yeah, that makes sense.
SPEAKER_02 (15:24):
But I'm just kind of weird.
Like I like bright colors andweird angles, and I like this
part is not normal.
So when I when I when I takethis and I put it in, it's like
uh who is Sakura Blue of was itVan Gogh?
No, it wasn't Van Gogh.
Yeah, it was Van Gogh.
Van Gogh and also the littleguy.
SPEAKER_05 (15:41):
To Latrec.
SPEAKER_02 (15:42):
Letrec, Toulouse Latrec, right?
Their art is very amber, andthere's this whole idea that
possibly because of all theabsinthe that they were using,
it caused cataracts in the backof their eyes.
So so they're in here, was itright?
So even when like ToulouseLatrec, he's drawing the ladies,
and the ladies look beautiful,but it has and and relatively
accurate, it has this weirdamber hue or whatever, because
(16:04):
they're he's seeing whateverhe's seeing through his eyes.
He's not interpreting genius,he's interpreting what he sees.
SPEAKER_05 (16:10):
Yeah.
SPEAKER_02 (16:11):
I think that's kind of what happens in here.
Like I'm just expressing whatI'm seeing, but what I'm seeing
looks weird.
But it's I I hope it's engaging,you know, at the end.
Right.
SPEAKER_03 (16:20):
Yeah.
SPEAKER_05 (16:21):
But you have to interpret it whether it's your
eyes or not, in your style.
Because if it was just somethingbland, something everyone could
do, who needs you?
SPEAKER_02 (16:29):
Yeah, I mean, I'd say there is a real I mean,
being able to just makesomething that is a news story
that makes the thing look likethe news story and follows all
of the laws and rules requiredto make things feel real is a
whole skill in and of itselfthat I absolutely do not have.
I like things to be expressive,you know.
(16:50):
I like that Nazis look.
I like I like things to looklike they're in a sound stage.
I like things to look like JohnCarpenter films where you've got
like you know you're in a soundstage, so like the outside world
behind what you're in isn'tthere.
Like, like if you think of likelike the Batman movie, the first
the Michael Keaton Batman movie,right?
You see everything that you'resupposed to see, and there's
(17:11):
nothing else to see.
Everything else is black becausehe built it inside the studio
and he didn't give theimpression that anything else
was beyond that, because this itprobably goes back to doing
theater for so long.
Because what's important is infront of you, and I like that.
SPEAKER_05 (17:25):
Interesting inspired the animated series, which is
this whole groundbreaking thing.
It was you know drawn on blackpaper just so it would be the
night.
And speaking of styles, you andI were talking about a film
you've done, and so could youdescribe that for us?
SPEAKER_02 (17:40):
Yeah, so I have made a movie.
This is my third movie.
Well, I made two shorts, andthis is my first full-length
film, and it's animated, and itis called Night of the Otter,
and it is inspired by 60s hammerfilms.
So, you know, the vampire andFrankenstein films done in
Britain where it's like they'relike salacious and sexy, but
(18:01):
it's not like they're horny, butthey're not like raunchy.
You know what I mean?
Yeah, they have that thatsalacious inappropriateness, but
not necessarily like graphicallysalaciously.
It's not nudity, it's the thething off the shoulder.
Yeah, or it's like or or there'ssome boobs, but they're not in
it doing anything.
They're just walking down thestairs, or they're you know what
(18:22):
I mean?
It's it's like that that youknow what I'm saying?
SPEAKER_05 (18:24):
Yeah, or they're wearing something very sheer.
Yes, then those boobs areattached to people.
It's not just two boobs walkingdown the stairs.
SPEAKER_02 (18:30):
Well, no, no, no.
I just mean like nobody's havingsex or anything.
It's just or if they are havingsex, then then you don't they're
fully clothed, right?
It's that sort of weird, thatsort of weird in between.
But like sometimes like there'sone, it's got a lot of there's a
lot of Dutch angles, a lot ofbright colors, a lot of not
necessarily motivated lighting,right?
We're we're we're lighting formood, we're not lighting for
reality, right?
(18:50):
So yeah, it's it's it's likethat.
It's animated.
Um, it took me like two years tomake.
It's got that's what I'd say.
I would say it's like uh it'slike a hammer film mixed with
well, I mean it's it's amusical.
Because like it had one musicalnumber in it, and I was like,
well, this is good.
That's great.
And then I saw, have you seenRRR?
The Indian film RRR?
SPEAKER_05 (19:10):
Yes.
SPEAKER_02 (19:10):
Okay, so like halfway through this, I saw RRR.
SPEAKER_05 (19:13):
Let me let me follow you, Scott.
RRR is an Indian movie, TJ, andhe's not a superhero, but he's
an action star.
And so the story I can't evenremember the story.
SPEAKER_02 (19:22):
There's two of them.
Imagine the Fast and the Furiousin India, set in 1900s as
historical fiction, but it's amusical, and it's like three and
they just break into the musicout of nowhere.
It is excellent, it is anexcellently crafted film.
And I I was so inspired by that.
I was like, wow, they could doall this drama and action and
(19:43):
crazy, and also have wild, hecan fight a tiger bare chested,
and then three minutes laterthey can do a number about him
getting his head cut off orwhatever.
I can't remember what they weregonna do to him, but they were
executing him very awful way.
Yeah, and he's like, I'm so sad,my head's gonna be cut off, and
it really sucks, right?
(20:04):
And I and it just sort ofinspired me.
I'm like, well shit, if he canwrite a musical with that, I
mean I have little critters andsome naked people, I could
absolutely throw some musicalnumbers in here, and it'd just
be so much better.
So it's like RRR and a hammerfilm, but animated.
SPEAKER_05 (20:22):
Interesting.
Blew my mind.
I thought you had a questiontoo, but anyway.
So the animation process, I knowit's usually done.
You record the script and thenyou do the animation after.
Because it was just you, did youstart animating first and then
have some people voice things,or how did that work for you?
No, I had people.
SPEAKER_02 (20:39):
Oh, there's one more thing about this movie, too.
No, no, no, no.
Well, yeah, because it is gonnabe at the Lake Charles Film
Festival, October, I don't know,whichever, I don't know.
They haven't told me when itwhich day it airs, but so the
first move two movies I did, onewas called Ulfednar, it's a
werewolf movie, and one wascalled Shadow Man, is like a
seven-minute short, and they'reall very dark dark and bleak and
(21:01):
sad.
And when I submitted them all toFilm Hub or Film Film Freeway, I
won all kinds of things.
I won like Best Cinematographyfor the Canadian Cinematography
Awards for a short.
I mean, I just won.
It was and and like half thelike I would say Ulfidnar, about
about a third of the things Isubmitted to, I got in, and
about half of those I won.
(21:22):
And Shadow Man was even better.
And then you know how manypeople watched it?
Zero people, zero people.
So this time I was like, Joe BobBriggs, Blood Breasts and
Beasts.
I'm gonna try, I'm gonna make a78-minute-long exploitation film
from my favorite genre ofexploitation films, and I'm I'm
gonna I'm gonna I couldliterally do drive-in totals on
(21:42):
it.
Now, nobody seems to be, it'snot a big fan with the
festivals.
I've been rejected fromeverything except for like two,
but I'm hoping that that willtranslate into eyeballs.
It's an experiment, basically.
SPEAKER_05 (21:53):
Yeah.
Interesting.
Keep on plugging.
Yeah, we're all out of breath.
SPEAKER_03 (21:56):
No, sorry, I'm I'm checking something technical.
I'm paying attention, I promise.
SPEAKER_05 (22:00):
But no, we know.
I'm just I was gonna saysomething.
It's like, wait, you are yougonna talk?
You want to talk?
Can I talk?
You want to talk?
SPEAKER_02 (22:06):
I have wild and crazy ADHD, so I just keep
talking.
SPEAKER_05 (22:09):
That's okay.
No, no, no, you're doing great.
SPEAKER_04 (22:10):
No, it's all good.
SPEAKER_05 (22:11):
What's next for you?
What what would you like to donext?
You know, you've done I knowwe're talking about getting
ready for the next 48.
You've done animation, you'vedone live acting.
Anything that you really want todo next?
SPEAKER_02 (22:21):
I want to make a how catch'em.
Are you guys familiar with theterm how catch'em?
I know.
Okay, well, you know who doneit.
SPEAKER_05 (22:27):
Yeah.
SPEAKER_02 (22:28):
Right?
Okay.
So the how the how catch em isthe opposite of that.
So uh poker face is a how catchem.
Columbo is a how catch em.
Okay.
Where you spend the first likeand I'd like to do more live
action because I I I I enjoydoing live action and it's great
practice.
It makes all of my othercontract work better too.
(22:48):
Because most of my contract workis live action.
So if I'm making things that arelive action, it's helpful.
Essentially, the premise is likethe first 20 minutes or so, you
follow the ver the murderer andyou get the motivation, you get
how they do it, why they do it,you know, everything.
So you understand it.
And then like a third of the wayin, right?
Natasha Leon or Peter Faulk comein and okay.
(23:09):
I know, you know, I'm a smartguy, and I'm really stupid, but
I just don't and then you watchhim solve the crime, and you're
really still just alwaysfollowing the murderer, right?
Like if you think of likeColumbo, you don't know where he
comes from, you don't know wherehe went to, right?
He just appears in the guy'sdoor.
He's like, ah, yeah, and thenyou have to and you watch the
murderer sort of squirm.
(23:30):
Yeah, as um, I think it was oncedescribed as they're eaten alive
by a duck, right?
Just right away with no, it justyou know, never.
And I really like that ideabecause it allows it, it really
gives actors a lot of ability tolike ham it up, right?
You get people who really canperform.
SPEAKER_05 (23:45):
Yeah.
SPEAKER_02 (23:45):
It's not as hard as a who-done it.
Like who-dunits are kind of hotright now, right?
Because like knives out came outand they're much back at the
Christie ones, and now a lot,oh, you know, only murders in
the buildings, and then like alot of other people started at
doing them.
And the writing mechanics of awhodunit really hard because you
have to keep track of all thefacts, make sure you give the
viewer the proper information sothat they may so that they can
(24:07):
be able to solve it, then makesure they can't solve it, and
then right, and then it also hasto pace boom, boom, boom, boom,
boom, boom, all the way through,right?
SPEAKER_00 (24:14):
Right.
SPEAKER_02 (24:14):
And I was like, Well, I'm not, I'm not, I have
ADHD in autism.
So, what I would rather havethan trying to figure out that
George R.
R.
Martin, everything has to haveits own place in this endless
string of accuracy, perfection,and organization, right?
Is feelings, vibes.
You get the idea of whathappened, and then it's clever
as you watch whoever it isslowly pick up pick pull the
(24:36):
strings of the sweater, and youget to watch the murderer as
their sweater comes un undone.
Unraveled.
Unraveled teaser there.
Yeah, yeah, yeah.
But that's you see what I'msaying?
Like that's yeah, I and I Ithink that would be more
interesting, and you can buildthe anxiety, right?
All those things can like youcan watch all those things
happen in real time as it'smoving along.
And I've kind of like got theoriginal, I've got like the
(24:58):
first, I've got whatever thatthree sentences is that c
encapsulates the beginning ofyour script, you know, like who
them who the characters are andwhat they're doing and why.
And then I I but that's where Iam right now.
Yeah.
So that's what I'd like to donext.
But really, I'm just trying toget more more gigs, more work.
We're gonna try the gang thatfence post productions.
They're gonna try a set.
(25:19):
I hope they're gonna do theseven and seven.
Yeah, we're gonna test out thisnew pre-production structure,
right?
But all these things, you know,they give you an opportunity to
meet new people.
You guys, nice to meet you.
And and you know, you people getto kind of see your work.
Like you said, you saw you sawmy film or our film, which I
appreciate, and then you'relike, wow, cinematography was
(25:40):
really good.
Thanks.
So, you know, if you think, oh,I want to do a commercial, well,
that one guy that did that kungfu scene, he was pretty great,
right?
But that just you know, I guessI want more work.
That's what I want to do.
I want more jobs because that'swhat I do.
Yeah, that tracks the same way.
That's right.
SPEAKER_05 (25:58):
That tracks.
TJ, how many times have we beentalking to someone who's like,
Oh, you're working on something?
I'm there.
I volunteer as tribute.
SPEAKER_03 (26:05):
That's right.
And if I don't say it, Brianwill.
SPEAKER_05 (26:07):
Yeah, definitely.
I've inspired you to start startsaying, like, oh, come on, come
on, give me a job.
SPEAKER_02 (26:12):
The answer is yes.
Yes, very I'm bad at marketingmyself.
So I was hoping maybe if I dothings like this a little bit
more, I could do a little bitbetter.
SPEAKER_04 (26:20):
I am I'm bad at it too.
That's why I've got Brian.
SPEAKER_02 (26:23):
Brian is excellent.
Brian is excellent at it.
I am terrible at it.
That's what says, like, I haveno because I would rather just
work.
Like I just want to make stuff.
Like I don't wanna, you know, Idon't want my I don't I don't
care.
Yeah, you know.
SPEAKER_05 (26:36):
I thank you.
Thank you both.
SPEAKER_04 (26:38):
If it wasn't for Brian's marketing, uh there
wouldn't be a single personexcept for maybe my family
listening to this podcast.
Hick would listen to it.
Maybe enough.
Yeah, that's for sure.
SPEAKER_05 (26:51):
Watching wrestling all my life, you see how to do a
promo.
They cut a promo on somebody.
I didn't watch much much NASCAR.
Let me try that again inEnglish.
I didn't watch much money.
I didn't watch much NASCAR, butthose guys do the same.
Plus, it's all advertising ontheir jumpsuits, but promote,
promote, promote.
And then I can look back in mylife and I used to do sales.
(27:13):
I sold encyclopedias door todoor.
I did telemarketing for a littlewhile, and I sold cutlery, which
you can't do door to door.
It's by appointment.
So if I have, you know, I get tosee you, Scott.
I say, you know any people, I'llgive you a I'll give you this
free pair of scissors orwhatever.
Oh, here's TJ's phone number.
So it's referral because youcan't knock on somebody's door
and go, Would you like theFrench chef knife like Jason
had?
SPEAKER_01 (27:33):
I'm uh deadly nightshade salesman.
I sell cyanide, arsenic, anddeadly nightshade.
I know would you like me to comein and uh show you the aerosol
version of it?
SPEAKER_00 (27:42):
Yeah.
SPEAKER_01 (27:43):
Exactly.
SPEAKER_05 (27:44):
So I learned I'm very good at demonstrating, but
when I'm selling a$600 set ofknives or a$2,000 set of
encyclopedias, kids'encyclopedias was the internet
before it was all electronics.
SPEAKER_04 (27:55):
Paper version of the internet.
SPEAKER_05 (27:56):
Yeah.
And people would go, oh, I can'tafford that.
I love what you did.
It was great talking to you.
I love what you Yeah, Iunderstand.
I didn't have the heart, Iwasn't cutthroat enough to do
that.
So basically, those skills havenow turned up to be let me tell
you about my podcast.
I take I had took an Uber todayand have this card.
Talks about the podcast.
Do you like podcasts?
Boom.
Here's a QR code, here's ourstuff, here's some people we've
(28:18):
talked to.
Oh, great.
You know, and through thatconversation, same thing, push,
push, push.
It has backfired a few times.
I can go too far.
You know, and on social media.
SPEAKER_02 (28:28):
Grandpa was like 90.
He hit, he flirted witheveryone.
Everyone.
And I was like, dude, you'relike 90.
And he's like, yeah.
So at my age, you gotta cast awide debt, right?
So I'm gonna get rejected like85, 95% of the time.
But if I don't take the shot100% of the time, then I miss
that 5%.
Exactly.
SPEAKER_01 (28:47):
Okay, grandpa.
SPEAKER_05 (28:48):
All right.
And to grandpa's credit, nursinghomes have become, let's say, a
hotbed of activity and leave itat that.
It's something to look forwardto in our old age.
SPEAKER_04 (28:58):
I think I'm not totally a lot of stuff just came
into focus, Brian, with yourlast couple of stories there.
SPEAKER_05 (29:06):
There you go.
SPEAKER_04 (29:07):
Things are starting to add up now.
SPEAKER_05 (29:09):
And since they've added up, we're gonna have to
subtract by shutting us down.
It's time to go, ladies andgentlemen, boys and girls.
Scott, we've had a great timetalking to you.
SPEAKER_02 (29:18):
It was been really cool.
I've I've not done this before,so I it was cool to do something
fun and exciting.
SPEAKER_05 (29:24):
Broke your second cherry for the year of 2025.
The eight-hour film and now apodcast.
And Night of the Otter.
And it's going to a festival inOctober.
SPEAKER_02 (29:32):
Will it be No, yeah, it's going to Lake Charles Film
Festival in uh October 3rd and4th.
And then um I have it set forrelease on the 15th, which means
probably to be an Amazon, but Idon't know and some other
things, but almost guaranteedleave them, and then you see
what happens after that.
SPEAKER_05 (29:48):
We will put that in our notes and say where people
can find it.
And of course, when I post it onsocial media, I'll put all the
links you you give me.
SPEAKER_04 (29:55):
All right.
Well, Scott, thank you forjoining us.
It's been it's been a lot offun.
SPEAKER_02 (30:00):
Nice and it was nice meeting you.
And if you ever need a stupidguy to make comedy, non-ending
comedy rambles, it's what I do.
Or filmmaker.
Yeah.
Yeah.
Well, also I am I what I shouldhave said in the podcast, in
case you ever have questions orwhy not, I was my basic function
almost the my entire career hasbeen a video editor.
(30:20):
So news, shows, everything isvideo editing.
So yeah, I suppose if you everneed a video editor expert or
you want to talk about like DaVinci versus Premier or
something, I uh I'm pretty goodat that.
SPEAKER_04 (30:31):
Oh no! Excellent.
Yeah, we use uh we use Premierefor our editing.
SPEAKER_02 (30:36):
Yeah.
Might I suggest DaVinci?
SPEAKER_04 (30:39):
So I've used I started in DaVinci.
My closest friend from themilitary is a game streamer, and
for a little while I was editingsome of his streams on Da Vinci
because it was free.
So that's how I got my feet wet.
But when we started doing this,we were having some issues
cleaning up the audio.
So I tried audition, it was justnight and day different for me.
SPEAKER_02 (31:03):
Though there's been a lot of improvements, but I I'm
a certified premiere trainer.
SPEAKER_04 (31:08):
Oh wow.
SPEAKER_02 (31:08):
Because I I try I teach video editing, right?
It's one of my one of it's mycorporate job.
I'm a certified premieretrainer.
Brian's eyes just went to it'sfine, but I switched to DaVinci
about a year ago and I have itlooked two years ago.
SPEAKER_04 (31:22):
Well, it's almost necessary running a black magic
camera.
SPEAKER_02 (31:25):
Yeah, well, DaVinci's kind of what sucked me
into the black magic camera.
Um now I have also have the theblack magic cloud store, this
high-speed storage.
I've got a like a 10 gigabit,eight 10 gigabit throughput,
eight terabyte high-speedstorage drive that I keep
everything on.
I've gotten complete I've boughtthe Kool-Aid.
I am in the Kool-Aid, but I willsay, if it doesn't cost you$600
(31:46):
a year every year to have, itgives you more money to do
things like buy hardware, youknow?
That's basically why I quitPremiere in the first place.
And then I stuck with Da Vincibecause of the color tools.
The color tools are so yeah.
We just got into that, right?
I had to I recolored all of thefilm.
Like, oh, it looks allcinematic.
The reason it looks cinematic isbecause I have Da Vinci Color to
(32:09):
recolor everything that I did.
SPEAKER_04 (32:11):
So have they improved their audio tools any?
Yeah.
I like being able to exportstraight to audition, clean it,
fix it, and then itautomatically populates back
into Premier.
SPEAKER_02 (32:22):
So yeah, so I'm right using the bridge.
SPEAKER_04 (32:24):
Yeah.
SPEAKER_02 (32:25):
I I it has its own audition now built in.
Huh.
DaVinci.
And it also has Fairlight,right?
As Fairlight, which works very,very well.
And it has a lot of now, a lotof the same stuff that Premier
had, like the AI ducking and andnoise canceling and all that
kind of stuff that has improvedimmensely.
(32:46):
And it's$300 for two licenses.
So and that's it.
It's not$300 for two licenses,and then next year it's$300 for
two licenses.
Like I got a license from buyingmy camera, and I bought a
license beforehand.
So I have four seats, but Idon't use four seats.
And I started at DaVinci 17 andI'm now at DaVinci 20.2.
Those are the only times I paidfor anything.
(33:07):
So that's a good plus.
The hardest part is the aftereffects is fusion.
Fusion is hard to learn becauseit doesn't use timelines, it
uses nodes.
It actually works a lot likeUnreal Engine does, where their
version of their C coding, butno, it's see.
I told you, if you want a nerdwho can talk about color or
video editing, if you watch amove, if you see a movie like uh
(33:30):
what's that really good moviewith Ewan McGregor?
And it's total shit, but thenyou watch the director's
version, it's brilliant.
It's the sequel to The ShiningDoctor.
Oh, Doctor's sleep.
SPEAKER_04 (33:40):
Yeah.
SPEAKER_02 (33:40):
The movie that came out, hot garbage.
But if you go find thedirector's movie, the director's
version, I highly recommend it.
It's a brilliant fucking movie,but the color is awful.
They colored it all, and itlooks like he's got liver spots,
and because they didn't gettheir the color space right and
all this stuff.
So yeah, if you ever need a nerdto explain things that look bad,
(34:01):
yeah, good at that.
SPEAKER_05 (34:02):
Or good.
Maybe a little bonus content wecan have.
SPEAKER_02 (34:05):
Oh yeah, like oh man, I love to talk about
sinners for like an hour.
It's fucking beautiful film.
And I even talking about thecool Michael B.
Jordan, Michael B.
Jordan.
I mean, the references that theyuse, they use like impressionist
paintings from like the 18th,from early 19th century to frame
their stuff.
They have all these referencesto John Carpenter films.
They have, I fucking love thatmovie.
(34:26):
I mean, the movie is great, butlike I just got sucked into
like, oh my god, look at thisframing.
Oh my god, look what they didwith the colors.
Oh my god, look what they'redoing with the costuming.
Oh look, that's a reference to aJohn Carpenter movie.
Oh, look, like, just loved it.
So, yeah.
SPEAKER_05 (34:39):
If you like Sinners, you should go back and watch our
Kevin Cheatham episode becausehe was in Sinners.
SPEAKER_02 (34:44):
Oh, I definitely should.
Good play, good, good sell, too.
SPEAKER_05 (34:48):
I was gonna say, that's how you promote.
SPEAKER_03 (34:49):
See what you did there, Brian.
SPEAKER_05 (34:51):
Thank you.
Thank you.
Lesson learned.
Great talking to you, Scott.
Everyone else, we'll see youlater.
Come back next week.
See you next time.
Bye.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.