March 12, 2024 • 33 mins
Today on the show, Ian and Eshom Nelms join the show to discuss their most recent release, Red Right Hand.
Red Right Hand stars Orlando Bloom, Andie MacDowell, Garret Dillahunt, Chapel Oaks, Scott Haze, Nicholas Logan, Kenneth Miller, Mo McRae, and more.
Music by the Mondo Boys
Edited by Traton Lee
Cinematography by Johnny Derango
Written by Jonathan Easley
Directed by Eshom and Ian Nelms
RED RIGHT HAND IS STREAMING EVERYWHERE NOW!
Red Right Hand stars Orlando Bloom, Andie MacDowell, Garret Dillahunt, Chapel Oaks, Scott Haze, Nicholas Logan, Kenneth Miller, Mo McRae, and more.
Music by the Mondo Boys
Edited by Traton Lee
Cinematography by Johnny Derango
Written by Jonathan Easley
Directed by Eshom and Ian Nelms
RED RIGHT HAND IS STREAMING EVERYWHERE NOW!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:37):
All right, ellis send, I'mback another dish. How are we doing
out there? Good? Great Grayyand Ayan wonderful as you see on your
screen, your dial. However,you are choosing to join us today,
we appreciate you. Red Right Handlisten, Cash. Uncle Cash is trying
to live an honest and quiet life. But when the big Cat, the
(00:59):
big Cat, holy Moly, wasthe big Cat Fierce forces him back into
her services, he proves capable ofanything to protect the town and the only
family he has left. Red RightHand stars Orlando Bloom, Andy McDowell,
Garrett Dilla, Hunt, Chapel Stewart. Who else we got, Moe McCrae,
Kenneth Miller's, Scott Hag, ScottHayes, Nicholas Logan, Brian Garretty,
(01:26):
Daniel Davidson, on and on andsomething you guys should know. Every
single one of them is good.Ev there's no weak spots. Every single
one of them is good. It'sgot music from The Mondo Boys, cinematography
from Johnny Durango, edited by TraytonLee, written by Jonathan Eastley, and
directed by Esham and Ian Nelms.I thought Red Right Hand was really strong,
(01:49):
Gang, I really did. Ithought. For a film centered around
a small town and a small groupof people, it felt big. It
felt really big. I thought castblew my expectations right out of the water.
Not that I had low expectations.I didn't know what to expect.
After I watched the trailer, Ithought, between the pace of the script,
(02:10):
the cinematography, the editing, thesound, the crew on this film
absolutely shine. But most importantly aboutthis film, it's got heart. I
can't stand action movies without heart.You know you want that. Go see
Fast and the Furious. I understandthat there's a place for Fast and the
Furious, it just may not necessarilybe for me. Anyway. You can
(02:31):
stream red right hand, everywhere,right now, no excuses. So I
was fortunate enough to have my guestson the show a few years back for
their Christmas cult classic fat Man,what you see behind me here? If
you haven't seen that one, pleasego out and show the love for that
one, because when I say cultclassic, I mean it. So if
(02:53):
you're interested in hearing about my guestfilmography and their accolades, listen to that
episode, because we're not gonna bedoing that today. I want to maximize
the time that I have with them. So members of the audience, I
bring to you the Nelms Brothers eshamIan guys, thank you so much for
joining the show. Happy to haveyou on. Do we got you?
(03:15):
There, we go, We gotyoua And I gotta ask you to unmute?
What kind of ship am I runninghere? How are we doing?
Fellas well? Great man? Thankyou for having us so I gotta say
I know that I said it.How you guys did it again? You
guys, you made something so small, I'm sorry, something that was supposed
(03:38):
to be small so big like this. This movie Center is around a small
town, a small group of people, and yet I mean, just be
between some of the exteriors and thelandscape shots that you had Johnny doing,
it felt big, gentlemen, AndI just wanted to congratulate you on yet
another film that I thought you knockedout of the park. Oh, thank
(04:00):
you so much. That that onesare hard. Honestly, you know,
you get out there and you're inthe middle of it, right and you
know Johnny Durango's sitting there doing purelet's getting this out of all kinds of
trouble. We're trying to push himas hard as we can and the man's
just a genius with the camera.So what he said, he makes us
live, he makes us look good. Is Johnny Durango his real name?
One hundred percent? Yeah, No, it's It's part of the reason why
(04:23):
we hired him. At this point, he's like a third Nouln's brother,
just Durango. It just rolls outthe tone, you know. So,
like I said, guys, Idon't want to waste too much time with
you. I I want to kindof get down to some brass taxes here.
Talk to me about script to screen. So I'm looking in Jonathan,
correct me if I'm wrong. Thisis his first feature, at least that's
(04:44):
what I AMDB says. There's acouple other accolades, but first feature.
Tell me, are you guys friendswith Jonathan? Are you shopping through scripts
figuring out what what the next playis for you? Guys? Tell me
from script to screen? How doesthat come to be? So there's a
company called thunder Rote. They didlike the Sacario films, they did John
Wick, and they came to uswith this script. They come to the
(05:08):
couple of others returned and we said, nah, these aren't for us,
but this one came to us andwe really enjoyed it, and that's where
it started. You know, wemet Jonathan. I guess this script had
been on the Nickel Fellowship finalists ofsome sort, but yeah, we really
dug the script. It had alot of heart, It had a lot
of you know, family up front, they get you really invested in the
(05:28):
characters, and then it takes you, you know, into the depths of
darkness with them as they as theytry to fight their way off from under
big cats thumb. Yeah, andJonathan Easley's an interesting guy. I mean,
before he took his hand at screenwriting, he was a journalist and worked
professionally for like twenty years, sohe's a very accomplished writer. Didn't he
cover one of the most recent elections. I was reading and I was just
(05:50):
like, wait a minute, thedude that's doing a journalism and covering elections
is now write a very poignant smalltown script. I love it, man,
I love that story. I feellike he carried he covered the one
before this one, the Biden Trumpright before you know, this current one,
and I think he was he'd donethe one previous too. He'd been
(06:11):
on Air Force one as a asa correspondent. Yeah, he's made his
way around the political the political journalismworld where I think about a decade.
And for us, like, really, really the leaping off point for this
was was reading the script, reallyenjoying the characters. And then we had
had a meeting with Orlando Bloom rightafter we did a film called Small Town
(06:31):
Cry, and Orlando really liked itand he sat down with us. We
had great breakfast with the guy,really hit it off and h and he
expressed his appetite to take on somemore bold, audacious characters outside of the
more handsome, romantic, you know, Leeds or and or Elves action hero
that he'd done in the past.And he was like, you know,
knock out my teeth, mess upmy hair, do whatever you want to
(06:53):
do, boys, and uh.And so when we read this script,
we're like, my goodness, wouldn'tthis be fun to put Orlando in a
role you haven't ever seen him do? And that was really the leaping off
point for us. I love that. In fact, it shades of and
maybe I'm speaking out of school here, but shades of Tom Hardy is as
(07:14):
far as how dark he went intothe role, Like when he speaks his
first line of dialogue, I waslike, oh shit, what do we
have here? We got Orlando Bloomlooking gruff, and I thought he killed
it. I absolutely thought, Igotta think he exceeded your guys' expectations.
Just kind of blew that out ofthe water. Yeah. Man, he
(07:34):
really went deep dive on this.He spent like three months on that dialect,
and then when he landed in Kentucky, he spent weeks, you know,
really dialing it into the sort ofwhich hollow we were shooting in,
or which hollow he wanted to portrayhe wanted to portray. And I mean,
it really is an interesting place,Kentucky because the dialects or the accents
(07:56):
can change literally from holler to holler. So you know, we didn't meet
a person, we didn't meet twopeople that sounded the same. Uh.
When you're down in Kentucky and youyou range from people who don't have an
accent all the way to people whoyou have a fierce accent that you're you
know, it sounds like Brad Pittin Snatch. You're trying to figure out
what they're saying. And then everywherein between, you know, and sometimes
(08:18):
you know, the next door neighborof the person you're we were shooting in
a house. The next door neighborhas a fierce, a fierce uh you
know, fiercely different dialect than theguy house were shooting at. So yeah,
it was very It was very interesting. It was a very wild place,
and Orlando really really nailed down thatdemographic of of a dialect that he
was after. Man, he justyou know, all the way to the
(08:41):
clothes and uh even the boots thathe picked that gave him a certain step
and gate, the way that hewalked. Really worked on the physicality.
You know, he played a guywho was who was muscle for a mobster,
so he really wanted to be capableand look capable. Yeah, man,
he went all in. I meaneven that like sort of working out
scene that we throw in the beginningthere there's nothing for us that sort of
(09:03):
like sets us off in a waywhere you see someone that's just jacked out
of their mind and you never seehim do a push up or anything at
all, you know, and we'relike, no, no, this guy's
got like a prison workout that helike did for fift ten years while he
was away or whatever. You know, So like that was sort of like
some of the backstory we were buildingfor him. You know. He was
like, He's like, man,I really want to have a craft that
I do, so you're gonna seehim like doing a little bit of wood
(09:24):
working, you know, and sostuff like that to really to fill out
that character and who is Cash andwho is this man trying to He's like,
I discovered this while I was inprison, you know, so like
these are sort of like some ofthe things that he really dug into on
that character. And honestly, toyour point, did he exceed our expectations?
You know, I don't know youand I ask a lot, right,
Like we want someone that is excitedabout the role and gonna bring ideas
(09:46):
that we can't possibly fathom, rightbecause when they're that's their job, and
Orlando absolutely thrived in that environment.I would say he absolutely, he did.
He exceeded our expectations. He reallycame utterly and completely prepared, and
I thought, honestly, for us, he was a joy to come to
work with the man every single daybecause not only has he immersed in the
character, but like no two takesof the same, right, Like he's
(10:07):
giving you such a wide spectrum ofperformance that when we got to the editing
room, it was a glutton ofriches. I love that. By the
way, I tried his inverted pushups and I fell right on my face.
There'll be no prison workouts for meanytime in the future. So I
guess I kind of want to talkabout the cast that you were able to
(10:28):
get. You got Bloom, McDowell, Dilla Hunt, all these people I
thought destroyed their roles, like Ireally did. Like and I'm sure you
guys have probably heard it time andtime again already, but Andy McDowell,
you gotta be shitting me. Boys. I was literally like, she's not
gonna do it. And again,no spoilers, gang, so if you're
(10:50):
listening to the show, no spoilers. But there was three times I didn't
think she was gonna do it,and she certainly does. And it's believable,
which which is my favorite part ofit, because like you can throw
in something violent just to kind oflike move the character along. But do
I believe it or not? That'salways the question, and I did across
the board. You got this immenselytalented cast to come along for this,
(11:15):
and like I couldn't be happier asa viewer. I mean, is this
starting to become like the norm foryou guys? Just like, ah,
you know what, we it doesn'tmatter who we get on our films,
like we're gonna I guess that's whatI want to talk about. Are you
letting them do their own thing?Or you guys run a tight ship on
set. It's a little bit ofboth. We obviously would get really excited
(11:37):
when actors bring a lot of ideasright now and now, now, are
we gonna be excited about every idea? Probably not? Are we excited about
a lot of ideas? Are youknow? I mean there was a couple
of things, you know, theycome out of the costume room and you're
like, BOTHO, time's gotta golike that. We can't. We can't
be running that, you know.But there's a lot of stuff to come
out. I mean, it wasjust let's talk about Andy, Like Andy
(11:58):
brought aunt of her character, thehair, the costume stuff, like she
really built that out on her own, a lot of it and was presented
us to it. Yeah. Ithink one of the funnest things with Andy
is that you know, she wason our list to begin with, but
we just didn't think of you know, we love to put lists together of
like, Okay, who would beinteresting in this role? Who'd be great
in this role? And that's kindof what you want. You want a
(12:18):
combination of both. You want greatand interesting, and Andy absolutely fit that
bill. We just didn't think thatshe would be interested in it because she
hadn't done anything like this. Imean, she'd done a few roles where
she played a little heightened you knowwhat I mean, like funny bad and
like ready or Not? Right,I think that's the one she's in.
Yeah, yeah, Ready or not? Yeah yeah, Well it's not full
(12:41):
tilt you know, spawn of theDevil that she had to play in this
one. And that's when we werereally after it, excited about to see
her really stretch and reach. Wehad this phone call with her and she
was like, I know you've neverseen me do this before, but trust
me, I could do it.Ask my kids. And she was wearing
(13:03):
like this leather these leather pants andlike she was bringing a little bit of
the big cat to the to thephone call, and we realized on that
call, We're like, Okay,I can definitely see that character in her.
You know, if she were Itwas a very pleasant call, but
you could see that, you know, she was she was giving us a
little bit of the big cat attimes, and we were we were very
excited about her doing it because therewas no doubt that she she possesses the
(13:26):
talent to do it right. It'sthe desire, you know. And then
when we saw her like pitching uslike hair and braids and like feathers and
like you know, bringing this likeoutfit that has a bunch of snake skin
on it, We're like, oh, yeah, this could be super fun.
You know this is gonna be good. Oh my gosh, Like I
when I say, absolutely, shemay be my favorite character, just because,
like you guys said, I wasn'texpecting it to be that dark for
(13:50):
her. Like once I had onceI had saw who was in it,
I was just kind of like,all right, we'll see where this goes.
And I had no idea she wasgoing to be the villain until she
was the because I try my bestto stay away from trailers. Once I
saw that you guys were doing it, I kind of just I shut the
trailer off because I was like,I'll see it. I trust them already
because I don't know if you guysknow this, you probably don't. I
(14:11):
actually get up out of the theaterand leave. If a trailer to a
movie that I know I'm going tosee starts to play, I don't.
I have no shame, I'll leave. Boys. Wow, it's the best
way to watch a movie, right, all you. And that's honestly,
like I will say, the stateof trailers this day and age is not
a good one. It's not agood one. You have to spoon feed
(14:33):
the audience so much, and halfof them are getting mad because you're giving
them too many story points. Theother half are like, you know,
that's not enough. You're just tryingto sweet spot it. You know,
they're trying to get fannies in theseats. Ian and I love a much
more nuanced you know, less ismore trailer. But it's it's hard to
get people to show up for that, so you got to give them a
(14:54):
lot. And that's the state we'rein right now. But I commend you,
sir. That's the way I,you and I like to walk into
movies is to know nothing and letit roll over you. If I had
it my way, it would beall black screen, just white titles.
You tell everybody who's in it,and then that'll just be it. But
I understand why, you know,you gotta spoon feed it to them.
Which, boy, I'm getting sotired of the spoon feeding. Which this
(15:16):
film, I almost felt like wedidn't spoonfeed it, like I love how
we there's no dead spots in thisguys. That's hard to do with action
these days. I just want todrive that point home. There is always
an action film that I'm watching whereI'm like, I can go to the
bathroom and chill that you know,the love interest and you know the main
character. They're gonna make out fora little bit. I got time for
(15:37):
a pee break. I'm gonna getout of here and come back. But
the speaking of action films and nothaving any lulls in yours, are you
guys heavy on pre production? Wegot a lot of wanna be filmmakers that
listen to this show. Are youguys big pre production fans? Do you
guys kind of ad lib as yougo going? As you go on shooting?
(16:00):
I asked, because I and Idon't know how much you guys watch
stuff on the internet or anything likethat, But I just saw that interview
with Christopher Nolan and Denie villain Neuveabout shooting in Imax. And I found
it interesting that Christopher Nolan does verylittle storyboarding at all and Denie does a
ton of storyboarding. And actually whathe'll do is he'll tweak the script as
(16:25):
he's going through his own storyboards.How does that look for not only the
film, for making the film foryou guys, but the action sequences specifically.
I can say that it's very muchwhat Deni described like. Ash is
a professional storyboard artist for us anyway, and you know, I know,
we know people that do it eitherway, but Esh is a professional storyboard
artist, and luckily for us,he's able to storyboard every frame of the
(16:48):
film. It helps us a ton, and he does he's boarding things out
and he'll be like, oh,hey, I was bored in the scene
out And what do you think ifwe do with this or that, or
if we put this in or maybeit needs to be a little more like
this because it's going to be it'sgoing to light up with the room a
little better. Or what if Iadd to this in or what do you
think of that? You know,it sometimes sets us off on a on
a great path of discovery. AndI will say that is not to say
(17:11):
we're completely locked into those boys.Because you get into that scene and the
actor wants to do something really funor incredible or awesome, you you you
lean into that. You don't wantto be so rigid that that you cut
your you know, your nose offto spite your face because you're you want
it to be exactly like the storyboards. There's so much magic that can happen
when you have these high level collaboratorsand you want to get every ounce of
(17:33):
that blood, sweat and tears they'retrying to put into it on screen.
Yeah, and just nailed that,right, Like, no two actors the
same. So you get in there, you try to thin slice, you
know, how can we collaborate thebest? You know, some actors need
to be more on a journey ofdiscovery, right, that's what That's what
really helps them with their process andmore. And some actors are like,
Okay, where's my light? Whatlens are we on? Where do you
what line do you want me toturn and look at the camera for?
(17:55):
I mean, and and everything looksnaturalistic and perfect and athough it's so micro
specific in the details. Yeah,but then you know, some people are
like, hey, you know,I'm like, hey, well, you
know, you know, like whenwhen you grab the skateboard and went up
the stairs, I was a littletoo much. We got to come back
down, you know, so yougot to like but you got to back
into that discovery voyage of them.So I guess this question is for me
(18:17):
now hearing you guys talk, Iam curious. Uh. You know,
I think we're all right. Ithink hopefully if we just give it a
little time, this is perfect.This is why I don't edit anything,
so everybody can see the flaws ofthe damn show anyway. Anyway, So
I guess give me an example.I didn't have this written down, but
where was an instance, without spoilingtoo much, where you kind of leaned
(18:40):
into the evolution of the scene thatyou may not have pre planned beforehand.
So for the one that I recall, it was probably the biggest one that
I remember is the knife fight.Uh. And I try not to give
too much away, but that knifefight, of course, it was written
out and then it was choreographed bythe two actors in it and the fight
(19:06):
team, and they did such agreat job of adding little nuances and little
moments and coming up with cool stuffthat I remember esh reboarding it so that
when we got there, you know, it was a lot, it had
all the nuances they'd added. Andthen I remember a couple of moments,
you know, because a prop wasthis way or that way, the things
fell a little a slightly bit differentwhen we were on set shooting it.
(19:29):
So yeah, that one, thatone had a had a big metamorphosis because
you know, there were different creativeteams working on it. You had the
actors in their portrayal of it,then you had the the ad of the
stunt team, and then and thenyou know, what actually happened on the
day was even slightly different, youknow where things landed at times. But
but yeah, that one, thatone was a big one. But just
because we had like three layers.After sh boarded, it happened, and
(19:49):
then we had he reboarded it andwe came back and still it added and
became more than it was. Yeah. The other one is that scene where
Orland goes to see Andy first inthe den there with the fire. Yeah,
and uh, and that that scenewe specifically were like, hey,
this is your this is your playground. You guys go and and run it
(20:11):
a couple of times and see whereyou kind of want to go, and
then we'll cover it from there.And uh, and that's kind of how
we blocked it out with them.And then I think we were doing really
long takes, like four or fiveminute takes at a time, like the
whole thing knows the tail, andwe shot the wides and the closest each
twice from each side, and wewere done and we were out. And
(20:32):
that's and that was how that washow that scene can be. There.
No two scenes are the same,right, but that one we really wanted
them to kind of have the freedomto play in the room and just discover
it. I mean, the knifefight sequence is one of my favorites in
the film. And I just wantto anytime I get an opportunity on my
show, I the stunt stunt,stunt men, stunt team, stunt women,
they all need more love. SoI wanted to say the stunts on
(20:56):
this the pyrotechnic, you name it, the entire stunt team absolutely killed it
again. They did in Fat Man, they did in this one. And
anytime I can give the stunt teama little bit more love, I love
to do it. And here isno exception. I would assume that they
blew your socks off for this.Look. We didn't. We didn't have
a lot of money, you know. This is this is a very uh
(21:17):
this is an independent movie, andit's interesting to go out there and Ian
and I love practical effects. That'snot the easiest thing to do, you
know. So we go out therewith a team and I don't know what
vortex we were in on this movie, but there most of the time the
effects are triggered by sonic So youfire a gun and it blows off whatever
squib that you have on the body. In this particular instance, that didn't
(21:38):
work. So every squib in themovie is done straight nineteen seventy style with
a wire going to a flip,a switchboard all over. So any any
squib, any gunshot in a wall, anything you see in this movie is
one hundred percent of some gentleman orwoman hitting a switch sinking all that with
the gunfire by hand. It's wild. We had a cut either either frame
(22:02):
out the wires or cut them later, you know, cover them up digitally
later. But yeah, it wasIt was an interesting way to work because
we've never quite worked that way andthere's absolutely a hindrance on the actors as
they're trying to drag a pant legfull of wires around, you know,
as they're taking swibs. So therewas definitely some you know, there was
definitely things that changed because of theof the way that those had to be
(22:25):
done. I mean, every squibon a car was also hardwired. So
the guys sitting two feet behind thecar somewhere with a switchboard flipping them all
off. It was just nuts.It was chaos, man, I mean
it was it was controlled chaos,but it was I mean I think I
think like like what he had sayinglike chaos is like it was immensely difficult,
immensely calculated. Like. So.One another thing is that at one
(22:48):
point they came to us and theysaid, hey, you know, you
know, we had some like prettydramatic weather and it ended up messing up
our schedule, uh, to wherewe lost three days of shooting. Yeah,
tornadoes, lightning, storm as wildand they came to us and they
said, hey, guys, youknow you lost these three days and you're
gonna have to trim some stuff outof that end big climactic moment in the
movie. The big last third ofit, and we're like, well,
(23:08):
that's why we wanted that's like oneof the main reasons we want to do
the movie, so we're absolutely haveto deliver on that. So let's figure
out a way that we don't haveto compromise on that stuff and come back
to us. So they came backto us and they said, Okay,
well, the only possible way wecan think of you guys pulling this off
and like it's not even possible reallyis that you have no resets on anything,
and that you have to do itall first take. And we're like
(23:32):
yeah, and we're like practical,you know, and we're like, great,
that's what we'll do. So sowhat came out of that was just
a process of of doing like normally, the way we've done it in the
past is with the effects is thatyou know, the actual runs it like
two or three times and then yougo and then if it worked great,
you you know, use it orif you get usually you get one more
reset at least and you can doreload for about a half an hour to
(23:52):
an hour reset and shoot it onemore time. On this one, we
knew we weren't gonna be able tohave that half hour to hour reset and
we didn't have them needs to resetit anyway. So it was more like,
let's practice it ten times, whichtakes ten or fifteen minutes rather than
two or three minutes. Let's runit ten times ish, you know,
eight, nine, ten times,really nail it down and then go.
(24:15):
So that was an interesting process becauseyou know, we cut a lot of
time. We saved a lot oftime, We saved a lot of money,
and just practicing it more before beforeshooting it held the time. I
gotta tell you, guys, doesn'tplay like an indie film, just just
so we're clear on my end,doesn't play like an indie film. And
(24:36):
to your point, practical effects untilthey put me in the ground, I'm
never like the one. The exampleI always use is three Days from Hell.
You can't have CG gunfire. Youcan't do it. It's that it
looks terrible. It looks absolutely terrible, and for something like this, but
I'm backing up, doesn't play likean independent film, guys, really does
(24:57):
it? Like I think it?I think it exceeds an independent I just
reviewed an independent film a few weeksago that looks like an independent film.
It's not to say that it's bad. It's just the quality that you guys
brought to Red right hand. Ireally don't want that to be understated.
So but anyway, so I liketo ask some personal questions before I get
(25:22):
you guys out of here, becauseI always like to try to make it
human. I don't you know,I don't want it to always just talk
talk shop up here. So we'recoming off the heels of the Oscars,
gentlemen, coming off the heels ofthe Oscars? Do you guys first and
first we close first and foremost?Do you guys watch the Oscars? I
(25:44):
watched them this year? Yeah,occasionally, I did not watch them this
year. I did watch them thisyear. I don't think we watched them
in twenty twenty two because we weremaking a movie at the time, but
yeah, we did. We didwatch them. I did watch them this
year, and yeah, I thoughtit was a good show. I thought,
what is it? The can numberwas great? Oh, it was
fantastic. It was fantastic. Butthe reason why I ask is what are
(26:06):
some of the Nelms brothers favorite moviesof last year? If you can answer
that question, I know that youknow, you ask people like us,
Oh, what are some of yourfavorite films? And it's like, what
genre, what decade? Like that'stoo hard for me to narrow it down,
So let's just narrow it down tolast year. With the exception of
Red right hand, you can't useyour own what are some of your favorites
(26:27):
of last year? Gang? Andyou go, so Oppenheimer's probably my favorite
film of last year. There's suchhe's really he really did a great job
of pushing the pace and my abilityto track like fifteen different things as he's
(26:48):
cutting in between them, and alot of it is courtroom drama type stuff,
Like it's a lot of people standingand talking, sitting and talking,
and you're cutting between so many talkingheads. It's just knowing that that is
how difficult that is to do,and how difficult it is to keep you
interested in something like that. Hedid such a phenomenal job. I really
(27:11):
enjoyed that movie. That was absolutelymy favorite film of last year because of
those reasons. And I'm just sittingthere in awe of the editing and the
storytelling and how he's how he's howhe's juggling keeping all the balls in the
air for three hours without making itfeel like three hours and having me sort
of leaning forward the whole time,trying to trying to keep up with it.
See, so Oppenheimer, I likedAmerican Fiction. I liked The Holdovers.
(27:36):
Yeah, those are probably my topthree. Yeah. Interesting, so
I liked Oppenheimer. My favorite movieis The Holdovers. It feels like a
hal ash b nineteen seventies movie,which I really dig that vibe, I
guess, especially this year. Andthen my number two would be American Fiction.
Interesting. I love that. Ilove that. In fact, American
fiction impacted me so much. I'mgoing to tell you, guys something you
(28:00):
don't care about. I'm in abanned book club with my mother. We
read books that have been banned fromlibraries and schools and whatnot. And one
of the movie or one of thebooks we were even reading was The Hate
You Give, which is a youknow, a very racially charged book or
whatever. I got about halfway throughthe book. I watch American Fiction.
I go back to the book andI'm like, they're just playing to the
(28:22):
whites right now that I can't readthe rest of this book. American fiction
messed me up too much. Ican't. I can't go on with this
anymore. And then when we wentto the club or whatever, I was
like, yeah, I was boredby this book. And oh man,
I tell you, the old whiteladies were none too pleased. Yeah,
the that movie did such a goodjob the center pulling the rug. I
(28:44):
mean, I think it's a lotof people are thinking, you know,
have thoughts in that direction or orfeel that way about it, And it
was just very It was an theydid. He did port Jefferson did such
an awesome job of sort of puttingthat up on screen and in your face
and saying, everybody's calm the fuckdown. Yeah, really tremendous performances,
(29:04):
right Like I can watch Jeffrey Wrightlike literally do anything, like literally just
stand in front of the camera andput music to him for fifteen minutes.
I could probably watch it. Yeah, you know, he's just a genius.
He needs to start doing like audiobooks. Dude. I would fall
asleep to him every night. Iwould feel cool as I was falling asleep
every single time. He's that good, and his performance in American fiction is
(29:26):
amazed. Everybody's is much like redright hand. So I just I just
wanted to, you know, weyou can't always talk shop. You know
what I'm saying. I don't listento Joe Rogan, but I have to
assume that this. I want thisto feel like the Joe Rogan Movie podcast
and in some aspects. So Ithank you for entertaining the question, because
(29:48):
I never know how it's gonna go, because some people like literally, when
I'm not kidding you, you seetheir face change because we're no longer talking
about their movie anymore. But Idon't want to ruin anything. I want
everybody to go out and see it, like just the passion that I have
and the insight that you guys gave. Come on red right hand. Stream
it right now, gentlemen, Thankyou so much. Physical physical release I
(30:12):
may maybe Ian, I believe Mayis when we're scheduled for the Blu Ray
DVD release. Very excited about thatactually, because there's some deleted scenes on
there that we were quite smitten withthat had to lose just for you know,
running time and repetition, and feltlike that that beat was already in
there. But they are great sceneswith great performances by these actors, and
(30:32):
we absolutely wanted to put them inthe movie, although they didn't make the
cut. Yeah, and I like, like, I like to put those
in there and then give you contextas to why they got cut, right,
Like, I think that's really interesting, right, Like you remember Tarantino
did that on Pulp Fiction and hetalks about like why he got the confessional
scene and all this stuff, andit was so and by the way,
like brilliant edits. You're like,yes, the movie's so much better because
(30:55):
you took those out. But itis so great to see that process and
just understand that everybody goes through that. Yeah, absolutely love it. Gentlemen.
Don't think I'm not gonna be houndingyou after I get that physical release
so I can add it right nextto this one, just so you know
I'm gonna find you. Man,it's such a beautiful collection behind you.
I regret every day getting rid ofmine. It is the bane of my
(31:22):
existence, gentlemen, Like every timeI move, this is bar none the
worst. I just look at itand go, you know what, I
could just burn all of these rightnow and be the end of it.
No I can't. But ian Esham, thank you so much for joining us.
I appreciate it and I cannot waitfor your next work. You continue
to impress and like I said,I'll be on waiting for the next one
(31:47):
with open arms. Guys, can'tthank you for having us on, man
having us back, Thank you somuch. Let's do it again soon.
Love it, Love it. IA the Melms are the real I love
those guys so much, man,like you, can't you. It's hard
to find someone who is that passionateabout films these days. It really is
(32:09):
like you. I like having conversationswith guys that it's all about the for
the love of cinema. I reallydo, and it shows in their films,
like Gang. When I tell youthis is about a small town and
a small group of people and itfeels big. You're gonna have to go
see it yourself. Red Right Handsstreaming everywhere right now. You have no
(32:35):
excuses. Red right Hand, OrlandoBloom, Andy McDowell, Garrett Della Hunt,
Chapel Oaks, Brian Garretty, ScottHayes, Mo McCrae. Music by
Mondo Boys, written by Jonathan Wheredid Where did he go? Jonathan?
(32:59):
I'll find him. I'll find him, don't you worried? Jonathan Easley?
Holy cow, Maybe we should startediting the show. Stunt team killed it
Elli Cinema. The Nelms brothers,we are gone.
All right, ellis send, I'mback another dish. How are we doing
out there? Good? Great Grayyand Ayan wonderful as you see on your
screen, your dial. However,you are choosing to join us today,
we appreciate you. Red Right Handlisten, Cash. Uncle Cash is trying
to live an honest and quiet life. But when the big Cat, the
(00:59):
big Cat, holy Moly, wasthe big Cat Fierce forces him back into
her services, he proves capable ofanything to protect the town and the only
family he has left. Red RightHand stars Orlando Bloom, Andy McDowell,
Garrett Dilla, Hunt, Chapel Stewart. Who else we got, Moe McCrae,
Kenneth Miller's, Scott Hag, ScottHayes, Nicholas Logan, Brian Garretty,
(01:26):
Daniel Davidson, on and on andsomething you guys should know. Every
single one of them is good.Ev there's no weak spots. Every single
one of them is good. It'sgot music from The Mondo Boys, cinematography
from Johnny Durango, edited by TraytonLee, written by Jonathan Eastley, and
directed by Esham and Ian Nelms.I thought Red Right Hand was really strong,
(01:49):
Gang, I really did. Ithought. For a film centered around
a small town and a small groupof people, it felt big. It
felt really big. I thought castblew my expectations right out of the water.
Not that I had low expectations.I didn't know what to expect.
After I watched the trailer, Ithought, between the pace of the script,
(02:10):
the cinematography, the editing, thesound, the crew on this film
absolutely shine. But most importantly aboutthis film, it's got heart. I
can't stand action movies without heart.You know you want that. Go see
Fast and the Furious. I understandthat there's a place for Fast and the
Furious, it just may not necessarilybe for me. Anyway. You can
(02:31):
stream red right hand, everywhere,right now, no excuses. So I
was fortunate enough to have my guestson the show a few years back for
their Christmas cult classic fat Man,what you see behind me here? If
you haven't seen that one, pleasego out and show the love for that
one, because when I say cultclassic, I mean it. So if
(02:53):
you're interested in hearing about my guestfilmography and their accolades, listen to that
episode, because we're not gonna bedoing that today. I want to maximize
the time that I have with them. So members of the audience, I
bring to you the Nelms Brothers eshamIan guys, thank you so much for
joining the show. Happy to haveyou on. Do we got you?
(03:15):
There, we go, We gotyoua And I gotta ask you to unmute?
What kind of ship am I runninghere? How are we doing?
Fellas well? Great man? Thankyou for having us so I gotta say
I know that I said it.How you guys did it again? You
guys, you made something so small, I'm sorry, something that was supposed
(03:38):
to be small so big like this. This movie Center is around a small
town, a small group of people, and yet I mean, just be
between some of the exteriors and thelandscape shots that you had Johnny doing,
it felt big, gentlemen, AndI just wanted to congratulate you on yet
another film that I thought you knockedout of the park. Oh, thank
(04:00):
you so much. That that onesare hard. Honestly, you know,
you get out there and you're inthe middle of it, right and you
know Johnny Durango's sitting there doing purelet's getting this out of all kinds of
trouble. We're trying to push himas hard as we can and the man's
just a genius with the camera.So what he said, he makes us
live, he makes us look good. Is Johnny Durango his real name?
One hundred percent? Yeah, No, it's It's part of the reason why
(04:23):
we hired him. At this point, he's like a third Nouln's brother,
just Durango. It just rolls outthe tone, you know. So,
like I said, guys, Idon't want to waste too much time with
you. I I want to kindof get down to some brass taxes here.
Talk to me about script to screen. So I'm looking in Jonathan,
correct me if I'm wrong. Thisis his first feature, at least that's
(04:44):
what I AMDB says. There's acouple other accolades, but first feature.
Tell me, are you guys friendswith Jonathan? Are you shopping through scripts
figuring out what what the next playis for you? Guys? Tell me
from script to screen? How doesthat come to be? So there's a
company called thunder Rote. They didlike the Sacario films, they did John
Wick, and they came to uswith this script. They come to the
(05:08):
couple of others returned and we said, nah, these aren't for us,
but this one came to us andwe really enjoyed it, and that's where
it started. You know, wemet Jonathan. I guess this script had
been on the Nickel Fellowship finalists ofsome sort, but yeah, we really
dug the script. It had alot of heart, It had a lot
of you know, family up front, they get you really invested in the
(05:28):
characters, and then it takes you, you know, into the depths of
darkness with them as they as theytry to fight their way off from under
big cats thumb. Yeah, andJonathan Easley's an interesting guy. I mean,
before he took his hand at screenwriting, he was a journalist and worked
professionally for like twenty years, sohe's a very accomplished writer. Didn't he
cover one of the most recent elections. I was reading and I was just
(05:50):
like, wait a minute, thedude that's doing a journalism and covering elections
is now write a very poignant smalltown script. I love it, man,
I love that story. I feellike he carried he covered the one
before this one, the Biden Trumpright before you know, this current one,
and I think he was he'd donethe one previous too. He'd been
(06:11):
on Air Force one as a asa correspondent. Yeah, he's made his
way around the political the political journalismworld where I think about a decade.
And for us, like, really, really the leaping off point for this
was was reading the script, reallyenjoying the characters. And then we had
had a meeting with Orlando Bloom rightafter we did a film called Small Town
(06:31):
Cry, and Orlando really liked itand he sat down with us. We
had great breakfast with the guy,really hit it off and h and he
expressed his appetite to take on somemore bold, audacious characters outside of the
more handsome, romantic, you know, Leeds or and or Elves action hero
that he'd done in the past.And he was like, you know,
knock out my teeth, mess upmy hair, do whatever you want to
(06:53):
do, boys, and uh.And so when we read this script,
we're like, my goodness, wouldn'tthis be fun to put Orlando in a
role you haven't ever seen him do? And that was really the leaping off
point for us. I love that. In fact, it shades of and
maybe I'm speaking out of school here, but shades of Tom Hardy is as
(07:14):
far as how dark he went intothe role, Like when he speaks his
first line of dialogue, I waslike, oh shit, what do we
have here? We got Orlando Bloomlooking gruff, and I thought he killed
it. I absolutely thought, Igotta think he exceeded your guys' expectations.
Just kind of blew that out ofthe water. Yeah. Man, he
(07:34):
really went deep dive on this.He spent like three months on that dialect,
and then when he landed in Kentucky, he spent weeks, you know,
really dialing it into the sort ofwhich hollow we were shooting in,
or which hollow he wanted to portrayhe wanted to portray. And I mean,
it really is an interesting place,Kentucky because the dialects or the accents
(07:56):
can change literally from holler to holler. So you know, we didn't meet
a person, we didn't meet twopeople that sounded the same. Uh.
When you're down in Kentucky and youyou range from people who don't have an
accent all the way to people whoyou have a fierce accent that you're you
know, it sounds like Brad Pittin Snatch. You're trying to figure out
what they're saying. And then everywherein between, you know, and sometimes
(08:18):
you know, the next door neighborof the person you're we were shooting in
a house. The next door neighborhas a fierce, a fierce uh you
know, fiercely different dialect than theguy house were shooting at. So yeah,
it was very It was very interesting. It was a very wild place,
and Orlando really really nailed down thatdemographic of of a dialect that he
was after. Man, he justyou know, all the way to the
(08:41):
clothes and uh even the boots thathe picked that gave him a certain step
and gate, the way that hewalked. Really worked on the physicality.
You know, he played a guywho was who was muscle for a mobster,
so he really wanted to be capableand look capable. Yeah, man,
he went all in. I meaneven that like sort of working out
scene that we throw in the beginningthere there's nothing for us that sort of
(09:03):
like sets us off in a waywhere you see someone that's just jacked out
of their mind and you never seehim do a push up or anything at
all, you know, and we'relike, no, no, this guy's
got like a prison workout that helike did for fift ten years while he
was away or whatever. You know, So like that was sort of like
some of the backstory we were buildingfor him. You know. He was
like, He's like, man,I really want to have a craft that
I do, so you're gonna seehim like doing a little bit of wood
(09:24):
working, you know, and sostuff like that to really to fill out
that character and who is Cash andwho is this man trying to He's like,
I discovered this while I was inprison, you know, so like
these are sort of like some ofthe things that he really dug into on
that character. And honestly, toyour point, did he exceed our expectations?
You know, I don't know youand I ask a lot, right,
Like we want someone that is excitedabout the role and gonna bring ideas
(09:46):
that we can't possibly fathom, rightbecause when they're that's their job, and
Orlando absolutely thrived in that environment.I would say he absolutely, he did.
He exceeded our expectations. He reallycame utterly and completely prepared, and
I thought, honestly, for us, he was a joy to come to
work with the man every single daybecause not only has he immersed in the
character, but like no two takesof the same, right, Like he's
(10:07):
giving you such a wide spectrum ofperformance that when we got to the editing
room, it was a glutton ofriches. I love that. By the
way, I tried his inverted pushups and I fell right on my face.
There'll be no prison workouts for meanytime in the future. So I
guess I kind of want to talkabout the cast that you were able to
(10:28):
get. You got Bloom, McDowell, Dilla Hunt, all these people I
thought destroyed their roles, like Ireally did. Like and I'm sure you
guys have probably heard it time andtime again already, but Andy McDowell,
you gotta be shitting me. Boys. I was literally like, she's not
gonna do it. And again,no spoilers, gang, so if you're
(10:50):
listening to the show, no spoilers. But there was three times I didn't
think she was gonna do it,and she certainly does. And it's believable,
which which is my favorite part ofit, because like you can throw
in something violent just to kind oflike move the character along. But do
I believe it or not? That'salways the question, and I did across
the board. You got this immenselytalented cast to come along for this,
(11:15):
and like I couldn't be happier asa viewer. I mean, is this
starting to become like the norm foryou guys? Just like, ah,
you know what, we it doesn'tmatter who we get on our films,
like we're gonna I guess that's whatI want to talk about. Are you
letting them do their own thing?Or you guys run a tight ship on
set. It's a little bit ofboth. We obviously would get really excited
(11:37):
when actors bring a lot of ideasright now and now, now, are
we gonna be excited about every idea? Probably not? Are we excited about
a lot of ideas? Are youknow? I mean there was a couple
of things, you know, theycome out of the costume room and you're
like, BOTHO, time's gotta golike that. We can't. We can't
be running that, you know.But there's a lot of stuff to come
out. I mean, it wasjust let's talk about Andy, Like Andy
(11:58):
brought aunt of her character, thehair, the costume stuff, like she
really built that out on her own, a lot of it and was presented
us to it. Yeah. Ithink one of the funnest things with Andy
is that you know, she wason our list to begin with, but
we just didn't think of you know, we love to put lists together of
like, Okay, who would beinteresting in this role? Who'd be great
in this role? And that's kindof what you want. You want a
(12:18):
combination of both. You want greatand interesting, and Andy absolutely fit that
bill. We just didn't think thatshe would be interested in it because she
hadn't done anything like this. Imean, she'd done a few roles where
she played a little heightened you knowwhat I mean, like funny bad and
like ready or Not? Right,I think that's the one she's in.
Yeah, yeah, Ready or not? Yeah yeah, Well it's not full
(12:41):
tilt you know, spawn of theDevil that she had to play in this
one. And that's when we werereally after it, excited about to see
her really stretch and reach. Wehad this phone call with her and she
was like, I know you've neverseen me do this before, but trust
me, I could do it.Ask my kids. And she was wearing
(13:03):
like this leather these leather pants andlike she was bringing a little bit of
the big cat to the to thephone call, and we realized on that
call, We're like, Okay,I can definitely see that character in her.
You know, if she were Itwas a very pleasant call, but
you could see that, you know, she was she was giving us a
little bit of the big cat attimes, and we were we were very
excited about her doing it because therewas no doubt that she she possesses the
(13:26):
talent to do it right. It'sthe desire, you know. And then
when we saw her like pitching uslike hair and braids and like feathers and
like you know, bringing this likeoutfit that has a bunch of snake skin
on it, We're like, oh, yeah, this could be super fun.
You know this is gonna be good. Oh my gosh, Like I
when I say, absolutely, shemay be my favorite character, just because,
like you guys said, I wasn'texpecting it to be that dark for
(13:50):
her. Like once I had onceI had saw who was in it,
I was just kind of like,all right, we'll see where this goes.
And I had no idea she wasgoing to be the villain until she
was the because I try my bestto stay away from trailers. Once I
saw that you guys were doing it, I kind of just I shut the
trailer off because I was like,I'll see it. I trust them already
because I don't know if you guysknow this, you probably don't. I
(14:11):
actually get up out of the theaterand leave. If a trailer to a
movie that I know I'm going tosee starts to play, I don't.
I have no shame, I'll leave. Boys. Wow, it's the best
way to watch a movie, right, all you. And that's honestly,
like I will say, the stateof trailers this day and age is not
a good one. It's not agood one. You have to spoon feed
(14:33):
the audience so much, and halfof them are getting mad because you're giving
them too many story points. Theother half are like, you know,
that's not enough. You're just tryingto sweet spot it. You know,
they're trying to get fannies in theseats. Ian and I love a much
more nuanced you know, less ismore trailer. But it's it's hard to
get people to show up for that, so you got to give them a
(14:54):
lot. And that's the state we'rein right now. But I commend you,
sir. That's the way I,you and I like to walk into
movies is to know nothing and letit roll over you. If I had
it my way, it would beall black screen, just white titles.
You tell everybody who's in it,and then that'll just be it. But
I understand why, you know,you gotta spoon feed it to them.
Which, boy, I'm getting sotired of the spoon feeding. Which this
(15:16):
film, I almost felt like wedidn't spoonfeed it, like I love how
we there's no dead spots in thisguys. That's hard to do with action
these days. I just want todrive that point home. There is always
an action film that I'm watching whereI'm like, I can go to the
bathroom and chill that you know,the love interest and you know the main
character. They're gonna make out fora little bit. I got time for
(15:37):
a pee break. I'm gonna getout of here and come back. But
the speaking of action films and nothaving any lulls in yours, are you
guys heavy on pre production? Wegot a lot of wanna be filmmakers that
listen to this show. Are youguys big pre production fans? Do you
guys kind of ad lib as yougo going? As you go on shooting?
(16:00):
I asked, because I and Idon't know how much you guys watch
stuff on the internet or anything likethat, But I just saw that interview
with Christopher Nolan and Denie villain Neuveabout shooting in Imax. And I found
it interesting that Christopher Nolan does verylittle storyboarding at all and Denie does a
ton of storyboarding. And actually whathe'll do is he'll tweak the script as
(16:25):
he's going through his own storyboards.How does that look for not only the
film, for making the film foryou guys, but the action sequences specifically.
I can say that it's very muchwhat Deni described like. Ash is
a professional storyboard artist for us anyway, and you know, I know,
we know people that do it eitherway, but Esh is a professional storyboard
artist, and luckily for us,he's able to storyboard every frame of the
(16:48):
film. It helps us a ton, and he does he's boarding things out
and he'll be like, oh,hey, I was bored in the scene
out And what do you think ifwe do with this or that, or
if we put this in or maybeit needs to be a little more like
this because it's going to be it'sgoing to light up with the room a
little better. Or what if Iadd to this in or what do you
think of that? You know,it sometimes sets us off on a on
a great path of discovery. AndI will say that is not to say
(17:11):
we're completely locked into those boys.Because you get into that scene and the
actor wants to do something really funor incredible or awesome, you you you
lean into that. You don't wantto be so rigid that that you cut
your you know, your nose offto spite your face because you're you want
it to be exactly like the storyboards. There's so much magic that can happen
when you have these high level collaboratorsand you want to get every ounce of
(17:33):
that blood, sweat and tears they'retrying to put into it on screen.
Yeah, and just nailed that,right, Like, no two actors the
same. So you get in there, you try to thin slice, you
know, how can we collaborate thebest? You know, some actors need
to be more on a journey ofdiscovery, right, that's what That's what
really helps them with their process andmore. And some actors are like,
Okay, where's my light? Whatlens are we on? Where do you
what line do you want me toturn and look at the camera for?
(17:55):
I mean, and and everything looksnaturalistic and perfect and athough it's so micro
specific in the details. Yeah,but then you know, some people are
like, hey, you know,I'm like, hey, well, you
know, you know, like whenwhen you grab the skateboard and went up
the stairs, I was a littletoo much. We got to come back
down, you know, so yougot to like but you got to back
into that discovery voyage of them.So I guess this question is for me
(18:17):
now hearing you guys talk, Iam curious. Uh. You know,
I think we're all right. Ithink hopefully if we just give it a
little time, this is perfect.This is why I don't edit anything,
so everybody can see the flaws ofthe damn show anyway. Anyway, So
I guess give me an example.I didn't have this written down, but
where was an instance, without spoilingtoo much, where you kind of leaned
(18:40):
into the evolution of the scene thatyou may not have pre planned beforehand.
So for the one that I recall, it was probably the biggest one that
I remember is the knife fight.Uh. And I try not to give
too much away, but that knifefight, of course, it was written
out and then it was choreographed bythe two actors in it and the fight
(19:06):
team, and they did such agreat job of adding little nuances and little
moments and coming up with cool stuffthat I remember esh reboarding it so that
when we got there, you know, it was a lot, it had
all the nuances they'd added. Andthen I remember a couple of moments,
you know, because a prop wasthis way or that way, the things
fell a little a slightly bit differentwhen we were on set shooting it.
(19:29):
So yeah, that one, thatone had a had a big metamorphosis because
you know, there were different creativeteams working on it. You had the
actors in their portrayal of it,then you had the the ad of the
stunt team, and then and thenyou know, what actually happened on the
day was even slightly different, youknow where things landed at times. But
but yeah, that one, thatone was a big one. But just
because we had like three layers.After sh boarded, it happened, and
(19:49):
then we had he reboarded it andwe came back and still it added and
became more than it was. Yeah. The other one is that scene where
Orland goes to see Andy first inthe den there with the fire. Yeah,
and uh, and that that scenewe specifically were like, hey,
this is your this is your playground. You guys go and and run it
(20:11):
a couple of times and see whereyou kind of want to go, and
then we'll cover it from there.And uh, and that's kind of how
we blocked it out with them.And then I think we were doing really
long takes, like four or fiveminute takes at a time, like the
whole thing knows the tail, andwe shot the wides and the closest each
twice from each side, and wewere done and we were out. And
(20:32):
that's and that was how that washow that scene can be. There.
No two scenes are the same,right, but that one we really wanted
them to kind of have the freedomto play in the room and just discover
it. I mean, the knifefight sequence is one of my favorites in
the film. And I just wantto anytime I get an opportunity on my
show, I the stunt stunt,stunt men, stunt team, stunt women,
they all need more love. SoI wanted to say the stunts on
(20:56):
this the pyrotechnic, you name it, the entire stunt team absolutely killed it
again. They did in Fat Man, they did in this one. And
anytime I can give the stunt teama little bit more love, I love
to do it. And here isno exception. I would assume that they
blew your socks off for this.Look. We didn't. We didn't have
a lot of money, you know. This is this is a very uh
(21:17):
this is an independent movie, andit's interesting to go out there and Ian
and I love practical effects. That'snot the easiest thing to do, you
know. So we go out therewith a team and I don't know what
vortex we were in on this movie, but there most of the time the
effects are triggered by sonic So youfire a gun and it blows off whatever
squib that you have on the body. In this particular instance, that didn't
(21:38):
work. So every squib in themovie is done straight nineteen seventy style with
a wire going to a flip,a switchboard all over. So any any
squib, any gunshot in a wall, anything you see in this movie is
one hundred percent of some gentleman orwoman hitting a switch sinking all that with
the gunfire by hand. It's wild. We had a cut either either frame
(22:02):
out the wires or cut them later, you know, cover them up digitally
later. But yeah, it wasIt was an interesting way to work because
we've never quite worked that way andthere's absolutely a hindrance on the actors as
they're trying to drag a pant legfull of wires around, you know,
as they're taking swibs. So therewas definitely some you know, there was
definitely things that changed because of theof the way that those had to be
(22:25):
done. I mean, every squibon a car was also hardwired. So
the guys sitting two feet behind thecar somewhere with a switchboard flipping them all
off. It was just nuts.It was chaos, man, I mean
it was it was controlled chaos,but it was I mean I think I
think like like what he had sayinglike chaos is like it was immensely difficult,
immensely calculated. Like. So.One another thing is that at one
(22:48):
point they came to us and theysaid, hey, you know, you
know, we had some like prettydramatic weather and it ended up messing up
our schedule, uh, to wherewe lost three days of shooting. Yeah,
tornadoes, lightning, storm as wildand they came to us and they
said, hey, guys, youknow you lost these three days and you're
gonna have to trim some stuff outof that end big climactic moment in the
movie. The big last third ofit, and we're like, well,
(23:08):
that's why we wanted that's like oneof the main reasons we want to do
the movie, so we're absolutely haveto deliver on that. So let's figure
out a way that we don't haveto compromise on that stuff and come back
to us. So they came backto us and they said, Okay,
well, the only possible way wecan think of you guys pulling this off
and like it's not even possible reallyis that you have no resets on anything,
and that you have to do itall first take. And we're like
(23:32):
yeah, and we're like practical,you know, and we're like, great,
that's what we'll do. So sowhat came out of that was just
a process of of doing like normally, the way we've done it in the
past is with the effects is thatyou know, the actual runs it like
two or three times and then yougo and then if it worked great,
you you know, use it orif you get usually you get one more
reset at least and you can doreload for about a half an hour to
(23:52):
an hour reset and shoot it onemore time. On this one, we
knew we weren't gonna be able tohave that half hour to hour reset and
we didn't have them needs to resetit anyway. So it was more like,
let's practice it ten times, whichtakes ten or fifteen minutes rather than
two or three minutes. Let's runit ten times ish, you know,
eight, nine, ten times,really nail it down and then go.
(24:15):
So that was an interesting process becauseyou know, we cut a lot of
time. We saved a lot oftime, We saved a lot of money,
and just practicing it more before beforeshooting it held the time. I
gotta tell you, guys, doesn'tplay like an indie film, just just
so we're clear on my end,doesn't play like an indie film. And
(24:36):
to your point, practical effects untilthey put me in the ground, I'm
never like the one. The exampleI always use is three Days from Hell.
You can't have CG gunfire. Youcan't do it. It's that it
looks terrible. It looks absolutely terrible, and for something like this, but
I'm backing up, doesn't play likean independent film, guys, really does
(24:57):
it? Like I think it?I think it exceeds an independent I just
reviewed an independent film a few weeksago that looks like an independent film.
It's not to say that it's bad. It's just the quality that you guys
brought to Red right hand. Ireally don't want that to be understated.
So but anyway, so I liketo ask some personal questions before I get
(25:22):
you guys out of here, becauseI always like to try to make it
human. I don't you know,I don't want it to always just talk
talk shop up here. So we'recoming off the heels of the Oscars,
gentlemen, coming off the heels ofthe Oscars? Do you guys first and
first we close first and foremost?Do you guys watch the Oscars? I
(25:44):
watched them this year? Yeah,occasionally, I did not watch them this
year. I did watch them thisyear. I don't think we watched them
in twenty twenty two because we weremaking a movie at the time, but
yeah, we did. We didwatch them. I did watch them this
year, and yeah, I thoughtit was a good show. I thought,
what is it? The can numberwas great? Oh, it was
fantastic. It was fantastic. Butthe reason why I ask is what are
(26:06):
some of the Nelms brothers favorite moviesof last year? If you can answer
that question, I know that youknow, you ask people like us,
Oh, what are some of yourfavorite films? And it's like, what
genre, what decade? Like that'stoo hard for me to narrow it down,
So let's just narrow it down tolast year. With the exception of
Red right hand, you can't useyour own what are some of your favorites
(26:27):
of last year? Gang? Andyou go, so Oppenheimer's probably my favorite
film of last year. There's suchhe's really he really did a great job
of pushing the pace and my abilityto track like fifteen different things as he's
(26:48):
cutting in between them, and alot of it is courtroom drama type stuff,
Like it's a lot of people standingand talking, sitting and talking,
and you're cutting between so many talkingheads. It's just knowing that that is
how difficult that is to do,and how difficult it is to keep you
interested in something like that. Hedid such a phenomenal job. I really
(27:11):
enjoyed that movie. That was absolutelymy favorite film of last year because of
those reasons. And I'm just sittingthere in awe of the editing and the
storytelling and how he's how he's howhe's juggling keeping all the balls in the
air for three hours without making itfeel like three hours and having me sort
of leaning forward the whole time,trying to trying to keep up with it.
See, so Oppenheimer, I likedAmerican Fiction. I liked The Holdovers.
(27:36):
Yeah, those are probably my topthree. Yeah. Interesting, so
I liked Oppenheimer. My favorite movieis The Holdovers. It feels like a
hal ash b nineteen seventies movie,which I really dig that vibe, I
guess, especially this year. Andthen my number two would be American Fiction.
Interesting. I love that. Ilove that. In fact, American
fiction impacted me so much. I'mgoing to tell you, guys something you
(28:00):
don't care about. I'm in abanned book club with my mother. We
read books that have been banned fromlibraries and schools and whatnot. And one
of the movie or one of thebooks we were even reading was The Hate
You Give, which is a youknow, a very racially charged book or
whatever. I got about halfway throughthe book. I watch American Fiction.
I go back to the book andI'm like, they're just playing to the
(28:22):
whites right now that I can't readthe rest of this book. American fiction
messed me up too much. Ican't. I can't go on with this
anymore. And then when we wentto the club or whatever, I was
like, yeah, I was boredby this book. And oh man,
I tell you, the old whiteladies were none too pleased. Yeah,
the that movie did such a goodjob the center pulling the rug. I
(28:44):
mean, I think it's a lotof people are thinking, you know,
have thoughts in that direction or orfeel that way about it, And it
was just very It was an theydid. He did port Jefferson did such
an awesome job of sort of puttingthat up on screen and in your face
and saying, everybody's calm the fuckdown. Yeah, really tremendous performances,
(29:04):
right Like I can watch Jeffrey Wrightlike literally do anything, like literally just
stand in front of the camera andput music to him for fifteen minutes.
I could probably watch it. Yeah, you know, he's just a genius.
He needs to start doing like audiobooks. Dude. I would fall
asleep to him every night. Iwould feel cool as I was falling asleep
every single time. He's that good, and his performance in American fiction is
(29:26):
amazed. Everybody's is much like redright hand. So I just I just
wanted to, you know, weyou can't always talk shop. You know
what I'm saying. I don't listento Joe Rogan, but I have to
assume that this. I want thisto feel like the Joe Rogan Movie podcast
and in some aspects. So Ithank you for entertaining the question, because
(29:48):
I never know how it's gonna go, because some people like literally, when
I'm not kidding you, you seetheir face change because we're no longer talking
about their movie anymore. But Idon't want to ruin anything. I want
everybody to go out and see it, like just the passion that I have
and the insight that you guys gave. Come on red right hand. Stream
it right now, gentlemen, Thankyou so much. Physical physical release I
(30:12):
may maybe Ian, I believe Mayis when we're scheduled for the Blu Ray
DVD release. Very excited about thatactually, because there's some deleted scenes on
there that we were quite smitten withthat had to lose just for you know,
running time and repetition, and feltlike that that beat was already in
there. But they are great sceneswith great performances by these actors, and
(30:32):
we absolutely wanted to put them inthe movie, although they didn't make the
cut. Yeah, and I like, like, I like to put those
in there and then give you contextas to why they got cut, right,
Like, I think that's really interesting, right, Like you remember Tarantino
did that on Pulp Fiction and hetalks about like why he got the confessional
scene and all this stuff, andit was so and by the way,
like brilliant edits. You're like,yes, the movie's so much better because
(30:55):
you took those out. But itis so great to see that process and
just understand that everybody goes through that. Yeah, absolutely love it. Gentlemen.
Don't think I'm not gonna be houndingyou after I get that physical release
so I can add it right nextto this one, just so you know
I'm gonna find you. Man,it's such a beautiful collection behind you.
I regret every day getting rid ofmine. It is the bane of my
(31:22):
existence, gentlemen, Like every timeI move, this is bar none the
worst. I just look at itand go, you know what, I
could just burn all of these rightnow and be the end of it.
No I can't. But ian Esham, thank you so much for joining us.
I appreciate it and I cannot waitfor your next work. You continue
to impress and like I said,I'll be on waiting for the next one
(31:47):
with open arms. Guys, can'tthank you for having us on, man
having us back, Thank you somuch. Let's do it again soon.
Love it, Love it. IA the Melms are the real I love
those guys so much, man,like you, can't you. It's hard
to find someone who is that passionateabout films these days. It really is
(32:09):
like you. I like having conversationswith guys that it's all about the for
the love of cinema. I reallydo, and it shows in their films,
like Gang. When I tell youthis is about a small town and
a small group of people and itfeels big. You're gonna have to go
see it yourself. Red Right Handsstreaming everywhere right now. You have no
(32:35):
excuses. Red right Hand, OrlandoBloom, Andy McDowell, Garrett Della Hunt,
Chapel Oaks, Brian Garretty, ScottHayes, Mo McCrae. Music by
Mondo Boys, written by Jonathan Wheredid Where did he go? Jonathan?
(32:59):
I'll find him. I'll find him, don't you worried? Jonathan Easley?
Holy cow, Maybe we should startediting the show. Stunt team killed it
Elli Cinema. The Nelms brothers,we are gone.
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