Independent Filmmaking, Reinvention, and Coming Clean About the Industry | Vince Duqué

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So welcome to this episode of
the Holly Hughes Podcast, where

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creative people come together
for conversations and community.

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And today I'm very excited to
introduce you to director,

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writer and producer Vince
Duquet, who has an amazing

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history from California to
France.

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Although I guess I should say
that you S to France.

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I mean LA, you know, I I mean, I
was born in New York.

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But you know, I always forget
that part.

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I was born in Queens, Flushing.
Flushing.

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That wasn't that far from where
I would grow up so.

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What were you?
Where did you grow?

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Up way out on Long Island, South
County.

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Yeah, My, my joke is right.
I don't identify as a New

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Yorker.
Oh, really?

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Yeah, no, I don't.
That's not my vibe.

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The only thing is that still New
York about me is my love of

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mascara, a good leather jacket.
I love a good leather jacket.

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And I think that's totally like
my era of growing up there.

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And I like to say fuck.
So that other than that, there's

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no New Yorker.
No, I felt way more at home in

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LA when I lived there.
So I want to say thank you for

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coming.
You and I have had a

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conversation previously, but we
got way too personal about some

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stuff.
And I really wanted to share you

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with my audience in a way that I
don't know that highlighted you

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in like what you're doing and
your process because you know,

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you've been there, done that,
and now you're doing a really

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intimate project.
And it's brave of you.

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So I why don't you tell people
about this project in your own

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words?
I am writing, directing,

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producing.
Starring.

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Playing the lead role, that
feature film that is a

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traditional narrative but is
experimental.

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It takes from different genres.
It's a road movie, but it's also

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has a video or sort of tone
poem, video essay aspect to it.

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I like that it it does so I
would also call it like close to

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the Bone fiction.
Yeah, yeah.

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So auto they, they call it these
days.

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I mean, some people call it auto
fiction.

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So it's like an
autobiographical, but it's

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fiction because I'm playing a
character that's not my name.

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And I have, I have characters
who are real people, but they're

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not trained actors and they're
playing heightened versions of

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themselves.
And I have a couple of actors

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playing other people, but
they're based on real people as

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well.
So, you know, I felt like I, I

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was the only one who could play
the role because I was going to

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demand a lot of work in terms of
the process that I, you know, it

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was really wanting to try an
iterative process to refining

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the story from the beginning
because I didn't want to do the

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typical thing.
I think when you are in

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Hollywood and you want to make a
feature film, you want to make

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the script perfect.
You know, people always ask you

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on the street, what's the log
line?

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Give me the elevator pitch.
And I think I was so in my whole

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life of trying to make a movie.
This is my first feature film

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that I'm directing and you know,
I have a 20 year 20 some year

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background 30.
Just saying I did the math.

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I was thinking, I was like, I
know, isn't that mean?

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Crazy, crazy. 30 years of
experience, I mean 30 years of

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assistant directing experience
in different genres, feature

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films, comedies, what hour
dramas, sports.

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Yeah, you've been there and done
all that.

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But what I loved because you
sent me some stuff so I could

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like sneak peek, one of the
fascinating and beautiful things

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about you is your vulnerability.
You always are.

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If someone meets you, there's an
aspect of vulnerability and then

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you have that wicked
playfulness.

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So I just like, you know this
interesting teeter totter.

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It's just me throwing you off.
Yeah, I know, I know you like

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that.
But you also have this thing

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when I think of you and your
your storytelling, not like when

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you're working for other people,
helping them do things, but you

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are about safety, belonging and
identity.

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And then when you help other
people make movies, like you

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even have this clip in your
movie now when you're standing

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on Hollywood Blvd. right?
And you're like, I'm here to

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make it safe.
Like we had to lock down the

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street.
We got to do this.

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We got like all the mechanics of
something.

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It's like a beautiful dichotomy
that I don't know how to express

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to people who haven't been in
film, who don't know the madness

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behind.
That people don't really

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understand that.
And, you know, it's interesting

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because I am in a city that is
madly in love with cinema.

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There are so many movie theaters
here.

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You can watch every classic that
is in the 100 top A5 movies, and

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they're all playing in a theater
somewhere at some point in the

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week.
And I love that.

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And so people really get, you
know, they get really touchy

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about the movies, as if they
were betrayed by the actor or

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the director.
And then I'm always, I'm often

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having these kinds of
conversations to kind of tell

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them the reality of things.
An example was, you know,

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quickly yesterday I was having a
discussion with someone about

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Elvis and Austin Butler.
And Austin Butler is a, you

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know, kid I mentored when he was
17.

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And so the the guy was going on
and on about his acting.

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He was overacting.
And I know Austin spent two

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years trying to be Elvis.
We had conversations on the

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phone while he was in production
in Australia, freaking out like,

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I don't know what I'm going to
do.

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I'm playing this icon and Elvis
is watching me and I've

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everybody's expects me to do to
play Elvis and do this.

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And he's going bananas in his
hotel room.

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So, you know, it is so difficult
to do these kinds of things.

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So when I hear people get into
the movies as if, Oh well, it

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you should have done better, or
this, it's the director's fault

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that the writing isn't any good
and they don't even know the

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stories about the studio, the
compromises you have to make.

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Maybe you didn't have any?
Phases of just the day, right?

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Just the day, I mean, you know,
and everybody has decision

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making abilities that you don't
as a director sometimes or even

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as an AD, you know.
So anyway, yeah, I mean,

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completely resonate with what
you just said.

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Yeah, I think people need to
remember there's like the story,

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there's the idea, the spark that
started the script, and then

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there's the business of
filmmaking.

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And then there's everyone on
set, every department head,

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everybody on set has a dream of
making that thing come true,

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like craft service does too.
They're there keeping you going,

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right?
There's like so.

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Many.
Yeah, intricacies trying to give

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you this shot, this beautiful
shot.

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Yeah.
And then at the end of the day

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that we, you know, we being the
crew are really dedicated in a

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way that is inspiring to me
because you just don't see that

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kind of care.
I mean, you see that kind of

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care.
Like I think when you, if you're

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a professional athlete or if
you're doing something where

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you're, you have to win
something in that way, but

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everybody's getting paid a lot
of money.

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So there's this this kind of
vision.

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I, I think I would even go as
far as to say that a film crew

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is much more passionate and much
more honest and more and what I

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mean honest, not honest in
you're not telling a lie or

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something like that, but more in
terms of work integrity in that

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we just all love what we do, or
at least need to show that kind

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of love because it's so
grueling.

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Yeah, it's you have to be
driven.

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Driven.
That's a great word, driven and

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I would say even more so than
than a military unit and having

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been in the military.
So I can say this as an Army

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officer, I would say.
West Point grad, Let's drop

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that.
Come on.

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Come on.
I would go out on a limb to say

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I would take my film crew over
my tank platoon to war just

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because of how they handle.
I got some PAS you definitely

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can't take, but well, that's
like a story for another day.

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I want to go circle back into
your your movie.

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Now I want to know like your
working title and I want to know

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what is with the main
character's name.

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The title of the movie.
For now, I think it's going to

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stick, but it's called the
Gemapelle Alvey Balacoco, which

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is in French.
My name is Alvey Balacoco.

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So it's a bit of a declaration.
It's a bit of a play on word.

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It's me saying here I am, this
is who I am.

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It's a story about coming
finally to that place of full

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individuation where you really
acknowledge your shadows as part

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of who you are and you really
absorb the whole spectrum of

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your soul, not just the good
parts or the parts where people

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reward you or make it
conditional for you to behave in

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that certain way.
You just have bad things that

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you to go through.
Like for example, you know, me

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having a lot of abandonment
issues or people pleasing things

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that I don't necessarily
struggle with the way, let's say

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I used to in my 20s, thirties,
but it's still there.

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You know, I still feel these
feelings and where I'm feeling

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them presently is in terms of my
movie rejection wise.

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So I'm really somatically
feeling and checking in with

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myself all the time when I put
these.

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I've been putting these clips
out and they're just first

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draft.
They're good, though.

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I'm not that nice, you know that
wait, I would like to tell

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people I have a really critical
eye.

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And that's because I'm always
being judged, right?

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Like just from writing, reading,
all my friends who are still in

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entertainment, and I get sent
scripts from them.

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Just people asking me for
feedback.

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So when I saw your clips, what I
was so excited about, I'll get

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emotional.
I love your storytelling.

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I love your eye.
I love the angle in which now

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see, I'm really getting.
I didn't pack a fucking tissue

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next to me.
No, because I've always seen you

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as the person like I was who
made things happen for other

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people.
I knew what you wanted to do,

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but I I hadn't ever really had
the opportunity to see you

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fully, your story, your vision
in any way like out there like

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that.
And so for me, I was like, I get

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it.
And then I'm like, oh, I get it.

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And then like a whole other
level of I get it right?

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There's so much more to it.
And you haven't even put the

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music all in and you haven't
done the pretty cut or whatever.

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But I think what you're
representing is just like how

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you speak is the multi layer of
an individual and a story and

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you're somehow simultaneously
putting it out there, which I

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think is daring.
Nowadays, when we flip through

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our phones for a 32nd clip,
you're asking people to sit in

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themselves.
Well, I don't know if it's that

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singular, I think, or binary in
the sense that it's good or bad.

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I I'm really leaning toward the
idea of how do I embody the

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spirit of I don't give a fuck.
So in order to you have.

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That thought while you do it,
like honestly, is that what you

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think?
I don't think that I don't say

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that in the in terms of being
rebellious or rejecting the

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rejection.
It's not defensive.

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It's confident or trying to be
confident, but it's also I just

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want to come from a place where
I am expressing my voice fully.

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Yeah, you are.
So what made you do it?

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What made you jump off that
Cliff?

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I've been wanting to do it for
probably 20 years now.

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I just didn't know how to do it.
Or did you know too much about

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how to do it and so you didn't
do it?

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I I think I'm not look, I was
trying to be a surrogate white

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guy.
For example, I have, I have just

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stumbled onto a pitch deck like
a kind of a sizzle reel that I

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did for a West Point series that
I wanted to pitch like 15 some

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years ago.
And this is at the time that

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sort of like the new golden age
of television was starting to

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happen, right?
What that series with Kevin

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Spacey on Netflix.
But that was the first show that

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Netflix like said, hey, we're
here, we're making production.

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You know, Hulu was making stuff.
And so I was at the at the

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precipice of that with this
series.

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00:13:01,880 --> 00:13:05,600
And I wasn't clever enough to
write it in a way that was just

226
00:13:05,600 --> 00:13:09,480
this kind of heartfelt, what I
thought was going to be a kind

227
00:13:09,480 --> 00:13:13,520
of a Dead Poet Society
television series.

228
00:13:13,560 --> 00:13:17,240
I was so wishy washy because I
was open to pivot.

229
00:13:17,280 --> 00:13:22,280
Is this ACW show?
Is this a is it for Fox or is it

230
00:13:22,280 --> 00:13:25,000
for NBC or is it for CBS or is
it for Netflix?

231
00:13:25,240 --> 00:13:27,080
Like does that.
Even exist anymore, and now it's

232
00:13:27,640 --> 00:13:29,480
right.
So you can change that kind of

233
00:13:29,480 --> 00:13:31,560
stuff.
And I made the lead character a

234
00:13:31,560 --> 00:13:32,600
white guy.
Yeah.

235
00:13:34,040 --> 00:13:37,680
So I was literally writing a
vanilla version of what I would

236
00:13:37,680 --> 00:13:41,880
have written today.
And I just didn't know how to be

237
00:13:41,880 --> 00:13:45,400
someone who was going to tell my
own story because I I it was

238
00:13:45,400 --> 00:13:48,080
also supposed to be a way of
life.

239
00:13:48,080 --> 00:13:49,840
Like, you know, I was supposed
to.

240
00:13:49,960 --> 00:13:54,080
I wanted to direct for a living.
And part of I don't give a fuck

241
00:13:54,080 --> 00:13:58,600
is, I mean, you know, I'm broke.
I went all in.

242
00:13:58,640 --> 00:14:03,400
And it's scary, you know?
And so this I don't give a fuck

243
00:14:03,920 --> 00:14:08,480
is a kind of it is a an engine
for me, but again, not

244
00:14:08,480 --> 00:14:11,200
rebellious, but more like, OK,
you know what this is?

245
00:14:11,200 --> 00:14:15,040
If you really want to embody the
idea of I don't give a fuck or

246
00:14:15,040 --> 00:14:18,560
like you want to be that artist.
How do I become the Snoop Dogg

247
00:14:18,560 --> 00:14:22,800
of Vince UK?
How do I become the PT Anderson

248
00:14:22,800 --> 00:14:26,240
of Vince UK, whatever that is,
or, or Wes Anderson?

249
00:14:26,240 --> 00:14:29,040
Are all these my, you know, my
art?

250
00:14:29,320 --> 00:14:34,760
Not oh, I'm inspired by this
director and or I'm wanting to

251
00:14:34,760 --> 00:14:37,440
emulate this director.
Know who who am I as a what's

252
00:14:37,440 --> 00:14:40,760
your voice?
And I was never going to be able

253
00:14:40,760 --> 00:14:42,680
to do it before because I just
wasn't ready.

254
00:14:42,680 --> 00:14:44,720
I needed to be more creatively
ready.

255
00:14:45,160 --> 00:14:48,400
And being in Paris has allowed
me to do that because I'm just

256
00:14:48,400 --> 00:14:53,400
going to the movies all the
time, and I'm studying all the

257
00:14:53,400 --> 00:14:55,200
time.
I'm listening to watching French

258
00:14:55,200 --> 00:14:57,560
movies.
I'm watching so many different

259
00:14:57,880 --> 00:15:01,600
movies from all over the world.
I'm getting a perspective of

260
00:15:01,640 --> 00:15:03,720
art.
The kinds of conversations that

261
00:15:03,720 --> 00:15:09,000
I have here about cinema I never
would have had in Lai didn't

262
00:15:09,000 --> 00:15:10,640
have access to those kinds of
people.

263
00:15:10,640 --> 00:15:12,240
Like they just didn't seem that
way.

264
00:15:12,240 --> 00:15:14,720
Or maybe they're around.
I mean, I have these kinds of

265
00:15:14,720 --> 00:15:18,600
conversations with, you know,
Austin Butler, very thrilled to,

266
00:15:19,040 --> 00:15:23,360
to be in touch with someone who,
I mean, talked about a guy who

267
00:15:23,360 --> 00:15:25,400
just like, he did it, he's
making it.

268
00:15:25,400 --> 00:15:28,360
And I'm hearing about his
struggle creatively.

269
00:15:28,360 --> 00:15:30,600
I'm hearing about the demands on
him.

270
00:15:30,600 --> 00:15:33,160
So it's reflecting on me as
well.

271
00:15:33,160 --> 00:15:37,360
It's like, and I'm projecting
the future, you know, because I,

272
00:15:37,360 --> 00:15:40,440
I don't think I'll ever be able
to make a movie like this again.

273
00:15:40,600 --> 00:15:43,400
Well, you you would have told
the story, so you get to tell

274
00:15:43,400 --> 00:15:44,880
another one.
Yeah, yeah.

275
00:15:44,880 --> 00:15:48,760
I'm just saying like I because I
had this is my own money, I

276
00:15:48,760 --> 00:15:51,520
could just do whatever I want.
I could slow down.

277
00:15:51,520 --> 00:15:54,800
I mean, I took, you know, in
terms of the iterative process.

278
00:15:55,000 --> 00:15:56,400
I didn't even start with the
script.

279
00:15:56,400 --> 00:15:59,960
I started with an idea.
I wanted to buy the camera.

280
00:16:00,240 --> 00:16:03,040
I said we got to shoot.
We have to just do something

281
00:16:03,040 --> 00:16:05,400
because I'm I don't want to do
the thing where I'm writing a

282
00:16:05,400 --> 00:16:07,880
screenplay for the next 10 years
because I might be dead.

283
00:16:07,880 --> 00:16:10,680
I was going to ask you that.
So it was like, was it an idea

284
00:16:10,680 --> 00:16:15,040
that just like bolted you up in
bed in gay Patty and like you're

285
00:16:15,040 --> 00:16:17,800
like, give me my phone.
I'll use this if I have to tell

286
00:16:17,800 --> 00:16:18,960
the story.
Or were you?

287
00:16:19,000 --> 00:16:22,480
I mean, yeah, I mean, look, I
think I've been doing that, I

288
00:16:22,480 --> 00:16:26,360
think projecting these ideas
since 2014.

289
00:16:26,400 --> 00:16:31,480
I was selected in the Walt
Disney ABC Fellowship and I was

290
00:16:31,480 --> 00:16:35,160
one of the 13 directors.
Ryan Coogler was in my class.

291
00:16:35,520 --> 00:16:38,960
He went on to do Foodville
Station, which was so smart.

292
00:16:38,960 --> 00:16:42,160
And I thought I was the one who
was like, hey man, I've got 20

293
00:16:42,160 --> 00:16:43,920
years of experience.
I'm going to be good.

294
00:16:44,080 --> 00:16:45,960
I'm going to be I'm on the fast
track.

295
00:16:46,360 --> 00:16:49,520
Nope, certainly wasn't on the
fast track at all.

296
00:16:49,800 --> 00:16:52,680
So at the time I thought I
wanted to be, I was going to be

297
00:16:52,680 --> 00:16:55,520
an episodic television director
where I would just pay the

298
00:16:55,520 --> 00:17:00,680
bills, do some really good work,
be on shows that allow me to

299
00:17:00,680 --> 00:17:05,160
practice and be creative,
willing to play traffic cop for

300
00:17:05,160 --> 00:17:08,200
showrunners, for really
interesting showrunners for

301
00:17:08,200 --> 00:17:10,040
sure.
I mean, I was open to anything.

302
00:17:10,040 --> 00:17:13,440
Obviously I wanted to start my
directing career and then the be

303
00:17:13,440 --> 00:17:17,079
part of that plan was I would
save enough money to make my own

304
00:17:17,079 --> 00:17:20,319
independent features.
And then the hope was, you know,

305
00:17:20,319 --> 00:17:24,119
if I did 4 episodes, as if
getting 4 episodes is so easy, I

306
00:17:24,119 --> 00:17:28,119
would do 4 episodes a year and
four to five different shows hop

307
00:17:28,119 --> 00:17:33,680
around, and that would be living
all right, Then saving money to

308
00:17:33,680 --> 00:17:36,560
do this independent feature.
And then when I was going

309
00:17:36,560 --> 00:17:39,560
through the Fellowship, I
realized I didn't want to be an

310
00:17:39,560 --> 00:17:43,280
episodic director.
It's a really.

311
00:17:43,280 --> 00:17:45,680
Interesting thing, again, for
people who don't know, episodic

312
00:17:45,680 --> 00:17:47,560
directors show up for an
episode.

313
00:17:47,640 --> 00:17:50,560
Like there's a production crew,
there's a producers, there's

314
00:17:50,560 --> 00:17:54,760
like corporate, there's all that
stuff and you pop in and pop

315
00:17:54,760 --> 00:17:56,040
out.
Sometimes you pop in a couple

316
00:17:56,040 --> 00:17:57,680
times.
The smartest gig to get is

317
00:17:57,680 --> 00:18:00,200
directing a pilot 'cause then
you get paid forever for that

318
00:18:00,200 --> 00:18:02,920
show.
The director doesn't really have

319
00:18:02,920 --> 00:18:05,280
that much power, I think on
episodic.

320
00:18:05,280 --> 00:18:07,480
I mean, they do.
They can definitely rattle the

321
00:18:07,480 --> 00:18:09,160
cage.
Some of them do just 'cause they

322
00:18:09,160 --> 00:18:14,160
can, but it's an interesting way
to like have a vision, but you

323
00:18:14,160 --> 00:18:16,160
still have to fit into what the
show is.

324
00:18:16,160 --> 00:18:18,920
I mean, you have to just, I
think there's just a television

325
00:18:18,920 --> 00:18:22,200
mindset that you have to have.
I mean it not just in terms of

326
00:18:22,200 --> 00:18:26,120
creatively, I think in terms of
how you get your gigs, really

327
00:18:26,120 --> 00:18:31,640
understanding the protocol, you
know, and in terms of if you

328
00:18:31,640 --> 00:18:35,680
wanted to make some creative
choices, how do you go about

329
00:18:35,680 --> 00:18:37,200
doing that?
There's a way to go about doing.

330
00:18:37,200 --> 00:18:39,400
That yeah, there is.
There's one episodic director.

331
00:18:39,400 --> 00:18:42,280
I loved him.
He showed up on I guess we're

332
00:18:42,280 --> 00:18:44,480
what were we on then?
You and I.

333
00:18:44,920 --> 00:18:46,360
Yeah, I.
Think heaven.

334
00:18:46,600 --> 00:18:48,640
Was it 7th Heaven?
It might have been 7th.

335
00:18:48,640 --> 00:18:49,720
It might have been Malibu shore.
I don't.

336
00:18:49,720 --> 00:18:52,160
Remember I was in on that.
Well, you're I'm putting you

337
00:18:52,160 --> 00:18:54,600
there anyway, but this guy was
so cool.

338
00:18:54,600 --> 00:18:56,600
I want to Richard King.
I don't know.

339
00:18:56,600 --> 00:19:00,720
He did a lot of Buffy after, but
he came on he made friends with

340
00:19:00,720 --> 00:19:03,520
Crow.
He, it was like, this is how

341
00:19:03,520 --> 00:19:06,000
we're doing it.
I'm going to fight for that.

342
00:19:06,000 --> 00:19:08,120
I'm going to fight for someone
to respect you.

343
00:19:08,480 --> 00:19:11,320
I respect this person, this
person, and we're going to make

344
00:19:11,320 --> 00:19:14,160
that happen.
And he really rallied people in

345
00:19:14,160 --> 00:19:18,320
a way I hadn't seen in years.
I was like, I like this guy,

346
00:19:18,360 --> 00:19:20,800
like he's going to go far.
And then him and there's one

347
00:19:20,800 --> 00:19:22,640
other, David Semwell really blew
up too.

348
00:19:22,640 --> 00:19:26,680
But it's kind of interesting.
When I met these people, they

349
00:19:26,680 --> 00:19:28,800
were at the beginning, more at
the beginning.

350
00:19:29,000 --> 00:19:33,160
I was like, oh.
Yeah, so I, I felt like I could

351
00:19:33,160 --> 00:19:37,280
get into David Semel territory
at some point, right.

352
00:19:37,280 --> 00:19:39,080
But like, I was going to start
here.

353
00:19:39,520 --> 00:19:42,000
That's what I, this is kind of
what I'm talking about, these

354
00:19:42,000 --> 00:19:44,320
kinds of things.
I think you have to be really

355
00:19:44,320 --> 00:19:49,440
skilled to be a good community
man, community person.

356
00:19:49,720 --> 00:19:51,560
You know, I don't even like
calling it networking.

357
00:19:51,560 --> 00:19:54,240
I think you really have to be
immersed in the community in the

358
00:19:54,240 --> 00:19:58,520
right ways so that you are
visible and you get on the grid.

359
00:19:58,520 --> 00:20:01,000
You got to get on the grid.
So if you're not on the grid,

360
00:20:01,000 --> 00:20:03,000
get on the grid.
You're you got to get on the

361
00:20:03,000 --> 00:20:06,880
grid And every you know, ABC has
a grid, CBS has a grid,

362
00:20:06,880 --> 00:20:09,440
everybody has their grid.
And then next thing you know,

363
00:20:09,440 --> 00:20:12,960
the person that was hiring you
at CBS leaves the gig, leaves

364
00:20:12,960 --> 00:20:15,760
the network.
Now you need to re.

365
00:20:16,240 --> 00:20:18,560
Yeah, you got to find your where
they're going, where they're

366
00:20:18,560 --> 00:20:20,120
leaving.
I was like, I know no one.

367
00:20:20,120 --> 00:20:22,520
Like did you know I showed up?
I knew no one.

368
00:20:22,800 --> 00:20:26,160
I did some like super low budget
stuff at Shanna clear.

369
00:20:26,160 --> 00:20:29,360
But I remember when I was at
spelling and that like a

370
00:20:29,360 --> 00:20:31,720
lifelong friends, like my
friends moving to town can get

371
00:20:31,720 --> 00:20:34,200
him APA gig.
And I kept thinking no one ever

372
00:20:34,200 --> 00:20:37,000
did that shit for me.
You didn't like right, But I I

373
00:20:37,000 --> 00:20:38,960
gave the guy because he was such
a good guy.

374
00:20:39,200 --> 00:20:42,320
I gave him a shot and he was
fine and he's lovely and very

375
00:20:42,320 --> 00:20:44,080
sweet and everyone remembers
him.

376
00:20:44,240 --> 00:20:47,360
But I was like, damn, imagine
your the first gig being at

377
00:20:47,360 --> 00:20:49,240
spelling.
Hey hey welcome.

378
00:20:49,240 --> 00:20:52,560
I know you don't even know how
to know that Pico and Olympic

379
00:20:52,560 --> 00:20:55,240
run parallel, but here's a job
like what is that?

380
00:20:55,480 --> 00:20:58,880
Well, I mean, to be fair, I got
into the director skilled

381
00:20:58,880 --> 00:21:01,600
training program.
So that was, yeah, I mean, that

382
00:21:01,600 --> 00:21:04,880
opened all the doors for me.
That's a very significant movie.

383
00:21:04,880 --> 00:21:07,440
That's pretty significant.
OK, so wait, I want to get back.

384
00:21:07,440 --> 00:21:10,320
I want to stick to this movie
because like you and I can go

385
00:21:10,320 --> 00:21:13,080
deep in the back, but we're
here, we're making this thing

386
00:21:13,080 --> 00:21:15,240
happen.
So do you have like, did you

387
00:21:15,240 --> 00:21:16,920
have a timeline?
You're like, OK, I'm going to

388
00:21:16,920 --> 00:21:19,440
shoot this.
Obviously you're not shooting on

389
00:21:19,440 --> 00:21:20,600
film.
What are you shooting on?

390
00:21:20,840 --> 00:21:27,480
I'm using a Sony A7 S 3 and you
know, it's raw digital files

391
00:21:27,480 --> 00:21:32,280
that I that the A7 puts out and
I wanted to go with an A7

392
00:21:32,280 --> 00:21:36,800
because it was, it was compact.
I've seen the A7 being used on

393
00:21:36,840 --> 00:21:39,680
series television for B roll
shots.

394
00:21:39,960 --> 00:21:47,120
So it's broadcastable.
Yeah, I wanted to have a small

395
00:21:47,400 --> 00:21:50,360
footprint wherever I went.
I wasn't going to get any

396
00:21:50,360 --> 00:21:53,080
permits.
I was just gonna shoot and the

397
00:21:53,080 --> 00:21:54,440
thing.
Is I like how you say that, so

398
00:21:54,480 --> 00:21:56,480
lonely you don't even know, but
you're like you licked your

399
00:21:56,480 --> 00:21:59,080
teeth in your tongue like I'm
running under the radar.

400
00:21:59,760 --> 00:22:03,160
Here, Well, look, the reason you
can do that now is because

401
00:22:03,160 --> 00:22:05,120
there's influencers everywhere
shooting.

402
00:22:05,560 --> 00:22:09,880
So I mean, I can do the same
thing, but I'm making movies

403
00:22:09,880 --> 00:22:13,040
instead of, you know, 32nd
videos.

404
00:22:13,280 --> 00:22:18,600
So I wanted to be able to be
mobile and I wanted to have buy

405
00:22:18,600 --> 00:22:23,200
a camera that was that I was
going to be able to afford to

406
00:22:23,200 --> 00:22:27,040
have because my feeling was I
wanted to just shoot stuff.

407
00:22:28,120 --> 00:22:33,360
And again, the push for this
idea is because when I was an

408
00:22:33,360 --> 00:22:36,160
assistant director, I felt like
I was always asking for

409
00:22:36,160 --> 00:22:41,520
permission to shoot.
I didn't want to ask for

410
00:22:41,520 --> 00:22:44,520
permission anymore.
I just, again, this is all part

411
00:22:44,520 --> 00:22:45,440
of that.
I don't give a fuck.

412
00:22:45,440 --> 00:22:47,320
So it's like I'm just going to
do whatever I want.

413
00:22:47,320 --> 00:22:49,080
That's like that's so your
journey, right?

414
00:22:49,080 --> 00:22:53,560
Like the whole thing with this
personal story is again, when I

415
00:22:53,680 --> 00:22:56,920
talk about like belonging and
identity with you, right, and

416
00:22:56,920 --> 00:22:59,800
safety.
It's I think you have to be

417
00:22:59,800 --> 00:23:03,440
broken in a very specific way to
make it in film and TV, right?

418
00:23:03,440 --> 00:23:04,920
We are.
Or America.

419
00:23:05,360 --> 00:23:06,000
Right.
Yeah.

420
00:23:06,160 --> 00:23:08,960
Well, I think especially there,
I think for me like the

421
00:23:08,960 --> 00:23:14,040
neurosis, the people pleasing
the use, the comfort and abuse

422
00:23:14,040 --> 00:23:17,880
of some kind because the the
environment isn't kumbaya.

423
00:23:17,880 --> 00:23:19,560
It's really not even when
there's.

424
00:23:19,560 --> 00:23:22,640
It's a jungle.
It's a jungle, you have X amount

425
00:23:22,640 --> 00:23:24,960
of money and X amount of time
and you got to get it done.

426
00:23:24,960 --> 00:23:28,200
And so survival of the fittest
sometimes at.

427
00:23:28,200 --> 00:23:30,080
Sprinkle in the politics, I
mean.

428
00:23:30,080 --> 00:23:33,720
Yeah, and the talent and then
the no talent and the all of the

429
00:23:33,720 --> 00:23:36,000
things.
But I think like in listening

430
00:23:36,000 --> 00:23:39,160
you just to say that where I
wasn't asking for permission and

431
00:23:39,160 --> 00:23:43,360
the way that you're doing all of
this is that individuation.

432
00:23:43,360 --> 00:23:46,360
Like you said, it's that
liberty, like let's pick a

433
00:23:46,360 --> 00:23:47,960
French word.
You don't want to hear me speak

434
00:23:47,960 --> 00:23:49,560
French.
But like that liberty, that

435
00:23:49,560 --> 00:23:54,360
moment of I am Vince Duquet and
fuck it, this is me and this is

436
00:23:54,360 --> 00:23:56,160
the story and this is how we're
doing it.

437
00:23:56,160 --> 00:23:58,640
I love that.
There's like there's no meanness

438
00:23:58,640 --> 00:24:00,040
in it.
It's just empowering.

439
00:24:00,200 --> 00:24:02,840
You know, I do want to say this
and I appreciate you saying that

440
00:24:02,840 --> 00:24:05,480
because I think if we're
creating the myth of Vince

441
00:24:05,480 --> 00:24:09,160
Duquet, certainly that's how you
would want to tell the story.

442
00:24:09,600 --> 00:24:12,960
But it's survival.
Look, I still have days where

443
00:24:12,960 --> 00:24:14,720
I'm like what the fuck am I
doing?

444
00:24:14,720 --> 00:24:17,960
There was a time I shot the
those like a leg 3.

445
00:24:17,960 --> 00:24:21,760
Going back to LAII didn't have a
great experience.

446
00:24:21,760 --> 00:24:25,240
I came back home to Paris
completely depressed.

447
00:24:25,240 --> 00:24:27,560
I spent two months in my
bedroom.

448
00:24:27,560 --> 00:24:31,800
Basically I was in a dark space
and it took me a lot to get out

449
00:24:31,800 --> 00:24:33,960
of it.
It was a friend IA friend.

450
00:24:33,960 --> 00:24:37,040
I met dear friend, her name is
Gene Rooney and I met her in

451
00:24:37,040 --> 00:24:42,200
Dublin and she was very
supportive and incredibly loving

452
00:24:42,200 --> 00:24:45,440
to me and she's Irish.
She was just the kindest person,

453
00:24:45,440 --> 00:24:50,400
you know, to me and got me out
of the dumps and I got back on

454
00:24:50,400 --> 00:24:54,000
the saddle again.
I don't get up out of the saddle

455
00:24:54,000 --> 00:24:55,880
and look in the mirror and go,
you got this.

456
00:24:56,000 --> 00:24:57,400
You know, I don't do all of
that.

457
00:24:57,400 --> 00:25:02,080
It's so it's for me, it's like
just what's next, OK, So I and

458
00:25:02,080 --> 00:25:04,600
I, you know, really going, OK,
what do I have here?

459
00:25:05,040 --> 00:25:07,440
What do I need?
How do I do it?

460
00:25:07,440 --> 00:25:12,000
And meanwhile there's the voices
going you're an idiot, you suck,

461
00:25:12,480 --> 00:25:16,760
give up, get a day job.
Why did you do this?

462
00:25:17,040 --> 00:25:20,880
You don't have any talent.
The liar in your head.

463
00:25:21,200 --> 00:25:23,920
Well, it's like the, but this is
what I'm kind of saying about

464
00:25:23,920 --> 00:25:26,320
the shadows, which is I think
it's like.

465
00:25:26,800 --> 00:25:28,600
Is that what your depression
sounds like?

466
00:25:28,600 --> 00:25:31,160
Or it is like depression more
energetic for you?

467
00:25:31,160 --> 00:25:33,720
Like, does it just like weigh
you down and it just makes

468
00:25:33,720 --> 00:25:36,160
everything hard or is it a voice
in your head?

469
00:25:36,400 --> 00:25:39,960
That's all it's off of it.
I mean, it's, it's loneliness.

470
00:25:39,960 --> 00:25:41,680
You know, the depression comes
from loneliness.

471
00:25:41,680 --> 00:25:45,720
I mean, I don't have my friends
from Lai don't Miss America per

472
00:25:45,720 --> 00:25:49,760
SE, but I do miss the comforts
sometimes.

473
00:25:50,120 --> 00:25:52,480
You know, I miss being able to
talk to my friends.

474
00:25:52,480 --> 00:25:56,880
I miss people who know me.
This is what the movie is about.

475
00:25:57,680 --> 00:25:59,720
If you're at a transition point
in your life and you're

476
00:25:59,720 --> 00:26:02,120
wondering how do I go from point
A to point B?

477
00:26:02,320 --> 00:26:04,880
I'm tired of being defined by
what other people think of me.

478
00:26:05,200 --> 00:26:08,200
Read my book Real, Not Perfect.
How to Become your Happy,

479
00:26:08,200 --> 00:26:10,840
Authentic Self.
It's a step by step guide to

480
00:26:10,840 --> 00:26:13,880
help you reclaim your voice,
your passion and yourself worth.

481
00:26:14,160 --> 00:26:16,800
Available at all booksellers and
in the links below.

482
00:26:17,640 --> 00:26:23,120
The movie is essentially about a
Filipino American immigrant in

483
00:26:23,120 --> 00:26:25,960
Paris.
This person has immigrated from

484
00:26:26,000 --> 00:26:29,840
a first world country where
you're supposed to be able to

485
00:26:29,840 --> 00:26:34,280
chase your American dream and
said, fuck it, I can't live here

486
00:26:34,280 --> 00:26:37,400
because I'm just going to blow
my brains out literally.

487
00:26:37,680 --> 00:26:42,000
And it's not Emily in Paris
where OK, I'm going to, I'm

488
00:26:42,000 --> 00:26:43,640
going to.
It's coffee, caffeine,

489
00:26:43,640 --> 00:26:45,960
croissants.
No, it's like, I love it here in

490
00:26:45,960 --> 00:26:49,720
the sense that it's just there's
so many great things, but I am

491
00:26:49,720 --> 00:26:52,320
an immigrant.
I don't have my friends.

492
00:26:52,320 --> 00:26:56,640
I can't speak French the way I
want to be able to articulate

493
00:26:56,640 --> 00:26:59,080
myself.
I speak like a 7 year old, you

494
00:26:59,080 --> 00:27:02,920
know, and you know, it's
frustrating a lot.

495
00:27:02,920 --> 00:27:05,520
I'm four years in, 4 1/2 years
in now.

496
00:27:05,520 --> 00:27:09,080
So essentially if you think
about it like I graduated high

497
00:27:09,080 --> 00:27:12,400
school after the four years.
So I'm now in Paris college.

498
00:27:12,400 --> 00:27:16,360
I'm a freshman in Paris college.
You know, it's like I know

499
00:27:16,360 --> 00:27:18,440
stuff.
I know where things are, which

500
00:27:18,440 --> 00:27:23,160
is great, but I, you know, it's,
it's not easy and it's, it's

501
00:27:23,160 --> 00:27:26,360
lonely.
And I mean, for me, I can't

502
00:27:26,360 --> 00:27:29,280
speak for anyone else who, who
Americans who live here, I can

503
00:27:29,280 --> 00:27:32,800
just only speak for myself.
But it's not, it's not easy.

504
00:27:32,800 --> 00:27:36,440
Anyway, the movie is about
really taking an honest look at

505
00:27:36,440 --> 00:27:40,560
the idea of reinvention.
That reinvention, at least for

506
00:27:40,560 --> 00:27:44,760
me, is not the you got this, you
know, I don't give a fuck.

507
00:27:44,760 --> 00:27:50,720
It's more like it's day-to-day
roller coaster of hanging in

508
00:27:50,720 --> 00:27:53,560
there.
There's the things that you need

509
00:27:53,560 --> 00:27:58,120
to keep you afloat.
So in this particular case, it's

510
00:27:58,240 --> 00:28:03,280
Alvi's dedication and love for
the band U2, who is basically

511
00:28:03,280 --> 00:28:07,160
his saviour.
He goes to AU2 concert at the at

512
00:28:07,160 --> 00:28:10,680
the Sphere in Vegas.
He brings his French friend, the

513
00:28:10,680 --> 00:28:13,400
Floral, who is kind of his
friend.

514
00:28:13,760 --> 00:28:16,440
He's never been to any family
events with this guy because you

515
00:28:16,440 --> 00:28:19,920
don't get to go to family events
with your French friends because

516
00:28:20,240 --> 00:28:22,000
that's not you're not part of
that.

517
00:28:22,320 --> 00:28:25,840
And but he wants a wingman
because maybe if he has a

518
00:28:25,840 --> 00:28:28,480
wingman who loves you too, he's
now going to have somebody who

519
00:28:28,720 --> 00:28:31,600
can be his homie.
He's looking for a homie, right

520
00:28:31,880 --> 00:28:36,440
To make a detour to Los Angeles
because he needs, he needs to

521
00:28:36,440 --> 00:28:40,000
get some gummies because they
don't have good weed in Paris.

522
00:28:40,160 --> 00:28:42,480
I noticed that you you say that
in the movie.

523
00:28:42,720 --> 00:28:46,960
It's in the movie and it turns
into, oh, let me tell you my

524
00:28:46,960 --> 00:28:50,000
life story.
And so for him, subconsciously,

525
00:28:50,000 --> 00:28:54,320
it's let me make an insta best
friend by let me just tell you

526
00:28:54,440 --> 00:28:56,440
everything about me.
Let me have.

527
00:28:56,680 --> 00:28:59,640
Let me try a bond and give you
everything I know about myself.

528
00:29:00,000 --> 00:29:03,560
Right, Olive.
And as he's doing it, he's has

529
00:29:03,560 --> 00:29:08,320
to confront his past, the ghost.
They he opens the Pandora's box

530
00:29:08,320 --> 00:29:11,880
and the ghosts kind of come out.
There's a whole thing about LA

531
00:29:12,080 --> 00:29:16,560
at at present day 2024.
Because look, it's a bad time.

532
00:29:16,560 --> 00:29:20,840
And are we charting that?
Are we really, we need to really

533
00:29:20,840 --> 00:29:23,360
commemorate this period of
Hollywood?

534
00:29:23,360 --> 00:29:26,160
It's really like 20 years from
now they're going to do studies

535
00:29:26,160 --> 00:29:29,240
about this time and how it all
went to hell.

536
00:29:29,640 --> 00:29:32,000
So weird.
It's so weird to me.

537
00:29:32,600 --> 00:29:34,160
That's a that's a whole other
episode.

538
00:29:34,160 --> 00:29:39,680
Like that's a whole other thing.
I think I want to know what U2

539
00:29:39,680 --> 00:29:42,840
song pulls you out when you're
feeling down.

540
00:29:43,160 --> 00:29:44,840
So I got I.
Know you actually.

541
00:29:45,680 --> 00:29:46,160
Right, so.
Many.

542
00:29:46,560 --> 00:29:49,600
Anyway, go on.
But do you have like a A1 like

543
00:29:49,760 --> 00:29:53,040
like the go to or not?
Like if you opened up your

544
00:29:53,040 --> 00:29:54,680
Spotify, like what's your top
song?

545
00:29:54,880 --> 00:29:58,000
It just depends on how if I want
to feel melancholy or if I want

546
00:29:58,000 --> 00:30:01,000
to rock out so that I can.
I want you to rock out.

547
00:30:01,000 --> 00:30:02,360
I want to know about rocking
out.

548
00:30:02,560 --> 00:30:05,680
It would be a song called
Acrobat from the Acting Baby

549
00:30:05,680 --> 00:30:08,480
album.
In fact, in the in the movie,

550
00:30:08,800 --> 00:30:12,760
Alvin goes on a mushroom trip
and he embodies being Bono, and

551
00:30:12,760 --> 00:30:16,280
then he does the whole song.
So I have, I did the video, I

552
00:30:16,280 --> 00:30:18,440
shot it.
So I have the whole music video

553
00:30:18,440 --> 00:30:20,560
as Acrobat.
The whole thing's not going to

554
00:30:20,560 --> 00:30:24,040
make the movie, but you know,
I'm in full bond out of it and

555
00:30:24,040 --> 00:30:26,800
in fact, hold on.
Somebody, somebody.

556
00:30:26,920 --> 00:30:29,000
Gene Rooney, by the way, she did
it.

557
00:30:29,000 --> 00:30:31,600
She made this for my birthday.
That's.

558
00:30:31,840 --> 00:30:34,720
Epic look, it, it's got a
journal because you know, he

559
00:30:34,800 --> 00:30:36,360
writes in his journal.
It's got a camera.

560
00:30:36,360 --> 00:30:37,520
It's.
The glasses.

561
00:30:37,760 --> 00:30:40,920
I mean, he's got.
Look at that.

562
00:30:40,960 --> 00:30:43,960
I mean, this is epic.
It's just my SO.

563
00:30:43,960 --> 00:30:47,760
Anyway, the magic of the movie
is that the movie has really

564
00:30:47,760 --> 00:30:53,560
opened the doors for me.
It, it was artistically a place

565
00:30:53,560 --> 00:31:01,560
for me to really sort myself out
as well because I had to really

566
00:31:01,560 --> 00:31:04,800
be honest.
I really wanted to be honest in

567
00:31:04,800 --> 00:31:09,800
this movie and I didn't want the
idea of reinvention to be to, to

568
00:31:09,840 --> 00:31:15,280
betray the the incredible
difficulty it is to uproot

569
00:31:15,280 --> 00:31:19,760
yourself mentally, spiritually,
physically.

570
00:31:20,280 --> 00:31:22,120
And it's not romantic.
Again, it's not.

571
00:31:22,360 --> 00:31:25,560
It's not Emily in Paris.
Now you know what it reminds me

572
00:31:25,560 --> 00:31:28,160
of a bit.
There was right now, like as

573
00:31:28,160 --> 00:31:29,960
you're talking, I'm trying to
rack my brain.

574
00:31:30,200 --> 00:31:33,520
It's the name of the movie, but
it was one of the movies.

575
00:31:33,520 --> 00:31:36,720
It came out when Ed Burns
started becoming something right

576
00:31:36,720 --> 00:31:41,280
in the late 90s, early 2000s,
when independent filmmaking made

577
00:31:41,280 --> 00:31:46,080
movies that big studios wouldn't
because they had their they did

578
00:31:46,080 --> 00:31:47,720
the things that you're talking
about, right?

579
00:31:48,160 --> 00:31:51,080
They told a smaller story, an
individual story.

580
00:31:51,080 --> 00:31:52,960
Everything didn't have to blow
up and explode.

581
00:31:52,960 --> 00:31:57,160
It wasn't like Marvel 10.10
times the 10th power.

582
00:31:57,480 --> 00:31:59,120
And there's a time and a place
for all that.

583
00:31:59,120 --> 00:32:02,320
I'm not saying go enjoy it like
I'm like, I'm good.

584
00:32:02,320 --> 00:32:05,600
I I got Guardians of the Galaxy
figurines on my desk.

585
00:32:05,600 --> 00:32:10,280
But the point really is, is the
human element of the Guardians

586
00:32:10,280 --> 00:32:13,640
of the Galley is that human
element, that emotional truth,

587
00:32:13,640 --> 00:32:16,560
Right.
So gosh, Roger or something, I'm

588
00:32:16,720 --> 00:32:19,320
going to have to look it up.
It was like a dinner table

589
00:32:19,320 --> 00:32:20,760
scene.
And what I loved about it is

590
00:32:20,760 --> 00:32:24,120
they didn't do coverage.
They literally just tracked

591
00:32:24,120 --> 00:32:26,480
around the table.
So sometimes you were listening

592
00:32:26,480 --> 00:32:28,600
to dialogue and it was like the
back of their head.

593
00:32:29,120 --> 00:32:32,160
I want, I want to say it's not
Roger Corman, obviously, but

594
00:32:32,160 --> 00:32:33,400
it's, it's, it's, it's, I know
who.

595
00:32:33,440 --> 00:32:35,640
It's not the Nashville director.
Hold on.

596
00:32:35,920 --> 00:32:39,040
Anyway, but like watching the
bits that you shared with me of

597
00:32:39,040 --> 00:32:40,880
your movie, that's what it
reminds me of.

598
00:32:40,880 --> 00:32:44,400
Like what I think movie speaking
needs to go back to is like

599
00:32:44,600 --> 00:32:46,800
storytelling.
Robert Altman.

600
00:32:47,120 --> 00:32:50,880
Yes, thank you.
Like, I think what you're doing

601
00:32:50,880 --> 00:32:55,720
is storytelling, and I think you
were reckless and brave at the

602
00:32:55,720 --> 00:32:59,080
same time because you said fuck
it, I'm going to tell this

603
00:32:59,080 --> 00:33:01,360
story.
What point did you actually have

604
00:33:01,360 --> 00:33:03,480
a script so you weren't just
shooting rambling?

605
00:33:03,640 --> 00:33:06,720
I was doing two things.
I was already shooting a couple

606
00:33:06,720 --> 00:33:09,160
short films.
In fact, I wanted to test the

607
00:33:09,160 --> 00:33:12,120
idea of having this camera
everywhere.

608
00:33:12,480 --> 00:33:16,080
So the Olympics happened in
Paris, so I shot all over the

609
00:33:16,080 --> 00:33:18,040
place.
I brought my camera everywhere

610
00:33:18,360 --> 00:33:21,960
and I started to develop this
character Alvey, and it was me.

611
00:33:22,040 --> 00:33:26,640
So I was just kind of creating
this idea of this character and

612
00:33:27,080 --> 00:33:32,640
how I would work in the camera.
I I wanted to understand what is

613
00:33:32,640 --> 00:33:34,680
it going to be like to direct
myself?

614
00:33:35,200 --> 00:33:39,600
What was the infrastructure by
which I needed to allow me to do

615
00:33:39,720 --> 00:33:44,440
this thing, which was direct and
act and also write?

616
00:33:44,440 --> 00:33:49,600
Being able to almost improvise
on the fly for myself, but also

617
00:33:49,600 --> 00:33:52,040
think about the editing and
think about, oh, I got to

618
00:33:52,040 --> 00:33:56,680
remember I was on this angle and
I have to, I need to say that

619
00:33:56,680 --> 00:33:59,040
which I got into trouble a lot
on this movie.

620
00:33:59,040 --> 00:34:01,520
So the editing has been quite an
adventure.

621
00:34:01,880 --> 00:34:05,960
But it's OK because it it has a
style, it has a personality that

622
00:34:06,080 --> 00:34:07,760
I don't think you could have
gotten if I was doing it

623
00:34:07,760 --> 00:34:10,920
conventionally.
In any case, about the story, it

624
00:34:10,920 --> 00:34:14,560
was originally going to be kind
of a mockumentary about this

625
00:34:14,920 --> 00:34:19,880
older Filipino American guy who
was so obsessed about you too.

626
00:34:20,159 --> 00:34:22,440
He called himself an art
historian.

627
00:34:22,440 --> 00:34:25,400
So I thought it was going to be
kind of a spiral tap where you

628
00:34:25,400 --> 00:34:28,760
were going to interview me as
this obsessive.

629
00:34:28,840 --> 00:34:31,800
And we went to Dublin.
So we went to Bono's house.

630
00:34:32,239 --> 00:34:35,520
We went to where you 2 first
met.

631
00:34:35,520 --> 00:34:40,960
We went to Bono's mom's grave.
She died when he was 14.

632
00:34:40,960 --> 00:34:46,080
And that event is how the band
became to be.

633
00:34:46,360 --> 00:34:50,880
A lot of his music is based on
the loss of his mother or the

634
00:34:50,880 --> 00:34:54,560
struggle, the family struggle.
I mean, there's so much on a lot

635
00:34:54,560 --> 00:34:56,520
of the songs that people don't
know, but it's really, they're

636
00:34:56,520 --> 00:35:00,960
really about his mother anyway,
So we shot all this stuff.

637
00:35:01,480 --> 00:35:05,720
That was December of 2023.
So we had the concert.

638
00:35:05,720 --> 00:35:09,560
So we were going to do the
concert in April, go to LA or

639
00:35:09,560 --> 00:35:12,320
road trip to Vegas.
So it was because it's a road

640
00:35:12,320 --> 00:35:15,480
trip movie.
So it's it's it's LA, road trip

641
00:35:15,480 --> 00:35:20,080
to Vegas, Vegas concert, shoot
the concert.

642
00:35:20,520 --> 00:35:25,080
So it's taking smaller cameras,
a small compact camera into the

643
00:35:25,080 --> 00:35:27,000
with a microphone into the
venue.

644
00:35:27,120 --> 00:35:31,920
Then we went to Seattle to meet
up with a friend who I met

645
00:35:31,920 --> 00:35:36,000
through see a concert in Hawaii.
I didn't know why.

646
00:35:36,280 --> 00:35:39,120
I just wanted to see him.
I wanted to shoot that.

647
00:35:39,440 --> 00:35:41,640
I didn't know what the
connection was.

648
00:35:41,640 --> 00:35:44,400
So we were just kind of like, he
had a YouTube man cave.

649
00:35:44,560 --> 00:35:49,360
He's a white dude from Arizona,
but they live in Washington.

650
00:35:49,360 --> 00:35:52,320
He's married to a Thai woman.
So it was like this really

651
00:35:52,320 --> 00:35:55,840
interesting combination of
things that I just, OK, I just

652
00:35:55,840 --> 00:35:57,880
wanted to instinctively capture
somehow.

653
00:35:58,080 --> 00:36:04,320
And so we did that in April.
I had a bit of a scriptment, so

654
00:36:04,840 --> 00:36:11,360
beats possible dialogue, but
really flying by the seat of my

655
00:36:11,360 --> 00:36:13,800
pants.
Something real happened on the

656
00:36:13,800 --> 00:36:19,480
road trip to Vegas in which I
somehow got the wrong date for

657
00:36:19,480 --> 00:36:21,000
the concert.
Oopsie.

658
00:36:21,160 --> 00:36:24,360
I thought it was going to be the
next day because I saw I was

659
00:36:24,360 --> 00:36:26,960
like, OK, we're going to chill.
We're just going to moseying on

660
00:36:26,960 --> 00:36:30,120
into Vegas, have a good night,
have a few cosmopolitans,

661
00:36:30,120 --> 00:36:31,640
whatever.
And then they had the concert

662
00:36:31,640 --> 00:36:33,840
the next day, but it was in
three hours.

663
00:36:34,000 --> 00:36:36,880
So it was weird because it was
like surrealistically weird

664
00:36:36,880 --> 00:36:40,000
because I was getting into like
reality show mode.

665
00:36:40,120 --> 00:36:43,080
I was living the experience of
being stressed about the

666
00:36:43,080 --> 00:36:46,200
situation.
But I was also saying to my to

667
00:36:46,200 --> 00:36:51,680
my camera guy, we need to shoot
all of this because now we have

668
00:36:51,800 --> 00:36:53,880
an obstacle that we didn't have
before.

669
00:36:53,880 --> 00:36:56,880
It was just going to be going.
You know, I was always thinking

670
00:36:57,160 --> 00:37:01,120
we don't have anything that's
worthy of like giving the

671
00:37:01,120 --> 00:37:03,960
audience some surprising
adventures.

672
00:37:04,040 --> 00:37:07,680
And so I was almost kind of
again inclined to give into the

673
00:37:07,680 --> 00:37:09,600
idea that, OK, it's just a tone,
tone.

674
00:37:09,600 --> 00:37:11,880
It's just my first movie moment
in an art film.

675
00:37:11,880 --> 00:37:14,840
It doesn't matter.
But with this situation in the

676
00:37:14,840 --> 00:37:20,720
story now had some surprises.
Yeah, you had your conflict, you

677
00:37:20,720 --> 00:37:24,360
had the, you had your obstacles.
Your character had an obstacle.

678
00:37:24,360 --> 00:37:27,040
He done messed up.
Exactly right.

679
00:37:27,040 --> 00:37:27,480
Done.
Messed.

680
00:37:27,520 --> 00:37:31,440
Up a a Ron just messed up.
So then I play that entire

681
00:37:31,440 --> 00:37:33,000
night, right?
OK, we need more.

682
00:37:33,000 --> 00:37:37,280
We need more.
So I get into this frenzy acting

683
00:37:37,280 --> 00:37:38,640
wise.
OK, we're going to get into

684
00:37:38,640 --> 00:37:39,720
this.
It's got to be something.

685
00:37:39,720 --> 00:37:41,360
It's got to be something.
How's this affecting him?

686
00:37:41,360 --> 00:37:44,760
So I'm getting into acting mode
and I'm not a trained, trained

687
00:37:44,760 --> 00:37:47,760
actor.
So I'm just like going deep into

688
00:37:47,760 --> 00:37:52,960
the into my dark black heart and
going thinking about my mom

689
00:37:52,960 --> 00:37:55,320
dying, thinking about my
grandmother dying, thinking

690
00:37:55,320 --> 00:37:58,240
about my cat dying, thinking
about I'm going to miss this

691
00:37:58,240 --> 00:37:59,840
concert.
It's my fault.

692
00:38:00,080 --> 00:38:03,080
Fucking Paris sucks.
Like just really working myself

693
00:38:03,080 --> 00:38:06,360
in a little frenzy just are paw
thing.

694
00:38:06,720 --> 00:38:12,680
And so now I'm in the zone.
So no longer am I Vince trying

695
00:38:12,680 --> 00:38:16,000
to get this space.
I'm now Alvey and it just took

696
00:38:16,000 --> 00:38:18,560
my body over and then we had to
shoot coverage.

697
00:38:18,560 --> 00:38:21,360
So I had to get his coverage and
I couldn't get back into that

698
00:38:21,360 --> 00:38:25,000
space.
So I had to manufacture yelling

699
00:38:25,000 --> 00:38:28,320
at him So that because I just
wanted his reactions because the

700
00:38:28,320 --> 00:38:31,000
the main idea instinctively,
again, not written was I

701
00:38:31,000 --> 00:38:37,640
thought, Oh, this is where the
cold French guy isn't vibing

702
00:38:37,640 --> 00:38:42,240
with what's going on here.
And Alvy American Alvy needs

703
00:38:42,240 --> 00:38:45,000
this guy to comfort him and he's
not doing anything.

704
00:38:45,000 --> 00:38:48,200
So now there's this there is
even more conflict.

705
00:38:48,200 --> 00:38:51,280
There's even more tension,
right, which is great, great for

706
00:38:51,280 --> 00:38:52,720
the movie.
Good.

707
00:38:53,040 --> 00:38:56,240
And then and then we go to U2
and it's like amazing.

708
00:38:56,240 --> 00:38:59,400
We we grab some stuff.
So again, that's April and I

709
00:38:59,400 --> 00:39:01,520
knew we had to come back.
I didn't think we had the whole

710
00:39:01,520 --> 00:39:04,680
movie when I came back because I
was going to shoot the

711
00:39:04,680 --> 00:39:07,640
beginning, which is in Paris and
the end, which is in Paris, but

712
00:39:07,640 --> 00:39:11,360
I didn't really know what that
beginning and the end was yet.

713
00:39:11,840 --> 00:39:14,920
So I wrote a script we're going
to shoot in November and I have

714
00:39:15,000 --> 00:39:18,920
a pink version of the script.
So that's how it many

715
00:39:18,920 --> 00:39:21,880
iterations, you know that it was
going through, right.

716
00:39:22,360 --> 00:39:25,720
So I not only had a production
draft, I had a blue draft and

717
00:39:25,720 --> 00:39:29,880
then I had a pink draft going
into shooting knowing full well

718
00:39:29,880 --> 00:39:32,520
that I was still open-ended to
things.

719
00:39:32,520 --> 00:39:36,560
And so to the point that you
asked so long ago, how did I

720
00:39:36,560 --> 00:39:39,040
come up with a story?
That's how it came into being is

721
00:39:39,040 --> 00:39:40,120
a lot.
Of.

722
00:39:40,520 --> 00:39:46,000
Trust a lot of I oh, I was also
working on my character, so I

723
00:39:46,000 --> 00:39:52,240
was going to LA to these master
classes of feeling and behavior.

724
00:39:52,360 --> 00:39:54,440
Movement work.
I was doing a lot of movement

725
00:39:54,440 --> 00:39:59,880
work with a story specialist
named Joan Scheckel, who was the

726
00:39:59,880 --> 00:40:03,840
consultant on Little Miss
Sunshine, and I love that movie.

727
00:40:04,000 --> 00:40:08,040
I learned so much about
storytelling from taking those

728
00:40:08,040 --> 00:40:12,200
workshops.
They were expensive, hell, but I

729
00:40:12,200 --> 00:40:14,720
thought they were going to be
incredibly worth it because it

730
00:40:14,720 --> 00:40:17,280
was going to be something that I
would have forever, right?

731
00:40:17,280 --> 00:40:20,200
These lessons, the two of the
biggest lessons I learned from

732
00:40:20,200 --> 00:40:24,960
those workshops, was one not to
think of story anymore from

733
00:40:25,280 --> 00:40:28,160
protagonist.
Antagonist conflict.

734
00:40:28,360 --> 00:40:33,200
Protagonist antagonist conflict.
It was more like getting the

735
00:40:33,200 --> 00:40:37,880
character through a complex
emotional journey and then get

736
00:40:37,880 --> 00:40:42,200
through the truth of whatever
the core of your movie is, but

737
00:40:42,200 --> 00:40:45,200
going through the mountain of
that as opposed to going around

738
00:40:45,200 --> 00:40:47,840
it.
So for example, if you do a love

739
00:40:47,840 --> 00:40:52,160
story, you can always change the
durations of the process of

740
00:40:52,320 --> 00:40:56,760
let's say falling in love, but
you can't skip the moments or we

741
00:40:56,760 --> 00:40:59,040
go like this is this is not
working.

742
00:40:59,520 --> 00:41:02,040
This is how I work when I write.
It's when I write fiction

743
00:41:02,040 --> 00:41:04,080
because it doesn't work the same
when I write nonfiction.

744
00:41:04,120 --> 00:41:06,920
But for me, there's always the
difference between plot and

745
00:41:06,920 --> 00:41:08,480
emotional arc.
Yeah, yeah.

746
00:41:08,480 --> 00:41:12,040
And the plot's harder for me
because you have to hit beats,

747
00:41:12,040 --> 00:41:13,680
otherwise the story won't work,
right.

748
00:41:13,680 --> 00:41:16,800
Midpoint is midpoint.
Like there's certain things that

749
00:41:16,800 --> 00:41:20,360
you have to hit.
I don't abide by those anymore.

750
00:41:20,360 --> 00:41:23,760
I really, I think instinctively
I do, but like I have really

751
00:41:23,760 --> 00:41:27,720
thrown out for me.
I am not pushawing the American

752
00:41:27,720 --> 00:41:30,600
approach approach at all.
I mean, like there's a gazillion

753
00:41:30,600 --> 00:41:33,880
people that are working, doing
quite well, living high on the

754
00:41:33,880 --> 00:41:35,400
hog with these, with these
methods.

755
00:41:35,400 --> 00:41:38,320
But I don't think they work for
me because I can't.

756
00:41:38,480 --> 00:41:40,520
Let me give you a real funny
story.

757
00:41:40,520 --> 00:41:44,720
So I was as a producer who I
respect very much, and she

758
00:41:44,720 --> 00:41:48,960
wanted to read my script and she
ended up only reading the 1st 5

759
00:41:48,960 --> 00:41:52,320
pages, but whatever.
And then she said, you know,

760
00:41:52,320 --> 00:41:56,320
what's missing is the quest.
It's missing the quest.

761
00:41:56,760 --> 00:41:59,160
And I wanted to say to her,
well, maybe if she had read page

762
00:41:59,160 --> 00:42:00,400
6, you would have seen the
quest.

763
00:42:00,680 --> 00:42:04,120
But there was really no quest.
I mean, the quest was going and

764
00:42:04,120 --> 00:42:07,400
she was, I know it's to go to
the U2 concert, but what is the

765
00:42:07,400 --> 00:42:10,520
quest?
And I thought, well that's the

766
00:42:10,520 --> 00:42:13,760
point is I didn't want to write
a story where somebody knew

767
00:42:13,760 --> 00:42:17,080
exactly what they wanted in 1st
1020 page.

768
00:42:17,960 --> 00:42:20,160
That is the emotional arc.
Like what you're saying is the

769
00:42:20,160 --> 00:42:22,400
emotional arc.
I'm saying for me, I always

770
00:42:22,400 --> 00:42:25,560
start with an emotional truth of
my character, whatever that

771
00:42:25,560 --> 00:42:30,040
longing is, that pain point.
But for me making the plot on

772
00:42:30,120 --> 00:42:32,800
like how to make it worse for my
character, just like you're

773
00:42:32,800 --> 00:42:37,480
saying wrong date, road trip.
I need the love of my French

774
00:42:37,480 --> 00:42:41,160
friend here, right?
Like all of that, those are plot

775
00:42:41,160 --> 00:42:43,760
points.
And so for me, just like you,

776
00:42:44,040 --> 00:42:47,160
you're the struggle is the plot
point not but like then when you

777
00:42:47,160 --> 00:42:49,440
see it and recognize it, you're
like, that's the magic.

778
00:42:49,960 --> 00:42:53,640
I just think I love how you were
like, so indie film making it.

779
00:42:53,960 --> 00:42:58,680
A man with decades of experience
can still have the passion and

780
00:42:58,680 --> 00:43:01,760
the creativity to come at it
with fresh eyes.

781
00:43:02,080 --> 00:43:04,960
I think that's my whole point.
That is amazing that you can do

782
00:43:04,960 --> 00:43:06,680
it.
But what worries me as your

783
00:43:06,680 --> 00:43:09,280
friend is that I know that you
go into those dark places and

784
00:43:09,280 --> 00:43:13,080
I'm like, come back.
I'm much better now because I,

785
00:43:13,120 --> 00:43:17,360
you know, one thing I did was I
actually talked to Austin Butler

786
00:43:17,360 --> 00:43:19,120
about this.
I said, you know, when you get

787
00:43:19,120 --> 00:43:21,880
into those spaces, because
you're such a method type actor,

788
00:43:22,240 --> 00:43:24,680
what does, what are some of the
things that you do?

789
00:43:24,680 --> 00:43:26,880
Like, do you have rituals by
which you couldn't come out of

790
00:43:26,880 --> 00:43:29,640
those situations?
And yeah, so we talked about it

791
00:43:29,640 --> 00:43:31,320
a little bit.
So, you know, I won't get into

792
00:43:31,320 --> 00:43:33,680
that here, but it's basically
you're in a container, you go

793
00:43:33,680 --> 00:43:36,760
into the ritual and it's kind of
paganistic notion of like it's

794
00:43:36,760 --> 00:43:38,560
time to start.
And then when you're ending,

795
00:43:38,560 --> 00:43:41,960
you're saying, OK, I say
goodnight to you.

796
00:43:42,120 --> 00:43:44,080
And then you come out of it
right somehow.

797
00:43:44,080 --> 00:43:46,160
I mean, it's talking
simplistically.

798
00:43:46,200 --> 00:43:47,400
I know, I like that.
That's good.

799
00:43:47,400 --> 00:43:49,040
That's good enough.
That's still hard to do.

800
00:43:49,160 --> 00:43:50,520
It's so hard.
I mean even.

801
00:43:50,520 --> 00:43:53,120
When I was like working with
people as their coach, right?

802
00:43:53,280 --> 00:43:56,680
Being in that vulnerable space
with them and then having to

803
00:43:56,680 --> 00:43:59,480
leave that behind and then like,
go live my life is really.

804
00:43:59,480 --> 00:44:00,480
Hard.
Oh, really?

805
00:44:00,680 --> 00:44:03,160
Hard, yeah.
Like what would what would you

806
00:44:03,240 --> 00:44:06,440
latch onto that would?
I could feel their pain as an

807
00:44:06,440 --> 00:44:08,120
empath so I could feel your
pain.

808
00:44:09,000 --> 00:44:10,520
But you would be thinking about
them.

809
00:44:10,520 --> 00:44:12,600
Is that what you mean?
You would then start looking at

810
00:44:12,600 --> 00:44:16,320
articles or thinking about how
else you could help them.

811
00:44:16,320 --> 00:44:18,720
And while I think.
It was more of a like.

812
00:44:18,760 --> 00:44:20,920
Personal thing.
I'm connecting to other, I'm

813
00:44:20,920 --> 00:44:23,000
connecting to something high and
spiritual.

814
00:44:23,000 --> 00:44:26,640
And then you come back to the
world and it's disconnected and

815
00:44:26,640 --> 00:44:30,480
disembodied and not whole and
you're not on a higher

816
00:44:30,480 --> 00:44:32,360
vibration.
So now you're just dealing with

817
00:44:32,560 --> 00:44:35,400
assholes like for lack of a
better world, we'll just go

818
00:44:35,400 --> 00:44:37,800
simplistic.
Someone's coming to you because

819
00:44:37,800 --> 00:44:40,760
they've reached a point where
they've tried so many other

820
00:44:40,760 --> 00:44:43,520
things, therapy, doctors,
whatever.

821
00:44:43,520 --> 00:44:46,160
Then they'll see an intuitive be
like, what do you see and feel?

822
00:44:46,160 --> 00:44:49,960
And then I'm so honest in my
approach of that, I'll tell

823
00:44:49,960 --> 00:44:53,520
them, but it is an emotional
wave that goes through my body.

824
00:44:53,520 --> 00:44:57,360
So to leave the wave behind and
like leave the person who wants

825
00:44:57,360 --> 00:45:01,120
to help someone so I can then go
be me and go right and be a

826
00:45:01,120 --> 00:45:03,480
parent and be like a partner.
Like all the things.

827
00:45:03,680 --> 00:45:06,200
That was really hard because I'd
be so drained.

828
00:45:06,400 --> 00:45:09,400
I would just be empty.
And it took me a while to learn

829
00:45:09,400 --> 00:45:15,480
how to connect and not feed it
with my own energy, which is not

830
00:45:15,480 --> 00:45:17,640
what I do when I work on my
podcast, is not what I do when I

831
00:45:17,640 --> 00:45:18,480
write.
It's all me.

832
00:45:18,480 --> 00:45:21,200
I'm like, just like, oh, I love
this.

833
00:45:21,200 --> 00:45:24,400
Like I, I want to connect.
I want stories.

834
00:45:24,400 --> 00:45:26,880
I want people to know about
other things in different

835
00:45:26,880 --> 00:45:30,400
perspectives and get out of your
own way and just like do it.

836
00:45:30,400 --> 00:45:34,600
So like what I love about your
story is you came on today and

837
00:45:34,600 --> 00:45:37,680
shared how you were like, I did
it.

838
00:45:37,680 --> 00:45:39,720
I'm doing it.
So do you have a deadline for

839
00:45:39,720 --> 00:45:41,880
yourself or when you want it
done?

840
00:45:42,080 --> 00:45:44,760
Well, it's constantly moving.
I mean, I would like to be

841
00:45:44,760 --> 00:45:47,120
finished by the end of the year,
for sure.

842
00:45:47,280 --> 00:45:51,520
I'm editing, but I have a French
editor who I would call my

843
00:45:51,520 --> 00:45:57,000
creative producer, so he and I
talk ad nauseam about the story.

844
00:45:57,320 --> 00:46:00,360
We just can talk story and
meaning and all those sort of

845
00:46:00,360 --> 00:46:02,400
things.
So what's happening with the

846
00:46:02,400 --> 00:46:06,840
movie now is that it's taking
its own personality.

847
00:46:07,200 --> 00:46:10,040
It's becoming whatever it wants
to become and I just want to

848
00:46:10,040 --> 00:46:13,960
listen to it.
Right, the movie like the script

849
00:46:13,960 --> 00:46:17,360
you sell the script you shoot
the one that comes out after

850
00:46:17,360 --> 00:46:19,240
editing.
Yeah, yeah.

851
00:46:19,240 --> 00:46:25,560
And I really love this process
because I really see the movie

852
00:46:25,560 --> 00:46:29,320
now, like the I really see that
I have a movie which makes me

853
00:46:29,320 --> 00:46:33,400
feel so nice, so good these days
for sure.

854
00:46:33,680 --> 00:46:36,600
And I love shaping the
performance.

855
00:46:36,600 --> 00:46:40,480
I love editing.
I love the idea of taking

856
00:46:40,880 --> 00:46:44,680
moments I want to show you just
visually so it's easier.

857
00:46:45,080 --> 00:46:50,720
Like if you have three scenes
123, I go, well, what happened?

858
00:46:50,720 --> 00:46:52,560
What happens if I put it over
here?

859
00:46:53,600 --> 00:46:55,560
What happens if I overlap this a
little bit?

860
00:46:55,600 --> 00:47:01,000
And I go and I take the, I take
the sound from here, use the

861
00:47:01,000 --> 00:47:04,880
sound from here to continue.
So the, the editing isn't

862
00:47:04,880 --> 00:47:09,080
conventional at all.
It, you know, there's a really

863
00:47:09,320 --> 00:47:12,360
unsettled balance about it,
which I love because it, it just

864
00:47:12,360 --> 00:47:15,800
forces you to pay attention.
Things like the dialogue might

865
00:47:15,800 --> 00:47:19,600
be going, so Alvie's saying
something, but I'll cut to a

866
00:47:19,600 --> 00:47:22,480
shot where you don't see his
mouth syncing up with the thing.

867
00:47:22,480 --> 00:47:25,800
It's just another dimension of
what's going on.

868
00:47:25,800 --> 00:47:29,440
So you see like a second layer
of Alvie.

869
00:47:29,800 --> 00:47:34,880
And so I'm feeling a lot of
emotional truth, which I it's

870
00:47:34,880 --> 00:47:38,400
really me writing a song, you
know, and it feels like I'm

871
00:47:38,400 --> 00:47:43,600
writing an entire album now.
And each sequence is a song are.

872
00:47:43,760 --> 00:47:45,720
You going to ask you 2 to give
you the score?

873
00:47:46,000 --> 00:47:49,560
That is in the plan because
there's a lot of youth doing it.

874
00:47:49,560 --> 00:47:55,320
So I have a plan on if I can't
get them and I'm going to lean

875
00:47:55,320 --> 00:47:59,760
into that idea by even like I, I
think it's so quirky this movie

876
00:47:59,760 --> 00:48:01,840
that there's just all kinds of
stuff going on.

877
00:48:01,840 --> 00:48:05,200
And one of them could be I could
literally have a frame or three

878
00:48:05,200 --> 00:48:07,360
frames that says this is the
film.

879
00:48:07,360 --> 00:48:09,120
I'm sorry, this is not the film
it would have been.

880
00:48:09,120 --> 00:48:12,200
But what can't afford you to And
then you go back to the movie.

881
00:48:13,040 --> 00:48:15,760
You know, just things like that
that I think in that Ferris

882
00:48:15,760 --> 00:48:19,360
Bueller kind of way.
I love Annie Hall in the way

883
00:48:19,360 --> 00:48:21,840
they break the 4th wall.
There's animated things.

884
00:48:21,840 --> 00:48:24,440
You just, you just do whatever
you want because you just want

885
00:48:24,440 --> 00:48:26,720
to tell the story.
And I, I, I love that.

886
00:48:26,720 --> 00:48:29,400
I, I've always said that the
movie to me was always going to

887
00:48:29,400 --> 00:48:32,960
be my first album or it was a
punk album.

888
00:48:33,080 --> 00:48:37,640
It was going to be dirty.
It was going to be, you know,

889
00:48:38,480 --> 00:48:39,240
pretty wrong.
Witty.

890
00:48:39,240 --> 00:48:41,600
Yeah.
And not in a way that is honest.

891
00:48:42,320 --> 00:48:45,280
It's honest.
Well, it's really a movie about

892
00:48:45,280 --> 00:48:49,160
coming clean and the idea that
the the main nugget of the movie

893
00:48:49,560 --> 00:48:52,800
in the way that, you know, in
Wizard of Oz, the nugget would

894
00:48:52,800 --> 00:48:55,880
be there's no place like home.
That would be the nugget of the

895
00:48:55,880 --> 00:48:58,480
movie.
So in this movie, the nugget is

896
00:48:58,720 --> 00:49:02,360
the working nugget, I should
say, is your suffering is never

897
00:49:02,360 --> 00:49:05,720
going to end until you finally
come clean.

898
00:49:06,040 --> 00:49:10,520
And I think that's such a
universal theme in the world now

899
00:49:10,520 --> 00:49:14,720
because nobody is coming clean.
There's just lies everywhere.

900
00:49:15,000 --> 00:49:19,880
Everybody's curating their
authenticity on social media.

901
00:49:19,880 --> 00:49:23,840
Like, I know, let's come clean.
I know, that's why I liked your

902
00:49:23,840 --> 00:49:26,160
movie.
OK, so can we use that as your

903
00:49:26,160 --> 00:49:29,280
warning label?
If I gave you a warning label,

904
00:49:29,400 --> 00:49:31,640
how about a warning label for
your movie?

905
00:49:31,640 --> 00:49:35,120
For a viewer?
Yeah, it's a it's a movie about

906
00:49:35,120 --> 00:49:38,000
coming clean, for sure.
It's a movie about America.

907
00:49:38,000 --> 00:49:41,080
It's a movie about Hollywood.
It's a movie about being Asian,

908
00:49:41,080 --> 00:49:43,840
being Filipino.
It's going to be tough for

909
00:49:43,840 --> 00:49:47,600
people to watch, I think.
Welcome walk into the mirror.

910
00:49:47,760 --> 00:49:49,920
I love that.
It's going to be really

911
00:49:49,920 --> 00:49:54,680
interesting because I, I think
we're really going to see who

912
00:49:54,680 --> 00:49:59,040
are going to support my movies.
Like so last thing, which is a

913
00:49:59,240 --> 00:50:04,000
big part of I don't give a fuck
really also means if I lose

914
00:50:04,000 --> 00:50:08,480
people, I lose people.
But this is who I am.

915
00:50:08,960 --> 00:50:10,760
This is the story I wanted to
tell.

916
00:50:11,040 --> 00:50:16,280
This is me coming clean.
And if you can't be empathetic

917
00:50:16,280 --> 00:50:21,520
or understanding, or I mean, ask
me questions, don't cancel me

918
00:50:21,520 --> 00:50:23,000
right away.
Just ask me.

919
00:50:23,240 --> 00:50:25,240
I don't know, I, I think you're
speaking my truth.

920
00:50:25,240 --> 00:50:26,480
I live that every day.
I'm like.

921
00:50:26,480 --> 00:50:27,640
I don't.
Know why I rub you?

922
00:50:27,640 --> 00:50:30,560
It's like what is that?
Or the come and go or the

923
00:50:30,560 --> 00:50:33,080
betrayal.
Like I, I don't know how I

924
00:50:33,080 --> 00:50:36,080
inspire that in so many, but
that's been my experience.

925
00:50:36,080 --> 00:50:38,840
It's it's bizarre.
But you mean like a lot?

926
00:50:39,600 --> 00:50:42,040
Less now because my circle's
much smaller.

927
00:50:42,120 --> 00:50:45,200
I'm pretty introverty, which is
why I do this.

928
00:50:45,200 --> 00:50:48,240
So I would say yeah.
I think one of the last times I

929
00:50:48,240 --> 00:50:50,760
really let someone in, they
ended up just being a wicked

930
00:50:50,760 --> 00:50:52,200
narcissist.
I just got.

931
00:50:52,240 --> 00:50:54,480
When was that?
That that was bad, that's

932
00:50:54,480 --> 00:50:56,520
another story.
Year wise, when was that?

933
00:50:56,920 --> 00:50:58,440
Two years ago.
OK.

934
00:50:58,760 --> 00:51:00,120
Yeah, that makes sense.
Yeah.

935
00:51:00,400 --> 00:51:03,560
And then I was like, I kind of
like, yeah, I mean, I might have

936
00:51:03,560 --> 00:51:06,440
been more neurotic and more
broken and not quite healed, but

937
00:51:06,440 --> 00:51:08,320
like, I'm pretty much still me.
I'm just grown.

938
00:51:08,320 --> 00:51:11,160
Do you know what I mean?
Like I'm a grown up version of

939
00:51:11,160 --> 00:51:14,920
me, so ish, you know, grown up
just as much as I want it

940
00:51:14,920 --> 00:51:16,840
anyway.
But thank you, Vince, for

941
00:51:16,840 --> 00:51:21,600
joining me and from Gay Parry.
And I can't wait for it to come

942
00:51:21,600 --> 00:51:24,000
out.
And I'll just whatever you need,

943
00:51:24,000 --> 00:51:26,480
I'm here.
I'll put you on the list of new

944
00:51:26,480 --> 00:51:30,200
clips as they come out, yes?
I would love that.

945
00:51:30,720 --> 00:51:31,440
Great.
Thanks.

946
00:51:31,560 --> 00:51:33,760
Thanks for listening to this
episode of the Hollywood

947
00:51:33,760 --> 00:51:35,160
Podcast.
We'll see you next week.