May 21, 2025 • 26 mins
Brett Levisohn, Senior Vice President of Creative Content for Universal Pictures loves telling the stories behind the making of movies – From first-look interviews with Directors and Actors to the exclusive behind-the-scenes content that connects audiences to the films they love, Brett’s role is rooted in a passion for celebrating every person and part of a movie.
In this episode of Seen on the Screen, Jacqueline Coley talks with Brett about his personal and professional connection to the entertainment industry. From working on Safe House in his family’s hometown, to his lifelong love of classic Universal Monsters like Frankenstein and Dracula. Brett shares how his family connections to the circus, his emotional intuition, and an unwavering dedication to storytelling have contributed to where he is in his career today and why creative content is an essential piece to marketing a movie.
Whether you’re curious about the different areas of marketing or just love hearing from someone who lives and breathes movies, Brett’s perspective offers a thoughtful, fan-forward look behind the scenes at Universal’s creative powerhouse.
In this episode of Seen on the Screen, Jacqueline Coley talks with Brett about his personal and professional connection to the entertainment industry. From working on Safe House in his family’s hometown, to his lifelong love of classic Universal Monsters like Frankenstein and Dracula. Brett shares how his family connections to the circus, his emotional intuition, and an unwavering dedication to storytelling have contributed to where he is in his career today and why creative content is an essential piece to marketing a movie.
Whether you’re curious about the different areas of marketing or just love hearing from someone who lives and breathes movies, Brett’s perspective offers a thoughtful, fan-forward look behind the scenes at Universal’s creative powerhouse.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This episode of Scene on the Screen is brought to
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(00:20):
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the best movies are home on Peacock.
Speaker 2 (00:28):
Dracula's near and dear to my heart. He's like the
Superman to Frankancise Batman. I don't know what that means,
but it makes some sense up here.
Speaker 1 (00:39):
Hello, I'm Jack oln Coley. Welcome to Scene on the Screen,
brought to you by Make It Universal and Rotten Tomatoes,
where we talk movies with some of the people behind
the scenes at NBC Universal. When entertainment works best, sometimes
it opens a window into a world we've never imagined.
Other times it shows us a mirror image of our
lives with the heightened sense of home. Today, we're going
(01:03):
to dig into the question what have you seen on
the screen that has done that? My guest today is
Senior vice President of Creative Content at Universal Pictures, Brett Levison.
You'll learn about growing up as the son of a
circus performer and an opera singer, the film that set
a new standard in behind the scenes content, and what
(01:23):
makes a great hangout movie. Brett, Welcome to scene on
the screen.
Speaker 2 (01:32):
Thanks for having me excited to be here.
Speaker 1 (01:34):
I love this question and your answer. I can't wait
for folks to know who are you and what do
you do for NBCUniversal.
Speaker 2 (01:40):
I hope this is the hardest question of the day.
I'm Brett Levison. I'm a senior vice president of creative
Content in the Universal Pictures Theatrical Marketing Group. What we
do is we oversee all the making up all the
behind the scenes materials as captured on set. So we
go out on sets, we work with incredible vendors, agencies
and producers as we go on and tell all the
(02:01):
stories of what happens there and so get to talk
to the cast and the crew and the filmmakers and
all that is brought back to the studio and it's
used for certainly marketing, whether that's fifteen second spots or
pieces on social media or hour long specials on TV.
And then that material is also used to make the
(02:21):
home entertainment bonus materials to help within our parks, give
them content for the screens, there, for the cues as
you're waiting in line for the rides. As our sales
teams and partnership teams want to get more partners for
a film, we use our content to create the reels
that help them sell the films. So it's an exciting
(02:42):
job and it's exciting time to be doing it because
it's constantly evolving. You know, we consider ourselves documentarians, as
lofty as that might be sometimes, but we're out there
to tell the real stories. And right now, again, it's
fun to do it because audiences are reacting to it.
Speaker 1 (03:00):
I really do love it. Yeah, as I like to say,
you're the special features guys, I mean, like that that
DVD part of my menu, or like the last part
of the HS. I always stayed for that, and I
love that. That's that's your team.
Speaker 2 (03:13):
Yeah, it's it's really great, and we can create a
different connection to a film through the personalities that we
meet there. So uh, it's I boil it down to
the four p's. This is a long answer to a
short question, but we go on sets to try and
get the people personalities, processes and passions, and if we
can capture that in a really authentic way, audiences from
(03:34):
all over the place are getting really interested in it
and building this personal connection to a film.
Speaker 1 (03:41):
So talk a little bit about your journey to the
seat at Universal, because like so many of the folks
that started here, it started with a passion for film
that then you found the avenue to this as far
as like first trailers and then production and then now.
Speaker 2 (03:56):
Yeah, it's been I've had a sort of circuitous route
and I always tell people, you know, no, there's no
one way to do things in this business. And I've
had this interesting and exciting for me blend of marketing
and production. So from internships at college at UCLA where
I was in the marketing department, to getting production experience,
lining scripts and going through all the production details, to
(04:17):
working in development. I was an assistant to an executive
at Sony, which was really interesting. We were working on
the first Sam Raimi, Spider Man and Will Smith and Ali.
But also I still know what you did last summer
and can't hardly wait. So it was this exciting time.
But I got a call from a guy who I
was an intern for who at Sony. This one of
(04:38):
my mentors, Mark Schmugger, and he had become president of
Marketing at Universal. He called me to come over to
help start something new and it was the New Media
Marketing Group, which has evolved into our Digital Marketing Team,
which is now one of the backbones of our marketing department.
It was an extraordinary experience where I was a laison
(04:58):
between the production and the so I got to work
with every division across Universal and every division on the
film set to create the books, the toys, the video game,
me animated the whole entertainment content. When you look at
these franchises and what did it encompasses, it's huge and
when done right, it all starts with a set and
(05:18):
so like learning how many Swarowsky crystals were on Dame
Judy Dench's costume in that movie had an impact in
what was shown at the premiere and fun facts that
people can get into. And then I was asked if
I would produce and I became a behind the scenes producer,
then went to an agency to do the same was
at Trailer Park for ten years and got some extraordinary
(05:41):
experiences and then eventually it was brought back in so
My journey here was two thousand and nine, and I
never really left but been an official employee back in
Action for about five and a half years.
Speaker 1 (05:54):
Which is so incredibly cool. You've definitely worked on, I think,
some incredible films during that time, and like you say,
it's like you really want to pair the content with
the movie. Is there one of those moments where you
did one of those sort of out of the box,
sort of feature type contents for a film that you're
particularly thinking of, is memorable because it's not Yeah, you
(06:16):
do the hour long specials. Yeah, you do the making ofs,
but sometimes y'all do very specific little features that are
so particular to a movie.
Speaker 2 (06:24):
Yeah. You know, as documentarians were kind of cast a
wide net. We should cover everything as much as we can,
and then we build the stories from there. But we
also go onto our sets with purpose and with intent,
so we're not wasting the filmmaker's time, we're not distracting
from the set, and we're able to make our way
sort of an independent crew. Within that context, you do
a lot of out of the box stuff an editorial,
(06:46):
but on Jurassic World, you step onto that set, it
is massive, It is incredible we created these pieces with
Chris Pratt sort of went up to them on the
first day of shooting, saying, talk to our camera, play
to our camera, can do something. We want to chronicle
your journey because Chris Pratt's now like a bigger, more
established star now, but that was like a big shot.
(07:08):
Nobody had seen Guardians of the Galaxy at.
Speaker 1 (07:10):
That point point.
Speaker 2 (07:10):
Yeah, and so he played to our camera and just
had fun. And we called it Chris Pratt's Jurassic Journals.
And you know one thing that did not only was
it fun and goofy, but you look at Jurassic World.
Do you look at these big movies and you think
that's huge, and that's unattainable. It's almost behind this veil
of mystery, and there's something great about that. But we
(07:31):
were able to make and this is one of the
great things we can do as a department. Make a
big film feel personal. Yeah, And that's what I was
excited about. And it sort of set the tone for
a lot of the social content that we've been creating
that you see other films and other studios creating, where
it's more of this interaction and also kind of letting
(07:52):
loose a little bit show people who they really are.
Speaker 1 (07:55):
Dig that all right, Brett. Well, now we're going to
dive into some of the films that you've seen on
the screen, and we're gonna do this via our quotes.
You see the podcast, right, I've seen the podcast. It
talks all right, a man tells his stories so many
times that he becomes the stories. They live on after him,
(08:17):
and in that way, he becomes immortal.
Speaker 2 (08:20):
I know that movie. That one is really special to me.
That's Tim Burton's Big Fish.
Speaker 1 (08:25):
Why is that one so special to you?
Speaker 2 (08:27):
Well, it's an incredible story about a man who tells
these fantastical tales. A son who's a journalist who sort
of is more into the truth and is disbelieving, and
that hasn't really had that connection with his father. But
the stories are bigger, you know, and he hears this
ad nauseum and doesn't believe it. But it became a
big through line in the eulogy I gave for my
(08:49):
father when he passed away. And the reason is I've
sort of been brought up with parents who live these fantastical, fantastic,
amazing unique lives. Specifically my dad who in the sixties
he was a circus clown. So he was. He traveled
around the world, all these circuses in Europe, but then
(09:11):
came to American did Wringling Brothers, Barnum and Bailey circus.
So you put that in there and you get an
immediate treasure trove of stories that he can tell at
every party ever. And I heard them all. They even
got crazier because after he decided to leave the circus,
he contacted a friend of a friend and got a kangaroo.
(09:31):
And at that time there were variety acts going on,
and he decided, I'm going to find my little corner
of the sky there, and he got this kangaroo trained
with it, and he eventually boxed a kangaroo. And now
I should be specific. My dad was a little person.
He was a dwarf, so four foot two going against
an animal that naturally boxes in the wild, he didn't
(09:52):
stand a chance. The kangaroo never got touched. My dad
got his butt kicked multiple times a night. And you know,
to the point that he performed in la but then
went to Vegas and was performing at a hotel across
from the sands where the rat pack. After they'd be
done performing, they would go watch his show, and so
you hear these stories and you're like bullshit. But then
(10:16):
as a kid, I went to a celebrity golf tournament
as was big in the eighties, I guess still now.
But Sammy Davis Junior was at one and he was
called out. My dad in the middle of the crowd
was like Billy, and it's like all these incredible experiences. Now.
He eventually left the circus. We're all from South Africa,
so went back home. Met my mom, who was an
(10:37):
opera singer at the time, and so she did that.
They met while doing a show. She didn't do opera
for much longer. He went an advertising started his own
publishing company, Weird Jump. But my whole life I was
brought up with these stories, visiting California when we lived elsewhere,
and staying with magicians and stuntmen and really seeing different
(11:00):
sides of this world and the people. But it all
culminated in that movie, the stories of the circus, a
boxing and kangaroo, of the rat pack, of opera, you know,
with my mom, and then she went to start a
safari lodge in Zambia, and it's all these incredible things.
Speaker 1 (11:15):
It feels like almostly you're an autobiography, Were right.
Speaker 2 (11:18):
I'm working on it starting now. But you know, then
there's the connection, you know, the deeper connection that goes
beyond the stories. And while everyone has the issues with
their parents in one way or another, what's come out
of it despite any sort of issues or complications we
had the stories remain.
Speaker 1 (11:37):
I dig that also, I dig in a way by
doing what you do, you're carrying on the family legacy
on both sides, the advertising and the circus. Yeah, that's true,
a lot of circus razzle dazzle. As he would say
next quote, what happened was not your fault, but what
you did to try to fix it is everything.
Speaker 2 (12:00):
This just broke my heart in the theater. It's the
Wild Robot. That's the latest passion project for us.
Speaker 1 (12:07):
Yeah, I mean I really want to talk about this
because with a film like Wild Robot, really, I think
anything with DreamWorks, because you're going into that legacy of like,
you know, this is the house that made How to
Train Your Dragon and everything that we've done over there,
there is more is expected. Yeah, I think the DreamWorks
fans like they expect the expansion, they expect the details.
(12:27):
So how do you approach doing a film like this.
Speaker 2 (12:31):
Well, I agree completely. I think DreamWorks' growth has been
in development artistically and storytelling wise, has been incredible. To
walk onto that campus, it's like a dream come true
for me as a kid. You'll realize at some point
I want to do every job in the entertainment industry,
including animation, voiceover work, everything. But to approach Wild Robot,
(12:53):
we knew early on. I got a little tip that
it was going to be happening. I picked up the book.
I read the book melted me. My daughter read the
book in her third grade class. It was a first
book that made her cry, I believe, and it made
me think that this is like her ET. And when
I went to ET as a kid and I was
(13:14):
crying in the theater and I was sawing it at
the end, my mom asked me, like, are you crying
because you're happy or sad? It's like, I'm so happy.
I was so sad, but I realized Wild Robot had
a lot of that DNA. And then talking to Chris
Sanders and the filmmaking team, and then the animators and
heads a department and everyone along the line, we knew
that it was special and it was very clear, and
(13:36):
so you know, between adr sessions and to the end,
it was probably about two years of shooting and covering this.
It's one of those things where it does become a
passion project, not only for me personally and professionally, but
for DreamWorks. It was so clear that this was something
that was part of their evolution in a beautiful, all
(13:57):
encompassing way. When I had a chance, just as you did,
to speak to Chris Anders, I asked him kind of
that secret sauce question, like what is it? What do
you bring? Everybody brings something to their jobs that's a
little something special, and I said, what do you bring?
And he basically that sort of got emotional and said belief.
I believe in my team, and I believe in the story.
(14:17):
And with that belief that helps motivate everyone going through.
And there were just these little nuggets of beauty all
throughout the production. And as much as I knew every
detail and saw the passion of Chris Bauers, of Maren Morris,
of every single again everybody across DreamWorks of Lupita, Oh
my god, I was sitting in the theater with my daughter.
It was going to be a special moment, and I
(14:39):
knew what was going to happen in this great now
famous migration sequence. And I was still bouncing, ugly sobbing
as my daughter's like, are you okay? She did cry,
she believes she's human, but it's still it's going to
hit me forever.
Speaker 1 (14:55):
I dig it. Great job. Honestly talking about wild Robot
makes me almost want to cry. And it's kind of
like the thing with it. All Right, We're gonna move
on to our next popcorn. Okay, this is true or false?
This is easy fifty fifty shot.
Speaker 2 (15:09):
Okay, good, all.
Speaker 1 (15:10):
Right, and the film slither. The voice of doctor Carl
talking to Starla on the phone belongs to Trent Reznor.
True or false.
Speaker 2 (15:24):
I'm gonna say false because I'm gonna I'm flashing back.
It was not Trent reznor Rob Zombie.
Speaker 1 (15:33):
It was Rob Zombie. Good cool. I was actually just
talking about Rob Zombie last night because I was saying
that Terrifier three is like the House of a Thousand Corpses.
Speaker 2 (15:42):
Oh my gosh. Yes, and I haven't seen Terrifier three,
but I was here for a House of a Thousand Corpses.
Speaker 1 (15:47):
And you know, it's campy, it's dark. It's very graphic,
but it's not the same type of horror like from
like the audition where it's like, you know, no, I
am afraid and grossed out. It's like a different it
tickles you differently.
Speaker 2 (15:58):
Yeah, and it was. It was a interesting one here,
like getting to work on it and getting so excited
as a horror fan, meeting Rob, who, by the way,
I don't hope I'm not ruining anything, is the sweetest guy.
Like walking through his production obficely He's like, you want
a bagel? And it's like, I didn't think Rob Zombie
was gonna be that guy. That was like Devil's Rejects.
Speaker 1 (16:15):
But Devil's rejext is another one that was.
Speaker 2 (16:17):
Great, And that was the time. I was watching a
lot of horror movies and working on Slither was this
dream because I loved horror and universal horror growing up,
so to see all these incredible prosthetics, and you know,
I was a fangoria kid. I loved all that stuff.
And it was like goopy, gory aliens and slugs and
blood and exploding people and mutations and bush. It was
(16:39):
a dream, so much slime and grossness and uh, that
was a fun one and to see James Gunn at
that point and what he's become is incredible.
Speaker 1 (16:47):
Uh. Quentin Tarantino spent five years writing Once Upon Time
in Hollywood as a novel before realizing a film script
would be better to suit the material. True or false.
Speaker 2 (17:00):
Makes sense. I read the novel that he came out
with and it was it's so good, I'll say, just
because I know he's gotten into write like novel writing novels,
I'll say true, Yeah, that's so true.
Speaker 1 (17:10):
Yeah, he did not know it was going to be
a feature. I knew that one as well. And yeah,
I think that man is just about story and dialogue.
Speaker 2 (17:17):
Yeah.
Speaker 1 (17:17):
Also, there's just like a huge cool factor to Once
Upon a Time in Hollywood, Like I think all of
the characters are cool like that.
Speaker 2 (17:24):
Yeah. Yeah, I mean, if there was anyone I'd probably
want to hang out with from any movie, I want
to hang out with Cliff Booth. I know my wife does,
but I want to hang out with Cliff Booth. He's
a good time, a good friend. Little story. Speaking of Cliff,
one of my favorite moments is you know, is good
friend Pep talk to Leonardo DiCaprio's character, which is like
(17:47):
Rick fucking Dalton, and there are places every once in
a while for a little zen moment. I drive around
a lot here, I get into golf cart, I get
to that part they shot the Old West here on
the lot, and I go to that area and I
just sort of say to myself, like, you're fucking adult's
And then I go through the whole scene where like
(18:09):
Leo's there with the girl reading the book and she's brilliant,
and it's you know, this lot gives those sort of
great opportunities, and it's it's like a tour through childhood
through modern movie making, and like I bring my I've
brought my kids here before, and you know, one of
the perks of the job sometimes and like getting my
(18:31):
kids like touch the wood that isn't actually wood, to
see the movie magic and that craftsmanship. And for me,
whenever we would see blood on the screen as a kid,
my Dad's like, ah, it's just ketchup. And you know,
then I learned it's not much. I mean, it's not ketchup,
but it's it's still fake and there was a beauty
to that artistry. So that's one of my favorites that'd
(18:51):
hit me a lot and I feel like there is
something really special about that film that makes me reinforces
why I love filmmaking and all the films about filmmaking.
There's so many great stories to tell.
Speaker 1 (19:04):
Excellent job, sir, I will say, you did very very well.
I don't know if I'll be able to keep this
trend going. Sure, I'm gonna hand this over to you.
Speaker 2 (19:15):
I've got the globe, I've got the whole world in
my hand.
Speaker 1 (19:18):
We're gonna pop into the world of universal if you
could pop that top just like it. Yeah, there you go, Yeah,
there you go. And then I same as you. I'm
gonna have some quotes, but I get multiple choice because
supposedly they're harder. But we'll see.
Speaker 2 (19:31):
Oh please, I'm not setting my daughter up with an attractive,
charming musician who will just break her heart. A Is
it because I said so be Mama Mia. See get him.
Speaker 1 (19:49):
To the Greek Mama Mia as it not? Is because
I said so, oh my god, Diane Keaton said that,
Oh my god, man, they wanted to get me, and
they got me Diane Keaton because I said so yeah.
Speaker 2 (20:02):
Yeah, that was another one I got the chance to work.
Speaker 1 (20:04):
On because I said so was good. The Mandy Moore
Diane Keaton energy was hilarious.
Speaker 2 (20:08):
It was great.
Speaker 1 (20:09):
You look like you're asking for it. I want to
look like I'm asking for it.
Speaker 2 (20:12):
There you go.
Speaker 1 (20:13):
See I remember that quote.
Speaker 2 (20:17):
That is so impressive. Yeah, what an incredible crazy experience.
All right, are you ready for the next one?
Speaker 1 (20:25):
You gotta try it?
Speaker 2 (20:26):
All right. I would do the particular voice, but that
would give it away. I'll kill you with my teacup.
Is it a Johnny English? B the Chronicles of Riddick
see Downton.
Speaker 1 (20:42):
Abbey Chronicles of Riddick.
Speaker 2 (20:45):
That's absolutely right, And I can't do the voice. I
can't get down there.
Speaker 1 (20:48):
Okay, but I literally was so close to saying Johnny
English because I did not remember that. But then I
was like, no, it's Chronicles of Ritic. I know it
has to be because oh I remember the scene now
now I remember the scene.
Speaker 2 (20:59):
Yes, in this lamb in the prison.
Speaker 1 (21:01):
That's right, I'll kill you with my teacup. I remember it.
Speaker 2 (21:05):
I love it. That movie is forever with me.
Speaker 1 (21:08):
Sorry me to yell at you. The audio person is like,
why is.
Speaker 2 (21:11):
She yelling sorry about that?
Speaker 1 (21:16):
Uh?
Speaker 2 (21:17):
Yeah, I'll kill you with my teacup. That was that
was an incredible movie just.
Speaker 1 (21:21):
To work on and with Judy Dounch, and with.
Speaker 2 (21:23):
Judy Dench watching her perform incredible. Okay, how am I
supposed to get more experienced by staring at four walls
all day? Is it a animal house, B dream house
or C safe house?
Speaker 1 (21:41):
Safe house? Definitely with Ryan Reynolds and Denzel I remember
that one.
Speaker 2 (21:45):
Yep, yes, yes. Another one that I mean is Near
and Dear to my Heart that was filmed in Cape
Town and I got a chance to work on it.
And so there's working with Denzel, which is the coolest
thing in the world. Intimidating and terrifying. Then you realize
most of the time when he's playing a sociopath, he's
in character. He's just sort of in the zone. It's
(22:07):
that man walks on set. Your stomach churns and you're like,
I got to be the best person I can be.
It's like when Tom Cruise walks into the seat. I
got to be the best version of myself. But to
be in South Africa, I got a chance to stay
with my family and connect with them there, which we
haven't been able to do in my entire life. But
we're on a big action movie across that country in
(22:30):
unique locations, beautiful locations, and in the townships too, where
you just see a different side of life. And when
Hollywood comes to disrupt a township, it's quite a thing.
You know. You're the townships there filled with beautiful people
and you know, experimental like improvised dwellings in a lot
(22:51):
of different ways. There's a lot of violence, that is.
And we were in a township that was known to
be one of the most dangerous, but we were doing
scenes where there were a lot of gunshots and a
lot of you know, wild explosions and a lot of
loud noises, and we were shooting it at about three
in the morning, and they notified local townships, but not
(23:14):
everyone got the memo, so everyone thought fighting and violence
had broken out in this township. And the producers you know,
eventually spoke to the elders and passed it all up
and it was a big pr like effort just to
reassure everyone that it's okay. But you know, it's interesting
when you make movies and you get stories like that
that you could have never predicted. It's like, oh my gosh,
we're doing, you know, our job and making this movie.
(23:36):
But the effects that it has on the environments in
which you shoot and how much those locations do become
key elements, if not characters, in the film is remarkable.
So Safe ouls Is was a big opportunity and a
big important personal moment for me. It was also when
my wife was about to give birth to a baby.
So and our first baby, and so I would be
(23:59):
getting calls and we had a code word that I
won't repeat here, but it was basically like, get your
ass home. Oh, I got a twenty four hour flight
to make it in time for the birth of my
Did you make it? I made it? I made it.
Speaker 1 (24:12):
That's the only thing that matters, exactly. All Right, a
little bit of debit before you get out of here.
There's one more thing you have to do. Yeah, rapid
fire movie questions. What's your favorite movie snack?
Speaker 2 (24:26):
Oh, I'm straight ahead popcorn, like classic popcorn. It's my
favorite thing. I mean, I love my recient's pieces too,
but give me a popcorn and a large die Coke
and I am the happiest guy.
Speaker 1 (24:39):
All right, last show you binged.
Speaker 2 (24:42):
I have been doing these things at the end of
every night since COVID, watching sitcom throughout the history of time.
The last show I binge. I'm in the middle of
northern exposure, but I did. I want to say it was.
The last one was Cheers Nice. I've gone Dick van
Dyke throughout the history of television. My half hours to
pass out.
Speaker 1 (25:01):
That's a good one. Going to the movie theater alone,
yes or no.
Speaker 2 (25:04):
Oh God, Yes, definitely, I love it.
Speaker 1 (25:06):
Favorite classic universal film.
Speaker 2 (25:08):
There are so many good ones, but I'm gonna go Frankenstein.
Speaker 1 (25:12):
That's a good one.
Speaker 2 (25:13):
And you know, I love Dracula's near and dear to
my heart. He's like the Superman to Frankenzein's Batman. I
don't know what that means, but it makes some sense
up here. But I think that Dracula belongs to a
lot of different studios, and it has been done so
many times. Nobody's done Frankenstein quite like this. Nobody's come
to embody universal horror or the vision of a particular
(25:36):
character quite like that. And it's just iconic. And that
film hits me, Bride hits me. And to be on
the lot every time I see Frank you know, looming
from the walls because I can call him Frank, it
just warms my heart. So I'm gonna say, Frankenstein, they
do a universal.
Speaker 1 (25:51):
Or right, they did do universal. I'm with you on
that one. The House Built of Monsters, that's right, Brett.
This was really great to chat with you.
Speaker 2 (25:59):
I love it. There's a line in the movie Grand
Canyon that says, basically, all of life's great questions can
be answered in the movies, and I've found that to
be true in a lot of different ways. There's a
movie for every one of my moods, there's a movie
for every one of my thoughts, and there's a movies
that can answer the question. So just thanks for giving
me a chance to ramble.
Speaker 1 (26:17):
I've loved this anytime.
Speaker 2 (26:19):
Awesome. Thanks
This episode of Scene on the Screen is brought to
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(00:20):
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Speaker 2 (00:28):
Dracula's near and dear to my heart. He's like the
Superman to Frankancise Batman. I don't know what that means,
but it makes some sense up here.
Speaker 1 (00:39):
Hello, I'm Jack oln Coley. Welcome to Scene on the Screen,
brought to you by Make It Universal and Rotten Tomatoes,
where we talk movies with some of the people behind
the scenes at NBC Universal. When entertainment works best, sometimes
it opens a window into a world we've never imagined.
Other times it shows us a mirror image of our
lives with the heightened sense of home. Today, we're going
(01:03):
to dig into the question what have you seen on
the screen that has done that? My guest today is
Senior vice President of Creative Content at Universal Pictures, Brett Levison.
You'll learn about growing up as the son of a
circus performer and an opera singer, the film that set
a new standard in behind the scenes content, and what
(01:23):
makes a great hangout movie. Brett, Welcome to scene on
the screen.
Speaker 2 (01:32):
Thanks for having me excited to be here.
Speaker 1 (01:34):
I love this question and your answer. I can't wait
for folks to know who are you and what do
you do for NBCUniversal.
Speaker 2 (01:40):
I hope this is the hardest question of the day.
I'm Brett Levison. I'm a senior vice president of creative
Content in the Universal Pictures Theatrical Marketing Group. What we
do is we oversee all the making up all the
behind the scenes materials as captured on set. So we
go out on sets, we work with incredible vendors, agencies
and producers as we go on and tell all the
(02:01):
stories of what happens there and so get to talk
to the cast and the crew and the filmmakers and
all that is brought back to the studio and it's
used for certainly marketing, whether that's fifteen second spots or
pieces on social media or hour long specials on TV.
And then that material is also used to make the
(02:21):
home entertainment bonus materials to help within our parks, give
them content for the screens, there, for the cues as
you're waiting in line for the rides. As our sales
teams and partnership teams want to get more partners for
a film, we use our content to create the reels
that help them sell the films. So it's an exciting
(02:42):
job and it's exciting time to be doing it because
it's constantly evolving. You know, we consider ourselves documentarians, as
lofty as that might be sometimes, but we're out there
to tell the real stories. And right now, again, it's
fun to do it because audiences are reacting to it.
Speaker 1 (03:00):
I really do love it. Yeah, as I like to say,
you're the special features guys, I mean, like that that
DVD part of my menu, or like the last part
of the HS. I always stayed for that, and I
love that. That's that's your team.
Speaker 2 (03:13):
Yeah, it's it's really great, and we can create a
different connection to a film through the personalities that we
meet there. So uh, it's I boil it down to
the four p's. This is a long answer to a
short question, but we go on sets to try and
get the people personalities, processes and passions, and if we
can capture that in a really authentic way, audiences from
(03:34):
all over the place are getting really interested in it
and building this personal connection to a film.
Speaker 1 (03:41):
So talk a little bit about your journey to the
seat at Universal, because like so many of the folks
that started here, it started with a passion for film
that then you found the avenue to this as far
as like first trailers and then production and then now.
Speaker 2 (03:56):
Yeah, it's been I've had a sort of circuitous route
and I always tell people, you know, no, there's no
one way to do things in this business. And I've
had this interesting and exciting for me blend of marketing
and production. So from internships at college at UCLA where
I was in the marketing department, to getting production experience,
lining scripts and going through all the production details, to
(04:17):
working in development. I was an assistant to an executive
at Sony, which was really interesting. We were working on
the first Sam Raimi, Spider Man and Will Smith and Ali.
But also I still know what you did last summer
and can't hardly wait. So it was this exciting time.
But I got a call from a guy who I
was an intern for who at Sony. This one of
(04:38):
my mentors, Mark Schmugger, and he had become president of
Marketing at Universal. He called me to come over to
help start something new and it was the New Media
Marketing Group, which has evolved into our Digital Marketing Team,
which is now one of the backbones of our marketing department.
It was an extraordinary experience where I was a laison
(04:58):
between the production and the so I got to work
with every division across Universal and every division on the
film set to create the books, the toys, the video game,
me animated the whole entertainment content. When you look at
these franchises and what did it encompasses, it's huge and
when done right, it all starts with a set and
(05:18):
so like learning how many Swarowsky crystals were on Dame
Judy Dench's costume in that movie had an impact in
what was shown at the premiere and fun facts that
people can get into. And then I was asked if
I would produce and I became a behind the scenes producer,
then went to an agency to do the same was
at Trailer Park for ten years and got some extraordinary
(05:41):
experiences and then eventually it was brought back in so
My journey here was two thousand and nine, and I
never really left but been an official employee back in
Action for about five and a half years.
Speaker 1 (05:54):
Which is so incredibly cool. You've definitely worked on, I think,
some incredible films during that time, and like you say,
it's like you really want to pair the content with
the movie. Is there one of those moments where you
did one of those sort of out of the box,
sort of feature type contents for a film that you're
particularly thinking of, is memorable because it's not Yeah, you
(06:16):
do the hour long specials. Yeah, you do the making ofs,
but sometimes y'all do very specific little features that are
so particular to a movie.
Speaker 2 (06:24):
Yeah. You know, as documentarians were kind of cast a
wide net. We should cover everything as much as we can,
and then we build the stories from there. But we
also go onto our sets with purpose and with intent,
so we're not wasting the filmmaker's time, we're not distracting
from the set, and we're able to make our way
sort of an independent crew. Within that context, you do
a lot of out of the box stuff an editorial,
(06:46):
but on Jurassic World, you step onto that set, it
is massive, It is incredible we created these pieces with
Chris Pratt sort of went up to them on the
first day of shooting, saying, talk to our camera, play
to our camera, can do something. We want to chronicle
your journey because Chris Pratt's now like a bigger, more
established star now, but that was like a big shot.
(07:08):
Nobody had seen Guardians of the Galaxy at.
Speaker 1 (07:10):
That point point.
Speaker 2 (07:10):
Yeah, and so he played to our camera and just
had fun. And we called it Chris Pratt's Jurassic Journals.
And you know one thing that did not only was
it fun and goofy, but you look at Jurassic World.
Do you look at these big movies and you think
that's huge, and that's unattainable. It's almost behind this veil
of mystery, and there's something great about that. But we
(07:31):
were able to make and this is one of the
great things we can do as a department. Make a
big film feel personal. Yeah, And that's what I was
excited about. And it sort of set the tone for
a lot of the social content that we've been creating
that you see other films and other studios creating, where
it's more of this interaction and also kind of letting
(07:52):
loose a little bit show people who they really are.
Speaker 1 (07:55):
Dig that all right, Brett. Well, now we're going to
dive into some of the films that you've seen on
the screen, and we're gonna do this via our quotes.
You see the podcast, right, I've seen the podcast. It
talks all right, a man tells his stories so many
times that he becomes the stories. They live on after him,
(08:17):
and in that way, he becomes immortal.
Speaker 2 (08:20):
I know that movie. That one is really special to me.
That's Tim Burton's Big Fish.
Speaker 1 (08:25):
Why is that one so special to you?
Speaker 2 (08:27):
Well, it's an incredible story about a man who tells
these fantastical tales. A son who's a journalist who sort
of is more into the truth and is disbelieving, and
that hasn't really had that connection with his father. But
the stories are bigger, you know, and he hears this
ad nauseum and doesn't believe it. But it became a
big through line in the eulogy I gave for my
(08:49):
father when he passed away. And the reason is I've
sort of been brought up with parents who live these fantastical, fantastic,
amazing unique lives. Specifically my dad who in the sixties
he was a circus clown. So he was. He traveled
around the world, all these circuses in Europe, but then
(09:11):
came to American did Wringling Brothers, Barnum and Bailey circus.
So you put that in there and you get an
immediate treasure trove of stories that he can tell at
every party ever. And I heard them all. They even
got crazier because after he decided to leave the circus,
he contacted a friend of a friend and got a kangaroo.
(09:31):
And at that time there were variety acts going on,
and he decided, I'm going to find my little corner
of the sky there, and he got this kangaroo trained
with it, and he eventually boxed a kangaroo. And now
I should be specific. My dad was a little person.
He was a dwarf, so four foot two going against
an animal that naturally boxes in the wild, he didn't
(09:52):
stand a chance. The kangaroo never got touched. My dad
got his butt kicked multiple times a night. And you know,
to the point that he performed in la but then
went to Vegas and was performing at a hotel across
from the sands where the rat pack. After they'd be
done performing, they would go watch his show, and so
you hear these stories and you're like bullshit. But then
(10:16):
as a kid, I went to a celebrity golf tournament
as was big in the eighties, I guess still now.
But Sammy Davis Junior was at one and he was
called out. My dad in the middle of the crowd
was like Billy, and it's like all these incredible experiences. Now.
He eventually left the circus. We're all from South Africa,
so went back home. Met my mom, who was an
(10:37):
opera singer at the time, and so she did that.
They met while doing a show. She didn't do opera
for much longer. He went an advertising started his own
publishing company, Weird Jump. But my whole life I was
brought up with these stories, visiting California when we lived elsewhere,
and staying with magicians and stuntmen and really seeing different
(11:00):
sides of this world and the people. But it all
culminated in that movie, the stories of the circus, a
boxing and kangaroo, of the rat pack, of opera, you know,
with my mom, and then she went to start a
safari lodge in Zambia, and it's all these incredible things.
Speaker 1 (11:15):
It feels like almostly you're an autobiography, Were right.
Speaker 2 (11:18):
I'm working on it starting now. But you know, then
there's the connection, you know, the deeper connection that goes
beyond the stories. And while everyone has the issues with
their parents in one way or another, what's come out
of it despite any sort of issues or complications we
had the stories remain.
Speaker 1 (11:37):
I dig that also, I dig in a way by
doing what you do, you're carrying on the family legacy
on both sides, the advertising and the circus. Yeah, that's true,
a lot of circus razzle dazzle. As he would say
next quote, what happened was not your fault, but what
you did to try to fix it is everything.
Speaker 2 (12:00):
This just broke my heart in the theater. It's the
Wild Robot. That's the latest passion project for us.
Speaker 1 (12:07):
Yeah, I mean I really want to talk about this
because with a film like Wild Robot, really, I think
anything with DreamWorks, because you're going into that legacy of like,
you know, this is the house that made How to
Train Your Dragon and everything that we've done over there,
there is more is expected. Yeah, I think the DreamWorks
fans like they expect the expansion, they expect the details.
(12:27):
So how do you approach doing a film like this.
Speaker 2 (12:31):
Well, I agree completely. I think DreamWorks' growth has been
in development artistically and storytelling wise, has been incredible. To
walk onto that campus, it's like a dream come true
for me as a kid. You'll realize at some point
I want to do every job in the entertainment industry,
including animation, voiceover work, everything. But to approach Wild Robot,
(12:53):
we knew early on. I got a little tip that
it was going to be happening. I picked up the book.
I read the book melted me. My daughter read the
book in her third grade class. It was a first
book that made her cry, I believe, and it made
me think that this is like her ET. And when
I went to ET as a kid and I was
(13:14):
crying in the theater and I was sawing it at
the end, my mom asked me, like, are you crying
because you're happy or sad? It's like, I'm so happy.
I was so sad, but I realized Wild Robot had
a lot of that DNA. And then talking to Chris
Sanders and the filmmaking team, and then the animators and
heads a department and everyone along the line, we knew
that it was special and it was very clear, and
(13:36):
so you know, between adr sessions and to the end,
it was probably about two years of shooting and covering this.
It's one of those things where it does become a
passion project, not only for me personally and professionally, but
for DreamWorks. It was so clear that this was something
that was part of their evolution in a beautiful, all
(13:57):
encompassing way. When I had a chance, just as you did,
to speak to Chris Anders, I asked him kind of
that secret sauce question, like what is it? What do
you bring? Everybody brings something to their jobs that's a
little something special, and I said, what do you bring?
And he basically that sort of got emotional and said belief.
I believe in my team, and I believe in the story.
(14:17):
And with that belief that helps motivate everyone going through.
And there were just these little nuggets of beauty all
throughout the production. And as much as I knew every
detail and saw the passion of Chris Bauers, of Maren Morris,
of every single again everybody across DreamWorks of Lupita, Oh
my god, I was sitting in the theater with my daughter.
It was going to be a special moment, and I
(14:39):
knew what was going to happen in this great now
famous migration sequence. And I was still bouncing, ugly sobbing
as my daughter's like, are you okay? She did cry,
she believes she's human, but it's still it's going to
hit me forever.
Speaker 1 (14:55):
I dig it. Great job. Honestly talking about wild Robot
makes me almost want to cry. And it's kind of
like the thing with it. All Right, We're gonna move
on to our next popcorn. Okay, this is true or false?
This is easy fifty fifty shot.
Speaker 2 (15:09):
Okay, good, all.
Speaker 1 (15:10):
Right, and the film slither. The voice of doctor Carl
talking to Starla on the phone belongs to Trent Reznor.
True or false.
Speaker 2 (15:24):
I'm gonna say false because I'm gonna I'm flashing back.
It was not Trent reznor Rob Zombie.
Speaker 1 (15:33):
It was Rob Zombie. Good cool. I was actually just
talking about Rob Zombie last night because I was saying
that Terrifier three is like the House of a Thousand Corpses.
Speaker 2 (15:42):
Oh my gosh. Yes, and I haven't seen Terrifier three,
but I was here for a House of a Thousand Corpses.
Speaker 1 (15:47):
And you know, it's campy, it's dark. It's very graphic,
but it's not the same type of horror like from
like the audition where it's like, you know, no, I
am afraid and grossed out. It's like a different it
tickles you differently.
Speaker 2 (15:58):
Yeah, and it was. It was a interesting one here,
like getting to work on it and getting so excited
as a horror fan, meeting Rob, who, by the way,
I don't hope I'm not ruining anything, is the sweetest guy.
Like walking through his production obficely He's like, you want
a bagel? And it's like, I didn't think Rob Zombie
was gonna be that guy. That was like Devil's Rejects.
Speaker 1 (16:15):
But Devil's rejext is another one that was.
Speaker 2 (16:17):
Great, And that was the time. I was watching a
lot of horror movies and working on Slither was this
dream because I loved horror and universal horror growing up,
so to see all these incredible prosthetics, and you know,
I was a fangoria kid. I loved all that stuff.
And it was like goopy, gory aliens and slugs and
blood and exploding people and mutations and bush. It was
(16:39):
a dream, so much slime and grossness and uh, that
was a fun one and to see James Gunn at
that point and what he's become is incredible.
Speaker 1 (16:47):
Uh. Quentin Tarantino spent five years writing Once Upon Time
in Hollywood as a novel before realizing a film script
would be better to suit the material. True or false.
Speaker 2 (17:00):
Makes sense. I read the novel that he came out
with and it was it's so good, I'll say, just
because I know he's gotten into write like novel writing novels,
I'll say true, Yeah, that's so true.
Speaker 1 (17:10):
Yeah, he did not know it was going to be
a feature. I knew that one as well. And yeah,
I think that man is just about story and dialogue.
Speaker 2 (17:17):
Yeah.
Speaker 1 (17:17):
Also, there's just like a huge cool factor to Once
Upon a Time in Hollywood, Like I think all of
the characters are cool like that.
Speaker 2 (17:24):
Yeah. Yeah, I mean, if there was anyone I'd probably
want to hang out with from any movie, I want
to hang out with Cliff Booth. I know my wife does,
but I want to hang out with Cliff Booth. He's
a good time, a good friend. Little story. Speaking of Cliff,
one of my favorite moments is you know, is good
friend Pep talk to Leonardo DiCaprio's character, which is like
(17:47):
Rick fucking Dalton, and there are places every once in
a while for a little zen moment. I drive around
a lot here, I get into golf cart, I get
to that part they shot the Old West here on
the lot, and I go to that area and I
just sort of say to myself, like, you're fucking adult's
And then I go through the whole scene where like
(18:09):
Leo's there with the girl reading the book and she's brilliant,
and it's you know, this lot gives those sort of
great opportunities, and it's it's like a tour through childhood
through modern movie making, and like I bring my I've
brought my kids here before, and you know, one of
the perks of the job sometimes and like getting my
(18:31):
kids like touch the wood that isn't actually wood, to
see the movie magic and that craftsmanship. And for me,
whenever we would see blood on the screen as a kid,
my Dad's like, ah, it's just ketchup. And you know,
then I learned it's not much. I mean, it's not ketchup,
but it's it's still fake and there was a beauty
to that artistry. So that's one of my favorites that'd
(18:51):
hit me a lot and I feel like there is
something really special about that film that makes me reinforces
why I love filmmaking and all the films about filmmaking.
There's so many great stories to tell.
Speaker 1 (19:04):
Excellent job, sir, I will say, you did very very well.
I don't know if I'll be able to keep this
trend going. Sure, I'm gonna hand this over to you.
Speaker 2 (19:15):
I've got the globe, I've got the whole world in
my hand.
Speaker 1 (19:18):
We're gonna pop into the world of universal if you
could pop that top just like it. Yeah, there you go, Yeah,
there you go. And then I same as you. I'm
gonna have some quotes, but I get multiple choice because
supposedly they're harder. But we'll see.
Speaker 2 (19:31):
Oh please, I'm not setting my daughter up with an attractive,
charming musician who will just break her heart. A Is
it because I said so be Mama Mia. See get him.
Speaker 1 (19:49):
To the Greek Mama Mia as it not? Is because
I said so, oh my god, Diane Keaton said that,
Oh my god, man, they wanted to get me, and
they got me Diane Keaton because I said so yeah.
Speaker 2 (20:02):
Yeah, that was another one I got the chance to work.
Speaker 1 (20:04):
On because I said so was good. The Mandy Moore
Diane Keaton energy was hilarious.
Speaker 2 (20:08):
It was great.
Speaker 1 (20:09):
You look like you're asking for it. I want to
look like I'm asking for it.
Speaker 2 (20:12):
There you go.
Speaker 1 (20:13):
See I remember that quote.
Speaker 2 (20:17):
That is so impressive. Yeah, what an incredible crazy experience.
All right, are you ready for the next one?
Speaker 1 (20:25):
You gotta try it?
Speaker 2 (20:26):
All right. I would do the particular voice, but that
would give it away. I'll kill you with my teacup.
Is it a Johnny English? B the Chronicles of Riddick
see Downton.
Speaker 1 (20:42):
Abbey Chronicles of Riddick.
Speaker 2 (20:45):
That's absolutely right, And I can't do the voice. I
can't get down there.
Speaker 1 (20:48):
Okay, but I literally was so close to saying Johnny
English because I did not remember that. But then I
was like, no, it's Chronicles of Ritic. I know it
has to be because oh I remember the scene now
now I remember the scene.
Speaker 2 (20:59):
Yes, in this lamb in the prison.
Speaker 1 (21:01):
That's right, I'll kill you with my teacup. I remember it.
Speaker 2 (21:05):
I love it. That movie is forever with me.
Speaker 1 (21:08):
Sorry me to yell at you. The audio person is like,
why is.
Speaker 2 (21:11):
She yelling sorry about that?
Speaker 1 (21:16):
Uh?
Speaker 2 (21:17):
Yeah, I'll kill you with my teacup. That was that
was an incredible movie just.
Speaker 1 (21:21):
To work on and with Judy Dounch, and with.
Speaker 2 (21:23):
Judy Dench watching her perform incredible. Okay, how am I
supposed to get more experienced by staring at four walls
all day? Is it a animal house, B dream house
or C safe house?
Speaker 1 (21:41):
Safe house? Definitely with Ryan Reynolds and Denzel I remember
that one.
Speaker 2 (21:45):
Yep, yes, yes. Another one that I mean is Near
and Dear to my Heart that was filmed in Cape
Town and I got a chance to work on it.
And so there's working with Denzel, which is the coolest
thing in the world. Intimidating and terrifying. Then you realize
most of the time when he's playing a sociopath, he's
in character. He's just sort of in the zone. It's
(22:07):
that man walks on set. Your stomach churns and you're like,
I got to be the best person I can be.
It's like when Tom Cruise walks into the seat. I
got to be the best version of myself. But to
be in South Africa, I got a chance to stay
with my family and connect with them there, which we
haven't been able to do in my entire life. But
we're on a big action movie across that country in
(22:30):
unique locations, beautiful locations, and in the townships too, where
you just see a different side of life. And when
Hollywood comes to disrupt a township, it's quite a thing.
You know. You're the townships there filled with beautiful people
and you know, experimental like improvised dwellings in a lot
(22:51):
of different ways. There's a lot of violence, that is.
And we were in a township that was known to
be one of the most dangerous, but we were doing
scenes where there were a lot of gunshots and a
lot of you know, wild explosions and a lot of
loud noises, and we were shooting it at about three
in the morning, and they notified local townships, but not
(23:14):
everyone got the memo, so everyone thought fighting and violence
had broken out in this township. And the producers you know,
eventually spoke to the elders and passed it all up
and it was a big pr like effort just to
reassure everyone that it's okay. But you know, it's interesting
when you make movies and you get stories like that
that you could have never predicted. It's like, oh my gosh,
we're doing, you know, our job and making this movie.
(23:36):
But the effects that it has on the environments in
which you shoot and how much those locations do become
key elements, if not characters, in the film is remarkable.
So Safe ouls Is was a big opportunity and a
big important personal moment for me. It was also when
my wife was about to give birth to a baby.
So and our first baby, and so I would be
(23:59):
getting calls and we had a code word that I
won't repeat here, but it was basically like, get your
ass home. Oh, I got a twenty four hour flight
to make it in time for the birth of my
Did you make it? I made it? I made it.
Speaker 1 (24:12):
That's the only thing that matters, exactly. All Right, a
little bit of debit before you get out of here.
There's one more thing you have to do. Yeah, rapid
fire movie questions. What's your favorite movie snack?
Speaker 2 (24:26):
Oh, I'm straight ahead popcorn, like classic popcorn. It's my
favorite thing. I mean, I love my recient's pieces too,
but give me a popcorn and a large die Coke
and I am the happiest guy.
Speaker 1 (24:39):
All right, last show you binged.
Speaker 2 (24:42):
I have been doing these things at the end of
every night since COVID, watching sitcom throughout the history of time.
The last show I binge. I'm in the middle of
northern exposure, but I did. I want to say it was.
The last one was Cheers Nice. I've gone Dick van
Dyke throughout the history of television. My half hours to
pass out.
Speaker 1 (25:01):
That's a good one. Going to the movie theater alone,
yes or no.
Speaker 2 (25:04):
Oh God, Yes, definitely, I love it.
Speaker 1 (25:06):
Favorite classic universal film.
Speaker 2 (25:08):
There are so many good ones, but I'm gonna go Frankenstein.
Speaker 1 (25:12):
That's a good one.
Speaker 2 (25:13):
And you know, I love Dracula's near and dear to
my heart. He's like the Superman to Frankenzein's Batman. I
don't know what that means, but it makes some sense
up here. But I think that Dracula belongs to a
lot of different studios, and it has been done so
many times. Nobody's done Frankenstein quite like this. Nobody's come
to embody universal horror or the vision of a particular
(25:36):
character quite like that. And it's just iconic. And that
film hits me, Bride hits me. And to be on
the lot every time I see Frank you know, looming
from the walls because I can call him Frank, it
just warms my heart. So I'm gonna say, Frankenstein, they
do a universal.
Speaker 1 (25:51):
Or right, they did do universal. I'm with you on
that one. The House Built of Monsters, that's right, Brett.
This was really great to chat with you.
Speaker 2 (25:59):
I love it. There's a line in the movie Grand
Canyon that says, basically, all of life's great questions can
be answered in the movies, and I've found that to
be true in a lot of different ways. There's a
movie for every one of my moods, there's a movie
for every one of my thoughts, and there's a movies
that can answer the question. So just thanks for giving
me a chance to ramble.
Speaker 1 (26:17):
I've loved this anytime.
Speaker 2 (26:19):
Awesome. Thanks
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