September 24, 2024 • 39 mins
The BUZZ is back with another double feature as we sat down with director and writer, Bernardo Britto, and director SADIEBONES, to talk about their respective films.
Britto, the writer and director of the movie, "Omni Loop," explained the concept of the film, which revolves around a woman trapped in a time loop due to a metaphorical 'black hole' in her heart. We discussed the relatability of this concept and the potential consequences of reliving one's past. We also highlighted the impressive acting performances in the film, particularly by Ayo Edebiri ("The Bear") and Mary Louise Parker. Find out how the cast and the film came to be in the discussion.
SadieBones is the daughter of Kevin Corrigan, who starred in the sitcom, "Grounded for Life." She shared insights about her movie, "If That Mockingbird Don't Sing," and her experience as one of the youngest directors in the film industry. We emphasized the importance of having new blood in the industry and highlighted SadieBones' unique perspective, having grown up within the industry due to her family's involvement.
Both "Omni Loop" and "If That Mockingbird Don't Sing" are available on Video On-Demand (VOD).
Britto, the writer and director of the movie, "Omni Loop," explained the concept of the film, which revolves around a woman trapped in a time loop due to a metaphorical 'black hole' in her heart. We discussed the relatability of this concept and the potential consequences of reliving one's past. We also highlighted the impressive acting performances in the film, particularly by Ayo Edebiri ("The Bear") and Mary Louise Parker. Find out how the cast and the film came to be in the discussion.
SadieBones is the daughter of Kevin Corrigan, who starred in the sitcom, "Grounded for Life." She shared insights about her movie, "If That Mockingbird Don't Sing," and her experience as one of the youngest directors in the film industry. We emphasized the importance of having new blood in the industry and highlighted SadieBones' unique perspective, having grown up within the industry due to her family's involvement.
Both "Omni Loop" and "If That Mockingbird Don't Sing" are available on Video On-Demand (VOD).
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It Buzz Buzz.
Speaker 2 (00:01):
The buzz is on. The Buzz is on the show
that gets you up close and personal with some of
the hottest stars. Now here's your host, Novelle jay Lee.
Speaker 1 (00:13):
What's going on everybody? It's Novelle jay Lee with the
Buzzcast Here at Buzzworthy Radio. I have another double feature
for you today. We are joined by Bernardo Brito and
Sadie Bones. First up, Bernardo, who wrote and directed the
movie Omnie Loop, stops by to talk about the premise
of the film and it definitely made me think about
(00:34):
things it So just start off with you have this
woman who is stuck in a time loop and she
has to find a way to get out of it.
She keeps going back in time because she's stuck there,
and this part has a metaphor, but she does have
a black hole in her heart. So you know, for me,
(00:58):
when you think about it, if someone tells you have
a black hole in your heart, that means something's missing
in your heart. There is something there that it's not
going to be able to heal because you may have
lost something that was close to you. Having the chance
to talk with him about my interpretation and my thoughts
on the film was very cathartic for me because it
(01:21):
does have you asked the question what if that were you,
would you want to relive your past? And if he did,
would you change anything in it? And we got to
talk about that, We got to talk about one of
the scenes that really stood out to me the most,
and also the acting in this film. This film stars
io ed de Berry from The Bear and Mary Louise Parker.
(01:45):
We also got to talk about how they joined the
project as well. So here it is our first interview
of the show, Bernardo Brito. Check it out, Bernardo, how
are you?
Speaker 3 (01:57):
I'm doing good? How are you doing?
Speaker 1 (01:59):
Not too bad? Too bad? So I am sitting here
with Bernardo Brito and we are talking about the movie
Omni Loop, which I had a chance to take a
look at, and for me, it was very interesting because
of the themes associated with the movie, and it also
helped with you had an incredible cast in this as well. No, right, yeah, absolutely,
(02:20):
I mean Mary Louise Parker Ao at the Beery. I mean,
it's just it was. It definitely gave me something to
think about. And before I even get into my thoughts
about the movie, let's talk about what exactly is it.
Speaker 3 (02:37):
Yeah. Omni Loop is a movie about zoiel Oh, who
was a woman that's been diagnosed with a black hole
in her in her chest and she's got these pills
that she can go back in time five days at
a time, and so she's just reliving these last five
days and then she meets Paula, a young scientist played
by Io, and decides that she's going to try to
(02:58):
solve the secrets of time and go back in time
and be the person that she always wanted to be
and do the things she always wanted to do. And
it starts from this kind of like high concept de
sci fi place, but really that's just a conceit for
us to talk about, you know, time and life and
death and regret and memory and anxiety and self loathing
(03:19):
and all these things that make up being a person
in the world. So that's really what the movie's about.
In a way, I think.
Speaker 1 (03:26):
It it was just for me watching that in certain aspects.
I don't want to get too much away for everybody,
because I want you guys to check this out. But
it was just I looked at it and I just
kept going, I don't know if I want to be
because I was asked this before, that person who would
want to go back and try to fix things, because
(03:52):
I do look at it and go if I had
the opportunity to do it over again, I would not.
And I can understand why we would have that notion
of wanting to relive our past life, because we obviously
we all made mistakes, We all did some things in
our past history that we want to fix, we regret
and whatnot. But I feel like for me, those regrets
(04:14):
and those mistakes making me better and who I am
as a person now. But it also when you're looking
at the film and you're looking in in that perspective
and you're wanting to go back, and it's going like,
my god, you're changing the course of your history. So
it's also making me watch it in that angle as well,
going how is this now going to affect your life
going forward?
Speaker 3 (04:34):
Well, here's the thing too, It's like you talk about
those mistakes and those regrets and now you're looking back
then and you're like, yeah, those were good. They turn
me to the person I am. But I wonder if
right after those mistakes that happened, if you would have
been like, yeah, I'll go back.
Speaker 1 (04:47):
And too sometimes I would say I would go back
just to do it again. You know, I would just
want to be like not fixing them. I was like, yeah,
let me relive that again. I just want to do
this all over again. So I'm also I could also
be that guy babe.
Speaker 3 (05:02):
So just stuck in the good times.
Speaker 1 (05:05):
This stuck in the good times. So, I mean, honestly,
when I heard about a black hole in her, I
I didn't really expect to see that. No, you're you
weren't kidding, it's a black hole in her?
Speaker 4 (05:21):
Yeah, it was.
Speaker 1 (05:22):
It definitely was a metaphor. But then you're seeing the images.
I'm gonna i'll spill that for you guys a little bit.
You see like the the MRI scan of her, and
there's literally a black hole in her chest. So I
was like, wow, that's literally a metaphor taken to life.
So I wasn't really expecting that.
Speaker 3 (05:39):
That's one of the script that's like minute one of
the movie where.
Speaker 1 (05:46):
Yeah, when I saw that, I was like, oh, this
is gonna be interesting, Like how do you how do
we explain this? But it was. It definitely was. It
definitely was a little bit thought preporded. But I love
the the acting that was in this film, from all
the parties involved in getting these two incredible actresses involved
in this project, what was that? What was that? Like,
how was that process and getting them on board?
Speaker 3 (06:10):
Yeah, I just I was a fan of both of them.
I was a huge fan of iOS just as a comedian,
just from her podcast appearance as I was actually was
the funniest person ever. And Mary Louise I was also
just a huge fan of had seen her on Broadway
a couple of times, Like, if you ever had the
chance to see her on stage, it's it's incredible what
she can do. And so I just thought they were
(06:33):
both incredible and both would be really fun together, that
they both had very different but similar energies in a way,
and they could both they have a great screen presence,
you know, Mary Louise especially has can have such gravity
to her but also can be very funny and very
biting and a cerpic and I just thought they would
have a I don't know, as like a movie watcher.
(06:55):
I was like, I would love to watch a movie
with these two just hanging out. And so that's what
I tried to make it happen. And then I was
very grateful that they read the script, that they liked
talking to me, and that we just went to Miami
and made a movie. It feels like a dream come true.
Speaker 1 (07:10):
How long did it take for this project to get
off the ground?
Speaker 3 (07:15):
And yeah, the script took years and years and years
to write. I mean I started writing in twenty sixteen.
We were gonna shoot it in twenty nineteen, and then
that fell apart, and then the pandemic happened, and so
it was a long road to getting here. But similar
to what we were saying earlier, with the paths our
(07:38):
lives take and the mistakes and all the regrets and
all that kind of stuff, Like if I had made
the movie in twenty nineteen, that would have been a
very different movie because I was a different person. But
also it wouldn't have been with Io and Mary Louise,
and I can't imagine this movie with anybody else. So
the movie happened when it had to happen with the
people that had to happen with. And so I'm just, yeah,
I feel so fortunate and all that.
Speaker 1 (08:00):
I love how that's now time together with the theme
of the movie. So that's awesome, And it's premiering this Friday,
I believe is the date.
Speaker 3 (08:09):
Yeah, yeah, yeah, in theaters and on demand, and.
Speaker 1 (08:13):
Yeah, that's that's pretty exciting to have this now be
available for everybody because it's, like I said, it's one
of those things that's just gonna make you sit there
and go, what if that were me? And that and
that in that regard, you know when you're watching that,
so you're you're watching I want to say this too,
and again spoiler alert, but there was a specific scene
(08:37):
in here that I definitely wanted to comment on to
you that really it broke my heart. But I loved
what Mary Louise Parker did in this scene, and it
was the scene in the park and just her she
was hearing everything in her head while she was on
her knees on the ground in the grass, and it
(08:58):
was absolutely heartrending, but it was just so well done.
If you can, if you can, for a little bit
before we wrap up here, talk about that scene in
particular and just seeing that happen. What was that like
for you being in that moment for her?
Speaker 3 (09:16):
Yeah, I mean I'll take a step back just for
a second too and say that when I was writing
that scene, I wrote it all and I wrote probably
the last twenty five pages of the movie in one
big burst, and they all kind of came out, and
I remember writing that scene specifically and crying as I
was writing, which is the only time that's ever happened
to me. I remember thinking, if I can just preserve
this emotion somehow, like the audience will feel it too,
(09:36):
because I remember feeling it so strongly then. And then
it just it all seems so scary because you got
special effects and you have the actors, and you're like,
I hope that this all like will translate in some way,
and then you just say action and Mary Louise just
goes for it, and I just feel again like lucky
to have her in my movie, because she makes everything
(09:57):
work so much better than it would have just on
the page, or that it would with some other actor.
We talked a lot about that scene beforehand, and I
think the way she likes to work is not necessarily
having a target to hit, but just having a launching
pad to go from. She likes discovering something in the
moment and seeing where the scene will will go. And
(10:18):
you know, I knew we weren't going to be able
to do too many takes of that scene because it's
a very intense scene, and yeah, she just went for
it and it was really special to watch on the day.
There was a number of scenes throughout the movie that
on on set, you know, behind the monitor and I'm
just like crying, sobbing, you know that birthday scene at
the end, I'm just.
Speaker 1 (10:39):
Like the birthday scene.
Speaker 3 (10:40):
Yeah, so's there's you know, not to spoil too much stuff,
but there's a lot of kind of stuff that really
hit me emotionally and hit me personally. Hopefully that stuff
translates to an audience because I felt it when I
wrote it, I felt that when Mary Louise acted it
on set, and yeah, hopefully people feel it when they
watch it at home.
Speaker 1 (10:59):
Absolutely absolutely, This was definitely an intense, gun riching scene
for me, and like you said, this was one of
those that hit hit very hard and close to me.
And I thought this was just well, very well done
in a very intense scene.
Speaker 3 (11:11):
And I also just give a quick shout out also
to Hannah Pearl and Carlo Chacot, who plays her daughter
and her husband in the movie. And Hannah especially that
voicemail is just a heart wrenching to listen to.
Speaker 1 (11:24):
But anyway, I just absolutely and definitely it was like
I said, this was just just a poignant scene and
I loved every aspect of it, but definitely wanted to
get that in here before we wrapped up here, and
I really appreciated the time. Can't believe it already flew
by to talk with me about this. This was great.
The movie was great, and hopefully everybody gets the chance
(11:44):
to check it out. Omni Luke premieres this Friday in
theaters and video on demand. Bernardo, I really appreciate it
that you stop by and talk with me about it today.
Speaker 3 (11:54):
Thank you so much. And yeah, I appreciate all the
kind words and thoughtful questions.
Speaker 1 (11:58):
Thank you appreciate it. Thank you, Bernardo Brito for stopping
by and talking to us about Omni Loup. The movie
actually premiered this past Friday, September twentieth, at theaters and
video on demand, so make sure you guys check that out.
You guys will enjoy it. Next up is our interview
with Sadie Bones, a little bit of trivia for you guys.
(12:18):
She is the daughter of Kevin Corrigan and he starred
in one of my favorite underrated sick toms, grounded for life,
and we talked to her about the movie If That
Mockingbird Don't Sing, and she gave us some insight into
that movie as well, which I thought was pretty cool.
And she's one of the youngest directors to direct a film,
(12:42):
And we got a little bit into about how while
we do talk about needing new blood in this industry,
we also got to look at it from a standpoint
of you have people that are a part of this
industry that grew up within the industry because they had
family being a part of this, so they learned from
(13:03):
the best. So why not have someone who was a teenager.
And we talked about her celebrating her twentieth birthday with
the premiere two, basically taking this on and any I mean,
I've seen teenagers direct sitcoms, why not with films. Let's
(13:24):
get some more blood in here, so we get we
got a little bit in depth in there two, which
I thoroughly enjoyed. Here it is our interview with Sadie Bones.
Check it out. Why how are you fine?
Speaker 4 (13:37):
Thank you? How are you?
Speaker 1 (13:38):
I'm doing very well? Thank you, Thank you so much
for taking a few minutes out of your day to
talk with me. Today really appreciate it so much. For me,
I appreciate that as well. So guys, Sadie Bones, did
I say that right? Yes, she is joining us right
now and we are going to talk a few minutes
(13:58):
about if that mocking or don't sing? Well. First of all,
how did this film? Well? How did the film come
into creation? That's how I wanted to ask it.
Speaker 4 (14:13):
You know, I was about to finish my two year
conservatory at the Lee Strasburg Institute. I had just finished,
I had finished like high school at sixteen, I had
just turned eighteen. I didn't really know where I was
going to go from there, and it really kind of
(14:35):
started out as like a diary entry, you know, of
like venting all my feelings about the past few years
and what was like my coming of age kind of
and feeling super lost and feeling like I didn't know
where to go next. And it started as that, and
you know, my friend Ava related to it a lot,
(14:57):
and she encouraged me to make it bigger, and it
just grew there until it became what it is now.
Speaker 1 (15:03):
Without giving too much away, can we talk about exactly
what the film is about? So, can you give us
a brief synopsis of it.
Speaker 4 (15:11):
So it's about this teenage girl named Sidney who, right
after graduating high school, finds out she's pregnant with her
ex boyfriend's baby, who has left her to date other
girls in college, and she decides to keep it so
(15:31):
that he'll come back.
Speaker 1 (15:33):
Oh so okay, interesting, I wow, I did not pick
that up. Well, I got this synopsis. I think I
did not get to that part of the synopsis of that.
That is basically why she keeps the babies. I think
that's really where my surprise face came from. So that
(15:57):
was a nice little shock for me, guys, everybody. So, yeah,
but this is premiering on the twenty second of this month.
Speaker 4 (16:07):
It's premiere September twenty second, seven pm at the Village
Espy Angelica. It's also going to be on my twentieth birthday,
so it's gonna be a party. It's gonna be fun.
Speaker 1 (16:19):
Well, happy early birthday. And how did you get into
into the film making business or aspect of it, because
your father, I know, he has been very heavily involved
in independent filmmaking as well. So did the tour did
the torch get passed on to you? Basically?
Speaker 3 (16:40):
Uh?
Speaker 4 (16:40):
Yeah, in a way it did. You know, I've wanted
to be a filmmaker as long as I can remember,
really before I even kind of could grasp what my
parents did for a living. I knew that I wanted
to tell stories because you know, I was raised and
I'm really really artistic household. My dad was showing me
(17:04):
independent movies from the time that I could understand English.
So yeah, that's definitely how I got into it.
Speaker 1 (17:13):
The one thing I definitely like to bring up about
independent filmmaking, especially since I started having people who were
in or somewhat worked on It doesn't have to be in.
They were working on independent films. You can tell how
much love that they have for what they put into
whatever film it is that they are making. And that
(17:35):
is one of the best things that I ever ever
came across when I started talking to people in this business,
because you don't get to really see a lot of that,
whether it's in a big budget production, whether it's in
a television show, you get to see that they put
all of their time and effort and energy into it.
You know, it's a labor of love, and especially with
(17:58):
independent films, yes, you may not have the big budget,
you may not have the big money for it, but
it's such a worthwhile story.
Speaker 4 (18:08):
Yeah, it was definitely a passion project for me, and
you know that love was felt. I transformed my childhood
bedroom to be the bedroom of the main character. We've
painted it purple and crated it, but you know, it's
still like my childhood bed is the bed in the movie.
(18:29):
And you know it's my friends and my family and
my teachers who are acting in it, and you know
it's my childhood best friend's house. We shot in, our
neighbor's house we shot in. It's very homegrown and like
definitely definitely a passion project for all involved, especially because
(18:51):
you know I was only eighteen when I directed it.
So getting my producer on board, for example, you know,
she sees a script and she's like, the writer director
is eighteen. I don't know if I want to do that,
But she really liked the script and signed on because
of that. But a leap of faith from a lot
(19:11):
of people.
Speaker 1 (19:12):
You mentioned. First of all, there's two things you mentioned
that this is going to be preparing on your twentieth birthday,
but you just also hit on the fact that you
were eighteen when you first directed this. Film, and already
it came off that there was at least someone who
felt a little bit of hesitancy and resistance to directing
it because producing and I should say, not directing it,
(19:35):
because you had such a young director involved in this film.
I think I only heard of it one time prior
to this, and it's escaping me whatever what the show was.
But there was someone who I believe, and I think
it was a Disney show at the time, who directed
an episode and they were only fifteen, sixteen years old.
(20:00):
With that hesitancy? Did you come into this when you
were about to direct this film? So in your own head,
were you hesitant, were you scared, were you you know, terrified,
or did you actually come into this going like, I
know what I'm doing, Let's get this going. If we
can get somebody on board who also sees the passion
in the labor love like I do with it, let's go.
(20:24):
But was there also that sense of hesitancy on your part?
Speaker 4 (20:29):
You know, I've always been precocious. I left high school
and got right to plone when I was sixteen because
I was ready to go, ready to go out into
the world. And you know, there was never really a
point where I was like, I'm too young to do
this because I feel like, you know, I feel like
(20:50):
my brain is hardwired to direct and to write, which
maybe is just a nice way of saying I'm very bossy.
But I also think that like it should be more accessible.
I think that every single person has a story to tell,
and whether you're eighteen years old or you're eighty years old,
(21:13):
I think that everyone has a worthwhile story to tell,
and I would love to see more of them represented
on screen, and especially like I was frustrated by the
lack of new movies that fell authentic to like gen
z and felt authentic to young voices, and I figured,
you know, someone's got to do it, someone's got to
put it out there, because, like I know, I would
(21:34):
want to see it, and I'm sure that you know,
there are many, many, many, much more underserved groups that
deserve to have their stories out there as well told
by someone who gets it.
Speaker 1 (21:47):
You know, it's funny you said that about how there's
it doesn't even have to be movies, but it could
be any type of any type of series, any type
of film, any type of something where it doesn't accurately
represent and a certain group and I hate saying this, guys,
but I have to say it because she brings up
(22:08):
a very good point. We said that for someone who
is a person of color, rarely have we found a
lot of films or television shows in recent years that
accurately depicts people of color. And I totally understand why
you're saying that there's not, at least in your knowledge,
anything that's accurately depicting gen Z, because you know, we
(22:31):
always if you see it in anything in social media
or any any type of online platform, gen Z gets knocked.
And we don't necessarily know exactly what a gen Z is. Like,
we know, we know what it is by quote unquote definition,
but really what is a gen Z? And how do
we know exactly what a gen Z does? So I
(22:52):
think it really makes sense that you said that, because
you know, I am a millennial. If you're going by
the actual definition, I am a millennial. So you could
probably in essence look at me and go, oh, you're
a millennial. Well you're this type of person, and they
could easily come at me in some type of way,
But really I'm not what you would consider a millennial.
(23:14):
So it really makes sense that you brought up that point,
so thank you for thank you for calling that out.
Speaker 4 (23:22):
I also just think that like film is such a
gift because you really get to show people what the
world looks like and sounds like through your eyes, you know.
And I think it's easier to empathize with someone or
(23:43):
understand them because you basically get to see the world
from their perspective. And I think that, you know, if
we had, if being able to write and direct movies
was more accessible, I think the world would be a
lot more of an empathetic place.
Speaker 1 (24:01):
I think if anybody ever watched any of these shows
through the lens of the creator, director, the writer, you know,
I think, as you said, I think it would be
a whole different ball on game that we are living
in on this earth. And you know, it's such a stigma,
especially if you're looking at it from the scope of young,
(24:22):
young directors, people of color, women in in this field.
It just doesn't seem like they get the respect that
they richly deserve. And that's another another reason why I
asked that question was because we have grown up in
an error unfortunately, seeing how much people tend to not
(24:49):
really want to watch movies that are done by a
certain group of people, And as you just said yourself,
I think it needs to be more of this in
this scope of reality when it comes to filmmaking. Even
we talk about with the young directors, I'm going like, well,
(25:11):
we have young actors. We have actors that started in
this business at three. Some of them started as soon
as they were born. So if you're telling me that
they could be if if that's okay with you for
them to start in this game at such a young
age as an actor, why can't we do that as
a director, especially if you're especially if you are coming
(25:32):
in in this thing where you have family that's been
in this business for so many years. I mean, listen,
I loved your father on Grounded for Life. I was
a huge fan of that show, and I had to
tell you, I feel that show was very underrated. Very underrated,
I agree, and it was one of the best shows
(25:55):
that I watched on the then WB And yeah, I
loved watching it every Friday night, I really did. And
like I said, very underrated. It should have gotten a
lot more love than it got in that But going
from that with him Kevin and being in this entertainment
(26:16):
field and you basically being around this, he is showing
you everything when it comes to the entertainment industry and
independent films and whatnot. It makes to me. I'm going like, well,
this makes sense if you have somebody, no matter what
the age is, that they're coming in and directed because
they've lived this. They know what it's like, they know
(26:37):
the ins and outs of the business, and they also
have their own story to tell. And I think that's
really what should it be. It shouldn't be about that
they have the story that they want to tell and
the story is good, the story's on paper, it's good.
You got the people who's acted the parts out. It
doesn't matter who's directing it. As long as you have
the story, everything else falls into place. Yeah.
Speaker 4 (27:01):
I mean I think that, like, there are so many
stories to be told, and also like you know, being
the director to like, I think that more people are
capable of it than they realize. Not that it's not
a hard job and not that like it doesn't take
(27:22):
talent and hard work, but I think that people count
themselves out because it's so hard to get into and
they shouldn't and you know, and more opportunities should be
made for them. And I'm incredibly incredibly lucky that this
was able to happen for me, and I hope that
(27:47):
it inspires others to, you know, take that chance, or
inspires like more producers to take chances on unknown and
maybe risky people be because they have something to say.
And I mean based on the response to our film
so far, it's really resonated with a lot of people,
(28:09):
and I definitely I definitely get a kick out of Like,
you know, it'll show to the festival and people don't
know how old I am, and then I show up
and they're like, you're a little girl, and you know
you things that maybe seem important to at the beginning
and seem like iffy They people don't even know because
(28:32):
a good movie is a good movie.
Speaker 1 (28:34):
A good movie is a good movie. And you hit
that nail on the head with everything that you just
talked about, and I feel like that is the that
is the frightening thing about it. For those that want
to start in this business, they are afraid to get
into it because of that rejection aspect of it, and
we're not giving them a chance because you have to
(28:56):
be this age, or you have to be this snis,
you have to be this et cetera. In order for
you to get your start in this business, or at
least get your foot in the door. We'll say it
that way. Yeah, And as you said, everybody has a
story to tell. I feel like that wants to branch
out into this business and if we open up those
floodgates to let them in so they can tell the story.
(29:19):
One of the things we've said majority of the recent
years is we love original content because a lot of
things that we started seeing are remakes or revivals. And
don't get me wrong, some of them have been good.
Some of them have been great, and we accept them.
But we don't necessarily want that all the time. We
(29:39):
want fresh content. We want fresh stories, we want new ideas.
And if we're not, if we're not going and going
through our pick at the litter in order to bring
these worthwhile people in to give us these new ideas
and fresh faces, this is what we're going to be
stuck with. So I just for me, I don't understand
(30:01):
why we've never ever wanted to accept new blood in
the game here.
Speaker 4 (30:06):
And I mean and beyond that too, Like you know, okay,
maybe if someone is young you then you give them
the support they need to thrive, you know, especially like
I think we should have more disabled people making movies.
I think that we should have more LGBTQ people making movies,
(30:28):
you know, and not because they're disabled or because whatever,
but because they have a story to tell. And Okay,
maybe you know, if you're for example, death, maybe it's
hard for you to direct in the traditional sense. Okay,
then we need to make the resources, make the way
(30:49):
for them to be able to do it, because I
want to know what things are like from their point
of view, and I think that the rest of the
world does too, if we just give new people a chance.
Speaker 1 (31:02):
I mean, perfect example, Marley Mattlin. I mean she has
she's been in this business for a long time. Granted, however,
think about what you just said. You know, somebody who
is deaf and is on that set. It may not
be the traditional way of directing. You've got to make
the resources in order to make it happen. Work with her,
(31:24):
not against her. And I know she definitely has picked
up the tricks and everything on how to do it.
But just think if someone else knew coming in. Think
of somebody who wants to actually get into this business
who is deaf, and they actually have someone that they
could respond to a look up to. You have that
with her, if you have her in a directing scope,
(31:49):
if you have her in a writing scope, if you
have her producing something something along those lines, and this
one person is just sitting there on the other side
of the coin and is now going, I could do
that too. My my disability is not an inability.
Speaker 4 (32:06):
Yes, absolutely, and I mean for me like Quinn Shepherd
is an inspiration to me. She directed her first feature
as a teenager as well, and you know, like having
people like that and then seeing how her career has
grown since then. I think it's also just so important
to feel like you're not a novelty you know, like, yes,
I am a teenage director, but like it's not It's
(32:30):
not a novelty act. It's not like I'm still I
still want to be recognized as like as a real filmmaker.
Speaker 1 (32:38):
A real yeah, a real film Having her.
Speaker 4 (32:41):
Have paved the way for me a little bit was
really helpful to feel like I was being taken seriously.
Speaker 1 (32:49):
It's like when you said that, I'm going like, yeah,
I'm a teenage director. I'm like, no, you're a director.
And I think that's how people need to look at that.
They should not put the teenage part in front of it. No,
I'm a director, case.
Speaker 4 (33:04):
Closed, Yeah, And I mean like I bring with me
the perspective of being a young person and being gen
Z and you know everything else. But you know, so
does everyone. So does everyone.
Speaker 1 (33:19):
Everybody's going to bring their fresh take on something when
you give them an opportunity to come to the table
with it. You know, everybody has got as we as
we said numerous times during the course of this interview,
everybody has a story to tell, and we just got
to give them the opportunity to tell that story. You
mentioned it perfectly that this this movie, it resonated with
(33:40):
a lot of people. And if we if we get
those those filmmakers, those thinkers, those those idea makers that
come into the fold to share their own perceptions and
give us a story through their lens, you know this
is going to resonate with a lot more people and
get more people talking. And it's just a matter of
opening the door, no matter what, no matter who you are.
(34:03):
We just got to open that door for those creatives
and those talented humans to come in and tell those stories.
And hopefully, hopefully that continues to happen. But this is
another reason why I love independent films. It's because they
get that opportunity to shine like that. And while we
(34:24):
yes want it for big budget releases and whatnot, working
in independent films is literally a whole different ballgame. You
get to finally tell that story behind the lens. You
get to see a side of this where it's industry.
How do I say this? How do I end that?
(34:44):
On a big way? You get to see a side
of industry where you necessarily may not get with a
big budget, but you're going to get a lot more respect.
Speaker 4 (34:56):
It's definitely like it's family and it's people who really
believe in it. You know, it's not people who are
there showing up for a paycheck. It's people who are
there because they want to be there. And I think
that matters, you know, it definitely does. There are certainly,
like plenty of movies that maybe wouldn't be to my
(35:19):
taste if I was sitting at home wanting to like
bed Rot, But the story behind the story compels me
so much that when I see the movie, it isn't
a whole new light.
Speaker 1 (35:32):
Absolutely. Now, when we talked about it premiering on the
twenty second. Let's go over again to where they'll be
able to see it.
Speaker 4 (35:40):
It will be premiering the New York City premiere September
twenty second, seven pm at the Villageyes by Angelica. It's
the closing night film of the Soho International Film Festival.
Speaker 1 (35:51):
Oh my gosh. So before we wrap up, I got
to ask, what was your reaction like that, the fact
that it was going to be a part of the
Soho International Film Festival.
Speaker 4 (36:02):
I mean, I'm in New York City, native of the
same so it means so much to me to have
it finally play here. I grew up in Tribeca, so
it's like it's my hometown. It's my people, it's my
teachers and my childhood friends and my family, and you know,
it means so much to me.
Speaker 1 (36:20):
I appreciate you taking time out of your day to
talk to me. This was fun for me because I
love whenever I get the chance to get on my
soapbox about something passionate and bringing out this type of
a conversation with the other person. It's the most fun
for me, and I really appreciate getting not just the
fact of you talking about this film with us, but
(36:41):
also talking about everything else surrounding the film as well
as our thoughts and ideas of how we can make
this industry process even better. And it was. It was
a lot of fun for me, so thank you so
much for joining me.
Speaker 4 (36:55):
Thank you so much for having me, and I really
enjoyed it as well. I think that this conversation needs
to be had more and louder.
Speaker 1 (37:02):
It needs to definitely be had more and be louder.
I would love to have you back on any time
and we can talk about this even more. But yeah,
I completely agree, this is a conversation that needs to
be discussed even more than what we just did within
the past twenty five minutes. So I completely and utterly
(37:22):
Any independent filmmakers please please come on this show. I
would love to talk to you more and watch your
films and review them and talk about the fact that
this is such, this is important, This is important that
we need to support the indie filmmakers. We need to
support that because they're getting the chance to do something
that they love that they may not be able to
(37:43):
do in another type of landscape. Absolutely so, Sadie Bones,
thank you so much. This was a lot of fun,
and again, we love to have you back on anytime
the door is open.
Speaker 4 (37:56):
Thank you so much.
Speaker 1 (37:58):
I want to thank both of my guests, Nardo Brito
and Sadievones for stopping by the Buzzcast. Hopefully you guys
get to check out their movies on the loop and
if that mocking Bird O sing at your local theaters
and of the video on demand, you guys will not
regret it. So thank you both again for stopping by
the show and talking with us about it. But that's
going to do it for me for right now. I'm
(38:18):
the Beljaly making sure you keep getting the latest buzz
with Buzzworthy Radio by logging on to our website at
www dot buzzworthyradiocast dot com. You can also follow us
on x formally known as Twitter at Buzzworthy Radio and
liking us on our Facebook page. I'm also on Instagram
at buzznav and you can download and stream our podcast
(38:40):
on Amazon Music and iHeartRadio. We'll see you guys next time.
Take care, stay in the.
Speaker 2 (38:46):
No catch up on all the buzz podcasts and videos
at buzzworthyradiocast dot com. Keep getting the latest buzz with
buzzworthyradio now on Amazon Music
It Buzz Buzz.
Speaker 2 (00:01):
The buzz is on. The Buzz is on the show
that gets you up close and personal with some of
the hottest stars. Now here's your host, Novelle jay Lee.
Speaker 1 (00:13):
What's going on everybody? It's Novelle jay Lee with the
Buzzcast Here at Buzzworthy Radio. I have another double feature
for you today. We are joined by Bernardo Brito and
Sadie Bones. First up, Bernardo, who wrote and directed the
movie Omnie Loop, stops by to talk about the premise
of the film and it definitely made me think about
(00:34):
things it So just start off with you have this
woman who is stuck in a time loop and she
has to find a way to get out of it.
She keeps going back in time because she's stuck there,
and this part has a metaphor, but she does have
a black hole in her heart. So you know, for me,
(00:58):
when you think about it, if someone tells you have
a black hole in your heart, that means something's missing
in your heart. There is something there that it's not
going to be able to heal because you may have
lost something that was close to you. Having the chance
to talk with him about my interpretation and my thoughts
on the film was very cathartic for me because it
(01:21):
does have you asked the question what if that were you,
would you want to relive your past? And if he did,
would you change anything in it? And we got to
talk about that, We got to talk about one of
the scenes that really stood out to me the most,
and also the acting in this film. This film stars
io ed de Berry from The Bear and Mary Louise Parker.
(01:45):
We also got to talk about how they joined the
project as well. So here it is our first interview
of the show, Bernardo Brito. Check it out, Bernardo, how
are you?
Speaker 3 (01:57):
I'm doing good? How are you doing?
Speaker 1 (01:59):
Not too bad? Too bad? So I am sitting here
with Bernardo Brito and we are talking about the movie
Omni Loop, which I had a chance to take a
look at, and for me, it was very interesting because
of the themes associated with the movie, and it also
helped with you had an incredible cast in this as well. No, right, yeah, absolutely,
(02:20):
I mean Mary Louise Parker Ao at the Beery. I mean,
it's just it was. It definitely gave me something to
think about. And before I even get into my thoughts
about the movie, let's talk about what exactly is it.
Speaker 3 (02:37):
Yeah. Omni Loop is a movie about zoiel Oh, who
was a woman that's been diagnosed with a black hole
in her in her chest and she's got these pills
that she can go back in time five days at
a time, and so she's just reliving these last five
days and then she meets Paula, a young scientist played
by Io, and decides that she's going to try to
(02:58):
solve the secrets of time and go back in time
and be the person that she always wanted to be
and do the things she always wanted to do. And
it starts from this kind of like high concept de
sci fi place, but really that's just a conceit for
us to talk about, you know, time and life and
death and regret and memory and anxiety and self loathing
(03:19):
and all these things that make up being a person
in the world. So that's really what the movie's about.
In a way, I think.
Speaker 1 (03:26):
It it was just for me watching that in certain aspects.
I don't want to get too much away for everybody,
because I want you guys to check this out. But
it was just I looked at it and I just
kept going, I don't know if I want to be
because I was asked this before, that person who would
want to go back and try to fix things, because
(03:52):
I do look at it and go if I had
the opportunity to do it over again, I would not.
And I can understand why we would have that notion
of wanting to relive our past life, because we obviously
we all made mistakes, We all did some things in
our past history that we want to fix, we regret
and whatnot. But I feel like for me, those regrets
(04:14):
and those mistakes making me better and who I am
as a person now. But it also when you're looking
at the film and you're looking in in that perspective
and you're wanting to go back, and it's going like,
my god, you're changing the course of your history. So
it's also making me watch it in that angle as well,
going how is this now going to affect your life
going forward?
Speaker 3 (04:34):
Well, here's the thing too, It's like you talk about
those mistakes and those regrets and now you're looking back
then and you're like, yeah, those were good. They turn
me to the person I am. But I wonder if
right after those mistakes that happened, if you would have
been like, yeah, I'll go back.
Speaker 1 (04:47):
And too sometimes I would say I would go back
just to do it again. You know, I would just
want to be like not fixing them. I was like, yeah,
let me relive that again. I just want to do
this all over again. So I'm also I could also
be that guy babe.
Speaker 3 (05:02):
So just stuck in the good times.
Speaker 1 (05:05):
This stuck in the good times. So, I mean, honestly,
when I heard about a black hole in her, I
I didn't really expect to see that. No, you're you
weren't kidding, it's a black hole in her?
Speaker 4 (05:21):
Yeah, it was.
Speaker 1 (05:22):
It definitely was a metaphor. But then you're seeing the images.
I'm gonna i'll spill that for you guys a little bit.
You see like the the MRI scan of her, and
there's literally a black hole in her chest. So I
was like, wow, that's literally a metaphor taken to life.
So I wasn't really expecting that.
Speaker 3 (05:39):
That's one of the script that's like minute one of
the movie where.
Speaker 1 (05:46):
Yeah, when I saw that, I was like, oh, this
is gonna be interesting, Like how do you how do
we explain this? But it was. It definitely was. It
definitely was a little bit thought preporded. But I love
the the acting that was in this film, from all
the parties involved in getting these two incredible actresses involved
in this project, what was that? What was that? Like,
how was that process and getting them on board?
Speaker 3 (06:10):
Yeah, I just I was a fan of both of them.
I was a huge fan of iOS just as a comedian,
just from her podcast appearance as I was actually was
the funniest person ever. And Mary Louise I was also
just a huge fan of had seen her on Broadway
a couple of times, Like, if you ever had the
chance to see her on stage, it's it's incredible what
she can do. And so I just thought they were
(06:33):
both incredible and both would be really fun together, that
they both had very different but similar energies in a way,
and they could both they have a great screen presence,
you know, Mary Louise especially has can have such gravity
to her but also can be very funny and very
biting and a cerpic and I just thought they would
have a I don't know, as like a movie watcher.
(06:55):
I was like, I would love to watch a movie
with these two just hanging out. And so that's what
I tried to make it happen. And then I was
very grateful that they read the script, that they liked
talking to me, and that we just went to Miami
and made a movie. It feels like a dream come true.
Speaker 1 (07:10):
How long did it take for this project to get
off the ground?
Speaker 3 (07:15):
And yeah, the script took years and years and years
to write. I mean I started writing in twenty sixteen.
We were gonna shoot it in twenty nineteen, and then
that fell apart, and then the pandemic happened, and so
it was a long road to getting here. But similar
to what we were saying earlier, with the paths our
(07:38):
lives take and the mistakes and all the regrets and
all that kind of stuff, Like if I had made
the movie in twenty nineteen, that would have been a
very different movie because I was a different person. But
also it wouldn't have been with Io and Mary Louise,
and I can't imagine this movie with anybody else. So
the movie happened when it had to happen with the
people that had to happen with. And so I'm just, yeah,
I feel so fortunate and all that.
Speaker 1 (08:00):
I love how that's now time together with the theme
of the movie. So that's awesome, And it's premiering this Friday,
I believe is the date.
Speaker 3 (08:09):
Yeah, yeah, yeah, in theaters and on demand, and.
Speaker 1 (08:13):
Yeah, that's that's pretty exciting to have this now be
available for everybody because it's, like I said, it's one
of those things that's just gonna make you sit there
and go, what if that were me? And that and
that in that regard, you know when you're watching that,
so you're you're watching I want to say this too,
and again spoiler alert, but there was a specific scene
(08:37):
in here that I definitely wanted to comment on to
you that really it broke my heart. But I loved
what Mary Louise Parker did in this scene, and it
was the scene in the park and just her she
was hearing everything in her head while she was on
her knees on the ground in the grass, and it
(08:58):
was absolutely heartrending, but it was just so well done.
If you can, if you can, for a little bit
before we wrap up here, talk about that scene in
particular and just seeing that happen. What was that like
for you being in that moment for her?
Speaker 3 (09:16):
Yeah, I mean I'll take a step back just for
a second too and say that when I was writing
that scene, I wrote it all and I wrote probably
the last twenty five pages of the movie in one
big burst, and they all kind of came out, and
I remember writing that scene specifically and crying as I
was writing, which is the only time that's ever happened
to me. I remember thinking, if I can just preserve
this emotion somehow, like the audience will feel it too,
(09:36):
because I remember feeling it so strongly then. And then
it just it all seems so scary because you got
special effects and you have the actors, and you're like,
I hope that this all like will translate in some way,
and then you just say action and Mary Louise just
goes for it, and I just feel again like lucky
to have her in my movie, because she makes everything
(09:57):
work so much better than it would have just on
the page, or that it would with some other actor.
We talked a lot about that scene beforehand, and I
think the way she likes to work is not necessarily
having a target to hit, but just having a launching
pad to go from. She likes discovering something in the
moment and seeing where the scene will will go. And
(10:18):
you know, I knew we weren't going to be able
to do too many takes of that scene because it's
a very intense scene, and yeah, she just went for
it and it was really special to watch on the day.
There was a number of scenes throughout the movie that
on on set, you know, behind the monitor and I'm
just like crying, sobbing, you know that birthday scene at
the end, I'm just.
Speaker 1 (10:39):
Like the birthday scene.
Speaker 3 (10:40):
Yeah, so's there's you know, not to spoil too much stuff,
but there's a lot of kind of stuff that really
hit me emotionally and hit me personally. Hopefully that stuff
translates to an audience because I felt it when I
wrote it, I felt that when Mary Louise acted it
on set, and yeah, hopefully people feel it when they
watch it at home.
Speaker 1 (10:59):
Absolutely absolutely, This was definitely an intense, gun riching scene
for me, and like you said, this was one of
those that hit hit very hard and close to me.
And I thought this was just well, very well done
in a very intense scene.
Speaker 3 (11:11):
And I also just give a quick shout out also
to Hannah Pearl and Carlo Chacot, who plays her daughter
and her husband in the movie. And Hannah especially that
voicemail is just a heart wrenching to listen to.
Speaker 1 (11:24):
But anyway, I just absolutely and definitely it was like
I said, this was just just a poignant scene and
I loved every aspect of it, but definitely wanted to
get that in here before we wrapped up here, and
I really appreciated the time. Can't believe it already flew
by to talk with me about this. This was great.
The movie was great, and hopefully everybody gets the chance
(11:44):
to check it out. Omni Luke premieres this Friday in
theaters and video on demand. Bernardo, I really appreciate it
that you stop by and talk with me about it today.
Speaker 3 (11:54):
Thank you so much. And yeah, I appreciate all the
kind words and thoughtful questions.
Speaker 1 (11:58):
Thank you appreciate it. Thank you, Bernardo Brito for stopping
by and talking to us about Omni Loup. The movie
actually premiered this past Friday, September twentieth, at theaters and
video on demand, so make sure you guys check that out.
You guys will enjoy it. Next up is our interview
with Sadie Bones, a little bit of trivia for you guys.
(12:18):
She is the daughter of Kevin Corrigan and he starred
in one of my favorite underrated sick toms, grounded for life,
and we talked to her about the movie If That
Mockingbird Don't Sing, and she gave us some insight into
that movie as well, which I thought was pretty cool.
And she's one of the youngest directors to direct a film,
(12:42):
And we got a little bit into about how while
we do talk about needing new blood in this industry,
we also got to look at it from a standpoint
of you have people that are a part of this
industry that grew up within the industry because they had
family being a part of this, so they learned from
(13:03):
the best. So why not have someone who was a teenager.
And we talked about her celebrating her twentieth birthday with
the premiere two, basically taking this on and any I mean,
I've seen teenagers direct sitcoms, why not with films. Let's
(13:24):
get some more blood in here, so we get we
got a little bit in depth in there two, which
I thoroughly enjoyed. Here it is our interview with Sadie Bones.
Check it out. Why how are you fine?
Speaker 4 (13:37):
Thank you? How are you?
Speaker 1 (13:38):
I'm doing very well? Thank you, Thank you so much
for taking a few minutes out of your day to
talk with me. Today really appreciate it so much. For me,
I appreciate that as well. So guys, Sadie Bones, did
I say that right? Yes, she is joining us right
now and we are going to talk a few minutes
(13:58):
about if that mocking or don't sing? Well. First of all,
how did this film? Well? How did the film come
into creation? That's how I wanted to ask it.
Speaker 4 (14:13):
You know, I was about to finish my two year
conservatory at the Lee Strasburg Institute. I had just finished,
I had finished like high school at sixteen, I had
just turned eighteen. I didn't really know where I was
going to go from there, and it really kind of
(14:35):
started out as like a diary entry, you know, of
like venting all my feelings about the past few years
and what was like my coming of age kind of
and feeling super lost and feeling like I didn't know
where to go next. And it started as that, and
you know, my friend Ava related to it a lot,
(14:57):
and she encouraged me to make it bigger, and it
just grew there until it became what it is now.
Speaker 1 (15:03):
Without giving too much away, can we talk about exactly
what the film is about? So, can you give us
a brief synopsis of it.
Speaker 4 (15:11):
So it's about this teenage girl named Sidney who, right
after graduating high school, finds out she's pregnant with her
ex boyfriend's baby, who has left her to date other
girls in college, and she decides to keep it so
(15:31):
that he'll come back.
Speaker 1 (15:33):
Oh so okay, interesting, I wow, I did not pick
that up. Well, I got this synopsis. I think I
did not get to that part of the synopsis of that.
That is basically why she keeps the babies. I think
that's really where my surprise face came from. So that
(15:57):
was a nice little shock for me, guys, everybody. So, yeah,
but this is premiering on the twenty second of this month.
Speaker 4 (16:07):
It's premiere September twenty second, seven pm at the Village
Espy Angelica. It's also going to be on my twentieth birthday,
so it's gonna be a party. It's gonna be fun.
Speaker 1 (16:19):
Well, happy early birthday. And how did you get into
into the film making business or aspect of it, because
your father, I know, he has been very heavily involved
in independent filmmaking as well. So did the tour did
the torch get passed on to you? Basically?
Speaker 3 (16:40):
Uh?
Speaker 4 (16:40):
Yeah, in a way it did. You know, I've wanted
to be a filmmaker as long as I can remember,
really before I even kind of could grasp what my
parents did for a living. I knew that I wanted
to tell stories because you know, I was raised and
I'm really really artistic household. My dad was showing me
(17:04):
independent movies from the time that I could understand English.
So yeah, that's definitely how I got into it.
Speaker 1 (17:13):
The one thing I definitely like to bring up about
independent filmmaking, especially since I started having people who were
in or somewhat worked on It doesn't have to be in.
They were working on independent films. You can tell how
much love that they have for what they put into
whatever film it is that they are making. And that
(17:35):
is one of the best things that I ever ever
came across when I started talking to people in this business,
because you don't get to really see a lot of that,
whether it's in a big budget production, whether it's in
a television show, you get to see that they put
all of their time and effort and energy into it.
You know, it's a labor of love, and especially with
(17:58):
independent films, yes, you may not have the big budget,
you may not have the big money for it, but
it's such a worthwhile story.
Speaker 4 (18:08):
Yeah, it was definitely a passion project for me, and
you know that love was felt. I transformed my childhood
bedroom to be the bedroom of the main character. We've
painted it purple and crated it, but you know, it's
still like my childhood bed is the bed in the movie.
(18:29):
And you know it's my friends and my family and
my teachers who are acting in it, and you know
it's my childhood best friend's house. We shot in, our
neighbor's house we shot in. It's very homegrown and like
definitely definitely a passion project for all involved, especially because
(18:51):
you know I was only eighteen when I directed it.
So getting my producer on board, for example, you know,
she sees a script and she's like, the writer director
is eighteen. I don't know if I want to do that,
But she really liked the script and signed on because
of that. But a leap of faith from a lot
(19:11):
of people.
Speaker 1 (19:12):
You mentioned. First of all, there's two things you mentioned
that this is going to be preparing on your twentieth birthday,
but you just also hit on the fact that you
were eighteen when you first directed this. Film, and already
it came off that there was at least someone who
felt a little bit of hesitancy and resistance to directing
it because producing and I should say, not directing it,
(19:35):
because you had such a young director involved in this film.
I think I only heard of it one time prior
to this, and it's escaping me whatever what the show was.
But there was someone who I believe, and I think
it was a Disney show at the time, who directed
an episode and they were only fifteen, sixteen years old.
(20:00):
With that hesitancy? Did you come into this when you
were about to direct this film? So in your own head,
were you hesitant, were you scared, were you you know, terrified,
or did you actually come into this going like, I
know what I'm doing, Let's get this going. If we
can get somebody on board who also sees the passion
in the labor love like I do with it, let's go.
(20:24):
But was there also that sense of hesitancy on your part?
Speaker 4 (20:29):
You know, I've always been precocious. I left high school
and got right to plone when I was sixteen because
I was ready to go, ready to go out into
the world. And you know, there was never really a
point where I was like, I'm too young to do
this because I feel like, you know, I feel like
(20:50):
my brain is hardwired to direct and to write, which
maybe is just a nice way of saying I'm very bossy.
But I also think that like it should be more accessible.
I think that every single person has a story to tell,
and whether you're eighteen years old or you're eighty years old,
(21:13):
I think that everyone has a worthwhile story to tell,
and I would love to see more of them represented
on screen, and especially like I was frustrated by the
lack of new movies that fell authentic to like gen
z and felt authentic to young voices, and I figured,
you know, someone's got to do it, someone's got to
put it out there, because, like I know, I would
(21:34):
want to see it, and I'm sure that you know,
there are many, many, many, much more underserved groups that
deserve to have their stories out there as well told
by someone who gets it.
Speaker 1 (21:47):
You know, it's funny you said that about how there's
it doesn't even have to be movies, but it could
be any type of any type of series, any type
of film, any type of something where it doesn't accurately
represent and a certain group and I hate saying this, guys,
but I have to say it because she brings up
(22:08):
a very good point. We said that for someone who
is a person of color, rarely have we found a
lot of films or television shows in recent years that
accurately depicts people of color. And I totally understand why
you're saying that there's not, at least in your knowledge,
anything that's accurately depicting gen Z, because you know, we
(22:31):
always if you see it in anything in social media
or any any type of online platform, gen Z gets knocked.
And we don't necessarily know exactly what a gen Z is. Like,
we know, we know what it is by quote unquote definition,
but really what is a gen Z? And how do
we know exactly what a gen Z does? So I
(22:52):
think it really makes sense that you said that, because
you know, I am a millennial. If you're going by
the actual definition, I am a millennial. So you could
probably in essence look at me and go, oh, you're
a millennial. Well you're this type of person, and they
could easily come at me in some type of way,
But really I'm not what you would consider a millennial.
(23:14):
So it really makes sense that you brought up that point,
so thank you for thank you for calling that out.
Speaker 4 (23:22):
I also just think that like film is such a
gift because you really get to show people what the
world looks like and sounds like through your eyes, you know.
And I think it's easier to empathize with someone or
(23:43):
understand them because you basically get to see the world
from their perspective. And I think that, you know, if
we had, if being able to write and direct movies
was more accessible, I think the world would be a
lot more of an empathetic place.
Speaker 1 (24:01):
I think if anybody ever watched any of these shows
through the lens of the creator, director, the writer, you know,
I think, as you said, I think it would be
a whole different ball on game that we are living
in on this earth. And you know, it's such a stigma,
especially if you're looking at it from the scope of young,
(24:22):
young directors, people of color, women in in this field.
It just doesn't seem like they get the respect that
they richly deserve. And that's another another reason why I
asked that question was because we have grown up in
an error unfortunately, seeing how much people tend to not
(24:49):
really want to watch movies that are done by a
certain group of people, And as you just said yourself,
I think it needs to be more of this in
this scope of reality when it comes to filmmaking. Even
we talk about with the young directors, I'm going like, well,
(25:11):
we have young actors. We have actors that started in
this business at three. Some of them started as soon
as they were born. So if you're telling me that
they could be if if that's okay with you for
them to start in this game at such a young
age as an actor, why can't we do that as
a director, especially if you're especially if you are coming
(25:32):
in in this thing where you have family that's been
in this business for so many years. I mean, listen,
I loved your father on Grounded for Life. I was
a huge fan of that show, and I had to
tell you, I feel that show was very underrated. Very underrated,
I agree, and it was one of the best shows
(25:55):
that I watched on the then WB And yeah, I
loved watching it every Friday night, I really did. And
like I said, very underrated. It should have gotten a
lot more love than it got in that But going
from that with him Kevin and being in this entertainment
(26:16):
field and you basically being around this, he is showing
you everything when it comes to the entertainment industry and
independent films and whatnot. It makes to me. I'm going like, well,
this makes sense if you have somebody, no matter what
the age is, that they're coming in and directed because
they've lived this. They know what it's like, they know
(26:37):
the ins and outs of the business, and they also
have their own story to tell. And I think that's
really what should it be. It shouldn't be about that
they have the story that they want to tell and
the story is good, the story's on paper, it's good.
You got the people who's acted the parts out. It
doesn't matter who's directing it. As long as you have
the story, everything else falls into place. Yeah.
Speaker 4 (27:01):
I mean I think that, like, there are so many
stories to be told, and also like you know, being
the director to like, I think that more people are
capable of it than they realize. Not that it's not
a hard job and not that like it doesn't take
(27:22):
talent and hard work, but I think that people count
themselves out because it's so hard to get into and
they shouldn't and you know, and more opportunities should be
made for them. And I'm incredibly incredibly lucky that this
was able to happen for me, and I hope that
(27:47):
it inspires others to, you know, take that chance, or
inspires like more producers to take chances on unknown and
maybe risky people be because they have something to say.
And I mean based on the response to our film
so far, it's really resonated with a lot of people,
(28:09):
and I definitely I definitely get a kick out of Like,
you know, it'll show to the festival and people don't
know how old I am, and then I show up
and they're like, you're a little girl, and you know
you things that maybe seem important to at the beginning
and seem like iffy They people don't even know because
(28:32):
a good movie is a good movie.
Speaker 1 (28:34):
A good movie is a good movie. And you hit
that nail on the head with everything that you just
talked about, and I feel like that is the that
is the frightening thing about it. For those that want
to start in this business, they are afraid to get
into it because of that rejection aspect of it, and
we're not giving them a chance because you have to
(28:56):
be this age, or you have to be this snis,
you have to be this et cetera. In order for
you to get your start in this business, or at
least get your foot in the door. We'll say it
that way. Yeah, And as you said, everybody has a
story to tell. I feel like that wants to branch
out into this business and if we open up those
floodgates to let them in so they can tell the story.
(29:19):
One of the things we've said majority of the recent
years is we love original content because a lot of
things that we started seeing are remakes or revivals. And
don't get me wrong, some of them have been good.
Some of them have been great, and we accept them.
But we don't necessarily want that all the time. We
(29:39):
want fresh content. We want fresh stories, we want new ideas.
And if we're not, if we're not going and going
through our pick at the litter in order to bring
these worthwhile people in to give us these new ideas
and fresh faces, this is what we're going to be
stuck with. So I just for me, I don't understand
(30:01):
why we've never ever wanted to accept new blood in
the game here.
Speaker 4 (30:06):
And I mean and beyond that too, Like you know, okay,
maybe if someone is young you then you give them
the support they need to thrive, you know, especially like
I think we should have more disabled people making movies.
I think that we should have more LGBTQ people making movies,
(30:28):
you know, and not because they're disabled or because whatever,
but because they have a story to tell. And Okay,
maybe you know, if you're for example, death, maybe it's
hard for you to direct in the traditional sense. Okay,
then we need to make the resources, make the way
(30:49):
for them to be able to do it, because I
want to know what things are like from their point
of view, and I think that the rest of the
world does too, if we just give new people a chance.
Speaker 1 (31:02):
I mean, perfect example, Marley Mattlin. I mean she has
she's been in this business for a long time. Granted, however,
think about what you just said. You know, somebody who
is deaf and is on that set. It may not
be the traditional way of directing. You've got to make
the resources in order to make it happen. Work with her,
(31:24):
not against her. And I know she definitely has picked
up the tricks and everything on how to do it.
But just think if someone else knew coming in. Think
of somebody who wants to actually get into this business
who is deaf, and they actually have someone that they
could respond to a look up to. You have that
with her, if you have her in a directing scope,
(31:49):
if you have her in a writing scope, if you
have her producing something something along those lines, and this
one person is just sitting there on the other side
of the coin and is now going, I could do
that too. My my disability is not an inability.
Speaker 4 (32:06):
Yes, absolutely, and I mean for me like Quinn Shepherd
is an inspiration to me. She directed her first feature
as a teenager as well, and you know, like having
people like that and then seeing how her career has
grown since then. I think it's also just so important
to feel like you're not a novelty you know, like, yes,
I am a teenage director, but like it's not It's
(32:30):
not a novelty act. It's not like I'm still I
still want to be recognized as like as a real filmmaker.
Speaker 1 (32:38):
A real yeah, a real film Having her.
Speaker 4 (32:41):
Have paved the way for me a little bit was
really helpful to feel like I was being taken seriously.
Speaker 1 (32:49):
It's like when you said that, I'm going like, yeah,
I'm a teenage director. I'm like, no, you're a director.
And I think that's how people need to look at that.
They should not put the teenage part in front of it. No,
I'm a director, case.
Speaker 4 (33:04):
Closed, Yeah, And I mean like I bring with me
the perspective of being a young person and being gen
Z and you know everything else. But you know, so
does everyone. So does everyone.
Speaker 1 (33:19):
Everybody's going to bring their fresh take on something when
you give them an opportunity to come to the table
with it. You know, everybody has got as we as
we said numerous times during the course of this interview,
everybody has a story to tell, and we just got
to give them the opportunity to tell that story. You
mentioned it perfectly that this this movie, it resonated with
(33:40):
a lot of people. And if we if we get
those those filmmakers, those thinkers, those those idea makers that
come into the fold to share their own perceptions and
give us a story through their lens, you know this
is going to resonate with a lot more people and
get more people talking. And it's just a matter of
opening the door, no matter what, no matter who you are.
(34:03):
We just got to open that door for those creatives
and those talented humans to come in and tell those stories.
And hopefully, hopefully that continues to happen. But this is
another reason why I love independent films. It's because they
get that opportunity to shine like that. And while we
(34:24):
yes want it for big budget releases and whatnot, working
in independent films is literally a whole different ballgame. You
get to finally tell that story behind the lens. You
get to see a side of this where it's industry.
How do I say this? How do I end that?
(34:44):
On a big way? You get to see a side
of industry where you necessarily may not get with a
big budget, but you're going to get a lot more respect.
Speaker 4 (34:56):
It's definitely like it's family and it's people who really
believe in it. You know, it's not people who are
there showing up for a paycheck. It's people who are
there because they want to be there. And I think
that matters, you know, it definitely does. There are certainly,
like plenty of movies that maybe wouldn't be to my
(35:19):
taste if I was sitting at home wanting to like
bed Rot, But the story behind the story compels me
so much that when I see the movie, it isn't
a whole new light.
Speaker 1 (35:32):
Absolutely. Now, when we talked about it premiering on the
twenty second. Let's go over again to where they'll be
able to see it.
Speaker 4 (35:40):
It will be premiering the New York City premiere September
twenty second, seven pm at the Villageyes by Angelica. It's
the closing night film of the Soho International Film Festival.
Speaker 1 (35:51):
Oh my gosh. So before we wrap up, I got
to ask, what was your reaction like that, the fact
that it was going to be a part of the
Soho International Film Festival.
Speaker 4 (36:02):
I mean, I'm in New York City, native of the
same so it means so much to me to have
it finally play here. I grew up in Tribeca, so
it's like it's my hometown. It's my people, it's my
teachers and my childhood friends and my family, and you know,
it means so much to me.
Speaker 1 (36:20):
I appreciate you taking time out of your day to
talk to me. This was fun for me because I
love whenever I get the chance to get on my
soapbox about something passionate and bringing out this type of
a conversation with the other person. It's the most fun
for me, and I really appreciate getting not just the
fact of you talking about this film with us, but
(36:41):
also talking about everything else surrounding the film as well
as our thoughts and ideas of how we can make
this industry process even better. And it was. It was
a lot of fun for me, so thank you so
much for joining me.
Speaker 4 (36:55):
Thank you so much for having me, and I really
enjoyed it as well. I think that this conversation needs
to be had more and louder.
Speaker 1 (37:02):
It needs to definitely be had more and be louder.
I would love to have you back on any time
and we can talk about this even more. But yeah,
I completely agree, this is a conversation that needs to
be discussed even more than what we just did within
the past twenty five minutes. So I completely and utterly
(37:22):
Any independent filmmakers please please come on this show. I
would love to talk to you more and watch your
films and review them and talk about the fact that
this is such, this is important, This is important that
we need to support the indie filmmakers. We need to
support that because they're getting the chance to do something
that they love that they may not be able to
(37:43):
do in another type of landscape. Absolutely so, Sadie Bones,
thank you so much. This was a lot of fun,
and again, we love to have you back on anytime
the door is open.
Speaker 4 (37:56):
Thank you so much.
Speaker 1 (37:58):
I want to thank both of my guests, Nardo Brito
and Sadievones for stopping by the Buzzcast. Hopefully you guys
get to check out their movies on the loop and
if that mocking Bird O sing at your local theaters
and of the video on demand, you guys will not
regret it. So thank you both again for stopping by
the show and talking with us about it. But that's
going to do it for me for right now. I'm
(38:18):
the Beljaly making sure you keep getting the latest buzz
with Buzzworthy Radio by logging on to our website at
www dot buzzworthyradiocast dot com. You can also follow us
on x formally known as Twitter at Buzzworthy Radio and
liking us on our Facebook page. I'm also on Instagram
at buzznav and you can download and stream our podcast
(38:40):
on Amazon Music and iHeartRadio. We'll see you guys next time.
Take care, stay in the.
Speaker 2 (38:46):
No catch up on all the buzz podcasts and videos
at buzzworthyradiocast dot com. Keep getting the latest buzz with
buzzworthyradio now on Amazon Music
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