June 30, 2026 • 34 mins
What does it take to spend more than two decades creating creatures, monsters, and makeup effects for Hollywood before finally stepping behind the camera to direct your own feature film?
In this episode, legendary special effects artist Hiroshi Katagiri shares his remarkable journey from moving to Los Angeles as a teenager from Japan to working on films like Pacific Rim, Cabin in the Woods, Green Lantern, The Time Machine, and countless other productions. Along the way, Hiroshi reveals how practical effects shaped his understanding of storytelling, why independent filmmakers should focus on what they can control, and how years of experience creating creatures prepared him for directing his first feature-length horror film.
The conversation dives deep into low-budget filmmaking, visual storytelling, practical effects, storyboarding, horror filmmaking, crowdfunding, and the realities of building a career in Hollywood. Hiroshi explains why aspiring filmmakers should stop waiting for permission and start creating immediately, how he produced award-winning short films with almost no budget, and why his passion project Gehenna became an eight-year journey of writing, planning, and persistence. For filmmakers, horror fans, and creative entrepreneurs, this episode is a masterclass in turning expertise into opportunity and passion into action.
Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.
In this episode, legendary special effects artist Hiroshi Katagiri shares his remarkable journey from moving to Los Angeles as a teenager from Japan to working on films like Pacific Rim, Cabin in the Woods, Green Lantern, The Time Machine, and countless other productions. Along the way, Hiroshi reveals how practical effects shaped his understanding of storytelling, why independent filmmakers should focus on what they can control, and how years of experience creating creatures prepared him for directing his first feature-length horror film.
The conversation dives deep into low-budget filmmaking, visual storytelling, practical effects, storyboarding, horror filmmaking, crowdfunding, and the realities of building a career in Hollywood. Hiroshi explains why aspiring filmmakers should stop waiting for permission and start creating immediately, how he produced award-winning short films with almost no budget, and why his passion project Gehenna became an eight-year journey of writing, planning, and persistence. For filmmakers, horror fans, and creative entrepreneurs, this episode is a masterclass in turning expertise into opportunity and passion into action.
Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.
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Speaker 1 (00:03):
You are listening to the ifh podcast Network. For more
amazing filmmaking and screenwriting podcasts, just go to ifhpodcastnetwork dot com.
Speaker 2 (00:12):
Welcome to the Indie Film Muscle Podcast, Episode number eight
sixty one. Being an artist means not having to advert
one's eyes. Akira Kurosawa.
Speaker 1 (00:22):
Broadcasting from the back alley in Hollywood. It's the Indie
Film Hustle Podcast, where we show you how to survive
and thrive as an indie filmmaker in the jungles of
the film biz. And here's your host, Alex Ferrari.
Speaker 2 (00:35):
Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
I am your humble host Alex Ferrari.
Speaker 3 (00:40):
Today's show is sponsored by Rise of the Film Entrepreneur
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(01:44):
filmbizbook dot com. That's film bizbook dot com. Enjoy today's
episode with guest host Dave Bullis.
Speaker 4 (01:54):
Hello, Ron, Welcome to another edition of Dave Bolls Podcast.
Join me Today is Roshi Katagi. Hiroshi has worked in
the special effects field for over twenty three years, and
he's worked on films such as Escape from La Pacific, Rim,
Cabinet in the Woods, and he's currently working on his
first feature film, Gahana. Hiroshi, how are you?
Speaker 5 (02:15):
Yeah? Good Flie, Thank you so, Horoshi.
Speaker 4 (02:19):
Just to get started, the first question want to ask
you is how did you get started in the film industry?
Speaker 5 (02:25):
Yeah? After that was like a born and raised in Japan,
and I just wanted to do special makeup effects and
working for like Hollywood movies. So after graduating high school,
I just moved to Los Angeles and just when today
I know the makeup school like for the ten ten
(02:47):
weeks and which is pretty short. Then I started building
my portfolio. Then applied to some studio and I just
started at Stainton. When I was nineteen, I met the
guy named the Screaming Matt George. You know he he
has a he owned a studio, makeup effects studio. He
had to work for like a Photogeist two back then
(03:11):
or ABYSS. Then yeah, and then I just started as
an intern. There that's my my beginning.
Speaker 4 (03:19):
Oh cool. And then you know, I see then you
went on to work on projects to Escape from LA
and Pacific Rate. Yeah, so how did you get started
working on those those projects in the beginning?
Speaker 5 (03:30):
Ah? Wow, I Escaped from LA. It's a what a
horrible film. It's funny you mentioned that the title, but
it's the basically you know, it's so just ninety one
my like I first started and it's like a golden
age of makeup effects industry. You know, it's like lots
(03:52):
of like a direct video a IT movies and you
know a bunch of big movies. Okay, everything was happening
in La so like everybody's working pretty much. So and
also it's kind of small community. So you know, you
get the recommendation for in or from other place and
the other studio and uh so always get called. So
(04:14):
that's the if you keep doing a good job, you
just keep asking for work and getting getting jobs.
Speaker 4 (04:22):
So, Rosie, if you had any advice for like a
beginner who wanted to do what you do, what would
that be?
Speaker 5 (04:29):
It's the uh, basically, just don't wait to learn from
the school or anywhere. If you like it, you're gonna
start building your own. It's many ways you can get
the instructions, you know, from internet or just you. You
you gotta if you like it. That's a proof that
iss you without the forcing by anybody. If you if
(04:49):
you can start building your own you know something anything.
So that's the uh, that's the first advice. You know,
you have to like it, then you have to prove it,
so builder your portfolio to start.
Speaker 4 (05:03):
Yeah, that's really good advice. Yeah, and I think that
that's true too, for you know, even if they want
to be like a writer a director and uh, you
know they have to. You know, it's it's a little
easier now, they say, because obviously with with the way
cameras are now, you can you don't need to shoot
on film anymore. You can you know, shoot on digital
and you could. Yeah, and you know, but with special
(05:27):
effects like that, you still need to have make up.
You still need to you know, mold things like you do.
I mean you make those I mean amazing. I saw
that one you do a Pacific rim and you had
that mini buddle and I mean that was just amazing artwork.
Speaker 5 (05:37):
Thank you.
Speaker 4 (05:38):
And uh and I also saw the thing a different
cabin in the woods you made Merman. Yeah, and I
mean that that is, you know, that takes a lot
of artistic ability to do that, even with the even
with the advent of the digital. But I mean, yeah,
I can see what you mean. So do you recommend
that anybody who wants to do this, do you recommend
(05:59):
they should be an l.
Speaker 5 (06:01):
Well not really, you know, nowadays it's la it's the Yeah,
I would say, like a worst place for working for
the major movie. Yeah, I recommend go to like Vancouver
or the London mm hmm. Yeah, they're making more movies
now over there. Yeah.
Speaker 4 (06:19):
Yeah. And you know, Georgia was just ranked as the
number one place in America right now that's making movies.
Speaker 5 (06:25):
Oh really Georgia. Wow?
Speaker 4 (06:27):
And number two is Louisiana.
Speaker 5 (06:29):
Yeah. I've been there a couple of times for several
different movies.
Speaker 4 (06:33):
Oh really really Louisiana.
Speaker 5 (06:34):
Yeah, the Green Lantern and the oh no, just a
green lantern yep.
Speaker 4 (06:41):
So what models did you make? What special effects? What
did you do for the Green Lantern?
Speaker 5 (06:46):
Do you remember Abinsar character? Yeah, yeah, it'scpt the makeup
for Abincar and dead body of him?
Speaker 4 (06:55):
Oh cool?
Speaker 5 (06:56):
Yeah, and uh, makeup design for Siniestro Ellen. Yeah, so
just the first makeup design that sculpted on his life
cast and just you know, for.
Speaker 4 (07:13):
The test, Sinnesta has played by Arc Strong. And was
it turned out that was pretty good work?
Speaker 5 (07:20):
Yeah, it's an unfortunately movie, it was horrible. Yeah. In
the many digital uh digital characters, and the aviance stands
out pretty well because it was makeup.
Speaker 4 (07:35):
Mm hmm uh yeah. And uh and Sinestra on the
and you know, some of the villains and that were
just some of the most minerable parts.
Speaker 5 (07:42):
Oh yeah, the hector too, Yeah yeah.
Speaker 4 (07:45):
So uh so you know, around two thousand and six, Yeah,
you've been working for for a couple of years, you
decided to direct your own short film, Pulse.
Speaker 5 (07:55):
Yeah.
Speaker 4 (07:55):
What experiences did you encounter when you first made that film?
Speaker 5 (08:00):
On? The biggest issue for me is, you know, I'm
not the native English speaker, so the writing is the
biggest issue. So yeah, I just start writing, and I
think I started in Japanese and then just I made
the English myself and I just give it to my
friend American friend, and he the correct all the language
(08:22):
mistake and he brings me back and then when I
see that and the new ones and some details like
if I feel different, then I just change it then
just giving him back. So just back and forth so
many times to get the script. So it took me
like I was working full time in the mekeup effects
industry also, so it took me six months before I
(08:44):
start filming. So that's the biggest hardest thing, you know,
for studying the movie. And also I'm pretty specific about
the visuo how to shoot, and so the script has
to be done, then I have to be in my
(09:05):
mind has to be completed. You know, film has to
be finished in my mind before I shoot, So it's
hard to before shoot. Then then once shooting stats and
this goes a little bit easier because I have the
bision already.
Speaker 4 (09:20):
So yeah, So do you storyboard a lot or just
mainly have it in your head?
Speaker 5 (09:27):
Yeah? A storyboard, yep.
Speaker 4 (09:30):
So you know, I found that to be a very
invaluable tool as well as that, you know, storyboarding and
even I don't think they're in my opinion, I don't
think you can really storyboard too much because if you
break down it into very even most minute details and
have it along the wall or have it or however
in a pamphul lever, I think it really helps not
only you but everybody else understand what actually is going
(09:51):
on in the movie.
Speaker 5 (09:52):
Yeah, yeah, absolutely, yep.
Speaker 2 (09:55):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 4 (10:04):
And so you know, I had David Hall on the podcast.
I don't know if you're familiar with David Holly as
a script consultant, but he always recommends having horror as
your first project. Because horror movies are you know, quote
unquote easier to do because obviously horror is a character
of the movie itself. You don't have to depend on
(10:25):
actors per se, you don't have to depend on a
location per se. But you know, horror is sort of
it sort of goes across all boundaries and all cultures
and all language barriers.
Speaker 5 (10:37):
Do you feel the same, Yeah, yeah, absolutely so.
Speaker 4 (10:41):
Then after if you shot Pulse, You've got two other
short films, which are Crayon and Hindsight. Now did you
now with Pulse, Crayon on Hindsight, did you craft on
any of these projects?
Speaker 5 (10:52):
What's the question?
Speaker 4 (10:53):
Did I with a post crayon in Hindsight? Did did
you crowdfund any of those projects?
Speaker 5 (11:00):
No, it's all my personal money, but the money I
spent for all three movies, but maybe like three thousand altogether.
And the first of all, you know, it's all the
effects pretty much free, because you know, I do and
I have a friends, and all I need is material
And then of course all my friends helped and everybody
(11:22):
like actors and DP and I didn't have to rent
anything or the pay to anybody. And I was so fortunate,
you know, I got the all talented people just helping out.
So and also just writing is so important, so I
just write the story. I decided the location first. Then okay,
so here I see, I gotta use this house. Then everything,
(11:45):
every drama is gonna happen in just this house. Then
what can I make? So that's my start to make
the movie, so which I know I can't spend too
much money, So then I just yet location, it's so important.
Then I just think of the idea. What can I do?
You know, to to shoot in a single location, make
(12:08):
it interesting?
Speaker 4 (12:09):
So and you knows that idea has We've seen that
it works very well too in recent years with like
your paranormal activity that I have shot in Orange's house
and it made hundreds of millions of dollars, and yeah
on a thirteen thousand dollars budget. And when you shot
these movies, Haroshi, did you have a skeleton crew or
(12:29):
did you have a fairly large crew?
Speaker 5 (12:32):
No, skeleton crew. It's the very minimum, maybe twelve people
all together, and sometimes like a four people in some
some day in four people everybody including an actor. Yeah
that's interesting, one DP me, one actor and one eighty
(12:53):
that's all.
Speaker 4 (12:55):
So now you put those three shorts together at DVD.
Where can people find the horror Theater as for that's
the Namevolve Through Movies combined. Where where can people buy
that hard Theater DVD?
Speaker 5 (13:07):
Oh? Just check on the Amazon then search by the
horror Theater then you can find it.
Speaker 4 (13:13):
Okay, Yeah, and I'll put it into that too, up
on the show notes.
Speaker 5 (13:16):
Yeah, thank you. Well. Also, and you can just watch
it free on my YouTube channel.
Speaker 4 (13:21):
I'll put a note. I'll put a link to that too.
Speaker 5 (13:23):
Yeah.
Speaker 4 (13:24):
So, so when you were making these movies, Toro, and
as you make films today, you know, who are your
filmmaking inspirations.
Speaker 5 (13:32):
It's a yeah, it's a tough question. There's so many.
And uh, when I was younger, my favorite director was
the Robert Zemeckis. So I love the like Back to
the Future series especially it's so entertainment and it's the
horror too. And I take the Horrors not as a
(13:53):
scary movie, but you know, still entertainment movie and have
to entertain audience. And the Mickeys was nice, and Spielberg
and of course and those those guys are incredible for
amusing people. I mean later a period and know they changed,
but the earlier days especially and of course Cameron, James
(14:17):
Cameron and uh yeah, a huge influence and especially the
effect I was like a fifteen years old and there's
a double feature in Japan, uh, Aliens and The Fly
and Shocking Day, Shocking Day. Yeah, just watch the Aliens
(14:38):
and blow my mind so amazing and I was expected, Okay,
no way, it's no, it's the next gonna be next
to the movie will be as big as this one.
And then watched The Fly and as amazing too, so
much in one day. And as there's a huge influence
(14:59):
for me, like a Sames Cameron and The Cloning bog
mm hmm yeah, and as many many directors, many movies.
You know, it's it's like I can't speak forever, but
horror movie. Yeah. As I mentioned on my project is
the uh the Twilight Song got a huge influence. You know,
(15:23):
it's the it's really low budget and depending on the
actors performance and idea of the story and always you know,
there's ending. It's got it's really shocking and surprise ending.
And that's the model of my story always. You know,
(15:43):
it's the I was so interesting to just keep watching
and then at the end just uh surprising. Yeah, just
the yeah, all set up is it's just amazing. So
probably you know, the big influenced me is the you know,
t White Eyed one, especially for my movie.
Speaker 4 (16:06):
Yeah, so you know, I'm a big fan of Jay Horror.
You know, I I just heard that the remaking audition,
which is by Takashi mackay there. Yeah, they were making
an American mad audition. Now, okay, so have you seen audition? Yeah,
of course, yeah, you know, and you know that reminds me,
you know, the same model where it's almost like there
(16:29):
was another the feature like Pulse and there's like a
one miscall and there's a whole with Jay Hart. It's
more of an unsettling I guess I would say, yeah,
than the actual scare or horror. You know what if
you don't mean but but it does it very well.
And I was just wondering, you know, how good the
audition because the Japanese audition was was pretty gory thing.
(16:53):
I don't think they'd be able to do with the
American version.
Speaker 5 (16:58):
Yeah, my uh scarediness taste is more. Yeah, Jay Horror,
it's the Jacques is like a creepy style and additionally
it was excellent movie. I love it too, but I'm
not good at the like a torture or the painful
scene or movie. Yeah, it's The Evil Dead. I loved
(17:20):
The Evil Dead. You know, the first one, the reasonable one.
Sam rhymes yes. And there's a scene of the stubbing
is the ankle with the pencil? That scene I couldn't watch,
you know. I watched the counter at time of you
know that movie, and uh, only that scene I couldn't watch.
I just always closed my eyes.
Speaker 4 (17:43):
So you have a new project called Ghanna. It's your
first film project. So, so why don't you tell us
about this? Akahana said, story. I know this is, you know, uh,
your first feature film. I know it's it's very important
you So why don't you tell us about it?
Speaker 5 (17:59):
Yeah? So I so the next big step is that
can make feature film. I made the three shorts already
and then so the feature film. I just needed the
great idea. And also I'm gonna take advantage of my background,
which is I was born and grown up in Japan,
and then I'm in the I'm in the industry for
(18:21):
like over twenty years in the American uh makeup effects industry.
So then I was thinking what can I do, you know,
to take those advantages. So then I I found a
good location which is taxt Place in Saipan. So sideplan
is the huge battlefield between Japan and America during the
(18:44):
World War Two. And then then also the location. I
know it's my it's gonna be first feature movies, so
I cannot spend too much money, so I just the
thinking of the story. That's the text plasing in isolated
place which is the Japanese secret military base from World
(19:06):
War too. Then I got a great idea for that,
and so it started maybe just got this idea, start
writing maybe eight years ago, and took so long as
the as may you know, complete the script and I
show my friend and correct everything as they read, change
(19:28):
it many times, and I tried to apply for like
a Japanese movie. I just rewrite everything in Japanese also,
and trying to the pitch to the direct producer of
the Wing and when he told me he's looking for
English the script, so then just rewrite that. So it's
(19:49):
the crazy story. So it took me like seven eight
years to complete the one script. And of course because
you know, I'm working full time in the makeup effects industry.
Speaker 2 (20:00):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 5 (20:10):
So but anyway, so, so this movie is so important,
you know, so all my desire, long time desire, is
in it, and I'm just spending all my effort to
make it really really interesting movie in a scary movie.
So yeah, anything more I should speak about the.
Speaker 4 (20:34):
H And just the synopsis of so far of Gahana is, yeah, uh,
you know, an American real estate agent finds, you know,
looking for a real estate project in in Saipan, and
you know, she ends up finding you know, this World
War two uh bunker in this place, and then obviously
that's where you know, all hell brings.
Speaker 5 (20:56):
Yeah yeah, And as they encounter the that creepy super
quip the Old Man, which you can see in the
my Kickstarter campaign Doug Jones playing it, and then accidentally
they killed the old Man. Then some explosion happening, so
you don't know the cause of explosion. Then everybody knocked
(21:16):
knocked down to the floor and lose conscious. Then when
they wake up, then old Man's gone. And before that
they find the dried up corps from somewhere it looks
like a Caucasian in a Japanese military base. Then uh,
then all those cops is gone too. Then also the
exit is closed, so they are trapped inside and then
(21:42):
just try on the way too, you know, the looking
for the exit. From there, they encountered the like a
mysterious series of mysterious event and each one has the
fear for something. Then then they have a hallocination or
they experienced the uh those fear each one then yeah,
(22:07):
then then at the end, you know there's the or
the answer you know, who was the old man or
the where the dead buddy gone? And uh usual they
can get out or not? You know, every answer is
you know, there's there's a surprise ending at the end.
Speaker 4 (22:22):
Awesome and it does sound really cool. I've actually I've
actually pledged your kickstarter and uh you know I watched
the video twice. It actually is very well done.
Speaker 5 (22:32):
Oh thank you?
Speaker 4 (22:33):
Uh and uh so and also how did you end
up getting Doug Jones on the project? And for those
who don't know who Jug Jones is, He's done you
know a lot of work with uh uh Del Toro.
Speaker 5 (22:48):
Yeah, Panslablins, Yeah, her boy as An and uh angel
death many yah any any Skinny Creatures in All Falling
Sky TV right now. Yeah, he's an idiom.
Speaker 4 (23:05):
Yeah, you thinks helped me out there. I forgot his
movie for Hans Labyrinth. But how did you get talk
on board the project?
Speaker 5 (23:15):
Okay? Dok Is of course, you know, famous among us.
You know, I worked with him for many, many different
films like A Time Machine or The Doom and Her Boy,
Her Boy to Buffy the Vampire Slayer. There's so many
(23:38):
as the every time when we make something skinny character,
it's always him. Yes, he knows me and I know
him and uh and I just email him that if
he could support my kickstarter project and he yeah, and
he's just totally cool, such a nice guy.
Speaker 4 (24:01):
And that's amazing, and uh, it just goes to show you,
you know, you have to make relationships in this business.
Speaker 5 (24:07):
Yeah, yeah, it's so fortunate. Ye.
Speaker 4 (24:12):
So, so Hi, what are your plans for the release
for Gahana?
Speaker 5 (24:16):
Oh the plan for for the release?
Speaker 4 (24:19):
Are you opening to this in the theaters or just
like vo.
Speaker 5 (24:21):
D Yeah, yeah, my uh the ideal I love to
release in the theater. Then, uh so there's a way.
That's the reason I'm using a Kickstarter is you know,
there's a several ways to get funded for movies. So
I could approach to a distribution company to to get
funded and if they like it, of course, but what
(24:46):
comes with it with the money is the their control
for the movie. So it's a lot of things. It's
the uh my my plan is before looking for distribute distributor,
I make just great, great film. Then then I just
to look for the distribution. So that's the Yeah, that's
(25:11):
this idea.
Speaker 4 (25:12):
Very cool. Yeah, so you're you're currently you know, crowdfunding
on your kickstart for Gahana. Yeah, I'm going to link
to the kickstart in the show notes. So uh, I mean, honestly,
if anyone's listening, I really recommend you check out uh
Hiroshi's video for it. I check out, you know, the
project page, because it's actually a very cool, well done video.
(25:35):
It looks like it's gonna be a great project. Thank
you and Roshie. So, you know, in closing, uh, you know,
what were any projects you have in mind for the future.
I know you probably don' want to answer that question
because you're so busy with Ghana, but but is there.
Speaker 5 (25:49):
Yeah, I do, I do it. Yeah, So I have
another script called the Basido. You know, it's the it's
a job I practice, I for like a twenty three years,
in the same as my career twenty three years. So
it is my instructor. I just the wrote a script
to show the value of the baser rats. So American
(26:12):
Guy is a main character and it takes place in Japan.
It's like last summer I meet Karate Kid. And but
you know, that's a bigger, bigger movie. So then I
need to you know, of course I want to direct.
Then in order to direct that, then I have to
make smaller movie to start, and as the I need
(26:34):
the experience to direct the feature film. So then in
which you know, Agahina is my first film. It's a
low budget and takes advantage of my career. So the
second one I'm looking for making the action, but I
want to create a bunch of characters creatures and the
(26:55):
characters which the cool makeup effects, so something you know,
I can get the experts of course, and all my
friends gotta support me for it's the other cool practical
effects Christian movie with action. Yeah, you know a ninja scroll. Yeah,
(27:15):
it's something like that. But again you're trying to make
it cheap too, like it takes place in one mountain,
so you know, guy wakes up and he he he
has no memory and he's wondering of who he is.
And uh then some some like the characters are attacking
(27:36):
him and he has a bandage wrapped his hand is
wrapped in a bandage and then he like his instinct
he avoiding is using his hand. Then the bandages fall
off and that's a creature hand. Then uh yeah, once
his hand exposed and he kills everybody like a crazy
power he has. Then uh, then struggle in his discovery
(27:58):
of who he is and who's the enemy is and
I he hate trying to find out you know that
he's iiding identity. So in a bunch of characters, you know,
like an indust girl with special power characters. And visually
it's cool, but you know, first of all, I have
to focus on the Hanna to complete fund it first
(28:19):
of course it's complete. Yeah, but yeah, I have more
ideas in the future.
Speaker 4 (28:26):
Awesome, you know, with a keto, it's interesting, you know,
a key really you know was big in the nineties
when Steven Sagall was you know, doing his movies, and
now it's sort of yeah, you know, they say that
every decade has its martial arts. The nineties was a keto,
now it's like mixed martial arts. In the eighties it
was kickboxing, in the seventies it was kung fu, and
(28:48):
the sixth was karate. So it's yeah, they always say
that everywhere in the eighties also is ni jitsu, but
they always say that every decade. But it'd be cool
to see a keto come back, especially the guys, because
when they can actually you know, use the throws and
and stuff like that, it's you know, it's it's pretty interesting,
you know, and you know, because now it's it's more
(29:11):
of like a Brazilian judy. But I've actually practiced, you,
I've practiced Brazilian jiujitsu.
Speaker 5 (29:15):
And that's cool.
Speaker 4 (29:17):
Yeah. Yeah, I actually practiced at a place called Exercise
in Philadelphia and it was actually the the oldest judo
club on the East Coast and uh it's been there
for for years upon years, and uh uh they practiced judo,
kido and Brazilian jiu jitsu.
Speaker 5 (29:34):
Oh that's cool, that's great.
Speaker 4 (29:37):
Yeah, it's it's pretty cool. But yeah, I've done that
practice and I know exactly where you're coming from.
Speaker 5 (29:43):
Yeah, And there's many like old old techniques. You know,
you're something you have never seen in the movie yet.
Then I'm just researching and you know those and my
instructor has got lots of idea and it's pretty interesting.
I'm just making test action action cuts.
Speaker 2 (30:00):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 5 (30:09):
And uh, you want to show something unique and it's
not a typical like a Steven Siga, I kiddo, or
the you know some some other movies. I just don't
want to make something new, new action.
Speaker 4 (30:22):
Yeah, I'm waiting for Sistema to make a stable.
Speaker 5 (30:27):
Yeah. I met the uh uh Mikail Reboco. Yeah, yeah,
he hit me pretty light, but it was maybe yeah, incredible.
What did you meant him at in Japan? Actually? Yeah,
I had the scouting seminar in Japan and when I
(30:50):
was there this happened. He has a semino over there
in the same same area. Yeah, it's just attended and
it's a great experience.
Speaker 4 (30:59):
Yeah, it's a pretty interesting. Marshal erre I uh, I
actually didn't learn from him, but one of his disciples,
disciples Vladimir Vasili in Canada, one of his guys. Uh
actually started training with him. Oh cool, so that's that's
what I'm doing now. So uh yeah, it's a small world, right, Yeah.
Speaker 5 (31:18):
I love the training method, you know, it's it's great.
It's very similar to philosophy, is really similar to Akito.
Speaker 4 (31:25):
Yes, and uh I you know that similar to it. Also,
I have nursed a taichi swan. Yeah that's yeah, it's
about relaxation. But yeah, it's it's it's pretty cool and
uh so uh sure you know, uh, Horotia, I know
you're a busy guy. I know you're busy with the
movie everything. So I won't I won't keep you anymore.
But is there anything else you'd like to talk about
(31:47):
that that we haven't touched upon.
Speaker 5 (31:49):
Yeah, I just want to just to say about Kahna.
You know, it's the uh this is a really really
great original story. You know, I don't I don't know
anything similar to this. It's pretty original. And uh the
visio of course, you know, it's the Uh. I'm working
with the top effects guys in the water. So yeah,
(32:11):
it's gonna be a great movie. And I'm not gonna
turn it down time you guys down. It's gonna be
a great movie, so please please support my movie and
please pledge. So that's my message.
Speaker 4 (32:24):
And yeah again I repeat Herosie's message. I would advise
you guys to check it out linked to the show notes.
But I think it's it's gonna be a cool, really
cool project. And uh and uh you know, I hope
you guys check it out and doing it. Haroshi, thank
you very much for coming on. Yeah, thank you, thank
you any time. And all right, and make sure you
check out Horoshi. It's called Guhana, which is g e
(32:46):
h A N n A. It's the Facebook page.
Speaker 5 (32:50):
No, no g e h E and then.
Speaker 4 (32:55):
I'm sorry, I that's better on my g e h
E N A and A. Yeah. And also you can
hershe's there a website anemic in view your work at.
Speaker 5 (33:09):
Yeah, gehanafilm dot com. Yeah, and then you can look
for the Facebook and Gehannah and burst.
Speaker 4 (33:17):
Thank you verch coming on again. Yeah, thanks so much,
Hey time, buddy, take care.
Speaker 5 (33:21):
Yeah, take care.
Speaker 2 (33:23):
I want to thank Dave so much for doing such
a great job on this episode. If you want to
get links to anything we spoke about in this episode,
head over to the show notes at indie film Huscle
dot com forward Slash eight sixty one. If you have
it already, please head over to Filmmaking podcast dot com,
subscribe and leave a good review for the show. It
really helps us out a lot, guys.
Speaker 3 (33:42):
Thank you again so much for listening to guys.
Speaker 2 (33:44):
As always, keep that hustle going, keep that dream alive,
Stay safe out there, and I'll talk to you soon.
Speaker 1 (33:51):
Thanks for listening to the Indie Film Hustle podcast at
Indie film Hustle dot com. That's I N D I
E F I L M h U S T l
E dot com.
You are listening to the ifh podcast Network. For more
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Speaker 2 (00:12):
Welcome to the Indie Film Muscle Podcast, Episode number eight
sixty one. Being an artist means not having to advert
one's eyes. Akira Kurosawa.
Speaker 1 (00:22):
Broadcasting from the back alley in Hollywood. It's the Indie
Film Hustle Podcast, where we show you how to survive
and thrive as an indie filmmaker in the jungles of
the film biz. And here's your host, Alex Ferrari.
Speaker 2 (00:35):
Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
I am your humble host Alex Ferrari.
Speaker 3 (00:40):
Today's show is sponsored by Rise of the Film Entrepreneur
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filmbizbook dot com. That's film bizbook dot com. Enjoy today's
episode with guest host Dave Bullis.
Speaker 4 (01:54):
Hello, Ron, Welcome to another edition of Dave Bolls Podcast.
Join me Today is Roshi Katagi. Hiroshi has worked in
the special effects field for over twenty three years, and
he's worked on films such as Escape from La Pacific, Rim,
Cabinet in the Woods, and he's currently working on his
first feature film, Gahana. Hiroshi, how are you?
Speaker 5 (02:15):
Yeah? Good Flie, Thank you so, Horoshi.
Speaker 4 (02:19):
Just to get started, the first question want to ask
you is how did you get started in the film industry?
Speaker 5 (02:25):
Yeah? After that was like a born and raised in Japan,
and I just wanted to do special makeup effects and
working for like Hollywood movies. So after graduating high school,
I just moved to Los Angeles and just when today
I know the makeup school like for the ten ten
(02:47):
weeks and which is pretty short. Then I started building
my portfolio. Then applied to some studio and I just
started at Stainton. When I was nineteen, I met the
guy named the Screaming Matt George. You know he he
has a he owned a studio, makeup effects studio. He
had to work for like a Photogeist two back then
(03:11):
or ABYSS. Then yeah, and then I just started as
an intern. There that's my my beginning.
Speaker 4 (03:19):
Oh cool. And then you know, I see then you
went on to work on projects to Escape from LA
and Pacific Rate. Yeah, so how did you get started
working on those those projects in the beginning?
Speaker 5 (03:30):
Ah? Wow, I Escaped from LA. It's a what a
horrible film. It's funny you mentioned that the title, but
it's the basically you know, it's so just ninety one
my like I first started and it's like a golden
age of makeup effects industry. You know, it's like lots
(03:52):
of like a direct video a IT movies and you
know a bunch of big movies. Okay, everything was happening
in La so like everybody's working pretty much. So and
also it's kind of small community. So you know, you
get the recommendation for in or from other place and
the other studio and uh so always get called. So
(04:14):
that's the if you keep doing a good job, you
just keep asking for work and getting getting jobs.
Speaker 4 (04:22):
So, Rosie, if you had any advice for like a
beginner who wanted to do what you do, what would
that be?
Speaker 5 (04:29):
It's the uh, basically, just don't wait to learn from
the school or anywhere. If you like it, you're gonna
start building your own. It's many ways you can get
the instructions, you know, from internet or just you. You
you gotta if you like it. That's a proof that
iss you without the forcing by anybody. If you if
(04:49):
you can start building your own you know something anything.
So that's the uh, that's the first advice. You know,
you have to like it, then you have to prove it,
so builder your portfolio to start.
Speaker 4 (05:03):
Yeah, that's really good advice. Yeah, and I think that
that's true too, for you know, even if they want
to be like a writer a director and uh, you
know they have to. You know, it's it's a little
easier now, they say, because obviously with with the way
cameras are now, you can you don't need to shoot
on film anymore. You can you know, shoot on digital
and you could. Yeah, and you know, but with special
(05:27):
effects like that, you still need to have make up.
You still need to you know, mold things like you do.
I mean you make those I mean amazing. I saw
that one you do a Pacific rim and you had
that mini buddle and I mean that was just amazing artwork.
Speaker 5 (05:37):
Thank you.
Speaker 4 (05:38):
And uh and I also saw the thing a different
cabin in the woods you made Merman. Yeah, and I
mean that that is, you know, that takes a lot
of artistic ability to do that, even with the even
with the advent of the digital. But I mean, yeah,
I can see what you mean. So do you recommend
that anybody who wants to do this, do you recommend
(05:59):
they should be an l.
Speaker 5 (06:01):
Well not really, you know, nowadays it's la it's the Yeah,
I would say, like a worst place for working for
the major movie. Yeah, I recommend go to like Vancouver
or the London mm hmm. Yeah, they're making more movies
now over there. Yeah.
Speaker 4 (06:19):
Yeah. And you know, Georgia was just ranked as the
number one place in America right now that's making movies.
Speaker 5 (06:25):
Oh really Georgia. Wow?
Speaker 4 (06:27):
And number two is Louisiana.
Speaker 5 (06:29):
Yeah. I've been there a couple of times for several
different movies.
Speaker 4 (06:33):
Oh really really Louisiana.
Speaker 5 (06:34):
Yeah, the Green Lantern and the oh no, just a
green lantern yep.
Speaker 4 (06:41):
So what models did you make? What special effects? What
did you do for the Green Lantern?
Speaker 5 (06:46):
Do you remember Abinsar character? Yeah, yeah, it'scpt the makeup
for Abincar and dead body of him?
Speaker 4 (06:55):
Oh cool?
Speaker 5 (06:56):
Yeah, and uh, makeup design for Siniestro Ellen. Yeah, so
just the first makeup design that sculpted on his life
cast and just you know, for.
Speaker 4 (07:13):
The test, Sinnesta has played by Arc Strong. And was
it turned out that was pretty good work?
Speaker 5 (07:20):
Yeah, it's an unfortunately movie, it was horrible. Yeah. In
the many digital uh digital characters, and the aviance stands
out pretty well because it was makeup.
Speaker 4 (07:35):
Mm hmm uh yeah. And uh and Sinestra on the
and you know, some of the villains and that were
just some of the most minerable parts.
Speaker 5 (07:42):
Oh yeah, the hector too, Yeah yeah.
Speaker 4 (07:45):
So uh so you know, around two thousand and six, Yeah,
you've been working for for a couple of years, you
decided to direct your own short film, Pulse.
Speaker 5 (07:55):
Yeah.
Speaker 4 (07:55):
What experiences did you encounter when you first made that film?
Speaker 5 (08:00):
On? The biggest issue for me is, you know, I'm
not the native English speaker, so the writing is the
biggest issue. So yeah, I just start writing, and I
think I started in Japanese and then just I made
the English myself and I just give it to my
friend American friend, and he the correct all the language
(08:22):
mistake and he brings me back and then when I
see that and the new ones and some details like
if I feel different, then I just change it then
just giving him back. So just back and forth so
many times to get the script. So it took me
like I was working full time in the mekeup effects
industry also, so it took me six months before I
(08:44):
start filming. So that's the biggest hardest thing, you know,
for studying the movie. And also I'm pretty specific about
the visuo how to shoot, and so the script has
to be done, then I have to be in my
(09:05):
mind has to be completed. You know, film has to
be finished in my mind before I shoot, So it's
hard to before shoot. Then then once shooting stats and
this goes a little bit easier because I have the
bision already.
Speaker 4 (09:20):
So yeah, So do you storyboard a lot or just
mainly have it in your head?
Speaker 5 (09:27):
Yeah? A storyboard, yep.
Speaker 4 (09:30):
So you know, I found that to be a very
invaluable tool as well as that, you know, storyboarding and
even I don't think they're in my opinion, I don't
think you can really storyboard too much because if you
break down it into very even most minute details and
have it along the wall or have it or however
in a pamphul lever, I think it really helps not
only you but everybody else understand what actually is going
(09:51):
on in the movie.
Speaker 5 (09:52):
Yeah, yeah, absolutely, yep.
Speaker 2 (09:55):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 4 (10:04):
And so you know, I had David Hall on the podcast.
I don't know if you're familiar with David Holly as
a script consultant, but he always recommends having horror as
your first project. Because horror movies are you know, quote
unquote easier to do because obviously horror is a character
of the movie itself. You don't have to depend on
(10:25):
actors per se, you don't have to depend on a
location per se. But you know, horror is sort of
it sort of goes across all boundaries and all cultures
and all language barriers.
Speaker 5 (10:37):
Do you feel the same, Yeah, yeah, absolutely so.
Speaker 4 (10:41):
Then after if you shot Pulse, You've got two other
short films, which are Crayon and Hindsight. Now did you
now with Pulse, Crayon on Hindsight, did you craft on
any of these projects?
Speaker 5 (10:52):
What's the question?
Speaker 4 (10:53):
Did I with a post crayon in Hindsight? Did did
you crowdfund any of those projects?
Speaker 5 (11:00):
No, it's all my personal money, but the money I
spent for all three movies, but maybe like three thousand altogether.
And the first of all, you know, it's all the
effects pretty much free, because you know, I do and
I have a friends, and all I need is material
And then of course all my friends helped and everybody
(11:22):
like actors and DP and I didn't have to rent
anything or the pay to anybody. And I was so fortunate,
you know, I got the all talented people just helping out.
So and also just writing is so important, so I
just write the story. I decided the location first. Then okay,
so here I see, I gotta use this house. Then everything,
(11:45):
every drama is gonna happen in just this house. Then
what can I make? So that's my start to make
the movie, so which I know I can't spend too
much money, So then I just yet location, it's so important.
Then I just think of the idea. What can I do?
You know, to to shoot in a single location, make
(12:08):
it interesting?
Speaker 4 (12:09):
So and you knows that idea has We've seen that
it works very well too in recent years with like
your paranormal activity that I have shot in Orange's house
and it made hundreds of millions of dollars, and yeah
on a thirteen thousand dollars budget. And when you shot
these movies, Haroshi, did you have a skeleton crew or
(12:29):
did you have a fairly large crew?
Speaker 5 (12:32):
No, skeleton crew. It's the very minimum, maybe twelve people
all together, and sometimes like a four people in some
some day in four people everybody including an actor. Yeah
that's interesting, one DP me, one actor and one eighty
(12:53):
that's all.
Speaker 4 (12:55):
So now you put those three shorts together at DVD.
Where can people find the horror Theater as for that's
the Namevolve Through Movies combined. Where where can people buy
that hard Theater DVD?
Speaker 5 (13:07):
Oh? Just check on the Amazon then search by the
horror Theater then you can find it.
Speaker 4 (13:13):
Okay, Yeah, and I'll put it into that too, up
on the show notes.
Speaker 5 (13:16):
Yeah, thank you. Well. Also, and you can just watch
it free on my YouTube channel.
Speaker 4 (13:21):
I'll put a note. I'll put a link to that too.
Speaker 5 (13:23):
Yeah.
Speaker 4 (13:24):
So, so when you were making these movies, Toro, and
as you make films today, you know, who are your
filmmaking inspirations.
Speaker 5 (13:32):
It's a yeah, it's a tough question. There's so many.
And uh, when I was younger, my favorite director was
the Robert Zemeckis. So I love the like Back to
the Future series especially it's so entertainment and it's the
horror too. And I take the Horrors not as a
(13:53):
scary movie, but you know, still entertainment movie and have
to entertain audience. And the Mickeys was nice, and Spielberg
and of course and those those guys are incredible for
amusing people. I mean later a period and know they changed,
but the earlier days especially and of course Cameron, James
(14:17):
Cameron and uh yeah, a huge influence and especially the
effect I was like a fifteen years old and there's
a double feature in Japan, uh, Aliens and The Fly
and Shocking Day, Shocking Day. Yeah, just watch the Aliens
(14:38):
and blow my mind so amazing and I was expected, Okay,
no way, it's no, it's the next gonna be next
to the movie will be as big as this one.
And then watched The Fly and as amazing too, so
much in one day. And as there's a huge influence
(14:59):
for me, like a Sames Cameron and The Cloning bog
mm hmm yeah, and as many many directors, many movies.
You know, it's it's like I can't speak forever, but
horror movie. Yeah. As I mentioned on my project is
the uh the Twilight Song got a huge influence. You know,
(15:23):
it's the it's really low budget and depending on the
actors performance and idea of the story and always you know,
there's ending. It's got it's really shocking and surprise ending.
And that's the model of my story always. You know,
(15:43):
it's the I was so interesting to just keep watching
and then at the end just uh surprising. Yeah, just
the yeah, all set up is it's just amazing. So
probably you know, the big influenced me is the you know,
t White Eyed one, especially for my movie.
Speaker 4 (16:06):
Yeah, so you know, I'm a big fan of Jay Horror.
You know, I I just heard that the remaking audition,
which is by Takashi mackay there. Yeah, they were making
an American mad audition. Now, okay, so have you seen audition? Yeah,
of course, yeah, you know, and you know that reminds me,
you know, the same model where it's almost like there
(16:29):
was another the feature like Pulse and there's like a
one miscall and there's a whole with Jay Hart. It's
more of an unsettling I guess I would say, yeah,
than the actual scare or horror. You know what if
you don't mean but but it does it very well.
And I was just wondering, you know, how good the
audition because the Japanese audition was was pretty gory thing.
(16:53):
I don't think they'd be able to do with the
American version.
Speaker 5 (16:58):
Yeah, my uh scarediness taste is more. Yeah, Jay Horror,
it's the Jacques is like a creepy style and additionally
it was excellent movie. I love it too, but I'm
not good at the like a torture or the painful
scene or movie. Yeah, it's The Evil Dead. I loved
(17:20):
The Evil Dead. You know, the first one, the reasonable one.
Sam rhymes yes. And there's a scene of the stubbing
is the ankle with the pencil? That scene I couldn't watch,
you know. I watched the counter at time of you
know that movie, and uh, only that scene I couldn't watch.
I just always closed my eyes.
Speaker 4 (17:43):
So you have a new project called Ghanna. It's your
first film project. So, so why don't you tell us
about this? Akahana said, story. I know this is, you know, uh,
your first feature film. I know it's it's very important
you So why don't you tell us about it?
Speaker 5 (17:59):
Yeah? So I so the next big step is that
can make feature film. I made the three shorts already
and then so the feature film. I just needed the
great idea. And also I'm gonna take advantage of my background,
which is I was born and grown up in Japan,
and then I'm in the I'm in the industry for
(18:21):
like over twenty years in the American uh makeup effects industry.
So then I was thinking what can I do, you know,
to take those advantages. So then I I found a
good location which is taxt Place in Saipan. So sideplan
is the huge battlefield between Japan and America during the
(18:44):
World War Two. And then then also the location. I
know it's my it's gonna be first feature movies, so
I cannot spend too much money, so I just the
thinking of the story. That's the text plasing in isolated
place which is the Japanese secret military base from World
(19:06):
War too. Then I got a great idea for that,
and so it started maybe just got this idea, start
writing maybe eight years ago, and took so long as
the as may you know, complete the script and I
show my friend and correct everything as they read, change
(19:28):
it many times, and I tried to apply for like
a Japanese movie. I just rewrite everything in Japanese also,
and trying to the pitch to the direct producer of
the Wing and when he told me he's looking for
English the script, so then just rewrite that. So it's
(19:49):
the crazy story. So it took me like seven eight
years to complete the one script. And of course because
you know, I'm working full time in the makeup effects industry.
Speaker 2 (20:00):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 5 (20:10):
So but anyway, so, so this movie is so important,
you know, so all my desire, long time desire, is
in it, and I'm just spending all my effort to
make it really really interesting movie in a scary movie.
So yeah, anything more I should speak about the.
Speaker 4 (20:34):
H And just the synopsis of so far of Gahana is, yeah, uh,
you know, an American real estate agent finds, you know,
looking for a real estate project in in Saipan, and
you know, she ends up finding you know, this World
War two uh bunker in this place, and then obviously
that's where you know, all hell brings.
Speaker 5 (20:56):
Yeah yeah, And as they encounter the that creepy super
quip the Old Man, which you can see in the
my Kickstarter campaign Doug Jones playing it, and then accidentally
they killed the old Man. Then some explosion happening, so
you don't know the cause of explosion. Then everybody knocked
(21:16):
knocked down to the floor and lose conscious. Then when
they wake up, then old Man's gone. And before that
they find the dried up corps from somewhere it looks
like a Caucasian in a Japanese military base. Then uh,
then all those cops is gone too. Then also the
exit is closed, so they are trapped inside and then
(21:42):
just try on the way too, you know, the looking
for the exit. From there, they encountered the like a
mysterious series of mysterious event and each one has the
fear for something. Then then they have a hallocination or
they experienced the uh those fear each one then yeah,
(22:07):
then then at the end, you know there's the or
the answer you know, who was the old man or
the where the dead buddy gone? And uh usual they
can get out or not? You know, every answer is
you know, there's there's a surprise ending at the end.
Speaker 4 (22:22):
Awesome and it does sound really cool. I've actually I've
actually pledged your kickstarter and uh you know I watched
the video twice. It actually is very well done.
Speaker 5 (22:32):
Oh thank you?
Speaker 4 (22:33):
Uh and uh so and also how did you end
up getting Doug Jones on the project? And for those
who don't know who Jug Jones is, He's done you
know a lot of work with uh uh Del Toro.
Speaker 5 (22:48):
Yeah, Panslablins, Yeah, her boy as An and uh angel
death many yah any any Skinny Creatures in All Falling
Sky TV right now. Yeah, he's an idiom.
Speaker 4 (23:05):
Yeah, you thinks helped me out there. I forgot his
movie for Hans Labyrinth. But how did you get talk
on board the project?
Speaker 5 (23:15):
Okay? Dok Is of course, you know, famous among us.
You know, I worked with him for many, many different
films like A Time Machine or The Doom and Her Boy,
Her Boy to Buffy the Vampire Slayer. There's so many
(23:38):
as the every time when we make something skinny character,
it's always him. Yes, he knows me and I know
him and uh and I just email him that if
he could support my kickstarter project and he yeah, and
he's just totally cool, such a nice guy.
Speaker 4 (24:01):
And that's amazing, and uh, it just goes to show you,
you know, you have to make relationships in this business.
Speaker 5 (24:07):
Yeah, yeah, it's so fortunate. Ye.
Speaker 4 (24:12):
So, so Hi, what are your plans for the release
for Gahana?
Speaker 5 (24:16):
Oh the plan for for the release?
Speaker 4 (24:19):
Are you opening to this in the theaters or just
like vo.
Speaker 5 (24:21):
D Yeah, yeah, my uh the ideal I love to
release in the theater. Then, uh so there's a way.
That's the reason I'm using a Kickstarter is you know,
there's a several ways to get funded for movies. So
I could approach to a distribution company to to get
funded and if they like it, of course, but what
(24:46):
comes with it with the money is the their control
for the movie. So it's a lot of things. It's
the uh my my plan is before looking for distribute distributor,
I make just great, great film. Then then I just
to look for the distribution. So that's the Yeah, that's
(25:11):
this idea.
Speaker 4 (25:12):
Very cool. Yeah, so you're you're currently you know, crowdfunding
on your kickstart for Gahana. Yeah, I'm going to link
to the kickstart in the show notes. So uh, I mean, honestly,
if anyone's listening, I really recommend you check out uh
Hiroshi's video for it. I check out, you know, the
project page, because it's actually a very cool, well done video.
(25:35):
It looks like it's gonna be a great project. Thank
you and Roshie. So, you know, in closing, uh, you know,
what were any projects you have in mind for the future.
I know you probably don' want to answer that question
because you're so busy with Ghana, but but is there.
Speaker 5 (25:49):
Yeah, I do, I do it. Yeah, So I have
another script called the Basido. You know, it's the it's
a job I practice, I for like a twenty three years,
in the same as my career twenty three years. So
it is my instructor. I just the wrote a script
to show the value of the baser rats. So American
(26:12):
Guy is a main character and it takes place in Japan.
It's like last summer I meet Karate Kid. And but
you know, that's a bigger, bigger movie. So then I
need to you know, of course I want to direct.
Then in order to direct that, then I have to
make smaller movie to start, and as the I need
(26:34):
the experience to direct the feature film. So then in
which you know, Agahina is my first film. It's a
low budget and takes advantage of my career. So the
second one I'm looking for making the action, but I
want to create a bunch of characters creatures and the
(26:55):
characters which the cool makeup effects, so something you know,
I can get the experts of course, and all my
friends gotta support me for it's the other cool practical
effects Christian movie with action. Yeah, you know a ninja scroll. Yeah,
(27:15):
it's something like that. But again you're trying to make
it cheap too, like it takes place in one mountain,
so you know, guy wakes up and he he he
has no memory and he's wondering of who he is.
And uh then some some like the characters are attacking
(27:36):
him and he has a bandage wrapped his hand is
wrapped in a bandage and then he like his instinct
he avoiding is using his hand. Then the bandages fall
off and that's a creature hand. Then uh yeah, once
his hand exposed and he kills everybody like a crazy
power he has. Then uh, then struggle in his discovery
(27:58):
of who he is and who's the enemy is and
I he hate trying to find out you know that
he's iiding identity. So in a bunch of characters, you know,
like an indust girl with special power characters. And visually
it's cool, but you know, first of all, I have
to focus on the Hanna to complete fund it first
(28:19):
of course it's complete. Yeah, but yeah, I have more
ideas in the future.
Speaker 4 (28:26):
Awesome, you know, with a keto, it's interesting, you know,
a key really you know was big in the nineties
when Steven Sagall was you know, doing his movies, and
now it's sort of yeah, you know, they say that
every decade has its martial arts. The nineties was a keto,
now it's like mixed martial arts. In the eighties it
was kickboxing, in the seventies it was kung fu, and
(28:48):
the sixth was karate. So it's yeah, they always say
that everywhere in the eighties also is ni jitsu, but
they always say that every decade. But it'd be cool
to see a keto come back, especially the guys, because
when they can actually you know, use the throws and
and stuff like that, it's you know, it's it's pretty interesting,
you know, and you know, because now it's it's more
(29:11):
of like a Brazilian judy. But I've actually practiced, you,
I've practiced Brazilian jiujitsu.
Speaker 5 (29:15):
And that's cool.
Speaker 4 (29:17):
Yeah. Yeah, I actually practiced at a place called Exercise
in Philadelphia and it was actually the the oldest judo
club on the East Coast and uh it's been there
for for years upon years, and uh uh they practiced judo,
kido and Brazilian jiu jitsu.
Speaker 5 (29:34):
Oh that's cool, that's great.
Speaker 4 (29:37):
Yeah, it's it's pretty cool. But yeah, I've done that
practice and I know exactly where you're coming from.
Speaker 5 (29:43):
Yeah, And there's many like old old techniques. You know,
you're something you have never seen in the movie yet.
Then I'm just researching and you know those and my
instructor has got lots of idea and it's pretty interesting.
I'm just making test action action cuts.
Speaker 2 (30:00):
We'll be right back after a word from our sponsor
and now back to the show.
Speaker 5 (30:09):
And uh, you want to show something unique and it's
not a typical like a Steven Siga, I kiddo, or
the you know some some other movies. I just don't
want to make something new, new action.
Speaker 4 (30:22):
Yeah, I'm waiting for Sistema to make a stable.
Speaker 5 (30:27):
Yeah. I met the uh uh Mikail Reboco. Yeah, yeah,
he hit me pretty light, but it was maybe yeah, incredible.
What did you meant him at in Japan? Actually? Yeah,
I had the scouting seminar in Japan and when I
(30:50):
was there this happened. He has a semino over there
in the same same area. Yeah, it's just attended and
it's a great experience.
Speaker 4 (30:59):
Yeah, it's a pretty interesting. Marshal erre I uh, I
actually didn't learn from him, but one of his disciples,
disciples Vladimir Vasili in Canada, one of his guys. Uh
actually started training with him. Oh cool, so that's that's
what I'm doing now. So uh yeah, it's a small world, right, Yeah.
Speaker 5 (31:18):
I love the training method, you know, it's it's great.
It's very similar to philosophy, is really similar to Akito.
Speaker 4 (31:25):
Yes, and uh I you know that similar to it. Also,
I have nursed a taichi swan. Yeah that's yeah, it's
about relaxation. But yeah, it's it's it's pretty cool and
uh so uh sure you know, uh, Horotia, I know
you're a busy guy. I know you're busy with the
movie everything. So I won't I won't keep you anymore.
But is there anything else you'd like to talk about
(31:47):
that that we haven't touched upon.
Speaker 5 (31:49):
Yeah, I just want to just to say about Kahna.
You know, it's the uh this is a really really
great original story. You know, I don't I don't know
anything similar to this. It's pretty original. And uh the
visio of course, you know, it's the Uh. I'm working
with the top effects guys in the water. So yeah,
(32:11):
it's gonna be a great movie. And I'm not gonna
turn it down time you guys down. It's gonna be
a great movie, so please please support my movie and
please pledge. So that's my message.
Speaker 4 (32:24):
And yeah again I repeat Herosie's message. I would advise
you guys to check it out linked to the show notes.
But I think it's it's gonna be a cool, really
cool project. And uh and uh you know, I hope
you guys check it out and doing it. Haroshi, thank
you very much for coming on. Yeah, thank you, thank
you any time. And all right, and make sure you
check out Horoshi. It's called Guhana, which is g e
(32:46):
h A N n A. It's the Facebook page.
Speaker 5 (32:50):
No, no g e h E and then.
Speaker 4 (32:55):
I'm sorry, I that's better on my g e h
E N A and A. Yeah. And also you can
hershe's there a website anemic in view your work at.
Speaker 5 (33:09):
Yeah, gehanafilm dot com. Yeah, and then you can look
for the Facebook and Gehannah and burst.
Speaker 4 (33:17):
Thank you verch coming on again. Yeah, thanks so much,
Hey time, buddy, take care.
Speaker 5 (33:21):
Yeah, take care.
Speaker 2 (33:23):
I want to thank Dave so much for doing such
a great job on this episode. If you want to
get links to anything we spoke about in this episode,
head over to the show notes at indie film Huscle
dot com forward Slash eight sixty one. If you have
it already, please head over to Filmmaking podcast dot com,
subscribe and leave a good review for the show. It
really helps us out a lot, guys.
Speaker 3 (33:42):
Thank you again so much for listening to guys.
Speaker 2 (33:44):
As always, keep that hustle going, keep that dream alive,
Stay safe out there, and I'll talk to you soon.
Speaker 1 (33:51):
Thanks for listening to the Indie Film Hustle podcast at
Indie film Hustle dot com. That's I N D I
E F I L M h U S T l
E dot com.
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