Zeke, Pete, Twitter discussed on The No Film School Podcast

Automatic TRANSCRIPT

Like I was still growing up and five years later. I was like I wrote the script night based on these characters is school. But like have in ages, you know, and did you reach out to any of them delegates because it's a lot of people, you know. And it's it's more. There's one specific right? But but it really what I realized was like while the ending a sad. And it's you know, it is this is what is true. These guys are great. These people are really important in your life. And they really shape who you are. But you don't always them. And that's okay. I think it's like, it's okay. That these guys don't stay around in the end of this movie and as much as people are going to want them to be running off in the distance like to go on their next venture. That's not a life works. I think the the audience maybe doesn't want the off exactly they wanna see the protagonist succeed and a lot of ways. And I think I think that's out of a lot of the things that have heard about your movie, I think that. The ending has been very highly praised among my colleagues. I'm glad to hear that. We'll say, yeah, it was very refreshing to see. While you're when you're talking about, you know, these adjustments you made to the scripts once you brought Pete on. I know you kind of luted to this again in the QNA yesterday he brought him on as a executive producer producer. And it seems like the role the role of z is sort of an amalgamation of his experiences and your experiences. So as wondering if you could maybe speak a little bit about how you actually the process of actually like writing that into the script or like working with him to find this character. Absolutely. I mean, there's so much Pete in Zeke, and when I wrote this script, and that's why people like this your life. And I'm like, I really belives of all of our actors because we really wanted to have I really wanted to play this in a way that authentic to them and felt honest, and for p people he was picturing when he read Zeke were like people knew very personally and for like growing up in Staten Island, and you know, and kind of older New York guys like people in the comedy clubs in the comedy scene. And so. So. So a lot of that was the the look of who's Zeke was I let it because we realize early on that as long as that relationship. We've protected that dynamic and stay the same. It's a he can play Zeke, however, Zeke it doesn't matter as long as those two kids have that dynamic and so. But we did do was we we infuse the story with more like, okay? So with pita Zeke than probably ends to reason than that. This kid would wanna get a tattoo at some point. Right. Because like your best ran in guy. You idolize is covered in tattoos that wasn't a script. Let's right that that's a great opportunity for a funny moment of like this kids first tattoo. So that was written into the script once became aboard. So something like that. Yeah. As an example, it's a big it's a big it's a huge plotline and other things like that just like, you know, the the apartment the texture of the music that Zeke, listen sue is all we really kind of collaborated on making that feel right because it's like, maybe if my zeke's listened to like the strokes, you know, and listen to like, you know, and I liked converse and Taiji like his listened to Tang clan. And maximum like, you know, I wasn't gonna try and make Zeke make Pete into the mid. Western jewish. Yeah. Zeke that I had written. Well, that's that's a big. I think like step for a writer to make to to notice that that's Aker Feis needs to be made into like shift gears as soon as you can. Yeah. How early into the process of filming this thing, did you guys get together and start making these changes. I mean, I knew I wanted Pete for a long time to do this to do this. And so as soon as he came on board. I was an again like I said I'd written a long time ago. So I was very open to didn't think there's like a perfect script. So I was very open to working with the actors and bring another voices to really get this. Right. I was not precious with it at all. I was precious with story precious with like beats that I felt really needed to happen with the women at the end with the friendship at the end between the two boys. There were beats that. I was like I had to protect it all costs, but beyond that as long as the arc of the story. Is there I I was open to interpretation of who these characters are cool. Yeah. I guess I'm getting the wrap up symbol here. So I'm just gonna ask a question that I ask all my guests. And well, first of all did you did you film score? Did you did you go? Tissue. Cool. Did you screen were you part of the screenwriting program ended up taking several screen writing classes? I wasn't sure I'm not sure if that was that there was like part of the film. Yes. But I ended up really enjoying those classes towards the end was that like very would you say that was formative in you know, who you are today as director which recommend that people take like sparring directors take screen writing classes. Absolutely. I think that why director should take acting classes screened classes, every class cinematography classes. But you know, unless you worked on the no film school podcast on. But so that's just me for me. And it was really just about I took the writing classes because they got me to write. I probably wouldn't have had the motivation to like sit down and write a script at the age of twenty. I didn't have an idea because I didn't have an idea. But they're like you need to have idea you need to write so kind of forces you that thing where it's like every day. You're not gonna wake up inspired. And like, right. A million right thousand words, but if you have to you know, so trains you to kind of like to kind of have to right half to be creative on demand. Like, it's like it's a day job. And I've I've tried to make that for me a day job like getting up and writing as if there was a script due at the end of the semester every six months that discipline is so hard to find hard. Yeah. Yeah. It will if you had any one piece of like, golden advice to aspiring filmmakers. What would it be for me? It was about rolling with the punches for me. It was like have a plan b you're always gonna use it. And it was about don't be. Yeah. I think that you should be open to happy mistakes and happy accidents onset one thing in every scene. Whether it be an element production, Zayn Cosmas, and align which is more obvious like an improv line that wasn't planned in the script. That is one of my favorite things when I watched them like this something like some detail that I could never conceive on my own. So just like surround yourself with crew hire the best grew and not just people that are going to execute your vision the way you see it. But people are going to elevate your vision or push you change what you think this source should be. Yeah. That's that's great. All right Jason. Well, thanks so much for joining today. Bigtime adolescence will be around. I'm sure soon. Yeah. All right, man. All right, man. Take it easy. Bye. Thanks for listening. If you like what you heard, please. Subscribe to the new film school podcast on whatever podcast pods. New us. Give us a rating and let us know Howard doing tune in every Monday for interview podcast such as these. And of course, check out the site for the latest in film, making news in tips and tricks every day, I'm John disco. You can follow me on Twitter at you underscore John's for Jim you can fall in new film school at no film school and we'll see next week.

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