February 4, 2024 • 33 mins
Director John Silecchia and editor/camera operator Sean O'Brien sit down with us to unwrap 'By Day, By Night', a documentary that spotlights comedians who master the balancing act between daytime professions and nighttime punchlines. They reveal how the project blossomed under producer and comedian Claudia Bonavita's vision and share the magic that happens behind the scenes, from selecting the film's fascinating subjects to the nimble footwork required during production when the unexpected strikes.
Director John Silecchia also discusses how his decision to add hand-drawn animations complementing the real-life humor of our comedians. The documentary taking a creative leap by using this to fill the gaps where traditional B-roll might tread, resulting in a vibrant visual narrative that echoes the comedians' own colorful lives. This isn't just about laughs; it's a testament to how animation can weave itself into the fabric of documentary storytelling and resonate with audiences in unexpected ways.
As the curtain falls on another performance, the real alchemy happens in the editing room. Sean shares his experiences of crafting a narrative from disparate threads of footage, celebrating the transformational effect of multi-cam editing on interviews, and reflecting on the personal growth found in every frame. Whether you're a comedy aficionado, an aspiring filmmaker, or simply drawn to stories of passion pursued against the odds, this episode promises to leave you with a newfound appreciation for the art of documentary and the enduring bonds forged in the creative forge of filmmaking.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Victor Miranda (00:00):
Welcome to the Vision Maker podcast.
Today I'm with a director andeditor of a documentary for the
local Long Island comedy scene,so I'll give you guys introduce
yourselves real quick.
John Silecchia - Director (00:11):
Hi, I'm John Seleke.
I am the director of by Day, byNight, working to make people
laugh.
Sean O'Brien - Editor (00:16):
Hello there, I am Sean O'Brien and I
am the editor and a cameraoperator on by Day, by Night, so
how did the idea for this filmcome about?
John Silecchia - Director (00:24):
So this actually came about from
the producer of the film,claudia Bonavida.
So it all started actually,when she called me one day on
the phone, I was actuallydriving home for work and she's
like John, I have an idea for amovie because she's a stand-up
comedian herself.
So it all started with I wantto like highlight people who do
stand-up comedy and kind of gointo their lives a little bit
(00:45):
more, and I was like, all right,that sounds great.
Actually it's an interestingconcept because, you know, you
just see the people on stagejust doing stand-up and, let's
be honest, no one really knowswhat they do or in that moment,
really, you know, cornucle cares.
But we kind of shine a light onhow these people, you know,
worked during the day, then bynight do stand-up comedy.
(01:06):
So for only about a month wekind of did a little
pre-production and from there wewere like we have an idea and
let's roll with it.
Victor Miranda (01:14):
So how did you guys come about selecting the
comedians that you specificallyfocused on?
John Silecchia - Director (01:19):
I think that was Claudia's idea.
I think she reached out to justa few people.
She knows essentially who shethought had eclectic enough jobs
to be in this documentary.
Because you don't want to havelike a guy who's you know, just
works, like you know, typical,like nine to five, because it's
like everyone works nine to five.
You know what's the fun of that.
It's like, oh, we have a guywho works for the Hempstead
(01:41):
Courts or you know someone whodoes adult protective services,
like a little bit more beefierand a little bit more
interesting.
Victor Miranda (01:49):
Yeah, I thought the range was super interesting,
especially thinking about, like, in the comedy, like you think
of a comedian.
But, yeah, the range of jobs Ifound super interesting,
everything from working in thecourts, like you say, adult
protective services,psychiatrist, minister or
missionary, and they really havethis common thread, though,
when they come on stage as acomedian.
(02:10):
This just definitely felt likea genuine love for the craft.
Right, what was your thoughtprocess as far as putting the
story together, like, what wasyour process as far as putting
the interviews together, thequestions you asked and the
story you really wanted to tell?
John Silecchia - Director (02:26):
So a lot of the questions were mostly
Claudius.
Okay, a lot of that came fromjust her experience and just
knowing them a little bit moreand it was just more of my job
to make sure that you knoweverything was kind of on key
and on point to make that typeof deal.
How did the pre-production work.
Victor Miranda (02:43):
Look like then, Because it sounds like you guys
really came out.
You did a lot of pre-proplanning out the whole thing.
So how did that look like?
John Silecchia - Director (02:50):
A lot of it was just us going back
and forth on, like, how topresent the idea.
Because we had a lot, again, alot more ideas that we had.
It was like, all right, we needto cut this out, this out, this
out, until we had one consentlike idea.
You know you don't want to doanything like high profile, like
oh, why don't we go into allthis, let's just keep it short
and simple.
Comedians on Long Island with,like, different jobs and what
(03:15):
are the questions?
Are we going to ask what?
How are we going to presentthem?
Like, where are we going toshoot?
Because you know, a lot of themwere.
We actually shot a lot at StJoe's, at, like, the Clair Rose
Playhouse.
Okay, so that included a lot ofthe main interviews, except for
Mitch's interview and Lou'sinterview, where we shot at his
house and we shot at theHempstead Courts.
(03:36):
Yeah, but even for, like, act 1and Act 2.
Same spot, same place, justdifferent days.
Yeah, yeah.
Victor Miranda (03:44):
You were telling me a little bit before, but the
, the production itself waspretty quick, pretty tight right
.
John Silecchia - Director (03:49):
So I would say, for main part of
production, five days in total,okay, most of them over the
course of July and August, thenone day in October to film the
third act, which was a wholecomedy show, yeah so, and then
maybe one day in April Actuallytwo days in April because we had
a we shot the place that'sJames Street players Because we
(04:10):
had to do Ellen's performanceright, we did Ellen's
performance, but I think it'sFebruary or March where we ended
up going to shoot Mitch'sinterview in his office.
Sean O'Brien - Editor (04:20):
It was around that time.
Victor Miranda (04:21):
So awesome any any particular stories from
production that stand out to youyou know it's weird, I'm gonna
say no and.
John Silecchia - Director (04:31):
No cuz, just everything went Ready
smooth like I had no issues,which I think again.
Victor Miranda (04:37):
I know you do film too, so it's you know,
Everyone has a story on a set.
John Silecchia - Director (04:41):
I just don't think I had any
issues personally with this film.
It's like oh, this one smooth,everything, kind of worked out
how I wanted it to film is done.
Sean O'Brien - Editor (04:52):
Yeah, I mean, I don't know if you have
any stories but I would say, thelast day when we shot, when we
shot and not an issue.
But like the last day when weshot, which was for Ellen's
performance, because she wasunable to make it for the night
of because something hadhappened, so we shot her
performance a couple monthslater and really wanted her to
be in the movie and all the acts.
So we had actually a morelimited crew that night.
(05:14):
It was just me, john and Eric.
Yeah, so we set up the threecameras and we set up all the
audio.
So you know it was a bit of achallenge, but I think we pulled
it off really well.
Victor Miranda (05:23):
Yeah, I would have noticed that that was a
struggle.
Sean O'Brien - Editor (05:26):
Yeah, we were going like, like John and I
would go back and forth just tomake sure the cameras were
recording.
The audio is on a good levelbecause, like I was making sure
that the floor cameras we'reworking, eric was on top filming
with the main camera to give ita more dimension.
Yeah and you know I would goback to the audio thing, because
we just set up the mics andlike no one was like wearing
headphones and I just wanted tomake sure it was everything was
(05:49):
recording, nothing ran out ofbattery and everything ended up
working just fine.
Victor Miranda (05:53):
That's great, great.
And then I know, with the, themain performance, that was a
five camera set up right, thatwas a five camera set up Well
what made you want to go likefull out.
John Silecchia - Director (06:02):
I mean, logistically just would
have made more sense, becauseyou're getting everyone from
every angle.
The comedians tend to walkaround a lot.
Yeah, you know, if you just dolike a static shot, especially
that like it's the third actYou're gonna have, do you really
want to spend 25 minutes?
Look at a straight camera,being like oh hi, here's me on
performing like no.
Of course I want to have alittle bit more oomph to it Of
(06:23):
course.
Yeah, yeah.
Victor Miranda (06:24):
So that was also pretty smooth night for you
guys too, right I?
Sean O'Brien - Editor (06:27):
that's that part of the documentary I
think I'm most proud of.
Stuff like we really kickedbutt Shooting that and then I
eventually became the editor,like maybe a month or two in.
But when we shot that show,especially the interviews, but
for the show, I just was reallyconfident in the work that not I
just did, but that everyoneelse did.
Victor Miranda (06:44):
Yeah, no.
And then of course, I know thatthe post-production was the big
bulk of the project.
Oh yeah.
Sean O'Brien - Editor (06:51):
Yeah, like actually that was more time
than uh, because what we spentlike a year and three months
working on that, yeah, sobasically, like I said at first,
like this was gonna, we thoughtmaybe this would be a short
documentary but I think by thetime we were filming we filmed
the big show.
We're like no, we got like afull feature length film.
So I spent the next few monthsinterviewing the, you know,
(07:12):
editing the interviews and inthe big show Before I did like
any color correction or sound,and then by three months after
the show we did the firstviewing of.
We did that.
We viewed the first cut.
There's two and a half hourslong.
Was to not always just straighttwo hours?
No, it's two and a half hours.
And we spent, like I think,most of the day like a full six
(07:33):
and a half hours just going overthings, just trying to figure
out, yeah, what we wanted tokeep in the movie, what we
needed to add, becauseeventually we did add Add
Mitch's interview for act oneand then we added Ellen's act
three set.
So of course that's gonna addmore and change some things, but
we were able to tell Folks forthe most part like, okay, we can
cut out that but that.
But it's also tricky sometimesin interviews when they say
(07:55):
something that's maybe important, just to make sure everything
makes sense and translates well,because not every question is
gonna be there like I believe.
Oh yeah, most of the interviewswere like 10 to 16 minutes long
.
Okay, and the truth is is likethey're probably reduced to
about five minutes.
Mm-hmm, like four to six minutes.
Victor Miranda (08:12):
So yeah, so no, I mean, I think that's that's
very much the nature you want tograb all the best answers, all
the best tapets, the sound bites.
So yeah, so you pretty much youguys.
You know you edited the fullinterview and then you started
to find the commonalities thatblow one into the other that you
wanted to Tell in your storyand then, of course, after going
(08:33):
through all the questions, nowyou're narrowing down to the
questions that you needed tofocus on For the film to get it
down to the time.
Who is the most involved inreviewing and helping make the
cut decision?
Was it mainly you too?
Was Claudia involved?
I?
John Silecchia - Director (08:45):
would say Claudia, yeah, I think I
just want to say, like it'smostly her film, like it was her
vision, yeah, she produced it.
I was just the one who was ableto help it bring it to life,
you know.
So, yeah, you know, big shoutout for Claudia for just being
so wonderful to work with andjust getting this project done,
that's great.
But no, she was very involved,which, again, I, like you know,
it was a, as I said, probably avery, very good collaborative
(09:07):
effort that we had Together whatis one of the things that you
guys are really hoping theaudiences get from the film.
Sean O'Brien - Editor (09:14):
I think that the comedians that we
interviewed we never met thembeforehand, but I think what
people will see is that they'rejust everyday average people
like them, working the nine tofive, and I think that there's
some really personal buttouching stories in there that I
think people are gonna relateto mm-hmm.
And everything the comedianssaid.
(09:35):
Nothing felt better.
They all felt like they camefrom a place of passion and what
they all said was pure.
So it's like you.
It was all positive.
It was all positive, I feelyeah, no, I felt great.
Victor Miranda (09:49):
I felt really like they really opened up to
you guys.
John Silecchia - Director (09:52):
Oh, 100%, like you think once,
because, again, we had a lot ofdowntime for the most part, so
we were able to just talk witheach other and just get to know
each other a little bit more.
Yeah, so it just helped withthe synergy on set.
Like, okay, when we interviewyou it's gonna be fine.
Like, if we have to restart,there's no big deal.
But I would say, you know, justanswer your question.
I just hope that audiences, whenthey watch the movie, just
(10:13):
remember, like, just do what youlove.
You know, because you know, asa director or someone who does
film, before you actually getthat job or even like an onset
experience, you're gonna do alot of Mediocre jobs.
Like you're probably gonna beworking, you know, retail food
service, which I have, yeah, andthe socks, you know.
(10:36):
But at the end of the day it'slike, are you gonna let that,
you know, deter you from makingmovies or doing Animation or
making music?
Like no, you should be doing itanyway.
Like, if they can work theirjobs, yeah, and go home, go on
stage and, you know, tell jokes.
What's stopping you from youknow, doing what you love?
Good?
Victor Miranda (10:56):
message.
So what is your plans forshowing this film and the
rollout of this film?
John Silecchia - Director (11:04):
so right now we already have a
premiere of February 7th atSavile cinemas, which we are
really really proud of and we'rereally happy that's finally on
like the big screen.
We are doing screen at st Joe'sCollege, I think.
For their students it's gonnabe like a Q&A, and then we were
having one more screen in, Ithink, in March in the pet jokes
(11:26):
in our center, which is nice,but we're hoping to do like a
festival run, you know, so morepeople can see it, which would
love, because I haven't been inthe festival since 21.
Yeah, so it's finally nice toactually be, be back in and
actually have something to showthe world.
Victor Miranda (11:42):
I also noticed an interesting thing about this
film is this is animationthroughout the film.
Yes, there is select storiesthroughout of each of them, and
I believe that's also your role,john, that you are the animator
for the film right.
John Silecchia - Director (11:55):
Which is so high.
I'm also John Sluck yeah, alsothe animator of by day, by night
.
So I started animation in 2021.
So I took a six at least a sixweek class From John Dilworth,
the guy who created curse, acowardly dog.
It was like online lessonsamazing.
It was great.
It was a fantastic was likejust me, the basic of the
(12:17):
animation and I'm trying to getanimation a little bit.
I'm like, oh wait, you know,I'll just contact you know
someone in the city.
He was in the city and likealright, let's do these like
zoom lessons and I did.
I took like six weeks of youknow classes from him and then I
kind of, from there, started tojust work on my own stuff.
So I mean like little cartoons,you know, just for myself.
(12:40):
But I started to do morefreelance on the side Once I
started to really improve mycraft.
I just did a film for my friendTate called 777, which is a
premiered at a Video dome inBrooklyn, which was very nice
and very fun to have out there.
Yeah, but I should probably getback to Claudia how that came
(13:02):
to be.
I think we're trying to findB-roll for the movie and we were
kind of trying to figure outlike oh, is this royalty free or
not?
You know the lot of logistics.
Yeah, I don't want to pay forit, so let's try.
Yeah, you know we're fine yeah.
I think was was it your idea orChloe's idea?
It's like, hey, john doesanimation, why don't we do a
little cartoon stories, all theodds?
(13:23):
At first I was kind of againstit.
I was like it's gonna look.
I think what happens that?
Sean O'Brien - Editor (13:28):
Yes, we needed more visuals for the
interviews.
But what happens that you, eric, and I eventually watched a cut
of the movie by like spring oflast year, mm-hmm, and we
realized, like we're cut, we'rebouncing ideas off of each other
.
I think it was maybe you or himthat started to think like what
if we added like animation?
I think that could fit in topthe tongue, yeah it was Eric,
(13:49):
because I was against it.
John Silecchia - Director (13:51):
After I was like I really don't want
to do animation, it's not gonnafit, like why would I want to
put cartoons in a documentary?
But they convinced me and I waslike all right, well, time to
bust out the pen tablet andstart working on it.
So I end up putting theselittle like cartoon segments in
the documentary and honestly Ithink they look good.
Victor Miranda (14:10):
I think they work really well.
It definitely.
It adds a unique spice to itall.
Like every breaks up the film,which is nice because it's like
oh, okay, and then you canfollow along with the story way
more engaging, you know.
So was your selection of whichstories to animate purely based
on if you had to be role for it,or was it more like okay, this
(14:34):
sounds like it would be goodanimated like?
John Silecchia - Director (14:37):
so how he did, it was I.
So, sean, I think we agreed onthis that we try to find stories
that just didn't have b-roll oranything that wasn't Interested
, and I don't mean interestinglike what they were talking
about, yeah, but interestinglike there was nothing to kind
of break the site?
Yeah, nothing kind of break thevisual silence.
So I think you picked aboutlike five and I would have to
(14:57):
choose like alright, does thisone fit, this one that I think
we came up about like five orsix, yeah, I think in total we
did five or six stories and Ithink we stopped at five, but
then Claudia suggested justmaybe crank out one more, and
that was the the frog one.
Sean O'Brien - Editor (15:11):
That, yeah, that was the frog.
John Silecchia - Director (15:13):
That was my favorite one because
there's a bunch of fallenbrought blocks.
So how we did a lot of them, ifyou see them like transition in
, I would just have a greenscreen.
So I do everything in Adobeanimate okay, you know, formerly
flash but I would just have a.
I would put like a green youknow color filter on it, so
chunk and key it out in post andI would have the block kind of
(15:33):
come down so it looks like it'sstacking on the frame.
Victor Miranda (15:36):
Oh, that's how you did this.
Okay, very nice, very well done.
No, no, yeah, I think thosetransitioned very well.
They told the story, it wasengaging, they're broken up and
also, like you know, animation.
Visual effects are very commonin Demonstrations and
documentaries especially, youknow.
So I definitely feel like it'snot out of place at all.
John Silecchia - Director (15:59):
I think it's.
I know they did that in Bullenfor Columbine I they did.
Victor Miranda (16:03):
It was like after Matt Stone's interview
they transitioned into, like thehistory of guns in America,
which was like yeah, I've seenit in so many, like in the
social dilemma and differentthings, different Netflix
documentaries and differentthings like that.
Yeah, they use a lot ofanimation or like visual effects
type of storytelling, so itdefinitely helps.
We created another level ofengagement but also, like your
(16:29):
style, did add like a humor toit, because it was very cartoony
and then and you know, likethese people are comedians and
they have a very like livelypersonality, which is why I
think you know it fit, becauseit was a little cartoony and
like uplifted, like if this wasjust like the history of a
political in America thiscartoony frog jump around.
John Silecchia - Directo (16:50):
That's not going to work.
It's not going to work at all.
It's going to be interesting.
Totally misses the point, butyou know it has to fit.
Victor Miranda (16:57):
Yeah, no, so it definitely.
I think it meld the story.
I thought the story was verywholesome.
You know, overall, do you feellike there's any particular role
that you personally find thatyou gravitate to more?
Yeah, I know, we're all here.
We know like a whole bunch ofdifferent avenues in filmmaking.
Yeah, let me turn into like aSwiss Army knife.
(17:17):
Nowadays it's like theessential thing.
John Silecchia - Director (17:18):
It's ridiculous.
Victor Miranda (17:20):
But, but outside of that.
No, I feel like the to get tothat next level of filmmaking,
you always got to focus on, like, what's your role going to be?
So, like, is there a particularone?
I'm going to ask you the same,but is there a particular one
for you that you really feellike gravitates for?
John Silecchia - Director (17:35):
you, I personally would love to do
animation more than live action.
At one point in my life it justfeels more like rewarding, in a
sense, as the animator or aslike a showrunner.
I think either.
Or I mean because animationitself, like doing the art of
animation, is a little tired orsomething.
But like you know you have todo it.
You know it's not like I canjust send over, you know, the
(17:55):
stuff to North Korea throughlike rough draft or something.
You know I still have to, youknow, do everything frame by
frame.
You know I don't have a crew.
I animate all my shorts bymyself, so I don't have someone.
Do backgrounds, layout,keyframes, you know that.
So I personally would love todo that.
I mean, obviously I'm stillbrewing with ideas.
You know I'm story boring out afew projects, but I think
(18:16):
eventually I would like to godown more of the animation route
.
Victor Miranda (18:20):
Is there a particular genre you would love
to do of animation?
You know, because there's likeadult comedy shows and then
there's like also kids shows andeverything in between, you know
.
John Silecchia - Director (18:30):
I would say more like the prime
time lean an adult.
Okay, so nothing like familyguy Simpson's or Rick and Morty,
but more like Space Ghost Coastto Ghost, you know, aquatine,
hunger Forest Venture, but likekind of the really weird surreal
stuff I love.
Oh nice yeah.
Victor Miranda (18:45):
Yeah, you brought something else up to.
It's the fact that you guyshave to go frame by frame, which
for me it just blows my mindbecause I'm just like you know
that's 24 frames a second You'retalking like I mean 30 actually
30 frames a second and you knowit's like man, there's 60
(19:06):
seconds in a minute.
Yeah, I'm like, I'm like that's30 by 60.
And then if you do it for likea not even like a 10 minute
thing, that's like by another 10and it's like that's so many
frames.
I'm sure there's tools thatmakes it flow a lot faster.
John Silecchia - Director (19:22):
I mean again, since I'm still up
and coming with it, as I'm stillnew to it, I'm still trying to
figure out how to make stufffaster for myself.
Okay, okay, you know, I mean Idon't want to be there for like
12 hours like oh, I just made myhand move just up there.
You know, I would like to get alittle bit more out of what I'm
doing.
Yeah, so eventually I wouldlike to have a system go and
maybe bring on some more people.
(19:42):
But I mean, obviously I lovewhat I do.
Yeah, you know, if I didn't, Iwouldn't be doing it.
You know I would be like Sean,do you really want me to animate
?
You know, six things for a filmif I didn't love it.
Victor Miranda (19:53):
Yeah, I mean, you also were like Sean.
Do you really want me toanimate six?
John Silecchia - Directo (19:58):
things for the film.
Yeah, pretty much I'm like youcan do it, john.
Sean O'Brien - Editor (20:03):
This needs animation for this one
part and it's going to be great,and it was great, it was great.
Victor Miranda (20:09):
And Sean.
You were both the camera up andthen you became the editor for
the film.
So how do you feel like?
In both camps is like.
What do you feel is more yourmain steakhouse than being the
editor?
Sean O'Brien - Editor (20:22):
I think so.
I love post production and overthe past couple of years I've
been focusing more on editing.
I've been editing vlogs andpodcasts and a few other things
for a couple of my friends'channels like Game Controller
Network.
I did a little bit of work forA&P Productions and I've done
some stuff with John, evenbefore we did this documentary.
So you honestly.
Victor Miranda (20:43):
You know you like the whole editing process
more than the in-person camerashooting process.
Not that you dislike it butthat you prefer.
Sean O'Brien - Editor (20:55):
Yeah, I would say so.
Yeah, I've always loved.
Editing is like putting piecesof a puzzle together, and it's
like you're able to changethings and make them even look
cooler or better than youimagined.
Victor Miranda (21:07):
So that's awesome.
We need more people like you inthe world.
So I love shooting and I lovethe fact that once I'm upset,
that's it.
I shot, there is the footageand it goes to the editor.
What editing is no is like youkeep going and going until it's
done, and then revisions and allthat stuff.
John Silecchia - Director (21:23):
Yeah, the fun stuff.
Sean O'Brien - Editor (21:24):
It could be tedious.
Especially it's like you'll getto like.
You'll be like oh, we're 95%.
Let's say we're like 95%, donewith it.
But, it can take like a lot ofwork just to get to 96%.
Victor Miranda (21:37):
Yeah, but I noticed there's people on the
opposite end.
They don't like the whole fastpace shooting and this and that
they like to have their time towork the problem, to make it
happen, to do the step by stepRight.
Yeah, definitely.
As an editor, how did you feelthis project really came
together?
Do you feel like the productionmade it come together really
cohesively, or did you feel likethere was a lot of work to be
(22:01):
done in the post to really makeall the pieces work together?
Sean O'Brien - Editor (22:04):
I feel that this was a pretty strong
production.
The great thing that was thatwhen we started is that Claudia
had a format of how she wantedthe movie to go, so that helped
give us an idea of like what weneeded to do.
Of course, it took a little bitof time.
We spent over the course of2023 editing the movie, watching
cuts, because we're also busydoing other things with our
(22:25):
lives, you know, working andstuff like that.
But I would say probably thereason why the movie hasn't is
gonna is premier now is becausewe just wanted to make it right.
You know, we wanted to make ita good time length, we wanted
the right amount of visuals, wewanted to make sure the color
and correctness correct, and I'mI don't like to settle.
(22:45):
I like to make sure thateverything is great and that my
clients, there being Claudia andJohn, are satisfied with the
work.
Victor Miranda (22:55):
That's a great attitude to have, you know.
Keep a maintain the level ofquality.
Thank you, it sounds like youguys also were pretty
collaborative in the editingprocess as far as overlooking
everything and coming up withthe.
John Silecchia - Director (23:07):
I mean, of course, me as someone
who edits, like myself.
It's like okay, sean, why don'twe do it like this?
I think one thing I gave to youWas how to edit the light, the
interview and the live showswhich we did.
Again, we did everything inAdobe.
So how we kind of went aboutthat is like why don't we just
make everything one like mergeclip yeah, put on what's it
(23:28):
called like video cut, like howdo you what's the right tool for
?
it's like Kind of nest the yeah,you want to nest it together
and you want, you want to multicam it.
Yeah, so you.
So I just made the processfaster so you're not having to
like oh, do I think this goesthere?
It's no, we can just switch onetwo three.
One two three, oh yeah.
Victor Miranda (23:48):
There we go.
Honestly, any and everyinterview that's multi-cam
should be done with a multi-cam.
Yeah, clip in, be it.
Davinci Premiere I I'm assumingfinal cut has some version of
the multi-cam.
Sean O'Brien - Editor (24:02):
I believe they do yeah, they have to have
some version.
Victor Miranda (24:05):
I know DaVinci does and I know Premiere does,
but that definitely saves somuch time and Post to to create
those clips, because then youcan just pick your angles and
then you can feed it in witheverything else on top.
John Silecchia - Director (24:17):
Yeah, it's like you have to go
through, I move and be like allright, why don't I just cut this
piece out and put this there?
Sean O'Brien - Editor (24:23):
Man, I learned about the multi-cam, the
multi-cam thing, and it was sohelpful for this, for this
project, cuz, like, whathappened was that I into, I
edited the interviews first,yeah, but then as we were
cutting things along andrealizing, okay, that need to
change, that angle needs tochange.
Yeah it's like I was basicallyre-edited in, not just the
interview but the angles of theinterviews.
(24:46):
So just to make sure that it diddouble up real work, but it was
worth it, cuz it fit in betterthan what it had started as it
makes sense.
Victor Miranda (24:54):
Yeah, no, no, it makes sense.
What do you feel is next foryou guys?
John Silecchia - Directo (24:57):
What's next?
Well, that's a great question.
Besides, so, the festival run.
Victor Miranda (25:02):
I think, first and foremost yeah, you got the
premiere, the festival Cuzthat's gonna be at least a few
years, maybe two to three yearstops I mean hopefully.
John Silecchia - Director (25:09):
I mean, if it goes more, I'd love
that, but I will.
You know, that's gonna be mymain focus.
But right now I'm starting toreally just kind of focus on
myself and just do projects forme a lot of animation, a lot of
Even just short films, justbecause I haven't done that in
like almost two years.
The like the last one I shotwas a little skit on YouTube
(25:30):
called killer geese and that was2021 and besides that, you know
, I've just maybe made likeReally just animation stuff and
I kind of want to just focus onthat, as well as freelance work.
You know, I'm not gonna say no,someone's like oh hey, we're
gonna pay you a thousand bucksto shoot an event.
I'm like, okay, you know, butit's frankly just Putting more
(25:51):
emphasis on what I need to dofor me and just build up my
portfolio a bit more.
Victor Miranda (25:55):
No, smart, smart .
And how about you Sean?
Sean O'Brien - Editor (25:58):
I'm looking to also do more
freelance work.
Eventually, I would like to Domore post-production work like
video editing and audio editingfor like feature films or
documentaries or other types ofprojects, and I also I do make
some my own content on the side.
I have a my own productionbanner called punky studios,
which I have some content onYouTube.
(26:19):
I'm looking to release a shortfilm called critic within the
next few months.
That I Shot as my senior thesisfilm back in college and it was
in two short film filmfestivals in 2021 nice so I'm
looking to finally release thatfor people to watch it, and If
John's got more projects oranyone that I know has more
(26:41):
projects, I'm always willing tohelp nice nice.
Victor Miranda (26:44):
How'd you get started in editing?
Sean O'Brien - Editor (26:46):
I have always loved film but I didn't
realize I could like Get into it.
I was like maybe 10 or 11.
I was just like I originallywanted to be a gym teacher
because I liked my gym teacher,but then, by like 11, I was just
like no, I want to get intofilm, I want to do this stuff.
And then, by the time I waslike 1617, I had made a couple
(27:09):
of like homemade movies and youknow, when you're starting off,
you take them too seriously andthey're not the best, of course.
But my mom actually reallyencouraged me to focus on the
editing aspect.
She's like I think you'rereally good at that and that you
could be even greater in that.
So Over the years I've justbeen even though I've made some
of my own shorts, like Imentioned I've just been
(27:30):
focusing more on that becausethat's something I'm passionate
about and I feel that I can dostrongly amazing, amazing.
Victor Miranda (27:40):
And how did you start?
As far as filmmaking in general, oh, god, where'd you go back?
John Silecchia - Director (27:45):
What like 10, maybe 15 years at this
point, which, oh god, toactually Get there yet to get
the lamp to real turn in overhere.
But I Think I mean, if we askedfor like inspiration, like I'd
also.
I mean just watching Godzillamovies, like I just think it's
just the most creative thing.
It's a guy in a suit destroyingit, but like like a model it's
(28:05):
great, it's a great concept.
But I think beyond that, how,myself, you know, just being in
middle school making deals withmy friends, you know that
eventually it became like, ohhey, bocies have has classes for
, you know, film video.
So I went to Bocies for like asemester not semester but a year
, yeah and I was like, okay, Ikind of want to go through this
(28:27):
route.
And I did.
I went to four years of collegeand you know it was good.
I got my senior film made, wentto a film festivals, but you
know, the pandemic happened,everything kind of you know Went
to the hayside.
And that's when, you know,animation came and I'm like, oh,
at least I can make stuff fromhome.
Yeah, and you, that's howeverything kind of came to be in
(28:50):
a nice little package.
Victor Miranda (28:53):
Yeah, yeah, no time goes by quick, it does,
john and I actually met.
Sean O'Brien - Editor (28:58):
Well, we went to the same school district
, but we didn't reallyofficially like meet until, like
, we went to like a bossies camptogether in summer 2013.
And ever since now, we've beennot only friends but we've been
working together.
Victor Miranda (29:11):
Bosses is so underrated.
I feel like everyone shouldknow about bossies, because I
did bossies when I was in highschool as well, either for audio
, oh nice, yeah it's.
It's such a great program toget like an actual actionable
technical stove right out ofhigh school Mm-hmm, that you can
start working in, because rightafter bossies I started working
in audio even though I startedgoing to college for it, I was
(29:32):
already working in the field.
So I feel like that's somethingthat Would be so helpful to.
I'm sure other Locations, otherstates, have similar programs
as well.
So you know these technicalschools when.
And it's such a great deal toin high school when you get to
spend half your day Technicaljob like that.
You know it's like all great.
(29:52):
It's.
Gives me a science and the mathcredit.
John Silecchia - Director (29:55):
Do?
I feel like we need more ofthat in schools.
I mean like not every kid inhigh school is going to be oh,
hey, I can do a general ed typeof math music.
Hi, you know whatever happensin high school now.
Like some kids are just need towork with their hands or do
have more technical, skill Ithink that's important.
Victor Miranda (30:12):
I personally think all high schoolers should
at least do one semester oftrade school Guaranteed you know
, we just have the option tolike a little bossies, because
it gives you the option thatlike Not every student wants to
be a doctor, lawyer or professor, which all requires a lot of
schooling, yeah, but Some people, you know they want to be a
(30:35):
mechanic.
So there's bosses for mechanic,for makeup, for all these
things, and they're veryActionable, that you can make
money.
And if they want highereducation because they want to
do something else, now they alsohave an actual skill that they
can start working in immediatelyor apply, or if they want to
open a business in that area,you need the technical skill you
know 100% and you also haveyour own production company as
(30:59):
well.
Right, I would say it's aproduction company.
John Silecchia - Director (31:01):
I just it's a production title.
Yeah it's called Neon DreamStudios, neon Dream.
It's where I just make mylittle cartoons and films and
just post them online.
Nice, I wouldn't say take itlike like, obviously I take it
seriously, but it's notsomething like oh, I'm gonna
make it like a big brand.
It's yeah, this is more of yourpassion projects, your original
projects, I guess it's just if Ican make for myself, because
(31:21):
personally, you know I'm gonnamake more money doing freelance
and doing stuff where I can belike, hey, I'll direct your film
or I can do that, or frankly,I'm okay with doing that, yeah,
but every once in a while it'slike I just want to sit down, do
a project for myself.
So this is where I kind of puteverything on.
Is Neon Dream Studios.
Victor Miranda (31:38):
I'm excited for your film guys.
I think you guys did a good job, the people it's such a
wholesome story all together andthe comedy at the end was funny
the whole stand-up.
John Silecchia - Director (31:48):
Oh, they were hysterical.
Victor Miranda (31:50):
It was.
The minister really caught meoff guard with her said Thank
you so much for coming downtoday.
I People got to see thepremiere on February 7th, 7th at
Sable theaters.
Say real feed ears.
You hear it here.
Is there any way people canstay in touch and keep up with
(32:12):
what's happening with the filmand what's happening with you
guys?
John Silecchia - Director (32:15):
So obviously, please come to a lot
of the festival screens thatwe're doing.
We're hopefully we can get afew years after this.
So if it's ever coming to yourtown, please do come.
We would love to have morepeople watch this movie by day,
by night, doccom.
Victor Miranda (32:30):
It was awesome.
And how can people keep up withyou guys?
John Silecchia - Director (32:33):
on YouTube or Newgrounds Neon Dream
Studios.
That's where I post a lot of myown personal work.
Nice and your content.
Sean O'Brien - Editor (32:41):
You could check out my content on punky
studios.
It's on YouTube.
We have got a couple of videoson there.
Victor Miranda (32:47):
Awesome.
Well, thank you so much, guys,thank you for having us.
Thank you for having us, I havepleasure and, of course, you
can always follow us at visionmaker podcast and follow our
other work and content at visionmaker productions.
John Silecchia - Director (33:01):
Okay, have a good night, everybody.
Welcome to the Vision Maker podcast.
Today I'm with a director andeditor of a documentary for the
local Long Island comedy scene,so I'll give you guys introduce
yourselves real quick.
John Silecchia - Director (00:11):
Hi, I'm John Seleke.
I am the director of by Day, byNight, working to make people
laugh.
Sean O'Brien - Editor (00:16):
Hello there, I am Sean O'Brien and I
am the editor and a cameraoperator on by Day, by Night, so
how did the idea for this filmcome about?
John Silecchia - Director (00:24):
So this actually came about from
the producer of the film,claudia Bonavida.
So it all started actually,when she called me one day on
the phone, I was actuallydriving home for work and she's
like John, I have an idea for amovie because she's a stand-up
comedian herself.
So it all started with I wantto like highlight people who do
stand-up comedy and kind of gointo their lives a little bit
(00:45):
more, and I was like, all right,that sounds great.
Actually it's an interestingconcept because, you know, you
just see the people on stagejust doing stand-up and, let's
be honest, no one really knowswhat they do or in that moment,
really, you know, cornucle cares.
But we kind of shine a light onhow these people, you know,
worked during the day, then bynight do stand-up comedy.
(01:06):
So for only about a month wekind of did a little
pre-production and from there wewere like we have an idea and
let's roll with it.
Victor Miranda (01:14):
So how did you guys come about selecting the
comedians that you specificallyfocused on?
John Silecchia - Director (01:19):
I think that was Claudia's idea.
I think she reached out to justa few people.
She knows essentially who shethought had eclectic enough jobs
to be in this documentary.
Because you don't want to havelike a guy who's you know, just
works, like you know, typical,like nine to five, because it's
like everyone works nine to five.
You know what's the fun of that.
It's like, oh, we have a guywho works for the Hempstead
(01:41):
Courts or you know someone whodoes adult protective services,
like a little bit more beefierand a little bit more
interesting.
Victor Miranda (01:49):
Yeah, I thought the range was super interesting,
especially thinking about, like, in the comedy, like you think
of a comedian.
But, yeah, the range of jobs Ifound super interesting,
everything from working in thecourts, like you say, adult
protective services,psychiatrist, minister or
missionary, and they really havethis common thread, though,
when they come on stage as acomedian.
(02:10):
This just definitely felt likea genuine love for the craft.
Right, what was your thoughtprocess as far as putting the
story together, like, what wasyour process as far as putting
the interviews together, thequestions you asked and the
story you really wanted to tell?
John Silecchia - Director (02:26):
So a lot of the questions were mostly
Claudius.
Okay, a lot of that came fromjust her experience and just
knowing them a little bit moreand it was just more of my job
to make sure that you knoweverything was kind of on key
and on point to make that typeof deal.
How did the pre-production work.
Victor Miranda (02:43):
Look like then, Because it sounds like you guys
really came out.
You did a lot of pre-proplanning out the whole thing.
So how did that look like?
John Silecchia - Director (02:50):
A lot of it was just us going back
and forth on, like, how topresent the idea.
Because we had a lot, again, alot more ideas that we had.
It was like, all right, we needto cut this out, this out, this
out, until we had one consentlike idea.
You know you don't want to doanything like high profile, like
oh, why don't we go into allthis, let's just keep it short
and simple.
Comedians on Long Island with,like, different jobs and what
(03:15):
are the questions?
Are we going to ask what?
How are we going to presentthem?
Like, where are we going toshoot?
Because you know, a lot of themwere.
We actually shot a lot at StJoe's, at, like, the Clair Rose
Playhouse.
Okay, so that included a lot ofthe main interviews, except for
Mitch's interview and Lou'sinterview, where we shot at his
house and we shot at theHempstead Courts.
(03:36):
Yeah, but even for, like, act 1and Act 2.
Same spot, same place, justdifferent days.
Yeah, yeah.
Victor Miranda (03:44):
You were telling me a little bit before, but the
, the production itself waspretty quick, pretty tight right
.
John Silecchia - Director (03:49):
So I would say, for main part of
production, five days in total,okay, most of them over the
course of July and August, thenone day in October to film the
third act, which was a wholecomedy show, yeah so, and then
maybe one day in April Actuallytwo days in April because we had
a we shot the place that'sJames Street players Because we
(04:10):
had to do Ellen's performanceright, we did Ellen's
performance, but I think it'sFebruary or March where we ended
up going to shoot Mitch'sinterview in his office.
Sean O'Brien - Editor (04:20):
It was around that time.
Victor Miranda (04:21):
So awesome any any particular stories from
production that stand out to youyou know it's weird, I'm gonna
say no and.
John Silecchia - Director (04:31):
No cuz, just everything went Ready
smooth like I had no issues,which I think again.
Victor Miranda (04:37):
I know you do film too, so it's you know,
Everyone has a story on a set.
John Silecchia - Director (04:41):
I just don't think I had any
issues personally with this film.
It's like oh, this one smooth,everything, kind of worked out
how I wanted it to film is done.
Sean O'Brien - Editor (04:52):
Yeah, I mean, I don't know if you have
any stories but I would say, thelast day when we shot, when we
shot and not an issue.
But like the last day when weshot, which was for Ellen's
performance, because she wasunable to make it for the night
of because something hadhappened, so we shot her
performance a couple monthslater and really wanted her to
be in the movie and all the acts.
So we had actually a morelimited crew that night.
(05:14):
It was just me, john and Eric.
Yeah, so we set up the threecameras and we set up all the
audio.
So you know it was a bit of achallenge, but I think we pulled
it off really well.
Victor Miranda (05:23):
Yeah, I would have noticed that that was a
struggle.
Sean O'Brien - Editor (05:26):
Yeah, we were going like, like John and I
would go back and forth just tomake sure the cameras were
recording.
The audio is on a good levelbecause, like I was making sure
that the floor cameras we'reworking, eric was on top filming
with the main camera to give ita more dimension.
Yeah and you know I would goback to the audio thing, because
we just set up the mics andlike no one was like wearing
headphones and I just wanted tomake sure it was everything was
(05:49):
recording, nothing ran out ofbattery and everything ended up
working just fine.
Victor Miranda (05:53):
That's great, great.
And then I know, with the, themain performance, that was a
five camera set up right, thatwas a five camera set up Well
what made you want to go likefull out.
John Silecchia - Director (06:02):
I mean, logistically just would
have made more sense, becauseyou're getting everyone from
every angle.
The comedians tend to walkaround a lot.
Yeah, you know, if you just dolike a static shot, especially
that like it's the third actYou're gonna have, do you really
want to spend 25 minutes?
Look at a straight camera,being like oh hi, here's me on
performing like no.
Of course I want to have alittle bit more oomph to it Of
(06:23):
course.
Yeah, yeah.
Victor Miranda (06:24):
So that was also pretty smooth night for you
guys too, right I?
Sean O'Brien - Editor (06:27):
that's that part of the documentary I
think I'm most proud of.
Stuff like we really kickedbutt Shooting that and then I
eventually became the editor,like maybe a month or two in.
But when we shot that show,especially the interviews, but
for the show, I just was reallyconfident in the work that not I
just did, but that everyoneelse did.
Victor Miranda (06:44):
Yeah, no.
And then of course, I know thatthe post-production was the big
bulk of the project.
Oh yeah.
Sean O'Brien - Editor (06:51):
Yeah, like actually that was more time
than uh, because what we spentlike a year and three months
working on that, yeah, sobasically, like I said at first,
like this was gonna, we thoughtmaybe this would be a short
documentary but I think by thetime we were filming we filmed
the big show.
We're like no, we got like afull feature length film.
So I spent the next few monthsinterviewing the, you know,
(07:12):
editing the interviews and inthe big show Before I did like
any color correction or sound,and then by three months after
the show we did the firstviewing of.
We did that.
We viewed the first cut.
There's two and a half hourslong.
Was to not always just straighttwo hours?
No, it's two and a half hours.
And we spent, like I think,most of the day like a full six
(07:33):
and a half hours just going overthings, just trying to figure
out, yeah, what we wanted tokeep in the movie, what we
needed to add, becauseeventually we did add Add
Mitch's interview for act oneand then we added Ellen's act
three set.
So of course that's gonna addmore and change some things, but
we were able to tell Folks forthe most part like, okay, we can
cut out that but that.
But it's also tricky sometimesin interviews when they say
(07:55):
something that's maybe important, just to make sure everything
makes sense and translates well,because not every question is
gonna be there like I believe.
Oh yeah, most of the interviewswere like 10 to 16 minutes long
.
Okay, and the truth is is likethey're probably reduced to
about five minutes.
Mm-hmm, like four to six minutes.
Victor Miranda (08:12):
So yeah, so no, I mean, I think that's that's
very much the nature you want tograb all the best answers, all
the best tapets, the sound bites.
So yeah, so you pretty much youguys.
You know you edited the fullinterview and then you started
to find the commonalities thatblow one into the other that you
wanted to Tell in your storyand then, of course, after going
(08:33):
through all the questions, nowyou're narrowing down to the
questions that you needed tofocus on For the film to get it
down to the time.
Who is the most involved inreviewing and helping make the
cut decision?
Was it mainly you too?
Was Claudia involved?
I?
John Silecchia - Director (08:45):
would say Claudia, yeah, I think I
just want to say, like it'smostly her film, like it was her
vision, yeah, she produced it.
I was just the one who was ableto help it bring it to life,
you know.
So, yeah, you know, big shoutout for Claudia for just being
so wonderful to work with andjust getting this project done,
that's great.
But no, she was very involved,which, again, I, like you know,
it was a, as I said, probably avery, very good collaborative
(09:07):
effort that we had Together whatis one of the things that you
guys are really hoping theaudiences get from the film.
Sean O'Brien - Editor (09:14):
I think that the comedians that we
interviewed we never met thembeforehand, but I think what
people will see is that they'rejust everyday average people
like them, working the nine tofive, and I think that there's
some really personal buttouching stories in there that I
think people are gonna relateto mm-hmm.
And everything the comedianssaid.
(09:35):
Nothing felt better.
They all felt like they camefrom a place of passion and what
they all said was pure.
So it's like you.
It was all positive.
It was all positive, I feelyeah, no, I felt great.
Victor Miranda (09:49):
I felt really like they really opened up to
you guys.
John Silecchia - Director (09:52):
Oh, 100%, like you think once,
because, again, we had a lot ofdowntime for the most part, so
we were able to just talk witheach other and just get to know
each other a little bit more.
Yeah, so it just helped withthe synergy on set.
Like, okay, when we interviewyou it's gonna be fine.
Like, if we have to restart,there's no big deal.
But I would say, you know, justanswer your question.
I just hope that audiences, whenthey watch the movie, just
(10:13):
remember, like, just do what youlove.
You know, because you know, asa director or someone who does
film, before you actually getthat job or even like an onset
experience, you're gonna do alot of Mediocre jobs.
Like you're probably gonna beworking, you know, retail food
service, which I have, yeah, andthe socks, you know.
(10:36):
But at the end of the day it'slike, are you gonna let that,
you know, deter you from makingmovies or doing Animation or
making music?
Like no, you should be doing itanyway.
Like, if they can work theirjobs, yeah, and go home, go on
stage and, you know, tell jokes.
What's stopping you from youknow, doing what you love?
Good?
Victor Miranda (10:56):
message.
So what is your plans forshowing this film and the
rollout of this film?
John Silecchia - Director (11:04):
so right now we already have a
premiere of February 7th atSavile cinemas, which we are
really really proud of and we'rereally happy that's finally on
like the big screen.
We are doing screen at st Joe'sCollege, I think.
For their students it's gonnabe like a Q&A, and then we were
having one more screen in, Ithink, in March in the pet jokes
(11:26):
in our center, which is nice,but we're hoping to do like a
festival run, you know, so morepeople can see it, which would
love, because I haven't been inthe festival since 21.
Yeah, so it's finally nice toactually be, be back in and
actually have something to showthe world.
Victor Miranda (11:42):
I also noticed an interesting thing about this
film is this is animationthroughout the film.
Yes, there is select storiesthroughout of each of them, and
I believe that's also your role,john, that you are the animator
for the film right.
John Silecchia - Director (11:55):
Which is so high.
I'm also John Sluck yeah, alsothe animator of by day, by night
.
So I started animation in 2021.
So I took a six at least a sixweek class From John Dilworth,
the guy who created curse, acowardly dog.
It was like online lessonsamazing.
It was great.
It was a fantastic was likejust me, the basic of the
(12:17):
animation and I'm trying to getanimation a little bit.
I'm like, oh wait, you know,I'll just contact you know
someone in the city.
He was in the city and likealright, let's do these like
zoom lessons and I did.
I took like six weeks of youknow classes from him and then I
kind of, from there, started tojust work on my own stuff.
So I mean like little cartoons,you know, just for myself.
(12:40):
But I started to do morefreelance on the side Once I
started to really improve mycraft.
I just did a film for my friendTate called 777, which is a
premiered at a Video dome inBrooklyn, which was very nice
and very fun to have out there.
Yeah, but I should probably getback to Claudia how that came
(13:02):
to be.
I think we're trying to findB-roll for the movie and we were
kind of trying to figure outlike oh, is this royalty free or
not?
You know the lot of logistics.
Yeah, I don't want to pay forit, so let's try.
Yeah, you know we're fine yeah.
I think was was it your idea orChloe's idea?
It's like, hey, john doesanimation, why don't we do a
little cartoon stories, all theodds?
(13:23):
At first I was kind of againstit.
I was like it's gonna look.
I think what happens that?
Sean O'Brien - Editor (13:28):
Yes, we needed more visuals for the
interviews.
But what happens that you, eric, and I eventually watched a cut
of the movie by like spring oflast year, mm-hmm, and we
realized, like we're cut, we'rebouncing ideas off of each other
.
I think it was maybe you or himthat started to think like what
if we added like animation?
I think that could fit in topthe tongue, yeah it was Eric,
(13:49):
because I was against it.
John Silecchia - Director (13:51):
After I was like I really don't want
to do animation, it's not gonnafit, like why would I want to
put cartoons in a documentary?
But they convinced me and I waslike all right, well, time to
bust out the pen tablet andstart working on it.
So I end up putting theselittle like cartoon segments in
the documentary and honestly Ithink they look good.
Victor Miranda (14:10):
I think they work really well.
It definitely.
It adds a unique spice to itall.
Like every breaks up the film,which is nice because it's like
oh, okay, and then you canfollow along with the story way
more engaging, you know.
So was your selection of whichstories to animate purely based
on if you had to be role for it,or was it more like okay, this
(14:34):
sounds like it would be goodanimated like?
John Silecchia - Director (14:37):
so how he did, it was I.
So, sean, I think we agreed onthis that we try to find stories
that just didn't have b-roll oranything that wasn't Interested
, and I don't mean interestinglike what they were talking
about, yeah, but interestinglike there was nothing to kind
of break the site?
Yeah, nothing kind of break thevisual silence.
So I think you picked aboutlike five and I would have to
(14:57):
choose like alright, does thisone fit, this one that I think
we came up about like five orsix, yeah, I think in total we
did five or six stories and Ithink we stopped at five, but
then Claudia suggested justmaybe crank out one more, and
that was the the frog one.
Sean O'Brien - Editor (15:11):
That, yeah, that was the frog.
John Silecchia - Director (15:13):
That was my favorite one because
there's a bunch of fallenbrought blocks.
So how we did a lot of them, ifyou see them like transition in
, I would just have a greenscreen.
So I do everything in Adobeanimate okay, you know, formerly
flash but I would just have a.
I would put like a green youknow color filter on it, so
chunk and key it out in post andI would have the block kind of
(15:33):
come down so it looks like it'sstacking on the frame.
Victor Miranda (15:36):
Oh, that's how you did this.
Okay, very nice, very well done.
No, no, yeah, I think thosetransitioned very well.
They told the story, it wasengaging, they're broken up and
also, like you know, animation.
Visual effects are very commonin Demonstrations and
documentaries especially, youknow.
So I definitely feel like it'snot out of place at all.
John Silecchia - Director (15:59):
I think it's.
I know they did that in Bullenfor Columbine I they did.
Victor Miranda (16:03):
It was like after Matt Stone's interview
they transitioned into, like thehistory of guns in America,
which was like yeah, I've seenit in so many, like in the
social dilemma and differentthings, different Netflix
documentaries and differentthings like that.
Yeah, they use a lot ofanimation or like visual effects
type of storytelling, so itdefinitely helps.
We created another level ofengagement but also, like your
(16:29):
style, did add like a humor toit, because it was very cartoony
and then and you know, likethese people are comedians and
they have a very like livelypersonality, which is why I
think you know it fit, becauseit was a little cartoony and
like uplifted, like if this wasjust like the history of a
political in America thiscartoony frog jump around.
John Silecchia - Directo (16:50):
That's not going to work.
It's not going to work at all.
It's going to be interesting.
Totally misses the point, butyou know it has to fit.
Victor Miranda (16:57):
Yeah, no, so it definitely.
I think it meld the story.
I thought the story was verywholesome.
You know, overall, do you feellike there's any particular role
that you personally find thatyou gravitate to more?
Yeah, I know, we're all here.
We know like a whole bunch ofdifferent avenues in filmmaking.
Yeah, let me turn into like aSwiss Army knife.
(17:17):
Nowadays it's like theessential thing.
John Silecchia - Director (17:18):
It's ridiculous.
Victor Miranda (17:20):
But, but outside of that.
No, I feel like the to get tothat next level of filmmaking,
you always got to focus on, like, what's your role going to be?
So, like, is there a particularone?
I'm going to ask you the same,but is there a particular one
for you that you really feellike gravitates for?
John Silecchia - Director (17:35):
you, I personally would love to do
animation more than live action.
At one point in my life it justfeels more like rewarding, in a
sense, as the animator or aslike a showrunner.
I think either.
Or I mean because animationitself, like doing the art of
animation, is a little tired orsomething.
But like you know you have todo it.
You know it's not like I canjust send over, you know, the
(17:55):
stuff to North Korea throughlike rough draft or something.
You know I still have to, youknow, do everything frame by
frame.
You know I don't have a crew.
I animate all my shorts bymyself, so I don't have someone.
Do backgrounds, layout,keyframes, you know that.
So I personally would love todo that.
I mean, obviously I'm stillbrewing with ideas.
You know I'm story boring out afew projects, but I think
(18:16):
eventually I would like to godown more of the animation route
.
Victor Miranda (18:20):
Is there a particular genre you would love
to do of animation?
You know, because there's likeadult comedy shows and then
there's like also kids shows andeverything in between, you know
.
John Silecchia - Director (18:30):
I would say more like the prime
time lean an adult.
Okay, so nothing like familyguy Simpson's or Rick and Morty,
but more like Space Ghost Coastto Ghost, you know, aquatine,
hunger Forest Venture, but likekind of the really weird surreal
stuff I love.
Oh nice yeah.
Victor Miranda (18:45):
Yeah, you brought something else up to.
It's the fact that you guyshave to go frame by frame, which
for me it just blows my mindbecause I'm just like you know
that's 24 frames a second You'retalking like I mean 30 actually
30 frames a second and you knowit's like man, there's 60
(19:06):
seconds in a minute.
Yeah, I'm like, I'm like that's30 by 60.
And then if you do it for likea not even like a 10 minute
thing, that's like by another 10and it's like that's so many
frames.
I'm sure there's tools thatmakes it flow a lot faster.
John Silecchia - Director (19:22):
I mean again, since I'm still up
and coming with it, as I'm stillnew to it, I'm still trying to
figure out how to make stufffaster for myself.
Okay, okay, you know, I mean Idon't want to be there for like
12 hours like oh, I just made myhand move just up there.
You know, I would like to get alittle bit more out of what I'm
doing.
Yeah, so eventually I wouldlike to have a system go and
maybe bring on some more people.
(19:42):
But I mean, obviously I lovewhat I do.
Yeah, you know, if I didn't, Iwouldn't be doing it.
You know I would be like Sean,do you really want me to animate
?
You know, six things for a filmif I didn't love it.
Victor Miranda (19:53):
Yeah, I mean, you also were like Sean.
Do you really want me toanimate six?
John Silecchia - Directo (19:58):
things for the film.
Yeah, pretty much I'm like youcan do it, john.
Sean O'Brien - Editor (20:03):
This needs animation for this one
part and it's going to be great,and it was great, it was great.
Victor Miranda (20:09):
And Sean.
You were both the camera up andthen you became the editor for
the film.
So how do you feel like?
In both camps is like.
What do you feel is more yourmain steakhouse than being the
editor?
Sean O'Brien - Editor (20:22):
I think so.
I love post production and overthe past couple of years I've
been focusing more on editing.
I've been editing vlogs andpodcasts and a few other things
for a couple of my friends'channels like Game Controller
Network.
I did a little bit of work forA&P Productions and I've done
some stuff with John, evenbefore we did this documentary.
So you honestly.
Victor Miranda (20:43):
You know you like the whole editing process
more than the in-person camerashooting process.
Not that you dislike it butthat you prefer.
Sean O'Brien - Editor (20:55):
Yeah, I would say so.
Yeah, I've always loved.
Editing is like putting piecesof a puzzle together, and it's
like you're able to changethings and make them even look
cooler or better than youimagined.
Victor Miranda (21:07):
So that's awesome.
We need more people like you inthe world.
So I love shooting and I lovethe fact that once I'm upset,
that's it.
I shot, there is the footageand it goes to the editor.
What editing is no is like youkeep going and going until it's
done, and then revisions and allthat stuff.
John Silecchia - Director (21:23):
Yeah, the fun stuff.
Sean O'Brien - Editor (21:24):
It could be tedious.
Especially it's like you'll getto like.
You'll be like oh, we're 95%.
Let's say we're like 95%, donewith it.
But, it can take like a lot ofwork just to get to 96%.
Victor Miranda (21:37):
Yeah, but I noticed there's people on the
opposite end.
They don't like the whole fastpace shooting and this and that
they like to have their time towork the problem, to make it
happen, to do the step by stepRight.
Yeah, definitely.
As an editor, how did you feelthis project really came
together?
Do you feel like the productionmade it come together really
cohesively, or did you feel likethere was a lot of work to be
(22:01):
done in the post to really makeall the pieces work together?
Sean O'Brien - Editor (22:04):
I feel that this was a pretty strong
production.
The great thing that was thatwhen we started is that Claudia
had a format of how she wantedthe movie to go, so that helped
give us an idea of like what weneeded to do.
Of course, it took a little bitof time.
We spent over the course of2023 editing the movie, watching
cuts, because we're also busydoing other things with our
(22:25):
lives, you know, working andstuff like that.
But I would say probably thereason why the movie hasn't is
gonna is premier now is becausewe just wanted to make it right.
You know, we wanted to make ita good time length, we wanted
the right amount of visuals, wewanted to make sure the color
and correctness correct, and I'mI don't like to settle.
(22:45):
I like to make sure thateverything is great and that my
clients, there being Claudia andJohn, are satisfied with the
work.
Victor Miranda (22:55):
That's a great attitude to have, you know.
Keep a maintain the level ofquality.
Thank you, it sounds like youguys also were pretty
collaborative in the editingprocess as far as overlooking
everything and coming up withthe.
John Silecchia - Director (23:07):
I mean, of course, me as someone
who edits, like myself.
It's like okay, sean, why don'twe do it like this?
I think one thing I gave to youWas how to edit the light, the
interview and the live showswhich we did.
Again, we did everything inAdobe.
So how we kind of went aboutthat is like why don't we just
make everything one like mergeclip yeah, put on what's it
(23:28):
called like video cut, like howdo you what's the right tool for
?
it's like Kind of nest the yeah,you want to nest it together
and you want, you want to multicam it.
Yeah, so you.
So I just made the processfaster so you're not having to
like oh, do I think this goesthere?
It's no, we can just switch onetwo three.
One two three, oh yeah.
Victor Miranda (23:48):
There we go.
Honestly, any and everyinterview that's multi-cam
should be done with a multi-cam.
Yeah, clip in, be it.
Davinci Premiere I I'm assumingfinal cut has some version of
the multi-cam.
Sean O'Brien - Editor (24:02):
I believe they do yeah, they have to have
some version.
Victor Miranda (24:05):
I know DaVinci does and I know Premiere does,
but that definitely saves somuch time and Post to to create
those clips, because then youcan just pick your angles and
then you can feed it in witheverything else on top.
John Silecchia - Director (24:17):
Yeah, it's like you have to go
through, I move and be like allright, why don't I just cut this
piece out and put this there?
Sean O'Brien - Editor (24:23):
Man, I learned about the multi-cam, the
multi-cam thing, and it was sohelpful for this, for this
project, cuz, like, whathappened was that I into, I
edited the interviews first,yeah, but then as we were
cutting things along andrealizing, okay, that need to
change, that angle needs tochange.
Yeah it's like I was basicallyre-edited in, not just the
interview but the angles of theinterviews.
(24:46):
So just to make sure that it diddouble up real work, but it was
worth it, cuz it fit in betterthan what it had started as it
makes sense.
Victor Miranda (24:54):
Yeah, no, no, it makes sense.
What do you feel is next foryou guys?
John Silecchia - Directo (24:57):
What's next?
Well, that's a great question.
Besides, so, the festival run.
Victor Miranda (25:02):
I think, first and foremost yeah, you got the
premiere, the festival Cuzthat's gonna be at least a few
years, maybe two to three yearstops I mean hopefully.
John Silecchia - Director (25:09):
I mean, if it goes more, I'd love
that, but I will.
You know, that's gonna be mymain focus.
But right now I'm starting toreally just kind of focus on
myself and just do projects forme a lot of animation, a lot of
Even just short films, justbecause I haven't done that in
like almost two years.
The like the last one I shotwas a little skit on YouTube
(25:30):
called killer geese and that was2021 and besides that, you know
, I've just maybe made likeReally just animation stuff and
I kind of want to just focus onthat, as well as freelance work.
You know, I'm not gonna say no,someone's like oh hey, we're
gonna pay you a thousand bucksto shoot an event.
I'm like, okay, you know, butit's frankly just Putting more
(25:51):
emphasis on what I need to dofor me and just build up my
portfolio a bit more.
Victor Miranda (25:55):
No, smart, smart .
And how about you Sean?
Sean O'Brien - Editor (25:58):
I'm looking to also do more
freelance work.
Eventually, I would like to Domore post-production work like
video editing and audio editingfor like feature films or
documentaries or other types ofprojects, and I also I do make
some my own content on the side.
I have a my own productionbanner called punky studios,
which I have some content onYouTube.
(26:19):
I'm looking to release a shortfilm called critic within the
next few months.
That I Shot as my senior thesisfilm back in college and it was
in two short film filmfestivals in 2021 nice so I'm
looking to finally release thatfor people to watch it, and If
John's got more projects oranyone that I know has more
(26:41):
projects, I'm always willing tohelp nice nice.
Victor Miranda (26:44):
How'd you get started in editing?
Sean O'Brien - Editor (26:46):
I have always loved film but I didn't
realize I could like Get into it.
I was like maybe 10 or 11.
I was just like I originallywanted to be a gym teacher
because I liked my gym teacher,but then, by like 11, I was just
like no, I want to get intofilm, I want to do this stuff.
And then, by the time I waslike 1617, I had made a couple
(27:09):
of like homemade movies and youknow, when you're starting off,
you take them too seriously andthey're not the best, of course.
But my mom actually reallyencouraged me to focus on the
editing aspect.
She's like I think you'rereally good at that and that you
could be even greater in that.
So Over the years I've justbeen even though I've made some
of my own shorts, like Imentioned I've just been
(27:30):
focusing more on that becausethat's something I'm passionate
about and I feel that I can dostrongly amazing, amazing.
Victor Miranda (27:40):
And how did you start?
As far as filmmaking in general, oh, god, where'd you go back?
John Silecchia - Director (27:45):
What like 10, maybe 15 years at this
point, which, oh god, toactually Get there yet to get
the lamp to real turn in overhere.
But I Think I mean, if we askedfor like inspiration, like I'd
also.
I mean just watching Godzillamovies, like I just think it's
just the most creative thing.
It's a guy in a suit destroyingit, but like like a model it's
(28:05):
great, it's a great concept.
But I think beyond that, how,myself, you know, just being in
middle school making deals withmy friends, you know that
eventually it became like, ohhey, bocies have has classes for
, you know, film video.
So I went to Bocies for like asemester not semester but a year
, yeah and I was like, okay, Ikind of want to go through this
(28:27):
route.
And I did.
I went to four years of collegeand you know it was good.
I got my senior film made, wentto a film festivals, but you
know, the pandemic happened,everything kind of you know Went
to the hayside.
And that's when, you know,animation came and I'm like, oh,
at least I can make stuff fromhome.
Yeah, and you, that's howeverything kind of came to be in
(28:50):
a nice little package.
Victor Miranda (28:53):
Yeah, yeah, no time goes by quick, it does,
john and I actually met.
Sean O'Brien - Editor (28:58):
Well, we went to the same school district
, but we didn't reallyofficially like meet until, like
, we went to like a bossies camptogether in summer 2013.
And ever since now, we've beennot only friends but we've been
working together.
Victor Miranda (29:11):
Bosses is so underrated.
I feel like everyone shouldknow about bossies, because I
did bossies when I was in highschool as well, either for audio
, oh nice, yeah it's.
It's such a great program toget like an actual actionable
technical stove right out ofhigh school Mm-hmm, that you can
start working in, because rightafter bossies I started working
in audio even though I startedgoing to college for it, I was
(29:32):
already working in the field.
So I feel like that's somethingthat Would be so helpful to.
I'm sure other Locations, otherstates, have similar programs
as well.
So you know these technicalschools when.
And it's such a great deal toin high school when you get to
spend half your day Technicaljob like that.
You know it's like all great.
(29:52):
It's.
Gives me a science and the mathcredit.
John Silecchia - Director (29:55):
Do?
I feel like we need more ofthat in schools.
I mean like not every kid inhigh school is going to be oh,
hey, I can do a general ed typeof math music.
Hi, you know whatever happensin high school now.
Like some kids are just need towork with their hands or do
have more technical, skill Ithink that's important.
Victor Miranda (30:12):
I personally think all high schoolers should
at least do one semester oftrade school Guaranteed you know
, we just have the option tolike a little bossies, because
it gives you the option thatlike Not every student wants to
be a doctor, lawyer or professor, which all requires a lot of
schooling, yeah, but Some people, you know they want to be a
(30:35):
mechanic.
So there's bosses for mechanic,for makeup, for all these
things, and they're veryActionable, that you can make
money.
And if they want highereducation because they want to
do something else, now they alsohave an actual skill that they
can start working in immediatelyor apply, or if they want to
open a business in that area,you need the technical skill you
know 100% and you also haveyour own production company as
(30:59):
well.
Right, I would say it's aproduction company.
John Silecchia - Director (31:01):
I just it's a production title.
Yeah it's called Neon DreamStudios, neon Dream.
It's where I just make mylittle cartoons and films and
just post them online.
Nice, I wouldn't say take itlike like, obviously I take it
seriously, but it's notsomething like oh, I'm gonna
make it like a big brand.
It's yeah, this is more of yourpassion projects, your original
projects, I guess it's just if Ican make for myself, because
(31:21):
personally, you know I'm gonnamake more money doing freelance
and doing stuff where I can belike, hey, I'll direct your film
or I can do that, or frankly,I'm okay with doing that, yeah,
but every once in a while it'slike I just want to sit down, do
a project for myself.
So this is where I kind of puteverything on.
Is Neon Dream Studios.
Victor Miranda (31:38):
I'm excited for your film guys.
I think you guys did a good job, the people it's such a
wholesome story all together andthe comedy at the end was funny
the whole stand-up.
John Silecchia - Director (31:48):
Oh, they were hysterical.
Victor Miranda (31:50):
It was.
The minister really caught meoff guard with her said Thank
you so much for coming downtoday.
I People got to see thepremiere on February 7th, 7th at
Sable theaters.
Say real feed ears.
You hear it here.
Is there any way people canstay in touch and keep up with
(32:12):
what's happening with the filmand what's happening with you
guys?
John Silecchia - Director (32:15):
So obviously, please come to a lot
of the festival screens thatwe're doing.
We're hopefully we can get afew years after this.
So if it's ever coming to yourtown, please do come.
We would love to have morepeople watch this movie by day,
by night, doccom.
Victor Miranda (32:30):
It was awesome.
And how can people keep up withyou guys?
John Silecchia - Director (32:33):
on YouTube or Newgrounds Neon Dream
Studios.
That's where I post a lot of myown personal work.
Nice and your content.
Sean O'Brien - Editor (32:41):
You could check out my content on punky
studios.
It's on YouTube.
We have got a couple of videoson there.
Victor Miranda (32:47):
Awesome.
Well, thank you so much, guys,thank you for having us.
Thank you for having us, I havepleasure and, of course, you
can always follow us at visionmaker podcast and follow our
other work and content at visionmaker productions.
John Silecchia - Director (33:01):
Okay, have a good night, everybody.
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