August 11, 2025 • 49 mins
Today on What's My Frame I'm joined by filmmaker and casting director, David Guglielmo. David specializes in independent films. As a casting director, he’s known for festival hits THE STANDOFF AT SPARROW CREEK (TIFF Premiere), RUN HIDE FIGHT (Venice Premiere), and SUITABLE FLESH (Tribeca Premiere).
He served as Head of Casting for the legendary horror brand FANGORIA, as they launched their first studio. Additionally, he’s directed three thrillers: NO WAY TO LIVE, HOSPITALITY, and most recently, LOVE BOMB. Other producing titles include the indie darling THE LAST STOP IN YUMA COUNTY and the upcoming gothic western, KILLING FAITH, starring Guy Pearce and Bill Pullman.
Follow David on Instagram
--
What's My Frame, hosted by Laura Linda Bradley
Join the WMF creative community now!
Instagram: @whatsmyframe
IMDb
What's My Frame? official site
What's My Frame? merch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:03):
Hi everyone, today and What's MyFrame?
I'm joined by filmmaker and casting director David Guliamo.
David specializes in independentfilms.
As a casting director, David's known for festival hits like The
Standoff at Sparrow Creek and Run Hide Fight.
He served as head of casting forthe legendary horror Ran
Fangoria as they launched their first studio.
Additionally, he's directed 3 thrillers, No Way to Live,
(00:26):
Hospitality, and most recently Love Bomb.
Other producing titles include the indie darling The Last Stop
in Yuma County. Now let's get to the
conversation. Hey David, welcome to What's my
Frame? How you doing?
Hey, I'm doing well. How are you?
Good. If you wouldn't mind, the best
place to start is always kind ofthe beginning.
And what was your creative origin story and how what drew
(00:51):
you to the arts and I guess someof the pivotal mentors and
opportunities that helped shapedyour career?
Yeah, well, I've always been into the arts.
My father's a painter and I was a movie buff since I was, you
know, 8 years old. I I knew I wanted to be in the
film industry. And I went to the School of
(01:13):
Visual Arts, which is a film school in Manhattan and studied
directing and then lived in New York City for a while after that
and thought, you know, I got to go to LA.
It's, that's the film town. So I went out to LA and didn't
have any plans, didn't have a job, didn't have any money or,
(01:34):
or, you know, even an apartment yet or a place to live.
I, I stayed with a friend who I knew from home school and I
slept on his couch for a while. I was 25 years old and while I
was at his place, we, we wrote ascript and we really loved that
script and wanted to direct it. But since we were both
directors, neither of us wanted to back down and let the other
one direct it alone. So we said, all right, we'll
(01:55):
direct this one together. And we raised some money to do
that. And just, you know, kind of like
Kickstarter before Kickstarter, just old fashioned going up to,
you know, people, hey, you know,$1000 here and there.
You'll get to be a, a producer on a movie and all that stuff.
And we ended up raising about $150,000 that way and, and made
(02:19):
our first film, but it took so long.
And the casting director, Matt LaSalle, he, he was cool with us
just, you know, picking it up every weekend and shooting and
oh, we need another day player. We need another day player, you
know, and he was doing all the work for like, you know,
probably six months. He was on this movie with us.
And during that time, I really fell in love with the casting
(02:42):
process. I would just love to go to his
office and I would love to see all the auditions.
And, you know, I really, he, he saw that.
It really lit me up. And after we wrapped the film, I
was working at a juice bar and he, he asked if I'd rather be
his assistant. So no brainer.
Of course I would. So I started assisting Matt
(03:04):
LaSalle and we did about 20 something movies together.
I went from assistant to associate and then I worked
under a couple of other casting directors.
Susan Shopmaker, who you've had on the show, is a mentor of mine
and just so amazing, so inspiring.
I, I love her work so much. And Roger Miscenden I worked
(03:29):
under and, and, and, and eventually I just, I thought,
you know, I, I really love this and, and I need a career because
even if you're, even if you're making movies as a director, you
know, I mean, it's kind of, unless you're making really big
movies, it's hard to live off that.
And it's, it's definitely, you know, not many directors are
making a movie a year. So I thought this would be a
(03:52):
good way to be in the industry. And you know, the word director
is in casting director. So you're still directing.
You're, you're, you're dealing, you know, you're, you're working
with actors and you're sharpening that muscle and
you're, and, and, and you're doing that kind of daily, right?
If you're, if you're holding a lot of auditions.
So it was just the best of both worlds.
(04:13):
And I opened up my own company and, you know, a couple movies I
did the first couple movies I did went to big festivals.
I had my first movie was South by Southwest.
My second movie was Toronto. I thought, hey, this is easy.
It it didn't, it didn't always go like that.
I I learned, you know. I think sometimes it's good
though, to have that like reallyembarrassment of riches because
it keeps you going because then you're constantly chasing that
(04:35):
again. Yeah, now I'm like, Oh my God,
if I got into Toronto, it's been, it's been a decade, but
you know, that's how it started.And I just thought, wow, OK,
cool. And then from there, the phone
started ringing. And a lot of people like those
movies, especially for the cast that, you know, one of them in
particular was a movie called The Standoff at Sparrow Creek,
(04:56):
which was, you know, a very cheap movie.
Really, really well done by a director named Henry Dunham.
And every review is just talkingabout how it's like, you know,
the The Avengers of character actors and how, you know, it's
everyone's favorite actor all put into a movie.
So I got a lot of calls from that.
And yeah. And then, you know, here we are
(05:17):
cast over 50 movies and. And I absolutely love the job.
Wow. OK, so from going from
directing, and I know in film school you're you're you're
doing projects and you have a little bit of a handing casting,
but it's very different than working in a full on casting
office. What was that training process
for you like with Matt going into his office from being a
(05:40):
director of one of his films to actually working at the office?
Yeah, it was fun. It was just fun.
He, the great thing about Matt was that he really trusted me
and he gave me so much responsibility.
Like way more than I think maybeI should have had it first.
It was kind of like, you know, oh, man, I got to learn this.
(06:00):
I'm dealing directly with the agents.
I'm sending offers. I'm doing all these things
because he really, he really wasjust like, yeah, you know, you
know what you want to do. You know, you've been copied on
my e-mail. It's just kind of go for it.
And, you know, he trusted my taste.
I held a lot of auditions. I was in the room kind of
running them. And you know, I think, I think
(06:23):
we developed just a great shorthand and, and we're
friends, so it was really fun. I don't think we talked enough
about taste because I think a lot of times when casting
directors are brought onto a project, it is because the
history of their work and their taste and the type of actors
that they bring in, the type of actors that they're drawn to.
Do you find the projects that you're drawn to working on is
(06:43):
what your taste was as a viewer as well?
Yeah, actually I do. I've always been a huge genre
film fan. So whether that be horror movies
or westerns or, you know, I justreally love the genres, all the
sub genres. And that's kind of what I get
called to do. You know, as much as I love
(07:04):
dramas, you know, like, like nobody's calling me really for
the Sundance drama. I wish they did.
I, I really like those movies. But at the same time, it's cool
to have a niche. It's cool for, you know, people
to come to me with these lower budget genre films that are
elevated, that are artistic and very expressive.
I think that they're a great vehicle for first time directors
(07:26):
'cause they really show style. They really show that, you know,
you can be very expressive with the genre in a way that maybe
you need to be a little more subtle with the drama.
But you know, I went to Matt because I had a young cast.
I really wanted the actors to play 16, you know, Bab 18, but
play 16. And he had a movie called Mean
(07:47):
Creek, which was so good. And it was all these young
actors. And I think, I think Rory
Culkin, I think that was one of his first movies, but it was it
it that's why I went to him. So I think that when you have a
hit, you know, it's kind of similar to actors, you get
typecast. But I don't think that's a bad
thing. I think it's cool.
And I've, you know, I, I, I've developed a name for myself in
(08:09):
that in the genre, specifically horror, I was the head of
casting for a company called Fangoria for a while and that
really cemented it in there thatI was like the horror guy.
So, so yeah, that's, that's the way it's been going.
And I think, you know, you always have the the ability to
(08:29):
branch out, but it's cool to be known for something.
I think the industry has a nice way of informing you without you
really noticing it. You're just, you're just
booking, you're just working. You're just, you know, coming
down to projects and then all ofa sudden someone will kind of
mention in conversation like, oh, you're the such and such
girl or you're the such and suchguy and you're like, oh, no, no,
I do everything 'cause that's like as, as creative.
(08:51):
That's, you know, we want to do everything we want to please.
And then you're kind of like, oh, wait, I do do a lot of that.
That's true. And I'm happy.
So it's OK. Like, you know, cash the checks
as long as long as you're happy with it.
Can you walk us through like your creative process When you
get your script, how do you liketo let your imagination go to
work? How do you start envisioning
making lists? Things like that?
Yeah, so I get a script. I read it usually twice, you
(09:18):
know, to, to really get a feel for the vision and, and I'll
come up with a list of actors that I think are creatively
right. I don't know if they're
available yet. I still have to check that.
But, but given the budget, I, I kind of make a list of actors
that I think are realistic, but also correct.
(09:40):
And if they are looking for a certain level of visibility,
I'll, I'll include that, you know, our offer only actors, our
reaches. And then, you know, depending on
how much time we have, we could try those first and then see
where we land. I'll always hold auditions and
(10:00):
be able to fall back on a reallygreat tape if one of those
offers don't go through, if the dates are firm.
And if we're shooting the movie,like you're always going to have
great actors in the movie. But a lot of times for sales
purposes and things like that, we do want, you know, marquee
names and people that are going to help sell the movie and help
bring it the most visibility as possible.
So in my lists, you know, it reflects all of that.
(10:22):
And then I, I submit it to all the major agencies and they
cover it. And then they submit to me their
ideas, people who they think would take to this and are
available. And then the director will will
pick their creative favorites. And you know, sometimes the
producers weigh in and we basically hone in and create a
(10:45):
list that is focused and prioritized.
That way we could just go down the list and and and keep trying
our favorites. Now, how do you start building
kind of your creative language with your director?
How do you Start learning their taste, finding where yours and
theirs overlaps, and start building out this creative
(11:06):
world, not not just from like the marquee names, but like the
whole cast body? Yeah, I'm really good at
duplicating a vision. Like I understand it.
I, I, you know, maybe because I'm a director myself, but when
I read the script, very, very rarely am I not on the same page
as a director. I can't remember not being.
I, I think I always get it. And I, I even know where he's
(11:28):
coming from or where she's coming from in terms of like the
movies they're influenced by or,or the, the prototypes, right.
I usually start with like, OK, if you had all the money in the
world and, and, and you could just, you know, pick any actor,
who would that be? And if they say, oh, Margot
Robbie, then, you know, I kind of know what that is.
Or if they say, you know, like Philip Seymour Hoffman, I'm
(11:52):
like, OK, yeah, I know what thatis.
So there's a, there's, you know,there's a, a kind of vision that
I just want to make sure I have with them the shared vision that
I can, I can use as a launching pad.
But I, I really, every movie that I look at that I've done,
(12:15):
I, I think like each lead actor has always been everyone's
favorite. I don't think there's ever been
discrepancy. I think that when you see it,
you know, and, and there you go,that's the character and that
that's the producers, that's thedirector, that's me.
Everyone knows it's something really magical that happens
(12:37):
there. Yeah, having been at one point
in your career, first time director, you've been really
celebrated and applauded for working with first time
directors as a casting director.Do you feel like there's any
kind of protections or or guardrails that you have to help
them navigate? Or do you feel like young film
makers are getting more and moresavvy and understanding the
(12:59):
business nowadays? Yeah.
I, I, I think that the business is always changing and it's
really good for the directors toknow the business.
But I think that once the movie is financed, if it's ready to
go, we we need to create a bubble around the director, a
protective bubble, and kind of let them be purely creative.
(13:23):
And that's where that's their job.
That's where they're going to shine.
And nothing else really matters at that point.
Hopefully you're aligning yourself with people who are
making the same movie that you are.
And that's very important to pick your producers wisely or to
kind of make sure you're having those conversations to make sure
(13:46):
that everyone, you know, sees the same movie.
And you can talk about it from development through production
to distribution to marketing, everything.
Make sure that everyone's on thesame page because it's the most
collaborative art form. And, you know, there's just a
lot of, yeah, there are a lot ofpeople that need to come
(14:07):
together and you need to have that common goal.
I think a lot of times in genre,horror especially, there can be
a misconception or an idea that actors have of what you all are
looking for, because it is. It's very specific, but yet it
is also very broad. And I believe everything that's
(14:27):
done in our business is done with a lot of care and a lot of
intention and specificity. So I'm curious, how do you like
to write your breakdowns? What are some of the hidden
clues or maybe obvious clues that we as actors can gain from
that to help inform our initial creative process of building
that character before auditioning?
Yeah, when I write the breakdowns, that's a really fun
(14:50):
part because yeah, you know, I Iget, I like to get creative with
it and, and I'm a writer also, so that's a really fun part of
the process. But, you know, sometimes I'll
put a prototype in there, you know, I'll say like, you know, a
Mel Streep type or something like that.
But mainly I just, I just described the character, the
(15:14):
attributes that we're looking for and a little bit of the plot
in there just to let people knowkind of how they're instrumental
to the story. But I keep it short.
I don't want to have it be like,you know, a big paragraph.
I'll, I'll kind of, you know, because they're going to get the
script and I expect them to readthe whole script.
You know, I'm not working on Marvel movies where they can't
(15:38):
read the script, right. It's like every time I do a
movie, they get the sides, the full script.
And I, and I really place a lot of emphasis on you must read the
full script. You're not going to put your
best foot forward and give your best audition.
I don't care how talented you are.
You need to know the context. So, so I feel like, you know,
the breakdown is really just foragents to say, oh, OK, we have
(16:01):
that type. Here are the options.
And then the actors, there mightbe little insights in there, but
the actors are going to get everything from the script.
How has your approach to castingshifted or had to evolve over
the last several years with the disconnect with the the virtual
distance? You know, there are pros and
cons. I really missed the communal
(16:22):
element of it of, of actors coming into my office and
knowing them and being able to make adjustments on the spot.
I think that that was something that was very beneficial because
now if I need to make an adjustment, you know, it's going
to, I got to go back to the agents, then they got to go on
tape again. It's going to take at least a
couple days, sometimes longer. And, and I find myself going
(16:46):
well, do I really need to for that little part?
Do I need to tell them to do it again?
Is this good at this is probablygood enough And, and you know,
sometimes it is, but maybe sometimes it's not.
So I really loved the ability toworkshop it in the room with the
actors and then go through the tapes at the end of the day and
pick the best ones and make surethat the producers and the
(17:07):
director are seeing the very best.
That's the that's the negative to all the self tapes.
But the, the positive is that I cast a much wider net and I've
discovered a lot of actors who Idon't think I would have
discovered during the in person days.
I was still doing self tapes, but I was doing, I was doing
(17:28):
less of them. And now it's just like, you
know, I'm not people from other countries and, and people that
don't have agents. I, I go to a lot, I do a lot of
open calls and I'll, I'll just go straight to the actor.
Sometimes I'll post on social media.
And I think that you're more likely to be discovered this
(17:49):
way. I'm curious from the casting
point of view, is there any advice for how actors become?
How actors can become more objective of their work?
As an artist, you just kind of know what feels right.
And I think that if you're really tapping into it and
you're not so cerebral about it,I don't think you should be
(18:11):
thinking too much about it. It's kind of like your gut
instinct and feeling like you'rethat character, right?
And, and a lot of times for me, it's like the, the, the, your
gut reaction when reading the script.
That's the correct one. And then if you start to think,
how can I make this interesting or how can I, you know, stand
(18:33):
apart or maybe this character, you know, has this affectation
or that you're going to, you're going to overcomplicate it.
I think it's really just the wayyou feel the first time you read
the script. Just just go for it and be
present and have the thoughts, you know, that be your own
(18:54):
thoughts and the dialogue be, you know, coming from those
thoughts. I wouldn't think too much about
it. It's kind of like, you know, any
art, if you're painting a picture and then you get too
obsessed with little things, youstart to, it starts to change
and, and, and all of a sudden it's contrived and it's not what
you originally intended. So that's that's what I'd say
(19:16):
just just tap into it. Yeah, no, that's great advice
because I think so often actors are in this bubble and they're
like, well, if I can get it wordperfect, I'm going to try it two
more times. Or like at a point I painted a
long time ago and like, it's as you were just that it was.
I had like a visceral memory of like working on a painting and
to the point I hated it. Hated.
(19:38):
It Yeah, you overdo it. Yeah, you can't.
You can't. There is a point where it's no
longer getting better. It's getting progressively
worse. So I think as actors, because
there isn't confirmation of like, hey, yeah, you, you were
on the board, you were on the dart board.
It may not be the right one for this role.
But I think with that disconnect, we start becoming
(20:00):
almost to a sense of paranoid oftrying.
Well, if we can do it a couple more times, we can get closer to
the bullseye. And I'm always trying to chase
that elusive like advice of how to get, how to just do it and
let go. Yeah, that's, that's it, That's
it. And yeah, I, I really think that
(20:20):
we're not looking for perfection.
That's the thing. I don't know any casting
director that wants it to be perfect.
I, I think you just want to see something and then, you know,
you're going to do a call back or you're going to put them on a
zoom with the director. And especially when you're on
set and the elements are there and you're working with other
actors, not just a reader and the lights and everything, and
you've had time to prepare and really dive into this character.
(20:42):
That's when it's going to be. Yeah.
The real thing this is we're looking for sparks, we're
looking for a presence, we're looking for an understanding.
And you know, it doesn't matter if it's if it's word perfect, I
wouldn't, you know, improvise anything.
I wouldn't. I wouldn't.
Yeah, don't go off book on purpose.
But it's, but it's like, you know, we want something that's
(21:04):
that's raw and it doesn't matterif it's rough around the edges,
you know, it just has to be true.
For you right now, are the majority of your callbacks and
like producer sessions, directorsessions, are they virtual or in
the room? They're virtual.
I've done, I've done some since COVID, I've done some in the
(21:25):
room stuff, mainly chemistry reads.
And that's when you get down to the final round and you know,
but what I'll typically do is I'll do a bunch of self tapes
and then if we need to do callbacks, we can do that.
But a lot of times I'll just go straight to the director meeting
and they can meet for coffee or they can meet on a Zoom and you
(21:49):
know, if they click, that's usually all we need.
I, I don't like to do too many auditions and everything like
that. Well, I mean, you know, for
Indies, it's like we don't have that much time.
Usually prep is like, you know, it's 4 weeks.
I, I, I very rarely get a movie that's shooting more than two
months out. Usually it's like a month and a
(22:10):
half and you know, they're 30 something characters or whatever
it is. So you really have to move fast.
And again, that goes with, with the whole mentality of going
with your gut. I think that when, when, when a
tape is really good and a director clicks with that person
as an artist and as a human, like that's, that's OK, let's
(22:31):
go. Let's let's make this happen.
Yeah, when you are having those virtual callbacks and you're
actually giving redirects and working with your actors, do you
have because of the experience and understanding as a director
Also, how do you like to work with your actors?
How do you like to motivate themand give redirects and notes?
Yeah, that's a good question. I, you know, personally, my
(22:52):
style, which I've learned from directing is to always give
direction as a positive, never as a negative.
So I, I'll never say do less of this or, you know, that was too
blank. I'll, I'll never do that.
But I'll, what I'll say is give me more, you know that I'll say
(23:15):
that was great. This time, more of this or this
time, if you could, you know, we, we can hit this speed or
whatever it is, right? But but never, never imply a
negative because that's going tomake someone go inward, that's
going to make them start to freeze up and think, Oh no, I
did it wrong. So it's just a lot of like that
(23:35):
kind of positive reinforcement and also building, building,
building. You're not, you know what I
mean? You're not taking away your
building. And I also like to keep it as
concise as possible. If you start going into all
these things and you start saying a couple of different
directions at once, people's heads are spinning and then they
(23:58):
don't know how to hold on to the, you know what I mean?
It's so it's like don't go into the whole character back story.
Don't make it a whole big thing.You just you just simple
someone, someone's on the right track.
They maybe are off it a little bit.
You just got to go boop, put them right back on and and the
simpler, more concise you can make that the best.
(24:18):
Literally reminding me of, of experiences where it was like 5
notes and then yeah, ready to go.
And as an actor, you're like, I need to, they want me to be
ready to go. I am not.
But I say yes because you're, you're just like, OK, the ride
is starting. You just you, you, you go.
And then you're kind of in your head of like, did I do all of
(24:39):
that? I don't know.
I pretty much blacked out. You don't want a checklist and
and also. Sometimes they even oddly
contradict one another and it's confusing.
So you know one thing at a time and keep it simple.
Yeah. As our industry has slow and
busy seasons, what do you feel are some common mistakes or
perhaps missed opportunities in either situation?
(25:01):
Well, no, I don't see mistakes. I think acting is acting is hard
because you know, you need otherpeople and you need an acting
class or whatever it is to kind of keep the muscle toned and to
keep doing it. And you know, in that way it's
not exactly like painting or writing or things that you can
(25:21):
do on your own. So I feel for everyone when it's
slow. Hopefully you find ways to
still, you know, workshop and rehearse and, and, and do your
craft. I think that you should have fun
with the auditions. I think that that should be
something that is, you know, like if I can tell if it's
(25:42):
enjoyable, I can tell if it's scratching the creative itch.
And if it's something that you want to do.
I think that similarly to when you make a movie, if you're
having fun making the movie, that's going to rub off and the
audience is going to have fun. And I just, yeah, find the ways
to keep the the inspiration alive.
That's very important. Now we heard how writing and
(26:04):
directing LED into casting, but how did casting reopen for
directing and producing in your career 'cause now you've you've
worn many hats on a number of your projects.
Yeah, I've directed three films and I've produced, you know, a
dozen or more. And lately I've been.
A lot of times when I was producing, I was just kind of
(26:25):
helping the movies get off the ground and then I'd get a
producer credit because I was helping, whether it be with the
financing or you know what, whatever I was doing that was
more than casting. And lately I've been producing
like actually boots on the ground producing.
I just did a movie called Frontier Crucible and, and I was
the producer on that movie thereevery day, you know, in, in the
(26:48):
weeds with everything. And that's just a whole
different thing. And it's amazing.
I, I think casting has helped mejust networking wise.
I know so many people now. I know, you know, so many
producers that I don't think I would have met before if I was
just a director. Financiers also just dealing
(27:12):
with like all the department heads all the time.
You know, I know what they need.I know I can speak their
language and that is basically what being a producer and a
director is, you know, just justknowing all the insurance and
outs, knowing what everyone needs and being a facilitator of
(27:37):
it all coming together. Yeah.
Having multiple vantage points for the project, how has that
been beneficial to your work? And also just the work history
in these different veins of the business, how does it inform
whatever current project you're focusing on at the time?
Yeah, it's basically, you know, not being able to be rusty
(27:58):
because I'm always working, I'm always on a film or multiple
films. So I think that, you know, when
you make a movie, like let's sayyou're directing a movie, the
first couple of days are rough because you're just like, oh,
everyone's trying to learn how to work together.
And I haven't done this in a while.
And you kind of want to throw that footage away sometimes,
like, you know, yeah, yeah. I mean, it takes a while to get
(28:24):
into a groove. So I think that as many as many
sets that you can be on as many movies you could be working on
behind the scenes or on the ground, whatever it is, that's
going to be beneficial. And I have been lucky enough to
just have a life in film. So every single day I wake up
(28:44):
and I'm working on movies and yeah, that's just going to make
me more articulate when I'm talking to all these people I
need to talk to. And it it, it's just like I
never feel rusty, which is really great.
Does one creative outlet come more naturally to you?
You know, I like to go, I like to however I could best help a
(29:06):
movie. I want to be working in that
capacity and I don't want to step on toes.
And when you're working with me as a casting director, it's only
going to feel like I'm a director in a good way.
It's never going to feel like you have two directors.
It's just going to be like, hey,I know what you're going
through, right? But but I don't overstep, and I
really want to help someone else's vision, even if it's very
(29:29):
different than what mine would be.
You know, sometimes when I'm producing a movie, I'm like, oh,
OK, I wouldn't shoot it that wayor I wouldn't.
But but I know that I get it. I get what you're doing.
It's not a bad thing. It's just that we're different
artists and, you know, we have different styles.
But I never want to impose mine.I always want to make sure that
I'm helping everyone do what they want to do in the best way
(29:54):
possible. Yeah.
What is your favorite part of each aspect of your career like?
Favorite part of casting? Favorite part of directing?
I think it's just watching thesemovies come together in a
tangible way that is like, oh, wow, you know, either I sat at
(30:14):
my desk or someone sat at their desk and wrote these words.
And now it's like we're employing all these people and
we're all like a community and we're working together.
And in the end, we're going to have all this amazing footage
and then that footage is going to be edited into something that
will last forever. It will outlast us.
It's we're making history. We're creating art that is going
(30:36):
to be, you know, it's resonatingwith people and in ways that we
don't even, we can't imagine howprofound it, it could possibly
be, right? Movies save people's lives a lot
of times. I mean, if they, it saved my
life. And to create a work of art that
is, that is special to someone, you know, 50 years from now,
(30:57):
someone watches it. That's awesome.
So I like to just think that waythat we're, we're making, you
know, our, our imprint here on this earth, right?
And and we're expressing ourselves through this wonderful
medium. Yeah.
Now you touched on this earlier,you know, early projects having
(31:18):
having success at South by Southwest.
And I'm curious any advice that you would have for film makers,
young film makers, because you you are so immersed in it, you
love it so, so much. You've made so many sacrifices
to make this film, but you don'tknow what the reception is going
to be on the other side of it. So when it is so positive, when
(31:40):
it does have this life beyond making and simply selling the
film, which is a win in and of itself.
Any advice for how to make the most of that success and the
festival love and the this the flowers that you get that way?
Any advice of how to parlay thatinto future opportunities?
Yeah, don't expect it. And no.
(32:02):
And, and, and you know, I, I directed 3 movies, none of them
have been to festivals. You know, I, I, my first one
premiered at at one festival, but they just for whatever
reason, you know, they, they weren't festival movies, they
didn't get in. They weren't hitting that
particular zeitgeist or whateverit is with them.
They look for and you can drive yourself crazy thinking why
(32:24):
didn't my movie get in? It's, there's so much going on
behind the scenes of festivals and yeah, you're never going to
crack that. I think if you get in, that's,
that's great. And if you, and if it's well
received, that is very helpful. The good reviews, all that stuff
help facilitate a sale. They help you, you know, maybe
(32:45):
get an agent or manager or make your next movie, but you don't
need it. I've made movies without that.
And I think the best advice I could give is just start working
on your next movie. Don't have any expectation about
what this one is going to do. None.
Just finish it, make it the bestit could possibly be, and then,
(33:08):
and then start the next one. And whatever happens happens and
whatever doesn't happen, it's fine.
You're already on the next one. You don't care.
It's, you know, we, we could drive ourselves crazy expecting
certain results. And usually everything's a
positive. If you make something, it's a
positive, it's going to, it's going to help you get to that
(33:30):
next part of your career in someway.
It's usually not the way you imagine.
It's usually something else. All you need is one person to
watch your movie and say, I really like that and I'm looking
to invest in a movie or whateverthe case may be.
One person, that's all you need.If you, if you pay attention to
success, then you also have to pay attention to, you know,
failure or negative reviews or whatever that is, you know, and,
(33:52):
and, and I, I just think that you need to treat them both the
same. Yeah.
Now your 3 features that you've directed, did you have a hand in
writing all of them or no? Yeah, I wrote the 1st, 2:00 and
then the third one, Love Bomb. The most recent one was written
by Kathy Charles, who is a greatwriter who liked my first two
(34:16):
movies and said I'm going to write something for you.
And that I thought was really flattering and a little nerve
wracking. I wasn't sure if I was going to
like it, but I did. I loved it.
So I thought that would be a really nice experiment for me to
do something that I didn't write, get outside of myself a
little bit. But also, you know, she was
playing to my sensibilities, so it still felt like something I
would write. Yeah.
(34:37):
Now, was originally was the planwhen you were writing for you to
direct? Was that the goal or is that
just how it took shape in the creative process?
Yeah. Like I mentioned with the first
one, both of us were like, OK, you know, we both want to be
directors and we need Our Calling card.
So we thought it would be best to team up on that.
And then the second movie, Hospitality, the first one's
(34:57):
called No Way to Live, the second one's called Hospitality.
And the reason why we're able tomake hospitality is because the
financier like the script that my partner Nick Chacwin and I
both wrote and then watched No Way to Live the previous film
and like that. So there was no way we were
going to not direct that one together.
(35:18):
And thankfully we really work well together.
So we did that one. And then we decided we wanted to
do some stuff on our own. But yeah, you know, we would
have sold it. We would have had someone else
make it if if that maybe not thefirst one, but the second one,
probably we would have done that.
(35:39):
The first one we were really holding on to like we need to
direct, you know, but just so happened that people liked, you
know, the way we directed and wewere able to, to do all of our
movies and every, you know, every script that I've written,
basically I've been able to makeI, I, I don't have like that
many scripts lying around. It's really basically like I, I
(36:03):
write something and then hospitality.
In the case of hospitality, 2 weeks later, we were in prep
after I wrote the script. So it was really quick.
That's head spinning quick. Now, what is your writing style
like? Do you have any like like a
space or a ritual or like do yougo away for a weekend?
(36:24):
Like how do you like to write and how do you adjust that when
you're writing with Nick and andsharing ideas with a writing
partner? Yeah, every morning.
That's just the key is 5 pages every morning.
And for, for, for when I was writing with Nick, it would just
be, we'd pass it back and forth.So I'd write 5 pages, I'd give
(36:45):
it to him, he'd write 5 pages, he'd give it back to me.
And then we'd always go over from the beginning.
We'd start, you know, so that way I would start to, I'd make
my notes on his pages and adjustments and he would make
his on mine. And then every time you'd start
from the beginning before you get to your pages And, and that
gets you into the flow of the story.
But also it does something really cool where when you're
(37:08):
done with the first draft, you kind of have a second draft
already, you know, because you've been kind of going back
to the beginning every time And,and you know, everyone's
different. I there's no way to recommend
anything for anyone. It's just we found that worked
for us. And if I write on my own, I
don't go back to the beginning. I just keep going forward.
So but I still keep the five page rule.
(37:29):
I think 5 pages of morning is really good.
It's really doable. And for a while I was kind of
depriving myself for the first cup of coffee until I until I
wrote a page. That was the thing, you know, So
that way you write the page, youget the reward, but then it
starts just to be something thatyou naturally just look forward
to. And yeah, I think just a daily
(37:52):
practice. Yeah.
Is there a project that has beenmost personal to you or you're
most proud of bringing to your audience?
Yeah, so No Way to Live, my first film I directed, holds a
really special place in my heartthat just changed my life.
So. So there's that one.
(38:12):
But for casting, I really have acouple of movies that I think
are just absolute. I mean near masterpieces and one
of those is a movie called The Last Stop in Yuma County and
that was a first time director and we worked on that movie for
four years. Francis Gallupi had the script.
(38:33):
I absolutely loved it. And we didn't have financing,
and we were just trying to get it going and, you know, kind of
working on different iterations of that movie with the different
budgets, different cast and stuff like that.
And finally he got to make it his way with no compromises.
And it really is a testament to the director's vision and
(38:53):
creative control because we madeit for a lot less than we were
planning on making it for. And it is so much better than
anyone could have ever imagined.It is a movie that now has
catapulted him into the big leagues.
He's doing the new Evil Dead movie.
He has a couple of other studio projects.
And I'm just really, really proud of that one because I
(39:15):
think it's a movie I can recommend to anyone.
And they're just it's so masterfully made.
So there's, so I'd say my first movie, No Way to Live, there's
that movie. And then and then a couple of
others, there's a movie called Run Hide Fight, I'm really proud
of. That was also very hard to make
because it was very controversial.
(39:35):
It was about a school shooting, very controversial.
And everyone told us that we couldn't make the movie.
And we did and, and it's excellent.
And it went to the Venice Film Festival.
And that's just something that I'm, you know, very proud of to
this day. Going back to your writing, I'm
curious, what was the character that was the most fun to write?
Oh well, the character of Nora and no way to live.
(39:59):
If you watch it, you'll see why there.
Yeah, I I really kind of. I think I nailed that
characterization. And there are a lot of twists
and turns and. It was a it was a role that an
actor, Freya Tingley, who plays Nora, you know, she really sunk
her teeth into it. And I think it's a really great
under scene performance. I think it's it's like, you
(40:22):
know, award, award worthy, but the movie was so small that, you
know, not that many people saw it, but it's it's a terrific
performance that I know, you know, you never know what you
have and you're so close to it that it's hard to say.
I made a great movie. You just don't know.
But you do know about the performances, you know, and,
and, and she just knocked it outof the park.
Amazing. What is a bucket list project or
(40:45):
story you want to take on in thefuture from either any any
creative aspect? That's a good question.
You know, I'm a big reader and there are a lot of authors that
I that I really that I really love that I think don't get
adapted correctly. You know, it's a hard thing.
(41:08):
It's a hard thing to do. And probably, you know, one of
my favorite authors I would loveto make, you know, The Postman
Always Rings Twice is a movie that I'm sorry, is a book from
James and Cain that is turned into a movie a few times and I
don't think ever really nailed it.
(41:29):
There are good things about eachadaptation, and they're also bad
things, but that's a book that is is very cinematic that I
think is waiting for a perfect adaptation.
Nice having the knowledge and perspective from numerous
angles. What are things that would have
been beneficial starting out as a young creative?
(41:53):
You know, there is no one path and that's the thing.
And I think everyone's kind of looking for, you know, what
should I do and what kind of advice?
And and you know, I'll, I'll give my advice, but you don't
have to listen to it. It it's really whatever is true
for you. And I think that we need more
people in this industry that carve their own way and, and do
(42:16):
it their way. And, you know, there's a lot of
fear out there. There's a lot of people's people
told me, Hey, you're never goingto be able to be a filmmaker if
you're also a casting director. Don't, don't get into casting,
you know, which is just obviously not true.
And I just think that anything that is like, you know,
(42:38):
prohibitive, like anything that is going to stop you from
creating, you know, don't listento that people say, don't, don't
reach out to, to people, don't send cold emails or, you know,
pitch yourself or whatever. That's bullshit.
Because I've put a lot of those people in movies and I wouldn't
(42:58):
have the career I didn't, I, I have if I didn't send those
emails to producers. So, you know, if you can find
someone's contact, like don't bea crazy person and stalk them,
but say, Hey, I exist, I'm here and here's what I have to offer,
right? And, and you just never know.
I've worked with so many people that way.
There's countless names on the the guest list of the podcast
(43:22):
where it was just I admired you were a great example.
I admired your work. I listened to some of your other
podcasts and I was like, I'll shoot my shot.
Here's the information. Can we hang out more virtually?
Yeah. How do you creatively reset and
recharge between projects? I don't.
(43:43):
I had prepared that question andthen I was like, as you were
talking, you were like we went into production 2 weeks later.
I was like, there may not be a down period, I don't know.
Yeah, I mean, if I'm physically on the ground producing, it's
hard to jump into something else.
I definitely need some time. Like after this Western it, you
know, we stopped right before the holidays.
That was really nice. But for casting, I really prefer
(44:06):
to just keep, keep rolling into the next one.
I, I want to always be busy and,and you know, if I can't do all
of it, I'm not doing it correctly.
Basically, I, I want to be able to hire associates and, and
people on my team to take on as many projects as I want.
I don't want to miss out on anything really great.
And I'm the kind of person I, I kind of thrive on routine and,
(44:27):
and I like to get into my officein the morning and have things
to work on. So yeah, I think like it's more
about your time management, likein the day.
So if I don't know how to shut off at a certain point, then
it's not good. But if I can go to the gym, if I
can, you know, see a movie, if Ican meditate, whatever it is
(44:50):
that's going to help me in that day, then I could just keep it
going. As we wind down, are there any
aspects of the creative process,casting process that you would
want to demystify for actors, like misconceptions that you
hear perhaps in class, social media?
Yeah, I think that like it can all be demystified.
(45:16):
Like it's just so much. Everything's so much simpler
than than you're than you think or you're being told or, you
know, I mean, you don't need, you don't need an agent or a
manager. You can have one.
That's great. They're helpful.
But I really don't like the mentality of once I get this,
I'll be able to do that. Just put yourself out there,
(45:40):
tape for things on actors accessor, you know, backstage or
whatever you're going on if you want.
If you don't think the project'sfor you, it's fine to pass.
Casting directors do not take offense to to that, By the way,
that might be something I want to say to everyone that don't do
anything you don't want to do. We don't, we don't care.
(46:02):
We respect you as artists. You have to click with it.
You're always going to be calledin again, even if you pass on on
this one. So just, yeah, I think, I think
create, if that means writing, if that means making a short
film or or putting yourself up on YouTube, I don't know.
(46:22):
Whatever is feeling like inspiring to you, just do it and
don't worry about what other people have done or what they
say you shouldn't do. That's there's no such thing as
that. We end every episode the same
way. What is one thing you wish you
could go back and tell your younger self?
(46:43):
Wow. I guess try to understand
everyone. Don't make people into bad guys.
It you know, it's like the industry is tough.
There are a lot of tough personalities.
(47:06):
It could be really stressful andtoxic if you don't if you don't
try to see people at the human level and see where they're
coming from and, and really like, you know, put yourself in
their shoes and, and try to try to like be, I would say be less
(47:27):
reactive. I think that in the beginning I,
you know, really thought everyone was trying to sabotage
my movie or, you know, whatever it is like that.
And it's not true. It's just we just didn't, we
didn't like define everything inthe beginning.
So I'm still working on this. It's like I work with so many
(47:49):
different people, so many different producers.
And there doesn't need to be friction.
There doesn't need to be like, let you know, just just
communicate. When in doubt, just communicate.
That's really what it is. Yeah, David, thank you so much
(48:09):
for joining us on the show. I, I think there's so many
takeaways and I, I hope and I pray that people hear that, that
reminder when they're taping of just being instinctual with it.
And I, I hope that they hear your perspective from the other
side when they're going into thework and when they're processing
notes. Like I think it's just going to
help a lot of people. So thank you for sharing and
(48:30):
making the time. Oh good, I hope it does and
thank you so much for having me.This has been a lot of fun.
Hi everyone, thanks for listening and being the absolute
best part of our creative community here at What's My
Frame? If you'd like to learn more
about our guests, please check out the show notes and please
join us on socials at What's My Frame to Stay in the Know for
(48:51):
upcoming events, I'm your host, Laurie Linda Bradley.
We'll see you next Monday.
Hi everyone, today and What's MyFrame?
I'm joined by filmmaker and casting director David Guliamo.
David specializes in independentfilms.
As a casting director, David's known for festival hits like The
Standoff at Sparrow Creek and Run Hide Fight.
He served as head of casting forthe legendary horror Ran
Fangoria as they launched their first studio.
Additionally, he's directed 3 thrillers, No Way to Live,
(00:26):
Hospitality, and most recently Love Bomb.
Other producing titles include the indie darling The Last Stop
in Yuma County. Now let's get to the
conversation. Hey David, welcome to What's my
Frame? How you doing?
Hey, I'm doing well. How are you?
Good. If you wouldn't mind, the best
place to start is always kind ofthe beginning.
And what was your creative origin story and how what drew
(00:51):
you to the arts and I guess someof the pivotal mentors and
opportunities that helped shapedyour career?
Yeah, well, I've always been into the arts.
My father's a painter and I was a movie buff since I was, you
know, 8 years old. I I knew I wanted to be in the
film industry. And I went to the School of
(01:13):
Visual Arts, which is a film school in Manhattan and studied
directing and then lived in New York City for a while after that
and thought, you know, I got to go to LA.
It's, that's the film town. So I went out to LA and didn't
have any plans, didn't have a job, didn't have any money or,
(01:34):
or, you know, even an apartment yet or a place to live.
I, I stayed with a friend who I knew from home school and I
slept on his couch for a while. I was 25 years old and while I
was at his place, we, we wrote ascript and we really loved that
script and wanted to direct it. But since we were both
directors, neither of us wanted to back down and let the other
one direct it alone. So we said, all right, we'll
(01:55):
direct this one together. And we raised some money to do
that. And just, you know, kind of like
Kickstarter before Kickstarter, just old fashioned going up to,
you know, people, hey, you know,$1000 here and there.
You'll get to be a, a producer on a movie and all that stuff.
And we ended up raising about $150,000 that way and, and made
(02:19):
our first film, but it took so long.
And the casting director, Matt LaSalle, he, he was cool with us
just, you know, picking it up every weekend and shooting and
oh, we need another day player. We need another day player, you
know, and he was doing all the work for like, you know,
probably six months. He was on this movie with us.
And during that time, I really fell in love with the casting
(02:42):
process. I would just love to go to his
office and I would love to see all the auditions.
And, you know, I really, he, he saw that.
It really lit me up. And after we wrapped the film, I
was working at a juice bar and he, he asked if I'd rather be
his assistant. So no brainer.
Of course I would. So I started assisting Matt
(03:04):
LaSalle and we did about 20 something movies together.
I went from assistant to associate and then I worked
under a couple of other casting directors.
Susan Shopmaker, who you've had on the show, is a mentor of mine
and just so amazing, so inspiring.
I, I love her work so much. And Roger Miscenden I worked
(03:29):
under and, and, and, and eventually I just, I thought,
you know, I, I really love this and, and I need a career because
even if you're, even if you're making movies as a director, you
know, I mean, it's kind of, unless you're making really big
movies, it's hard to live off that.
And it's, it's definitely, you know, not many directors are
making a movie a year. So I thought this would be a
(03:52):
good way to be in the industry. And you know, the word director
is in casting director. So you're still directing.
You're, you're, you're dealing, you know, you're, you're working
with actors and you're sharpening that muscle and
you're, and, and, and you're doing that kind of daily, right?
If you're, if you're holding a lot of auditions.
So it was just the best of both worlds.
(04:13):
And I opened up my own company and, you know, a couple movies I
did the first couple movies I did went to big festivals.
I had my first movie was South by Southwest.
My second movie was Toronto. I thought, hey, this is easy.
It it didn't, it didn't always go like that.
I I learned, you know. I think sometimes it's good
though, to have that like reallyembarrassment of riches because
it keeps you going because then you're constantly chasing that
(04:35):
again. Yeah, now I'm like, Oh my God,
if I got into Toronto, it's been, it's been a decade, but
you know, that's how it started.And I just thought, wow, OK,
cool. And then from there, the phone
started ringing. And a lot of people like those
movies, especially for the cast that, you know, one of them in
particular was a movie called The Standoff at Sparrow Creek,
(04:56):
which was, you know, a very cheap movie.
Really, really well done by a director named Henry Dunham.
And every review is just talkingabout how it's like, you know,
the The Avengers of character actors and how, you know, it's
everyone's favorite actor all put into a movie.
So I got a lot of calls from that.
And yeah. And then, you know, here we are
(05:17):
cast over 50 movies and. And I absolutely love the job.
Wow. OK, so from going from
directing, and I know in film school you're you're you're
doing projects and you have a little bit of a handing casting,
but it's very different than working in a full on casting
office. What was that training process
for you like with Matt going into his office from being a
(05:40):
director of one of his films to actually working at the office?
Yeah, it was fun. It was just fun.
He, the great thing about Matt was that he really trusted me
and he gave me so much responsibility.
Like way more than I think maybeI should have had it first.
It was kind of like, you know, oh, man, I got to learn this.
(06:00):
I'm dealing directly with the agents.
I'm sending offers. I'm doing all these things
because he really, he really wasjust like, yeah, you know, you
know what you want to do. You know, you've been copied on
my e-mail. It's just kind of go for it.
And, you know, he trusted my taste.
I held a lot of auditions. I was in the room kind of
running them. And you know, I think, I think
(06:23):
we developed just a great shorthand and, and we're
friends, so it was really fun. I don't think we talked enough
about taste because I think a lot of times when casting
directors are brought onto a project, it is because the
history of their work and their taste and the type of actors
that they bring in, the type of actors that they're drawn to.
Do you find the projects that you're drawn to working on is
(06:43):
what your taste was as a viewer as well?
Yeah, actually I do. I've always been a huge genre
film fan. So whether that be horror movies
or westerns or, you know, I justreally love the genres, all the
sub genres. And that's kind of what I get
called to do. You know, as much as I love
(07:04):
dramas, you know, like, like nobody's calling me really for
the Sundance drama. I wish they did.
I, I really like those movies. But at the same time, it's cool
to have a niche. It's cool for, you know, people
to come to me with these lower budget genre films that are
elevated, that are artistic and very expressive.
I think that they're a great vehicle for first time directors
(07:26):
'cause they really show style. They really show that, you know,
you can be very expressive with the genre in a way that maybe
you need to be a little more subtle with the drama.
But you know, I went to Matt because I had a young cast.
I really wanted the actors to play 16, you know, Bab 18, but
play 16. And he had a movie called Mean
(07:47):
Creek, which was so good. And it was all these young
actors. And I think, I think Rory
Culkin, I think that was one of his first movies, but it was it
it that's why I went to him. So I think that when you have a
hit, you know, it's kind of similar to actors, you get
typecast. But I don't think that's a bad
thing. I think it's cool.
And I've, you know, I, I, I've developed a name for myself in
(08:09):
that in the genre, specifically horror, I was the head of
casting for a company called Fangoria for a while and that
really cemented it in there thatI was like the horror guy.
So, so yeah, that's, that's the way it's been going.
And I think, you know, you always have the the ability to
(08:29):
branch out, but it's cool to be known for something.
I think the industry has a nice way of informing you without you
really noticing it. You're just, you're just
booking, you're just working. You're just, you know, coming
down to projects and then all ofa sudden someone will kind of
mention in conversation like, oh, you're the such and such
girl or you're the such and suchguy and you're like, oh, no, no,
I do everything 'cause that's like as, as creative.
(08:51):
That's, you know, we want to do everything we want to please.
And then you're kind of like, oh, wait, I do do a lot of that.
That's true. And I'm happy.
So it's OK. Like, you know, cash the checks
as long as long as you're happy with it.
Can you walk us through like your creative process When you
get your script, how do you liketo let your imagination go to
work? How do you start envisioning
making lists? Things like that?
Yeah, so I get a script. I read it usually twice, you
(09:18):
know, to, to really get a feel for the vision and, and I'll
come up with a list of actors that I think are creatively
right. I don't know if they're
available yet. I still have to check that.
But, but given the budget, I, I kind of make a list of actors
that I think are realistic, but also correct.
(09:40):
And if they are looking for a certain level of visibility,
I'll, I'll include that, you know, our offer only actors, our
reaches. And then, you know, depending on
how much time we have, we could try those first and then see
where we land. I'll always hold auditions and
(10:00):
be able to fall back on a reallygreat tape if one of those
offers don't go through, if the dates are firm.
And if we're shooting the movie,like you're always going to have
great actors in the movie. But a lot of times for sales
purposes and things like that, we do want, you know, marquee
names and people that are going to help sell the movie and help
bring it the most visibility as possible.
So in my lists, you know, it reflects all of that.
(10:22):
And then I, I submit it to all the major agencies and they
cover it. And then they submit to me their
ideas, people who they think would take to this and are
available. And then the director will will
pick their creative favorites. And you know, sometimes the
producers weigh in and we basically hone in and create a
(10:45):
list that is focused and prioritized.
That way we could just go down the list and and and keep trying
our favorites. Now, how do you start building
kind of your creative language with your director?
How do you Start learning their taste, finding where yours and
theirs overlaps, and start building out this creative
(11:06):
world, not not just from like the marquee names, but like the
whole cast body? Yeah, I'm really good at
duplicating a vision. Like I understand it.
I, I, you know, maybe because I'm a director myself, but when
I read the script, very, very rarely am I not on the same page
as a director. I can't remember not being.
I, I think I always get it. And I, I even know where he's
(11:28):
coming from or where she's coming from in terms of like the
movies they're influenced by or,or the, the prototypes, right.
I usually start with like, OK, if you had all the money in the
world and, and, and you could just, you know, pick any actor,
who would that be? And if they say, oh, Margot
Robbie, then, you know, I kind of know what that is.
Or if they say, you know, like Philip Seymour Hoffman, I'm
(11:52):
like, OK, yeah, I know what thatis.
So there's a, there's, you know,there's a, a kind of vision that
I just want to make sure I have with them the shared vision that
I can, I can use as a launching pad.
But I, I really, every movie that I look at that I've done,
(12:15):
I, I think like each lead actor has always been everyone's
favorite. I don't think there's ever been
discrepancy. I think that when you see it,
you know, and, and there you go,that's the character and that
that's the producers, that's thedirector, that's me.
Everyone knows it's something really magical that happens
(12:37):
there. Yeah, having been at one point
in your career, first time director, you've been really
celebrated and applauded for working with first time
directors as a casting director.Do you feel like there's any
kind of protections or or guardrails that you have to help
them navigate? Or do you feel like young film
makers are getting more and moresavvy and understanding the
(12:59):
business nowadays? Yeah.
I, I, I think that the business is always changing and it's
really good for the directors toknow the business.
But I think that once the movie is financed, if it's ready to
go, we we need to create a bubble around the director, a
protective bubble, and kind of let them be purely creative.
(13:23):
And that's where that's their job.
That's where they're going to shine.
And nothing else really matters at that point.
Hopefully you're aligning yourself with people who are
making the same movie that you are.
And that's very important to pick your producers wisely or to
kind of make sure you're having those conversations to make sure
(13:46):
that everyone, you know, sees the same movie.
And you can talk about it from development through production
to distribution to marketing, everything.
Make sure that everyone's on thesame page because it's the most
collaborative art form. And, you know, there's just a
lot of, yeah, there are a lot ofpeople that need to come
(14:07):
together and you need to have that common goal.
I think a lot of times in genre,horror especially, there can be
a misconception or an idea that actors have of what you all are
looking for, because it is. It's very specific, but yet it
is also very broad. And I believe everything that's
(14:27):
done in our business is done with a lot of care and a lot of
intention and specificity. So I'm curious, how do you like
to write your breakdowns? What are some of the hidden
clues or maybe obvious clues that we as actors can gain from
that to help inform our initial creative process of building
that character before auditioning?
Yeah, when I write the breakdowns, that's a really fun
(14:50):
part because yeah, you know, I Iget, I like to get creative with
it and, and I'm a writer also, so that's a really fun part of
the process. But, you know, sometimes I'll
put a prototype in there, you know, I'll say like, you know, a
Mel Streep type or something like that.
But mainly I just, I just described the character, the
(15:14):
attributes that we're looking for and a little bit of the plot
in there just to let people knowkind of how they're instrumental
to the story. But I keep it short.
I don't want to have it be like,you know, a big paragraph.
I'll, I'll kind of, you know, because they're going to get the
script and I expect them to readthe whole script.
You know, I'm not working on Marvel movies where they can't
(15:38):
read the script, right. It's like every time I do a
movie, they get the sides, the full script.
And I, and I really place a lot of emphasis on you must read the
full script. You're not going to put your
best foot forward and give your best audition.
I don't care how talented you are.
You need to know the context. So, so I feel like, you know,
the breakdown is really just foragents to say, oh, OK, we have
(16:01):
that type. Here are the options.
And then the actors, there mightbe little insights in there, but
the actors are going to get everything from the script.
How has your approach to castingshifted or had to evolve over
the last several years with the disconnect with the the virtual
distance? You know, there are pros and
cons. I really missed the communal
(16:22):
element of it of, of actors coming into my office and
knowing them and being able to make adjustments on the spot.
I think that that was something that was very beneficial because
now if I need to make an adjustment, you know, it's going
to, I got to go back to the agents, then they got to go on
tape again. It's going to take at least a
couple days, sometimes longer. And, and I find myself going
(16:46):
well, do I really need to for that little part?
Do I need to tell them to do it again?
Is this good at this is probablygood enough And, and you know,
sometimes it is, but maybe sometimes it's not.
So I really loved the ability toworkshop it in the room with the
actors and then go through the tapes at the end of the day and
pick the best ones and make surethat the producers and the
(17:07):
director are seeing the very best.
That's the that's the negative to all the self tapes.
But the, the positive is that I cast a much wider net and I've
discovered a lot of actors who Idon't think I would have
discovered during the in person days.
I was still doing self tapes, but I was doing, I was doing
(17:28):
less of them. And now it's just like, you
know, I'm not people from other countries and, and people that
don't have agents. I, I go to a lot, I do a lot of
open calls and I'll, I'll just go straight to the actor.
Sometimes I'll post on social media.
And I think that you're more likely to be discovered this
(17:49):
way. I'm curious from the casting
point of view, is there any advice for how actors become?
How actors can become more objective of their work?
As an artist, you just kind of know what feels right.
And I think that if you're really tapping into it and
you're not so cerebral about it,I don't think you should be
(18:11):
thinking too much about it. It's kind of like your gut
instinct and feeling like you'rethat character, right?
And, and a lot of times for me, it's like the, the, the, your
gut reaction when reading the script.
That's the correct one. And then if you start to think,
how can I make this interesting or how can I, you know, stand
(18:33):
apart or maybe this character, you know, has this affectation
or that you're going to, you're going to overcomplicate it.
I think it's really just the wayyou feel the first time you read
the script. Just just go for it and be
present and have the thoughts, you know, that be your own
(18:54):
thoughts and the dialogue be, you know, coming from those
thoughts. I wouldn't think too much about
it. It's kind of like, you know, any
art, if you're painting a picture and then you get too
obsessed with little things, youstart to, it starts to change
and, and, and all of a sudden it's contrived and it's not what
you originally intended. So that's that's what I'd say
(19:16):
just just tap into it. Yeah, no, that's great advice
because I think so often actors are in this bubble and they're
like, well, if I can get it wordperfect, I'm going to try it two
more times. Or like at a point I painted a
long time ago and like, it's as you were just that it was.
I had like a visceral memory of like working on a painting and
to the point I hated it. Hated.
(19:38):
It Yeah, you overdo it. Yeah, you can't.
You can't. There is a point where it's no
longer getting better. It's getting progressively
worse. So I think as actors, because
there isn't confirmation of like, hey, yeah, you, you were
on the board, you were on the dart board.
It may not be the right one for this role.
But I think with that disconnect, we start becoming
(20:00):
almost to a sense of paranoid oftrying.
Well, if we can do it a couple more times, we can get closer to
the bullseye. And I'm always trying to chase
that elusive like advice of how to get, how to just do it and
let go. Yeah, that's, that's it, That's
it. And yeah, I, I really think that
(20:20):
we're not looking for perfection.
That's the thing. I don't know any casting
director that wants it to be perfect.
I, I think you just want to see something and then, you know,
you're going to do a call back or you're going to put them on a
zoom with the director. And especially when you're on
set and the elements are there and you're working with other
actors, not just a reader and the lights and everything, and
you've had time to prepare and really dive into this character.
(20:42):
That's when it's going to be. Yeah.
The real thing this is we're looking for sparks, we're
looking for a presence, we're looking for an understanding.
And you know, it doesn't matter if it's if it's word perfect, I
wouldn't, you know, improvise anything.
I wouldn't. I wouldn't.
Yeah, don't go off book on purpose.
But it's, but it's like, you know, we want something that's
(21:04):
that's raw and it doesn't matterif it's rough around the edges,
you know, it just has to be true.
For you right now, are the majority of your callbacks and
like producer sessions, directorsessions, are they virtual or in
the room? They're virtual.
I've done, I've done some since COVID, I've done some in the
(21:25):
room stuff, mainly chemistry reads.
And that's when you get down to the final round and you know,
but what I'll typically do is I'll do a bunch of self tapes
and then if we need to do callbacks, we can do that.
But a lot of times I'll just go straight to the director meeting
and they can meet for coffee or they can meet on a Zoom and you
(21:49):
know, if they click, that's usually all we need.
I, I don't like to do too many auditions and everything like
that. Well, I mean, you know, for
Indies, it's like we don't have that much time.
Usually prep is like, you know, it's 4 weeks.
I, I, I very rarely get a movie that's shooting more than two
months out. Usually it's like a month and a
(22:10):
half and you know, they're 30 something characters or whatever
it is. So you really have to move fast.
And again, that goes with, with the whole mentality of going
with your gut. I think that when, when, when a
tape is really good and a director clicks with that person
as an artist and as a human, like that's, that's OK, let's
(22:31):
go. Let's let's make this happen.
Yeah, when you are having those virtual callbacks and you're
actually giving redirects and working with your actors, do you
have because of the experience and understanding as a director
Also, how do you like to work with your actors?
How do you like to motivate themand give redirects and notes?
Yeah, that's a good question. I, you know, personally, my
(22:52):
style, which I've learned from directing is to always give
direction as a positive, never as a negative.
So I, I'll never say do less of this or, you know, that was too
blank. I'll, I'll never do that.
But I'll, what I'll say is give me more, you know that I'll say
(23:15):
that was great. This time, more of this or this
time, if you could, you know, we, we can hit this speed or
whatever it is, right? But but never, never imply a
negative because that's going tomake someone go inward, that's
going to make them start to freeze up and think, Oh no, I
did it wrong. So it's just a lot of like that
(23:35):
kind of positive reinforcement and also building, building,
building. You're not, you know what I
mean? You're not taking away your
building. And I also like to keep it as
concise as possible. If you start going into all
these things and you start saying a couple of different
directions at once, people's heads are spinning and then they
(23:58):
don't know how to hold on to the, you know what I mean?
It's so it's like don't go into the whole character back story.
Don't make it a whole big thing.You just you just simple
someone, someone's on the right track.
They maybe are off it a little bit.
You just got to go boop, put them right back on and and the
simpler, more concise you can make that the best.
(24:18):
Literally reminding me of, of experiences where it was like 5
notes and then yeah, ready to go.
And as an actor, you're like, I need to, they want me to be
ready to go. I am not.
But I say yes because you're, you're just like, OK, the ride
is starting. You just you, you, you go.
And then you're kind of in your head of like, did I do all of
(24:39):
that? I don't know.
I pretty much blacked out. You don't want a checklist and
and also. Sometimes they even oddly
contradict one another and it's confusing.
So you know one thing at a time and keep it simple.
Yeah. As our industry has slow and
busy seasons, what do you feel are some common mistakes or
perhaps missed opportunities in either situation?
(25:01):
Well, no, I don't see mistakes. I think acting is acting is hard
because you know, you need otherpeople and you need an acting
class or whatever it is to kind of keep the muscle toned and to
keep doing it. And you know, in that way it's
not exactly like painting or writing or things that you can
(25:21):
do on your own. So I feel for everyone when it's
slow. Hopefully you find ways to
still, you know, workshop and rehearse and, and, and do your
craft. I think that you should have fun
with the auditions. I think that that should be
something that is, you know, like if I can tell if it's
(25:42):
enjoyable, I can tell if it's scratching the creative itch.
And if it's something that you want to do.
I think that similarly to when you make a movie, if you're
having fun making the movie, that's going to rub off and the
audience is going to have fun. And I just, yeah, find the ways
to keep the the inspiration alive.
That's very important. Now we heard how writing and
(26:04):
directing LED into casting, but how did casting reopen for
directing and producing in your career 'cause now you've you've
worn many hats on a number of your projects.
Yeah, I've directed three films and I've produced, you know, a
dozen or more. And lately I've been.
A lot of times when I was producing, I was just kind of
(26:25):
helping the movies get off the ground and then I'd get a
producer credit because I was helping, whether it be with the
financing or you know what, whatever I was doing that was
more than casting. And lately I've been producing
like actually boots on the ground producing.
I just did a movie called Frontier Crucible and, and I was
the producer on that movie thereevery day, you know, in, in the
(26:48):
weeds with everything. And that's just a whole
different thing. And it's amazing.
I, I think casting has helped mejust networking wise.
I know so many people now. I know, you know, so many
producers that I don't think I would have met before if I was
just a director. Financiers also just dealing
(27:12):
with like all the department heads all the time.
You know, I know what they need.I know I can speak their
language and that is basically what being a producer and a
director is, you know, just justknowing all the insurance and
outs, knowing what everyone needs and being a facilitator of
(27:37):
it all coming together. Yeah.
Having multiple vantage points for the project, how has that
been beneficial to your work? And also just the work history
in these different veins of the business, how does it inform
whatever current project you're focusing on at the time?
Yeah, it's basically, you know, not being able to be rusty
(27:58):
because I'm always working, I'm always on a film or multiple
films. So I think that, you know, when
you make a movie, like let's sayyou're directing a movie, the
first couple of days are rough because you're just like, oh,
everyone's trying to learn how to work together.
And I haven't done this in a while.
And you kind of want to throw that footage away sometimes,
like, you know, yeah, yeah. I mean, it takes a while to get
(28:24):
into a groove. So I think that as many as many
sets that you can be on as many movies you could be working on
behind the scenes or on the ground, whatever it is, that's
going to be beneficial. And I have been lucky enough to
just have a life in film. So every single day I wake up
(28:44):
and I'm working on movies and yeah, that's just going to make
me more articulate when I'm talking to all these people I
need to talk to. And it it, it's just like I
never feel rusty, which is really great.
Does one creative outlet come more naturally to you?
You know, I like to go, I like to however I could best help a
(29:06):
movie. I want to be working in that
capacity and I don't want to step on toes.
And when you're working with me as a casting director, it's only
going to feel like I'm a director in a good way.
It's never going to feel like you have two directors.
It's just going to be like, hey,I know what you're going
through, right? But but I don't overstep, and I
really want to help someone else's vision, even if it's very
(29:29):
different than what mine would be.
You know, sometimes when I'm producing a movie, I'm like, oh,
OK, I wouldn't shoot it that wayor I wouldn't.
But but I know that I get it. I get what you're doing.
It's not a bad thing. It's just that we're different
artists and, you know, we have different styles.
But I never want to impose mine.I always want to make sure that
I'm helping everyone do what they want to do in the best way
(29:54):
possible. Yeah.
What is your favorite part of each aspect of your career like?
Favorite part of casting? Favorite part of directing?
I think it's just watching thesemovies come together in a
tangible way that is like, oh, wow, you know, either I sat at
(30:14):
my desk or someone sat at their desk and wrote these words.
And now it's like we're employing all these people and
we're all like a community and we're working together.
And in the end, we're going to have all this amazing footage
and then that footage is going to be edited into something that
will last forever. It will outlast us.
It's we're making history. We're creating art that is going
(30:36):
to be, you know, it's resonatingwith people and in ways that we
don't even, we can't imagine howprofound it, it could possibly
be, right? Movies save people's lives a lot
of times. I mean, if they, it saved my
life. And to create a work of art that
is, that is special to someone, you know, 50 years from now,
(30:57):
someone watches it. That's awesome.
So I like to just think that waythat we're, we're making, you
know, our, our imprint here on this earth, right?
And and we're expressing ourselves through this wonderful
medium. Yeah.
Now you touched on this earlier,you know, early projects having
(31:18):
having success at South by Southwest.
And I'm curious any advice that you would have for film makers,
young film makers, because you you are so immersed in it, you
love it so, so much. You've made so many sacrifices
to make this film, but you don'tknow what the reception is going
to be on the other side of it. So when it is so positive, when
(31:40):
it does have this life beyond making and simply selling the
film, which is a win in and of itself.
Any advice for how to make the most of that success and the
festival love and the this the flowers that you get that way?
Any advice of how to parlay thatinto future opportunities?
Yeah, don't expect it. And no.
(32:02):
And, and, and you know, I, I directed 3 movies, none of them
have been to festivals. You know, I, I, my first one
premiered at at one festival, but they just for whatever
reason, you know, they, they weren't festival movies, they
didn't get in. They weren't hitting that
particular zeitgeist or whateverit is with them.
They look for and you can drive yourself crazy thinking why
(32:24):
didn't my movie get in? It's, there's so much going on
behind the scenes of festivals and yeah, you're never going to
crack that. I think if you get in, that's,
that's great. And if you, and if it's well
received, that is very helpful. The good reviews, all that stuff
help facilitate a sale. They help you, you know, maybe
(32:45):
get an agent or manager or make your next movie, but you don't
need it. I've made movies without that.
And I think the best advice I could give is just start working
on your next movie. Don't have any expectation about
what this one is going to do. None.
Just finish it, make it the bestit could possibly be, and then,
(33:08):
and then start the next one. And whatever happens happens and
whatever doesn't happen, it's fine.
You're already on the next one. You don't care.
It's, you know, we, we could drive ourselves crazy expecting
certain results. And usually everything's a
positive. If you make something, it's a
positive, it's going to, it's going to help you get to that
(33:30):
next part of your career in someway.
It's usually not the way you imagine.
It's usually something else. All you need is one person to
watch your movie and say, I really like that and I'm looking
to invest in a movie or whateverthe case may be.
One person, that's all you need.If you, if you pay attention to
success, then you also have to pay attention to, you know,
failure or negative reviews or whatever that is, you know, and,
(33:52):
and, and I, I just think that you need to treat them both the
same. Yeah.
Now your 3 features that you've directed, did you have a hand in
writing all of them or no? Yeah, I wrote the 1st, 2:00 and
then the third one, Love Bomb. The most recent one was written
by Kathy Charles, who is a greatwriter who liked my first two
(34:16):
movies and said I'm going to write something for you.
And that I thought was really flattering and a little nerve
wracking. I wasn't sure if I was going to
like it, but I did. I loved it.
So I thought that would be a really nice experiment for me to
do something that I didn't write, get outside of myself a
little bit. But also, you know, she was
playing to my sensibilities, so it still felt like something I
would write. Yeah.
(34:37):
Now, was originally was the planwhen you were writing for you to
direct? Was that the goal or is that
just how it took shape in the creative process?
Yeah. Like I mentioned with the first
one, both of us were like, OK, you know, we both want to be
directors and we need Our Calling card.
So we thought it would be best to team up on that.
And then the second movie, Hospitality, the first one's
(34:57):
called No Way to Live, the second one's called Hospitality.
And the reason why we're able tomake hospitality is because the
financier like the script that my partner Nick Chacwin and I
both wrote and then watched No Way to Live the previous film
and like that. So there was no way we were
going to not direct that one together.
(35:18):
And thankfully we really work well together.
So we did that one. And then we decided we wanted to
do some stuff on our own. But yeah, you know, we would
have sold it. We would have had someone else
make it if if that maybe not thefirst one, but the second one,
probably we would have done that.
(35:39):
The first one we were really holding on to like we need to
direct, you know, but just so happened that people liked, you
know, the way we directed and wewere able to, to do all of our
movies and every, you know, every script that I've written,
basically I've been able to makeI, I, I don't have like that
many scripts lying around. It's really basically like I, I
(36:03):
write something and then hospitality.
In the case of hospitality, 2 weeks later, we were in prep
after I wrote the script. So it was really quick.
That's head spinning quick. Now, what is your writing style
like? Do you have any like like a
space or a ritual or like do yougo away for a weekend?
(36:24):
Like how do you like to write and how do you adjust that when
you're writing with Nick and andsharing ideas with a writing
partner? Yeah, every morning.
That's just the key is 5 pages every morning.
And for, for, for when I was writing with Nick, it would just
be, we'd pass it back and forth.So I'd write 5 pages, I'd give
(36:45):
it to him, he'd write 5 pages, he'd give it back to me.
And then we'd always go over from the beginning.
We'd start, you know, so that way I would start to, I'd make
my notes on his pages and adjustments and he would make
his on mine. And then every time you'd start
from the beginning before you get to your pages And, and that
gets you into the flow of the story.
But also it does something really cool where when you're
(37:08):
done with the first draft, you kind of have a second draft
already, you know, because you've been kind of going back
to the beginning every time And,and you know, everyone's
different. I there's no way to recommend
anything for anyone. It's just we found that worked
for us. And if I write on my own, I
don't go back to the beginning. I just keep going forward.
So but I still keep the five page rule.
(37:29):
I think 5 pages of morning is really good.
It's really doable. And for a while I was kind of
depriving myself for the first cup of coffee until I until I
wrote a page. That was the thing, you know, So
that way you write the page, youget the reward, but then it
starts just to be something thatyou naturally just look forward
to. And yeah, I think just a daily
(37:52):
practice. Yeah.
Is there a project that has beenmost personal to you or you're
most proud of bringing to your audience?
Yeah, so No Way to Live, my first film I directed, holds a
really special place in my heartthat just changed my life.
So. So there's that one.
(38:12):
But for casting, I really have acouple of movies that I think
are just absolute. I mean near masterpieces and one
of those is a movie called The Last Stop in Yuma County and
that was a first time director and we worked on that movie for
four years. Francis Gallupi had the script.
(38:33):
I absolutely loved it. And we didn't have financing,
and we were just trying to get it going and, you know, kind of
working on different iterations of that movie with the different
budgets, different cast and stuff like that.
And finally he got to make it his way with no compromises.
And it really is a testament to the director's vision and
(38:53):
creative control because we madeit for a lot less than we were
planning on making it for. And it is so much better than
anyone could have ever imagined.It is a movie that now has
catapulted him into the big leagues.
He's doing the new Evil Dead movie.
He has a couple of other studio projects.
And I'm just really, really proud of that one because I
(39:15):
think it's a movie I can recommend to anyone.
And they're just it's so masterfully made.
So there's, so I'd say my first movie, No Way to Live, there's
that movie. And then and then a couple of
others, there's a movie called Run Hide Fight, I'm really proud
of. That was also very hard to make
because it was very controversial.
(39:35):
It was about a school shooting, very controversial.
And everyone told us that we couldn't make the movie.
And we did and, and it's excellent.
And it went to the Venice Film Festival.
And that's just something that I'm, you know, very proud of to
this day. Going back to your writing, I'm
curious, what was the character that was the most fun to write?
Oh well, the character of Nora and no way to live.
(39:59):
If you watch it, you'll see why there.
Yeah, I I really kind of. I think I nailed that
characterization. And there are a lot of twists
and turns and. It was a it was a role that an
actor, Freya Tingley, who plays Nora, you know, she really sunk
her teeth into it. And I think it's a really great
under scene performance. I think it's it's like, you
(40:22):
know, award, award worthy, but the movie was so small that, you
know, not that many people saw it, but it's it's a terrific
performance that I know, you know, you never know what you
have and you're so close to it that it's hard to say.
I made a great movie. You just don't know.
But you do know about the performances, you know, and,
and, and she just knocked it outof the park.
Amazing. What is a bucket list project or
(40:45):
story you want to take on in thefuture from either any any
creative aspect? That's a good question.
You know, I'm a big reader and there are a lot of authors that
I that I really that I really love that I think don't get
adapted correctly. You know, it's a hard thing.
(41:08):
It's a hard thing to do. And probably, you know, one of
my favorite authors I would loveto make, you know, The Postman
Always Rings Twice is a movie that I'm sorry, is a book from
James and Cain that is turned into a movie a few times and I
don't think ever really nailed it.
(41:29):
There are good things about eachadaptation, and they're also bad
things, but that's a book that is is very cinematic that I
think is waiting for a perfect adaptation.
Nice having the knowledge and perspective from numerous
angles. What are things that would have
been beneficial starting out as a young creative?
(41:53):
You know, there is no one path and that's the thing.
And I think everyone's kind of looking for, you know, what
should I do and what kind of advice?
And and you know, I'll, I'll give my advice, but you don't
have to listen to it. It it's really whatever is true
for you. And I think that we need more
people in this industry that carve their own way and, and do
(42:16):
it their way. And, you know, there's a lot of
fear out there. There's a lot of people's people
told me, Hey, you're never goingto be able to be a filmmaker if
you're also a casting director. Don't, don't get into casting,
you know, which is just obviously not true.
And I just think that anything that is like, you know,
(42:38):
prohibitive, like anything that is going to stop you from
creating, you know, don't listento that people say, don't, don't
reach out to, to people, don't send cold emails or, you know,
pitch yourself or whatever. That's bullshit.
Because I've put a lot of those people in movies and I wouldn't
(42:58):
have the career I didn't, I, I have if I didn't send those
emails to producers. So, you know, if you can find
someone's contact, like don't bea crazy person and stalk them,
but say, Hey, I exist, I'm here and here's what I have to offer,
right? And, and you just never know.
I've worked with so many people that way.
There's countless names on the the guest list of the podcast
(43:22):
where it was just I admired you were a great example.
I admired your work. I listened to some of your other
podcasts and I was like, I'll shoot my shot.
Here's the information. Can we hang out more virtually?
Yeah. How do you creatively reset and
recharge between projects? I don't.
(43:43):
I had prepared that question andthen I was like, as you were
talking, you were like we went into production 2 weeks later.
I was like, there may not be a down period, I don't know.
Yeah, I mean, if I'm physically on the ground producing, it's
hard to jump into something else.
I definitely need some time. Like after this Western it, you
know, we stopped right before the holidays.
That was really nice. But for casting, I really prefer
(44:06):
to just keep, keep rolling into the next one.
I, I want to always be busy and,and you know, if I can't do all
of it, I'm not doing it correctly.
Basically, I, I want to be able to hire associates and, and
people on my team to take on as many projects as I want.
I don't want to miss out on anything really great.
And I'm the kind of person I, I kind of thrive on routine and,
(44:27):
and I like to get into my officein the morning and have things
to work on. So yeah, I think like it's more
about your time management, likein the day.
So if I don't know how to shut off at a certain point, then
it's not good. But if I can go to the gym, if I
can, you know, see a movie, if Ican meditate, whatever it is
(44:50):
that's going to help me in that day, then I could just keep it
going. As we wind down, are there any
aspects of the creative process,casting process that you would
want to demystify for actors, like misconceptions that you
hear perhaps in class, social media?
Yeah, I think that like it can all be demystified.
(45:16):
Like it's just so much. Everything's so much simpler
than than you're than you think or you're being told or, you
know, I mean, you don't need, you don't need an agent or a
manager. You can have one.
That's great. They're helpful.
But I really don't like the mentality of once I get this,
I'll be able to do that. Just put yourself out there,
(45:40):
tape for things on actors accessor, you know, backstage or
whatever you're going on if you want.
If you don't think the project'sfor you, it's fine to pass.
Casting directors do not take offense to to that, By the way,
that might be something I want to say to everyone that don't do
anything you don't want to do. We don't, we don't care.
(46:02):
We respect you as artists. You have to click with it.
You're always going to be calledin again, even if you pass on on
this one. So just, yeah, I think, I think
create, if that means writing, if that means making a short
film or or putting yourself up on YouTube, I don't know.
(46:22):
Whatever is feeling like inspiring to you, just do it and
don't worry about what other people have done or what they
say you shouldn't do. That's there's no such thing as
that. We end every episode the same
way. What is one thing you wish you
could go back and tell your younger self?
(46:43):
Wow. I guess try to understand
everyone. Don't make people into bad guys.
It you know, it's like the industry is tough.
There are a lot of tough personalities.
(47:06):
It could be really stressful andtoxic if you don't if you don't
try to see people at the human level and see where they're
coming from and, and really like, you know, put yourself in
their shoes and, and try to try to like be, I would say be less
(47:27):
reactive. I think that in the beginning I,
you know, really thought everyone was trying to sabotage
my movie or, you know, whatever it is like that.
And it's not true. It's just we just didn't, we
didn't like define everything inthe beginning.
So I'm still working on this. It's like I work with so many
(47:49):
different people, so many different producers.
And there doesn't need to be friction.
There doesn't need to be like, let you know, just just
communicate. When in doubt, just communicate.
That's really what it is. Yeah, David, thank you so much
(48:09):
for joining us on the show. I, I think there's so many
takeaways and I, I hope and I pray that people hear that, that
reminder when they're taping of just being instinctual with it.
And I, I hope that they hear your perspective from the other
side when they're going into thework and when they're processing
notes. Like I think it's just going to
help a lot of people. So thank you for sharing and
(48:30):
making the time. Oh good, I hope it does and
thank you so much for having me.This has been a lot of fun.
Hi everyone, thanks for listening and being the absolute
best part of our creative community here at What's My
Frame? If you'd like to learn more
about our guests, please check out the show notes and please
join us on socials at What's My Frame to Stay in the Know for
(48:51):
upcoming events, I'm your host, Laurie Linda Bradley.
We'll see you next Monday.
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Clay Travis and Buck Sexton Show
The Clay Travis and Buck Sexton Show. Clay Travis and Buck Sexton tackle the biggest stories in news, politics and current events with intelligence and humor. From the border crisis, to the madness of cancel culture and far-left missteps, Clay and Buck guide listeners through the latest headlines and hot topics with fun and entertaining conversations and opinions.