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Hi, this is Neil Breen.

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Over the past few years, I've been asked

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a number of questions
about my filmmaking process.

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People in theater audience QandA is ask me,
Neil, how have you been able to do this?

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I get questions online all the time.

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Neil, how have you been able to write,
produce, direct, act

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and self-fund five theatrical

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independent feature films?

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So I thought I'd take this time
to put together

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what I'm calling a retrospective
of how I've been able to do that.

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What my process is

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this is not a documentary

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on how I made five indie feature films

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that would take hours and hours and hours
to do.

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As it is, this
retrospective is about five hours long.

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What I'll be covering
is all aspects of my filmmaking process,

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how I conceptualize the film,

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how I write the script for the film.

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Be creative

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as a filmmaker.

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Use your imagination.

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That's what the media is all about.

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Creativity. Imagination.

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Entertaining
the audience is informing the audiences.

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That's what your goals should be.

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I write my stories in screenplays.

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Purposely, in order to challenge myself.

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To challenge myself

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from a story line point of view

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and from a technical point of view,

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every film that I've done,

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I've done more technically advanced work

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than the prior film.

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The challenge
is that that I give to myself

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is to do things I've never done before.

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How I plan around the budget for the film.

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My actual film production process,

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my editing of the film.

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This is the editing bay that I use to edit

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my four most recent feature films.

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My special effects for the films

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in order to survive as a species.

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It is not my intention
to give you the impression

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that I, as an experienced indie
filmmaker, do big, successful

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indie films.

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What I have done

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is make in the small scale, low budget,
successful,

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profitable,
imaginative, thought provoking films.

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I want to be honest with all of you.

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I've been hacking into government
and corporate systems

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all over the country, all.

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These films have given me

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tremendous experience and insight
into making larger medium budget,

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visionary,
thought provoking films in the future.

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And that is what I intend to do.

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My music for the films,

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my lighting of the films

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and so on

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into an all encompassing
post-production process.

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After post-production, I'll discuss
distribution,

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both DVD,
Blu ray and digital distribution.

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I'll then discuss theatrical distribution.

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My most recent films have played in major

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cities and theaters all around the world,

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and I'll discuss with you
how I was able to do that.

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I'll discuss marketing,
how I've taken it upon myself

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to create a new breed brand of film.

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I'll be presenting during the five hour
narration.

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I'll be presenting film clips
from all the films.

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I'll be presenting props from
all the films, how I've made the props.

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I'll be discussing sets and locations.

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That I've made for the films.

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I'll be discussing my
the casting process that I use.

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It's not my intent in this retrospective

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to tell the story of all five films.

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That would take forever.

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My intent is to convey

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my imagery

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that I've created for the five films,

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in an effort to show you

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the themes
and storylines of the five films.

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Once again, utilizing

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all of the categories
that I've mentioned previously.

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So I think at the end of the five hours,
you will come away

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clear on how I do what I do
relative to filmmaking.

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You'll come away on the thematic,

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imagery relative to filmmaking,

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cinematography and visual presentation

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that I'm very interested in
and what I'm offering,

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the viewers of my films.

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So I think you'll find this
very interesting,

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both as a learning tool, a creative tool.

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I think if you've never gone
to film school, which was my case,

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I think you'll find it.

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It's something that will give you
some insights

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into creative ways

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to accomplish your filmmaking goals.

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I'm a big believer in

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doing things over the top.

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Being creative, using your imagination.

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Being a bold filmmaker, you take risks.

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So that's really it.

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About the retrospective.

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I think you'll enjoy it.

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I think you'll learn from it.

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Happy filmmaking.

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Thank you.

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I'll be right here.

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This is a screening in.

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Paris, France.

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Of twisted care.

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There were 2700 people

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in the audience
at this single screening at Twisted Care.

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This is their reaction to the film.

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And to me after the screening.

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We'll bring.

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Oh my God.

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Oh my God.

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Oh, this is a screening in Los Angeles,

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right?

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Oh. Oh.

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We knock it

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down. Oh.

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You. Know.

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Oh, this is it.

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I can't believe this is happening.

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Oh, my God. Oh.

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There are many.

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Truly
independent feature filmmakers out there,

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just like me,

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making quality, professional,
creative, imaginative

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theatrical feature films.

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My experience in having

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self-funded, written, produced
and directed five theatrical feature films

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has been an amazing educational experience
for me.

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I've learned so much and I'm happy

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to share that information with you.

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I think I've demonstrated,

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that it is possible for you

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to be a theatrical feature

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film maker if you want to work for it.

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You got to work your butt off.

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There's no getting around it.

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There's no easy path.

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But, I hope I've demonstrated that
it's possible.

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The opportunities are there.

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If you've got the potential
and if you want to work at it

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in a very professional way.

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To give you a little background

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on me personally, as some of you may know.

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Even though

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I've written, produced,
directed, self-funded and acted in five

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theatrical feature films,
I've never gone to film school.

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So I believe I have some credibility

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in offering what I'm offering to you.

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As far as information
goes and insight into the true indie

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filmmaking process.

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Going about it this way,

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as far as me personally,

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I went to college to become an architect.

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I became an architect.

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I'm a licensed architect and that's really

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graduated and practice as an architect.

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That's really where I made my money.

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While I was in college

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studying architecture,

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I would take on side jobs as many of us
did, who didn't have any money.

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And college
is an extra or atmosphere in movies

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that served two purposes
that are really paid.

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Got made me some money
because there was no other way

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I was going to make money as a second job
being a student.

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Also,
more importantly to me, it exposed me

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to real A-list filmmaking.

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I could be around sets and I could be
around cameramen and cinematographers.

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Of course, I couldn't talk to them
because I was nobody.

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But it exposed me

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to some degree to the process.

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Once again,
these are multi-million dollar films

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which don't relate to me,
but it was just part of me fulfilling.

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The. Passion that I have for filmmaking.

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Filmmaking, for me, is not a hobby.

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It's I'm passionate about it.

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So when I graduated from college,

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I immediately moved to the West Coast.

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To make a long story short.

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I did really well as an architect,

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but always wanted to be a filmmaker.

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I've never lost the passion,
always had it.

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I have no idea
where the passion comes from.

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My family's not in the business.

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I don't have any relatives
in the business.

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I don't know anybody in the business.

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But I just really thought

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it's something they

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would really,
I would really find fulfilling.

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An analogy I use

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frequently is that in trying to explain
the difference between my background

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as an architect and as a filmmaker.

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Architecture.

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I can design a building, and that building

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is a, in the end,
a three dimensional object.

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And you can drive by that building
and you will say, Neal,

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I love that building, or Neal,
I hate that building,

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or you'll have no,

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opinion of that building at all.

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But it's a three dimensional static
object.

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Filmmaking

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is has a three dimensional quality to it,

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but it also has
a fourth dimensional quality to it.

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It has time and space in filmmaking.

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Unlike a.

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Building,

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the film.

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Will make you laugh, cry,

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think, etc.

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it will make you emote.

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The building in the macro scale
will make you emote,

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whereas a building,
whereas a film will make you emote.

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The drawing of the emotions
from viewing a film on

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many different levels is really
what appeals to me, and really is what,

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has created that

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passion for me in filmmaking as passionate

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as I was about make,

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architecture.

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So that's really key to me.

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And that's how I try to describe to,

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others what the differences
between a three dimensional building

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and a moving, living,
four dimensional film.

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Whereas a film

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you literally create your own world.

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In other words,

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you can create dialog.

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You can create a physical environment.

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You had music.

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You had lighting.

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You literally can control the whole world
to create the image

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and the moment
and the inspiration that you want.

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Whereas a film

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will make you laugh or make you cry,

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make you happy, will make you
sad, will make you think,

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will make you fantasize, etc.

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etc. etc..

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A film is a living thing.

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There's nothing more inclusive

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in the media world

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than filmmaking, in that you create
your own world, tell your own story

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and convey your own thoughts,
ideas, inspirations and passions.

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So that really is what's in my heart.

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So to make a long story short,

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I've traveled

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to probably 85%

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of the major cities in the world.

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Through business and on my own.

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And it's been absolutely

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the most rewarding thing in my life.

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But it came time.

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In fact, I shot Double Down

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and I shot I Am Here Now.

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While.

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I was still full time
employed as an architect.

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I shoot nights and weekends and vacations.

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There are a lot of words that I hear
filmmakers

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using actors using words

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such as I wish I could do this, or

265
00:17:16,576 --> 00:17:21,122
I hope this happens, or I dream of this.

266
00:17:22,999 --> 00:17:23,541
These are all.

267
00:17:23,541 --> 00:17:25,376
Words.

268
00:17:25,376 --> 00:17:28,087
That should be prohibited from,

269
00:17:28,087 --> 00:17:30,840
the vocabulary of people using.

270
00:17:30,840 --> 00:17:34,552
After about the age of 13,
when you're a kid,

271
00:17:34,552 --> 00:17:38,431
you can dream, wish, hope
when you become an adult,

272
00:17:38,890 --> 00:17:42,769
a professional person
working to achieve something.

273
00:17:42,977 --> 00:17:44,270
There's only one thing

274
00:17:44,270 --> 00:17:47,899
that's going to make those wishes,
dreams and hopes come true.

275
00:17:48,399 --> 00:17:50,443
And that's work.

276
00:17:50,443 --> 00:17:54,948
You have to work at achieving
everything you want.

277
00:17:56,199 --> 00:17:59,202
The problem with a lot of filmmakers,

278
00:17:59,953 --> 00:18:03,247
is that they're dreamers,
but that's all they are.

279
00:18:03,581 --> 00:18:05,833
They're wishers, but that's all they are.

280
00:18:05,833 --> 00:18:08,378
They're hopers.

281
00:18:08,378 --> 00:18:11,381
The I hope I get this award

282
00:18:11,464 --> 00:18:13,216
hoping is not going to get you anything.

283
00:18:13,216 --> 00:18:15,343
Dreaming is not going to get you anything.

284
00:18:15,343 --> 00:18:18,346
And wishing is it beyond a certain point.

285
00:18:18,554 --> 00:18:21,557
It's all about hard core work.

286
00:18:21,849 --> 00:18:23,935
That's how you achieve your goals.

287
00:18:24,977 --> 00:18:25,561
I'm often

288
00:18:25,561 --> 00:18:28,564
asked Neil, who's your favorite director?

289
00:18:28,606 --> 00:18:30,608
Neil, what's your favorite film?

290
00:18:30,608 --> 00:18:32,985
And so on and so on.

291
00:18:32,985 --> 00:18:35,071
I really. Don't.

292
00:18:35,071 --> 00:18:36,864
Have a favorite director.

293
00:18:36,864 --> 00:18:37,990
I don't have a favorite.

294
00:18:37,990 --> 00:18:43,371
So that's like saying, what's your
favorite city to travel to in the world?

295
00:18:44,038 --> 00:18:47,917
You can't have one say,
there's many cities for different reasons.

296
00:18:48,960 --> 00:18:51,796
Just like there's favorite films

297
00:18:51,796 --> 00:18:54,799
in different genres.

298
00:18:55,174 --> 00:18:57,385
They're not apples to apples.

299
00:18:57,385 --> 00:18:58,886
They're oranges to apples.

300
00:18:58,886 --> 00:19:01,889
You can't compare them on the same level.

301
00:19:02,682 --> 00:19:04,726
So I really don't have a favorite director

302
00:19:04,726 --> 00:19:07,728
or a favorite film.

303
00:19:07,728 --> 00:19:10,731
I'm a big film fan.

304
00:19:11,107 --> 00:19:13,526
I'm a fan of the old films.

305
00:19:13,526 --> 00:19:15,194
I'm a fan of the new films.

306
00:19:15,194 --> 00:19:18,197
I see a lot of films.

307
00:19:19,449 --> 00:19:22,076
The bad ones

308
00:19:22,076 --> 00:19:25,913
that you sort of intuitively know are bad,
I stay away from.

309
00:19:26,456 --> 00:19:27,957
I don't waste my time on them.

310
00:19:30,543 --> 00:19:33,671
The, the ones that I think are creative

311
00:19:33,838 --> 00:19:37,884
show imagination
that are inspired, enlightening.

312
00:19:37,925 --> 00:19:40,928
They're the films that I'm attracted to.

313
00:19:41,679 --> 00:19:46,976
And, if I don't like the entire film
as a filmmaker,

314
00:19:46,976 --> 00:19:51,898
I may learn from this scene
or this scene from that film.

315
00:19:52,899 --> 00:19:56,360
And kind of put that in my little bank
up here and say,

316
00:19:57,028 --> 00:20:00,031
I wonder if I could use something
similar to that.

317
00:20:00,198 --> 00:20:03,451
Not copying,
but similar to that in feeling

318
00:20:03,451 --> 00:20:06,454
or the moment in one of my future films.

319
00:20:06,871 --> 00:20:10,333
So I put that in my little head
library and go on.

320
00:20:10,499 --> 00:20:13,502
But I'm a huge movie fan.

321
00:20:14,003 --> 00:20:17,298
Prior to not having gone to film school,

322
00:20:17,548 --> 00:20:21,427
I did read a lot about film making,

323
00:20:22,929 --> 00:20:25,556
and tried to do my homework that way.

324
00:20:25,556 --> 00:20:29,310
So reading about filmmaking technically

325
00:20:29,769 --> 00:20:34,649
and creatively and screenwriting
and then just observing

326
00:20:35,024 --> 00:20:37,902
what goes on in
films when you watch a movie.

327
00:20:38,945 --> 00:20:41,489
I'm more
prone to figure out how they did it

328
00:20:41,489 --> 00:20:44,492
or what that camera move was,
or how they light it,

329
00:20:45,159 --> 00:20:47,954
and so on and so on.

330
00:20:47,954 --> 00:20:49,997
So you can learn a lot.

331
00:20:49,997 --> 00:20:54,585
Use watching a movie,
any movie as a learning tool

332
00:20:54,919 --> 00:20:57,880
to help you as a filmmaker.

333
00:20:58,089 --> 00:21:01,467
I write my stories in screenplays.

334
00:21:03,552 --> 00:21:06,555
Purposely, in order to challenge myself.

335
00:21:07,682 --> 00:21:11,352
Challenge myself from a story line

336
00:21:11,352 --> 00:21:15,189
point of view
and from a technical point of view.

337
00:21:15,815 --> 00:21:18,609
Every film that I've done,

338
00:21:18,609 --> 00:21:23,864
I've done more technically advanced work

339
00:21:24,365 --> 00:21:27,368
than the prior film.

340
00:21:27,910 --> 00:21:30,621
The challenge is that

341
00:21:30,621 --> 00:21:33,416
that I give to myself is to do things

342
00:21:33,416 --> 00:21:36,419
I've never done before,

343
00:21:36,669 --> 00:21:40,089
both from a storyline
and a technical point of view.

344
00:21:40,548 --> 00:21:43,926
In other words, there are effects
that I've used in subsequent films

345
00:21:44,802 --> 00:21:47,680
that I've never done before.

346
00:21:47,680 --> 00:21:49,181
But I did my homework.

347
00:21:49,181 --> 00:21:51,976
I tried to figure out
how they were done, how if I

348
00:21:53,060 --> 00:21:55,855
could accomplish them, and so on.

349
00:21:55,855 --> 00:21:59,316
So this gets back
to the adventurous journey

350
00:21:59,316 --> 00:22:02,319
of a filmmaker.

351
00:22:02,528 --> 00:22:03,612
Don't do things.

352
00:22:03,612 --> 00:22:06,615
Don't stay with things
you're totally comfortable with.

353
00:22:07,158 --> 00:22:08,701
Challenge yourself.

354
00:22:08,701 --> 00:22:11,662
Reach out there for something

355
00:22:11,662 --> 00:22:13,622
on a new horizon.

356
00:22:13,622 --> 00:22:16,125
You'd be surprised how much, joy

357
00:22:16,125 --> 00:22:19,128
that gives you when you've achieved it.

358
00:22:19,879 --> 00:22:21,505
And I am mentioning these

359
00:22:21,505 --> 00:22:24,508
in it in a degree of priority.

360
00:22:24,717 --> 00:22:28,304
If you don't have money, you're
not going to make the film once again.

361
00:22:29,013 --> 00:22:33,559
I'm not talking about student films
or experimental films or short films.

362
00:22:33,809 --> 00:22:37,062
I'm talking about real movies
that are going to play in a theater,

363
00:22:37,062 --> 00:22:40,065
and eventually people
are going to pay to see.

364
00:22:40,191 --> 00:22:43,194
Bear with me,
because I may wind up rambling.

365
00:22:45,488 --> 00:22:48,282
It's important,
as I go through my discussion,

366
00:22:48,282 --> 00:22:51,368
that you remember I am only talking about

367
00:22:52,995 --> 00:22:55,998
independent.

368
00:22:56,790 --> 00:22:59,168
Low budget but not low.

369
00:22:59,168 --> 00:23:02,129
Low budget.

370
00:23:02,129 --> 00:23:05,132
Theatrical feature films

371
00:23:05,299 --> 00:23:09,053
that have commercial and legal value.

372
00:23:09,053 --> 00:23:10,721
And I'll get into that later.

373
00:23:10,721 --> 00:23:13,265
I am not talking about A-list films.

374
00:23:13,265 --> 00:23:16,268
I'm not talking about multi-million
dollar films.

375
00:23:16,602 --> 00:23:19,605
That's a completely different animal.

376
00:23:19,939 --> 00:23:22,900
I am not a rogue filmmaker.

377
00:23:23,275 --> 00:23:26,237
I'm not a rebel filmmaker.

378
00:23:26,237 --> 00:23:29,531
I'm not anti Hollywood.

379
00:23:30,199 --> 00:23:32,952
The only reason

380
00:23:32,952 --> 00:23:36,413
that I'm functioning the way I am

381
00:23:37,039 --> 00:23:40,042
is a truly independent

382
00:23:41,293 --> 00:23:45,547
feature filmmaker who self funds, produces
rights, directs and acts

383
00:23:46,090 --> 00:23:49,093
is that I physically

384
00:23:49,176 --> 00:23:52,638
do not live in Los Angeles.

385
00:23:53,013 --> 00:23:55,182
It's really that simple.

386
00:23:55,182 --> 00:23:58,185
I have nothing against Hollywood.

387
00:23:59,019 --> 00:24:01,689
The Hollywood structure,

388
00:24:01,689 --> 00:24:06,193
in fact, the way I produce films, the way

389
00:24:06,193 --> 00:24:09,613
I direct films, the way I make films

390
00:24:10,030 --> 00:24:13,242
follows almost every standard

391
00:24:13,993 --> 00:24:16,996
that Hollywood has.

392
00:24:17,746 --> 00:24:19,957
On all of my films.

393
00:24:19,957 --> 00:24:25,879
I have gone out of my way to conduct
myself very professionally.

394
00:24:27,256 --> 00:24:29,800
Professionalism consistent with

395
00:24:29,800 --> 00:24:32,803
how the pros do it on the big films.

396
00:24:34,430 --> 00:24:36,640
By doing that

397
00:24:36,640 --> 00:24:41,854
and approaching filmmaking
in a very ordered organizational way.

398
00:24:42,688 --> 00:24:48,610
I've been able to do films
more efficiently

399
00:24:49,820 --> 00:24:51,822
than maybe someone

400
00:24:51,822 --> 00:24:54,825
who was approaching it
in a nonprofessional way.

401
00:24:55,159 --> 00:24:59,079
So it's very important
for you to be professional,

402
00:24:59,872 --> 00:25:05,169
adhere to all the standards, guidelines,
requirements and so on that you've been

403
00:25:05,169 --> 00:25:09,923
taught in film school
that you know of through experience,

404
00:25:10,257 --> 00:25:12,968
that you know of by

405
00:25:12,968 --> 00:25:15,971
being mentored by other people,

406
00:25:16,764 --> 00:25:18,140
and by observing

407
00:25:18,140 --> 00:25:21,810
other professional people
that professionalism

408
00:25:22,478 --> 00:25:25,773
will keep everything
grounded and organized.

409
00:25:25,814 --> 00:25:31,570
And in my case, at my level,
it's enabled me to do things

410
00:25:31,987 --> 00:25:35,115
much, much more time, efficiently

411
00:25:35,532 --> 00:25:38,535
and cost efficiently.

412
00:25:38,744 --> 00:25:41,163
So that's something to keep in mind.

413
00:25:41,163 --> 00:25:46,376
I want to stress the importance of good
communication skills as a filmmaker.

414
00:25:47,503 --> 00:25:51,131
Filmmaking is a collaborative team effort.

415
00:25:52,007 --> 00:25:55,219
As the indie producer director,
you will be communicating

416
00:25:55,219 --> 00:25:58,180
with a variety of experienced people

417
00:25:58,597 --> 00:26:01,558
cast, crew, rental companies,

418
00:26:01,558 --> 00:26:05,479
location
owners, distributors, lawyers, theaters,

419
00:26:05,854 --> 00:26:11,026
local and state approval
agencies, insurance companies, etc. etc.

420
00:26:11,652 --> 00:26:16,240
you need to be able to present yourself
as a self-confident person,

421
00:26:16,740 --> 00:26:19,743
skilled and experienced in your craft.

422
00:26:20,744 --> 00:26:23,288
My filmmaking

423
00:26:23,288 --> 00:26:26,833
process is once again

424
00:26:26,833 --> 00:26:29,836
very standard.

425
00:26:31,213 --> 00:26:32,673
What I've learned over

426
00:26:32,673 --> 00:26:35,759
five films is that

427
00:26:37,302 --> 00:26:39,429
I really

428
00:26:39,429 --> 00:26:42,766
you really don't need a full crew.

429
00:26:44,142 --> 00:26:47,145
You'll see independent films out there.

430
00:26:47,479 --> 00:26:49,898
Once again, this is

431
00:26:49,898 --> 00:26:52,025
to some degree budget driven.

432
00:26:52,025 --> 00:26:54,778
If you don't have money,
you're not going to make the film.

433
00:26:54,778 --> 00:26:57,281
Once again, I'm not talking about

434
00:26:57,281 --> 00:27:00,826
student films
or experimental films or short films.

435
00:27:01,118 --> 00:27:04,329
I'm talking about real movies
that are going to play in a theater,

436
00:27:04,329 --> 00:27:06,873
and eventually
people are going to pay to see.

437
00:27:07,874 --> 00:27:09,501
First category is money.

438
00:27:09,501 --> 00:27:12,963
Unfortunately or fortunately,
whatever the case may be,

439
00:27:14,089 --> 00:27:17,092
you can't make a professional

440
00:27:18,010 --> 00:27:21,430
theatrical feature film without money.

441
00:27:23,348 --> 00:27:24,433
Let's talk about

442
00:27:24,433 --> 00:27:27,436
that in a couple different levels.

443
00:27:27,644 --> 00:27:28,729
Where are you going to get the.

444
00:27:28,729 --> 00:27:31,690
Money. To do your film?

445
00:27:32,149 --> 00:27:35,152
You're going to get it from

446
00:27:35,402 --> 00:27:37,654
your family.

447
00:27:37,654 --> 00:27:42,159
If they're incredibly wealthy,
which is probably not the case.

448
00:27:42,159 --> 00:27:44,369
It wasn't in my case.

449
00:27:44,369 --> 00:27:48,040
You're going to get it through money
that you saved personally

450
00:27:49,207 --> 00:27:52,210
during your working years.

451
00:27:53,879 --> 00:27:57,090
Which is another option,
which is the option in my case.

452
00:27:57,966 --> 00:28:00,969
Or you're going to get it from investors.

453
00:28:02,095 --> 00:28:05,098
Which is not likely.

454
00:28:05,891 --> 00:28:09,853
So my recommendations

455
00:28:10,937 --> 00:28:13,899
as far as money goes,

456
00:28:14,024 --> 00:28:17,027
those being the scenarios
that I just mentioned,

457
00:28:17,027 --> 00:28:19,988
is, number one, get a real job,

458
00:28:20,405 --> 00:28:21,531
get a real job.

459
00:28:21,531 --> 00:28:23,366
And I say that with all due respect.

460
00:28:25,035 --> 00:28:26,244
To help you

461
00:28:26,244 --> 00:28:30,540
survive during your filmmaking process.

462
00:28:30,916 --> 00:28:33,919
In other words, have money coming in
that doesn't rely on the film

463
00:28:33,919 --> 00:28:36,922
or film making.

464
00:28:37,255 --> 00:28:39,049
Because the reality is

465
00:28:39,049 --> 00:28:43,845
you need that base, that financial base
to live on, to pay your rent

466
00:28:43,845 --> 00:28:47,307
or mortgage and food and gas
and car insurance and so on and so on.

467
00:28:47,724 --> 00:28:51,269
In the meantime, save money

468
00:28:51,269 --> 00:28:55,273
from your real job
to put towards your your film.

469
00:28:55,899 --> 00:28:58,902
So the script is the script is done.

470
00:28:59,903 --> 00:29:02,906
I've got the money because I'm

471
00:29:03,615 --> 00:29:06,618
self-funding the films.

472
00:29:06,993 --> 00:29:11,832
I have self-funded all my films.

473
00:29:11,873 --> 00:29:14,835
All five films.

474
00:29:14,835 --> 00:29:19,798
All five films have been profitable
for me.

475
00:29:20,799 --> 00:29:23,802
I have made my money back.

476
00:29:25,303 --> 00:29:26,555
Which is very important.

477
00:29:26,555 --> 00:29:29,558
That enables you to do the next film.

478
00:29:32,143 --> 00:29:36,314
I really I'm looking forward

479
00:29:36,314 --> 00:29:41,861
to getting involved with an investor
or investors for my next film.

480
00:29:44,114 --> 00:29:47,117
Every one of my films

481
00:29:47,742 --> 00:29:49,327
gets bigger

482
00:29:49,327 --> 00:29:52,998
and better on many different levels,
and it's reaching

483
00:29:53,039 --> 00:29:56,042
it's reached a point now after five films

484
00:29:56,376 --> 00:29:59,379
where for me to make the next jump,

485
00:30:00,130 --> 00:30:03,133
I really need more money.

486
00:30:04,759 --> 00:30:07,262
My budgets

487
00:30:07,262 --> 00:30:09,931
are not micro budgets.

488
00:30:09,931 --> 00:30:12,934
They're not extremely low budgets.

489
00:30:15,645 --> 00:30:18,648
My films are expensive.

490
00:30:19,065 --> 00:30:22,068
There's no getting around it.

491
00:30:24,988 --> 00:30:28,241
I've never gotten anything for free.

492
00:30:28,783 --> 00:30:32,412
I've had a pay for everything
cast, crew, location and so on.

493
00:30:34,581 --> 00:30:36,124
It's expensive.

494
00:30:36,124 --> 00:30:41,379
I've sacrificed a lot
just to do this because it's my passion.

495
00:30:42,255 --> 00:30:45,342
I'm not going to quote my budget amounts.

496
00:30:45,842 --> 00:30:50,347
In fact, no small indie
filmmaker should for.

497
00:30:50,347 --> 00:30:53,141
A lot of good. Business reasons.

498
00:30:53,141 --> 00:30:56,227
When I say that my films are low budget.

499
00:30:56,644 --> 00:30:59,105
That term is relative.

500
00:30:59,105 --> 00:31:01,983
My films were expensive to make.

501
00:31:05,070 --> 00:31:07,530
This section of the retrospective

502
00:31:07,530 --> 00:31:10,533
is my approach to scriptwriting.

503
00:31:11,284 --> 00:31:13,745
Be creative

504
00:31:13,745 --> 00:31:15,830
as a filmmaker.

505
00:31:15,830 --> 00:31:18,416
Use your imagination.

506
00:31:18,416 --> 00:31:20,794
That's what the media is all about.

507
00:31:20,794 --> 00:31:23,755
Creativity. Imagination.

508
00:31:23,755 --> 00:31:27,926
Entertaining
the audience is informing the audiences.

509
00:31:28,259 --> 00:31:31,262
That's what your goals should be.

510
00:31:32,138 --> 00:31:34,557
That achieving that goal

511
00:31:34,557 --> 00:31:38,228
will reward
you both creatively and financially.

512
00:31:39,229 --> 00:31:42,565
I write my stories in screenplays.

513
00:31:44,651 --> 00:31:47,654
Purposely, in order to challenge myself.

514
00:31:48,738 --> 00:31:52,450
Challenge myself from a story line

515
00:31:52,450 --> 00:31:56,287
point of view
and from a technical point of view.

516
00:31:56,913 --> 00:31:59,707
Every film that I've done,

517
00:31:59,707 --> 00:32:04,963
I've done more technically advanced work

518
00:32:05,463 --> 00:32:08,466
than the prior film.

519
00:32:09,008 --> 00:32:11,719
The challenge is that

520
00:32:11,719 --> 00:32:14,514
that I give to myself is to do things

521
00:32:14,514 --> 00:32:17,517
I've never done before.

522
00:32:17,809 --> 00:32:21,187
Both from a storyline
and a technical point of view.

523
00:32:21,646 --> 00:32:25,024
In other words, there are effects
that I've used in subsequent films

524
00:32:25,900 --> 00:32:28,778
that I've never done before.

525
00:32:28,778 --> 00:32:30,280
But I did my homework.

526
00:32:30,280 --> 00:32:33,116
I tried to figure
out how they were done, how I

527
00:32:34,158 --> 00:32:36,911
could accomplish them, and so on.

528
00:32:36,911 --> 00:32:40,415
So this gets back
to the adventurous journey

529
00:32:40,415 --> 00:32:43,418
of a filmmaker.

530
00:32:43,626 --> 00:32:44,711
Don't do things.

531
00:32:44,711 --> 00:32:47,714
Don't stay with things
you're totally comfortable with.

532
00:32:48,256 --> 00:32:49,799
Challenge yourself.

533
00:32:49,799 --> 00:32:52,760
Reach out there for something

534
00:32:52,760 --> 00:32:54,721
on a new horizon.

535
00:32:54,721 --> 00:32:59,142
You'd be surprised how much, joy
that gives you when you've achieved it.

536
00:33:00,143 --> 00:33:04,188
Social commentary is very important.

537
00:33:04,188 --> 00:33:07,150
Nother element is very important.

538
00:33:08,735 --> 00:33:09,986
In my films

539
00:33:09,986 --> 00:33:14,449
and all, all five of the films
make what I think are

540
00:33:15,617 --> 00:33:18,578
strong, direct,

541
00:33:19,412 --> 00:33:23,499
forceful social commentary

542
00:33:24,167 --> 00:33:26,586
without being preachy.

543
00:33:26,586 --> 00:33:29,631
In other words,
I'm sort of laying out the obvious

544
00:33:30,673 --> 00:33:33,676
in the commentary that I'm,

545
00:33:33,885 --> 00:33:36,888
directly or indirectly making.

546
00:33:37,513 --> 00:33:40,516
Which appeals to me a lot as well.

547
00:33:40,683 --> 00:33:43,645
This script.

548
00:33:43,645 --> 00:33:44,979
I've got many scripts.

549
00:33:44,979 --> 00:33:48,066
Scripts for all my films. Double down.

550
00:33:48,608 --> 00:33:49,484
I am here now,

551
00:33:50,902 --> 00:33:52,779
pass through

552
00:33:52,779 --> 00:33:54,489
Twisted Pair.

553
00:33:54,489 --> 00:33:57,408
I've got a lot of scripts.

554
00:33:57,408 --> 00:33:59,869
My point is,

555
00:33:59,869 --> 00:34:01,704
for me,

556
00:34:01,704 --> 00:34:04,707
I take scripts very seriously.

557
00:34:04,999 --> 00:34:08,753
The way that I write scripts in

558
00:34:08,753 --> 00:34:12,256
and develop them
is that during the course of

559
00:34:13,758 --> 00:34:16,636
even beginning the script, my method

560
00:34:16,636 --> 00:34:21,182
is that I'll think of,
and it could happen anywhere, any time.

561
00:34:21,349 --> 00:34:25,019
This could be a, a year
prior to even writing a script.

562
00:34:25,561 --> 00:34:27,146
I may think of a keyword.

563
00:34:27,146 --> 00:34:29,107
I may think of a concept.

564
00:34:29,107 --> 00:34:32,110
I may think of a a thought.

565
00:34:32,443 --> 00:34:37,240
I may think of something, a situation

566
00:34:37,907 --> 00:34:42,203
relative to characters, a situation
relative to location.

567
00:34:42,870 --> 00:34:45,373
And I will write those on little three

568
00:34:45,373 --> 00:34:48,376
by four index cards.

569
00:34:48,668 --> 00:34:51,712
And over the course of the year
or whatever prior.

570
00:34:52,547 --> 00:34:54,006
I'm just going to collect cards.

571
00:34:55,007 --> 00:34:57,635
I have a box and I've put them all in,

572
00:34:57,635 --> 00:35:01,180
and they're really reminders to me

573
00:35:01,722 --> 00:35:04,976
of key words, instances

574
00:35:04,976 --> 00:35:08,688
or situations and phrases
or thoughts and concepts

575
00:35:08,980 --> 00:35:12,900
that I want
to eventually incorporate into,

576
00:35:14,026 --> 00:35:16,362
the script.

577
00:35:16,362 --> 00:35:19,198
Typically

578
00:35:19,198 --> 00:35:20,867
based, faithful findings

579
00:35:20,867 --> 00:35:23,870
pass through the three most recent films.

580
00:35:23,870 --> 00:35:26,706
And even the prior films and twisted pair

581
00:35:26,706 --> 00:35:29,709
I wound up with for each film,

582
00:35:30,793 --> 00:35:33,796
about 300 index cards

583
00:35:34,422 --> 00:35:37,425
that I had collected.

584
00:35:38,134 --> 00:35:41,137
Prior to writing the script.

585
00:35:41,846 --> 00:35:45,725
And all of those were really relevant

586
00:35:45,725 --> 00:35:49,270
to the script itself.

587
00:35:51,272 --> 00:35:53,566
Bear with me here.

588
00:35:53,566 --> 00:35:54,400
What I.

589
00:35:54,400 --> 00:35:57,403
And this is once again
my process, what I would do

590
00:35:57,820 --> 00:35:59,530
when I thought I was well,

591
00:35:59,530 --> 00:36:02,825
I thought I was about to write the script
that I thought I had had all the 300

592
00:36:02,825 --> 00:36:06,162
plus or minus index cards
that were all in my head

593
00:36:06,621 --> 00:36:09,498
down on paper, because if you don't
write them down, you will forget them.

594
00:36:11,042 --> 00:36:13,377
What I would do is I wish I

595
00:36:13,377 --> 00:36:16,547
had a war room where I could put them
all up on the wall, but I don't have that.

596
00:36:16,547 --> 00:36:17,173
So I put them.

597
00:36:17,173 --> 00:36:18,674
All out on my living room.

598
00:36:18,674 --> 00:36:21,677
Floor, 300 of them.

599
00:36:22,136 --> 00:36:25,222
Then I would,
and obviously you spend hours and hours

600
00:36:25,222 --> 00:36:28,225
doing the stuff, but then I would

601
00:36:29,018 --> 00:36:31,896
go through every card and begin

602
00:36:31,896 --> 00:36:35,274
to put that thought, location idea,

603
00:36:37,276 --> 00:36:38,653
whatever it was

604
00:36:38,653 --> 00:36:42,281
that triggered something that I wanted
to incorporate in the script.

605
00:36:42,531 --> 00:36:45,951
I would put that
in chronological order on my floor.

606
00:36:48,162 --> 00:36:49,330
And I would begin

607
00:36:49,330 --> 00:36:52,958
to use build it almost as a jigsaw puzzle.

608
00:36:53,501 --> 00:36:56,504
Once again,
I haven't begun to write a script.

609
00:36:57,797 --> 00:37:00,174
So in the end, after hours

610
00:37:00,174 --> 00:37:03,886
I had on my living
room floor 300 index cards

611
00:37:04,887 --> 00:37:07,890
that I put in chronological order.

612
00:37:08,599 --> 00:37:13,062
It would follow a storyline
that I was proposing

613
00:37:13,062 --> 00:37:16,065
and conceptualizing to myself.

614
00:37:17,024 --> 00:37:19,985
And I would be satisfied with that.

615
00:37:19,985 --> 00:37:23,989
Obviously, if there was a hole in
the sequence, I'd write a card and say,

616
00:37:24,323 --> 00:37:29,245
you know, add sky falls
here, red, the tiger enters

617
00:37:29,245 --> 00:37:33,040
here, or the tiger exits here, or whatever
the case may be

618
00:37:34,208 --> 00:37:38,170
at the end of 300
index cards on the floor.

619
00:37:38,504 --> 00:37:41,507
I would gather them all up in order.

620
00:37:43,884 --> 00:37:46,720
First to last.

621
00:37:46,720 --> 00:37:48,639
At that point,

622
00:37:48,639 --> 00:37:51,642
having all my ideas, concepts,

623
00:37:51,976 --> 00:37:54,979
intuitions, thoughts.

624
00:37:56,856 --> 00:37:57,565
Sparks.

625
00:37:57,565 --> 00:38:00,609
Triggers down. On paper.

626
00:38:00,818 --> 00:38:04,864
I literally would start with card
number one

627
00:38:05,865 --> 00:38:08,868
and I would start writing the script.

628
00:38:10,411 --> 00:38:13,414
I would start writing the script

629
00:38:13,539 --> 00:38:16,542
and hopefully collect chronological order.

630
00:38:17,209 --> 00:38:20,796
What happens is you hit writer's block.

631
00:38:21,213 --> 00:38:25,426
You'll have the thoughts
and the keyword down on the card, but

632
00:38:25,426 --> 00:38:31,056
you just it's nothing coming in your head
to write 120 pages of the script.

633
00:38:32,057 --> 00:38:32,474
So you

634
00:38:32,474 --> 00:38:36,270
skip over that in your narrative
that you're writing for the script,

635
00:38:36,312 --> 00:38:39,315
and you go to the next card
and see if that generates

636
00:38:39,523 --> 00:38:43,819
dialog, scene structure and so on,
and you work your way through the cards.

637
00:38:45,362 --> 00:38:47,323
So eventually you wind up

638
00:38:47,323 --> 00:38:50,326
with a bunch of pages

639
00:38:50,326 --> 00:38:53,662
of your script, and you keep going back
and forth, back and forth.

640
00:38:53,954 --> 00:38:58,292
Well, if you didn't do card
number 42 for some reason.

641
00:38:58,292 --> 00:39:01,295
So you go back to card 42 and it says,

642
00:39:01,670 --> 00:39:03,339
that's what I wanted to do.

643
00:39:03,339 --> 00:39:05,591
And then you write the script.

644
00:39:05,591 --> 00:39:07,343
That's how I work.

645
00:39:07,343 --> 00:39:11,388
I go through
probably 3 or 4 drafts of the script.

646
00:39:12,264 --> 00:39:15,267
I type the scripts myself.

647
00:39:15,935 --> 00:39:19,480
The scripts are written
in a professional manner.

648
00:39:21,440 --> 00:39:24,693
I write them as and type them as,

649
00:39:26,612 --> 00:39:28,322
shooting scripts.

650
00:39:28,322 --> 00:39:31,241
In other words, it's got daylight,

651
00:39:31,241 --> 00:39:35,537
nighttime location, indoor outdoor

652
00:39:36,163 --> 00:39:41,293
cast of characters, dialog,
special effects, etc., etc.

653
00:39:41,293 --> 00:39:44,254
all that is in a scene.

654
00:39:44,254 --> 00:39:47,675
So my scripts read as though
any professional script

655
00:39:47,675 --> 00:39:50,594
you get from the Writers Script Guild.

656
00:39:50,594 --> 00:39:52,972
I use their format.

657
00:39:52,972 --> 00:39:55,975
So in the end you wind up with a normal,

658
00:39:56,684 --> 00:40:00,062
professionally structured,
shooting working script.

659
00:40:00,312 --> 00:40:03,315
That's probably about 120 pages.

660
00:40:05,734 --> 00:40:08,070
My, theatrical feature

661
00:40:08,070 --> 00:40:11,490
can't be less than an hour
and a half in total time.

662
00:40:13,242 --> 00:40:17,413
As far as the film plus credits go, that's
that's your target.

663
00:40:17,454 --> 00:40:19,289
Anything less than that?

664
00:40:19,289 --> 00:40:22,126
It's not a real feature.

665
00:40:22,126 --> 00:40:23,836
And then there's all kinds of other issues

666
00:40:23,836 --> 00:40:26,839
that make it a true feature as well.

667
00:40:29,049 --> 00:40:32,052
The script, when it's complete,
when you're happy with it, of course,

668
00:40:32,052 --> 00:40:34,847
it's never complete,
because when you're shooting it, you say,

669
00:40:34,847 --> 00:40:37,307
oh, my God, I should have done this,
or I should have done that,

670
00:40:37,307 --> 00:40:39,852
or I'm going to do this
or I'm going to do that.

671
00:40:39,852 --> 00:40:42,855
So it's always a
in a state of work in progress,

672
00:40:42,938 --> 00:40:46,692
but you must have the finished
script to begin with.

673
00:40:49,445 --> 00:40:53,490
The speaking of finished scripts,
what I do is

674
00:40:53,490 --> 00:40:58,328
I register my scripts
with a Library of Congress.

675
00:40:58,328 --> 00:41:01,331
I get a copyright on the script.

676
00:41:03,542 --> 00:41:05,502
Some people go to the Writers Guild.

677
00:41:05,502 --> 00:41:08,505
I'm not a member of any guild.

678
00:41:09,465 --> 00:41:12,259
But that is sort of

679
00:41:12,259 --> 00:41:14,678
how I work with the script.

680
00:41:14,678 --> 00:41:15,345
The script.

681
00:41:15,345 --> 00:41:18,348
Also, when it comes time to production,

682
00:41:18,432 --> 00:41:22,102
the script also generates its own

683
00:41:22,936 --> 00:41:25,439
daily shooting schedule.

684
00:41:25,439 --> 00:41:28,025
In other words, I've got a shot schedule

685
00:41:28,025 --> 00:41:31,737
for any given day
based on what I've put in the script.

686
00:41:32,696 --> 00:41:35,657
The advantage of me

687
00:41:35,657 --> 00:41:39,077
writing the script,
and I don't pretend to be the

688
00:41:40,621 --> 00:41:42,080
the ultimate in writing the script.

689
00:41:42,080 --> 00:41:47,586
I'd love to eventually get involved
with other people, who can generate dialog

690
00:41:47,586 --> 00:41:51,882
and, and, other thought processes
and storylines and so on.

691
00:41:52,841 --> 00:41:55,928
The advantage is that going into a film,

692
00:41:56,511 --> 00:41:59,056
an independent film

693
00:41:59,056 --> 00:42:02,059
of theatrical feature film quality,

694
00:42:02,684 --> 00:42:06,772
I've been the writer,
the producer and the director

695
00:42:07,814 --> 00:42:09,733
and the editor

696
00:42:09,733 --> 00:42:12,611
I know writing the script.

697
00:42:12,611 --> 00:42:15,405
Number one, I know I can afford to do.

698
00:42:15,405 --> 00:42:18,325
There's no sense in writing a scene

699
00:42:18,325 --> 00:42:20,953
that you can't afford that you know
you can't afford to do.

700
00:42:20,953 --> 00:42:23,330
You're just wasting your time.

701
00:42:23,330 --> 00:42:27,709
Also, I know in most cases while writing,

702
00:42:28,543 --> 00:42:31,630
I'm in the process of securing locations.

703
00:42:32,089 --> 00:42:34,967
So I know what the location is.

704
00:42:34,967 --> 00:42:38,261
And I know there's no reason
to write a scene in a film

705
00:42:38,679 --> 00:42:41,682
that doesn't apply to the location
you have.

706
00:42:44,226 --> 00:42:47,688
I know obviously,
I know the budget I have,

707
00:42:48,897 --> 00:42:51,900
I know the cast that I have.

708
00:42:52,359 --> 00:42:57,155
And very importantly,
because I'm going to be editing the film,

709
00:42:58,407 --> 00:43:01,410
I write the script

710
00:43:01,410 --> 00:43:04,204
and edit it in my head

711
00:43:04,204 --> 00:43:07,749
at the same time,
if that makes sense to you.

712
00:43:07,749 --> 00:43:09,459
In other words,

713
00:43:09,459 --> 00:43:14,548
I when I write a scene,
I know at the end of writing it

714
00:43:14,548 --> 00:43:17,718
how I'm going to edit it, and I write it

715
00:43:19,511 --> 00:43:20,887
to be able to edit it.

716
00:43:20,887 --> 00:43:23,890
In other words, to get the coverage
that I want to edit it.

717
00:43:24,099 --> 00:43:26,393
That's the way I shoot the scene.

718
00:43:26,393 --> 00:43:28,895
I include objects in my films

719
00:43:28,895 --> 00:43:31,898
as symbols and metaphors in the story.

720
00:43:33,108 --> 00:43:37,195
I don't explain to the audience
what the symbols are.

721
00:43:38,238 --> 00:43:41,700
I leave that interpretation
up to the audiences.

722
00:43:42,159 --> 00:43:45,579
Be a bold filmmaker,
regardless of the genre.

723
00:43:46,079 --> 00:43:48,248
Take risks. Be dangerous.

724
00:43:48,248 --> 00:43:49,750
Go over the top.

725
00:43:49,750 --> 00:43:52,753
Go over the edge with your films.

726
00:43:53,754 --> 00:43:55,338
In this section, I'm going to be

727
00:43:55,338 --> 00:43:58,341
discussing film production.

728
00:43:58,383 --> 00:44:01,428
Film production
relative to the way I do it.

729
00:44:01,553 --> 00:44:03,263
And the scale that I work at.

730
00:44:04,681 --> 00:44:07,684
I shoot.

731
00:44:07,726 --> 00:44:12,439
Very standardly, I shoot very efficiently.

732
00:44:12,606 --> 00:44:15,817
This gets back to the script
and your shot log list,

733
00:44:17,277 --> 00:44:19,571
and your daily shoot list.

734
00:44:19,571 --> 00:44:22,491
You really need to know your filmmaking.

735
00:44:22,491 --> 00:44:24,951
Like architecture.

736
00:44:24,951 --> 00:44:28,205
You've got to be
very organizationally oriented.

737
00:44:28,246 --> 00:44:31,333
If you're not an organized person,
you're going to have difficulty.

738
00:44:31,875 --> 00:44:34,544
So every day,

739
00:44:34,544 --> 00:44:38,215
almost by the hour, you know
exactly what you're going to be doing.

740
00:44:38,715 --> 00:44:40,383
There'll be days when you're right ahead.

741
00:44:40,383 --> 00:44:43,303
There'll be days when you run behind.

742
00:44:43,303 --> 00:44:46,306
But you really have to have that laid out.

743
00:44:47,516 --> 00:44:48,892
And that's the only way

744
00:44:48,892 --> 00:44:51,895
you'll make it happen efficiently.

745
00:44:52,229 --> 00:44:56,775
Most of my films, I shot in the range

746
00:44:56,775 --> 00:45:00,779
of about 20 to 22 working days.

747
00:45:01,363 --> 00:45:04,366
That's principal photography only.

748
00:45:06,076 --> 00:45:07,661
It doesn't include

749
00:45:07,661 --> 00:45:10,997
anything prior to that or anything
after that.

750
00:45:11,414 --> 00:45:14,793
Post-production takes a very long time.

751
00:45:15,669 --> 00:45:20,131
Pre-production
takes a relatively long time.

752
00:45:20,590 --> 00:45:24,135
But I can I could shoot the film
in about 22 days, give or take.

753
00:45:26,304 --> 00:45:29,307
And that's shooting ten hour days.

754
00:45:29,808 --> 00:45:33,645
My shooting ratios are about 3 to 1.

755
00:45:35,188 --> 00:45:37,232
The three takes,

756
00:45:37,232 --> 00:45:40,360
sort of 3 or 4 takes is sort of my limit.

757
00:45:41,528 --> 00:45:43,488
And then I move on to the next shot.

758
00:45:43,488 --> 00:45:46,908
If you get hung up
and shooting something for 10 or 15 takes,

759
00:45:48,076 --> 00:45:49,995
something's going wrong with the cast

760
00:45:49,995 --> 00:45:53,081
or technically or whatever,
but you can't take that much time.

761
00:45:53,415 --> 00:45:57,043
The composition of each frame of my films

762
00:45:57,043 --> 00:46:00,046
is very important to me.

763
00:46:00,588 --> 00:46:02,632
As the director of photography

764
00:46:02,632 --> 00:46:05,719
and the cinematographer
for all of my films,

765
00:46:07,387 --> 00:46:10,598
the composition of each shot

766
00:46:11,266 --> 00:46:14,352
is something
I take a lot of interest in and

767
00:46:15,353 --> 00:46:19,232
create an interesting visual relationship

768
00:46:19,524 --> 00:46:22,527
between the objects in your film frame.

769
00:46:23,737 --> 00:46:26,740
Create an interesting visual

770
00:46:26,740 --> 00:46:29,743
geometry, proportion,

771
00:46:29,951 --> 00:46:34,539
and perspective
between the objects in your film frame.

772
00:46:35,790 --> 00:46:38,710
Each frame of your film

773
00:46:38,710 --> 00:46:42,922
should be an interesting representation
visually.

774
00:46:43,465 --> 00:46:45,300
Of what's going on.

775
00:46:45,300 --> 00:46:46,843
Movement in a.

776
00:46:46,843 --> 00:46:48,511
Scene or.

777
00:46:48,511 --> 00:46:52,682
Motion in a scene is very important to me.

778
00:46:53,725 --> 00:46:56,644
Try to have a sense of motion

779
00:46:56,644 --> 00:46:59,647
or movement in your shots

780
00:47:00,315 --> 00:47:03,318
as the director and the cinematographer.

781
00:47:03,526 --> 00:47:08,323
In my films, I try to incorporate

782
00:47:08,615 --> 00:47:12,911
always having motion in my shots,

783
00:47:12,911 --> 00:47:16,956
and that motion can be
something as subtle as a hand movement,

784
00:47:18,166 --> 00:47:22,545
or as bold as someone flying up

785
00:47:23,213 --> 00:47:26,382
the side of a building or as.

786
00:47:26,382 --> 00:47:31,095
Medium as two characters interacting.

787
00:47:31,638 --> 00:47:33,097
But try to have.

788
00:47:33,097 --> 00:47:37,268
A sense of motion
or movement in your shots.

789
00:47:37,894 --> 00:47:42,941
Stay away from static, still shots.

790
00:47:44,025 --> 00:47:47,445
They you'll find
they don't lend themselves

791
00:47:47,654 --> 00:47:50,532
to your story.

792
00:47:50,532 --> 00:47:51,658
My days are normal.

793
00:47:51,658 --> 00:47:55,328
Ten hour days. My filmmaking

794
00:47:56,412 --> 00:47:59,082
process is

795
00:47:59,082 --> 00:48:02,085
once again very standard.

796
00:48:04,295 --> 00:48:05,755
What I've learned over

797
00:48:05,755 --> 00:48:08,841
five films is that

798
00:48:10,426 --> 00:48:12,554
I. Really.

799
00:48:12,554 --> 00:48:15,848
You really don't need a full crew.

800
00:48:17,225 --> 00:48:20,228
You'll see independent films out there.

801
00:48:20,562 --> 00:48:23,022
Once again, this is

802
00:48:23,022 --> 00:48:25,441
to some degree budget driven.

803
00:48:25,441 --> 00:48:28,486
This is me and my expensive, elaborate

804
00:48:28,486 --> 00:48:31,489
on location office.

805
00:48:31,948 --> 00:48:35,201
These pictures are representative

806
00:48:35,201 --> 00:48:38,413
of my production process

807
00:48:38,830 --> 00:48:42,041
in various stages in various films.

808
00:48:42,792 --> 00:48:45,461
It's not my intention to teach you how.

809
00:48:45,461 --> 00:48:48,464
I did every shot and all of my films.

810
00:48:48,548 --> 00:48:51,884
That would take many, many, many hours.

811
00:48:52,593 --> 00:48:56,806
This is intended to be an overview
to show you

812
00:48:57,223 --> 00:49:00,226
the successful film

813
00:49:00,310 --> 00:49:02,729
quality product that you can

814
00:49:02,729 --> 00:49:05,732
produce on a relatively small scale,

815
00:49:05,857 --> 00:49:09,527
at a relatively low production budget.

816
00:49:10,111 --> 00:49:15,325
As you can see,
this is a greenscreen soundstage

817
00:49:15,325 --> 00:49:18,328
that I rented in Los Angeles,

818
00:49:18,369 --> 00:49:21,372
to do a lot of the work on Twisted Pair.

819
00:49:21,748 --> 00:49:24,042
This is equipment that I rented from

820
00:49:24,042 --> 00:49:27,045
Burns and Sawyer in Los Angeles.

821
00:49:27,128 --> 00:49:32,467
This is a staging area for some film
equipment and a set up for Double Down.

822
00:49:33,134 --> 00:49:38,139
This is sort of representative of,
a set and,

823
00:49:38,389 --> 00:49:41,809
some staging areas for, passthrough.

824
00:49:42,226 --> 00:49:44,479
This is the cast and crew.

825
00:49:44,479 --> 00:49:46,522
Just relaxing for a few minutes.

826
00:49:46,522 --> 00:49:49,525
This is everybody grabbing a snack.

827
00:49:50,276 --> 00:49:52,028
On passing through.

828
00:49:52,987 --> 00:49:55,990
Typically, my crew,

829
00:49:56,449 --> 00:49:59,285
has me as the director.

830
00:49:59,285 --> 00:50:01,454
I've got a camera person.

831
00:50:01,454 --> 00:50:03,039
I've got a grip.

832
00:50:03,039 --> 00:50:05,666
I've got a sound person.

833
00:50:05,666 --> 00:50:08,419
I've never had a makeup person

834
00:50:08,419 --> 00:50:13,549
or a script supervisor,
or I've never had those kind of luxuries.

835
00:50:14,258 --> 00:50:21,265
This is sort of representative of
the relatively small scale that I work at.

836
00:50:21,933 --> 00:50:24,644
This is not a dolly shot.

837
00:50:24,644 --> 00:50:29,482
What I did here was
I had a wheelchair as a prop.

838
00:50:29,941 --> 00:50:33,986
So the cameraman sat in the wheelchair
with the camera

839
00:50:34,362 --> 00:50:39,534
and I pushed him down the hallway
in the wheelchair, shooting the.

840
00:50:39,700 --> 00:50:42,119
Car to scene.

841
00:50:42,119 --> 00:50:46,833
The relatively small scale that I work at,
maybe,

842
00:50:47,375 --> 00:50:50,002
myself, a camera person

843
00:50:50,002 --> 00:50:53,005
and 2 or 3 other people,

844
00:50:53,297 --> 00:50:56,300
a lighting person and grip and so on.

845
00:50:57,218 --> 00:51:01,055
You'll find that you can operate
very efficiently

846
00:51:01,055 --> 00:51:04,976
and effectively with this level of crew.

847
00:51:06,352 --> 00:51:08,396
Also,

848
00:51:08,396 --> 00:51:11,399
budget
being an issue, you can't afford to pay

849
00:51:11,482 --> 00:51:14,485
to have a crew of eight people
standing around.

850
00:51:15,236 --> 00:51:17,989
Because nobody works for free.

851
00:51:17,989 --> 00:51:18,531
But this is.

852
00:51:18,531 --> 00:51:19,365
Sort of.

853
00:51:19,365 --> 00:51:22,368
Indicative of, what a typical shoot,

854
00:51:23,578 --> 00:51:25,913
typical scene is.

855
00:51:25,913 --> 00:51:29,458
This is me hopping,
setting up one of the sets.

856
00:51:31,586 --> 00:51:32,837
For twisted pair.

857
00:51:32,837 --> 00:51:35,506
This is an exterior. Very simple set.

858
00:51:35,506 --> 00:51:39,719
This is the overhead scaffolding
that I built to shoot

859
00:51:39,719 --> 00:51:45,433
the final walkout scene
with special effects for passthrough.

860
00:51:46,100 --> 00:51:49,520
This is a shot from, Double down.

861
00:51:50,354 --> 00:51:53,858
This is an interior
with, the cast and crew.

862
00:51:53,899 --> 00:51:56,902
There's about 9 or 10 people here.

863
00:51:57,737 --> 00:52:00,740
They're setting up the conference room
for twisted pair.

864
00:52:01,741 --> 00:52:04,744
This is inside the conference room.

865
00:52:05,661 --> 00:52:08,039
Once again, the equipment is pretty light.

866
00:52:08,039 --> 00:52:11,709
Camera. 2 or 3 lights. Boom.

867
00:52:12,877 --> 00:52:15,880
Just trying to keep it minimal

868
00:52:15,921 --> 00:52:20,301
so you can break it down
fast and move on to the next shot.

869
00:52:21,427 --> 00:52:23,554
Once again with a

870
00:52:23,554 --> 00:52:25,473
relatively small crew.

871
00:52:25,473 --> 00:52:28,476
This is an exterior shot, and,

872
00:52:30,227 --> 00:52:33,522
we're sort of just blocking out a scene
here, rehearsing.

873
00:52:34,148 --> 00:52:38,527
But once again, I'm
utilizing the exterior lighting here,

874
00:52:38,527 --> 00:52:41,530
and I'll discuss that
in the lighting segment itself.

875
00:52:43,574 --> 00:52:46,118
Just sort of,

876
00:52:46,118 --> 00:52:49,121
blocking this shot out right now.

877
00:52:51,374 --> 00:52:54,377
After.

878
00:52:58,756 --> 00:52:59,965
This is another exterior

879
00:52:59,965 --> 00:53:02,968
location for, twisted pair.

880
00:53:03,302 --> 00:53:06,305
Two bodies on the,

881
00:53:06,347 --> 00:53:08,349
steps.

882
00:53:08,349 --> 00:53:11,185
Once again, I only could shoot

883
00:53:11,185 --> 00:53:14,188
on the university campus at night.

884
00:53:14,438 --> 00:53:19,110
So I utilize the night
lighting to its best advantage.

885
00:53:19,819 --> 00:53:23,656
This is just once again,
staging equipment for double Down.

886
00:53:24,115 --> 00:53:27,493
Obviously, all these diffusers
weren't used in a single shot.

887
00:53:27,952 --> 00:53:30,955
This is, doubled down again.

888
00:53:31,413 --> 00:53:35,167
This is a dolly that I rented
for one of my films.

889
00:53:35,626 --> 00:53:37,920
I rented it for two days.

890
00:53:37,920 --> 00:53:40,756
It was just too big, too cumbersome.

891
00:53:41,715 --> 00:53:43,217
And, sort of learned

892
00:53:43,217 --> 00:53:46,220
my lesson about dollies on that.

893
00:53:46,303 --> 00:53:49,306
That shoot.

894
00:53:51,809 --> 00:53:54,436
Like, this is just blocking out a scene

895
00:53:54,436 --> 00:53:57,439
or twisted pair.

896
00:54:06,323 --> 00:54:07,074
This is,

897
00:54:07,074 --> 00:54:10,578
an interior shot
setting up, some lighting.

898
00:54:11,036 --> 00:54:14,039
Once again,
that you can do a lot with a little.

899
00:54:16,458 --> 00:54:17,084
It's that old.

900
00:54:17,084 --> 00:54:19,879
Say, less is more.

901
00:54:19,879 --> 00:54:22,464
The advantage in my night

902
00:54:22,464 --> 00:54:25,467
lighting
was that because I purposely made.

903
00:54:25,509 --> 00:54:27,678
I turned out all the lights
inside the building.

904
00:54:27,678 --> 00:54:30,139
I had control of that.

905
00:54:30,139 --> 00:54:33,601
I could really focus on the
the key light that I wanted.

906
00:54:34,059 --> 00:54:36,103
This is, from Double Down.

907
00:54:36,103 --> 00:54:39,106
I shot double down on the 35 millimeter.

908
00:54:39,982 --> 00:54:43,736
This is one of the, locations,

909
00:54:44,778 --> 00:54:45,571
for twisted pair.

910
00:54:45,571 --> 00:54:48,574
The exterior piano.

911
00:54:52,286 --> 00:54:53,662
This is.

912
00:54:53,662 --> 00:54:55,873
This is the interior shot

913
00:54:55,873 --> 00:54:59,918
where I was manipulating the
mice with magnets from below.

914
00:55:01,128 --> 00:55:03,297
This is the levitation shot.

915
00:55:03,297 --> 00:55:06,300
The special effects shot,
which we'll discuss later.

916
00:55:06,467 --> 00:55:13,641
This is sort of representative of every
interior set that I've ever worked on.

917
00:55:13,641 --> 00:55:19,146
It's just a mosh pit of cisterns
and cameras and lights.

918
00:55:20,230 --> 00:55:23,901
This is just blocking out the exterior
lighting.

919
00:55:24,943 --> 00:55:29,698
And scene from Twisted pair at the
the vacant restaurant.

920
00:55:29,865 --> 00:55:31,742
Visible, but excellent.

921
00:55:31,742 --> 00:55:35,412
But once again,
I'm capitalizing on the existing lighting,

922
00:55:35,412 --> 00:55:37,247
which, fortunately,
we didn't have to color.

923
00:55:37,247 --> 00:55:39,208
Correct.

924
00:55:39,208 --> 00:55:42,795
And adding about three of our own lights

925
00:55:42,795 --> 00:55:46,006
to give me the accents on the,

926
00:55:46,298 --> 00:55:49,301
metal tables that I was looking for.

927
00:55:49,635 --> 00:55:50,719
Yeah.

928
00:55:50,719 --> 00:55:53,180
This is an interior
of the circular seating

929
00:55:53,180 --> 00:55:56,183
scene, which,

930
00:55:56,308 --> 00:55:58,477
Yeah, I'm. I'm pointing that out

931
00:55:58,477 --> 00:56:01,063
shortly after we the got here.

932
00:56:01,063 --> 00:56:05,776
This is the cast and crew in the
background while we're setting up for,

933
00:56:07,152 --> 00:56:10,447
the hallway shot and twisted pair.

934
00:56:10,906 --> 00:56:14,368
Once again,
I control the interior lighting so I can.

935
00:56:14,451 --> 00:56:18,038
I turned out
all the lighting lights in the building,

936
00:56:18,580 --> 00:56:21,250
and I created my own,

937
00:56:21,250 --> 00:56:23,001
shadows.

938
00:56:23,001 --> 00:56:25,212
Fortunately, I had control of all

939
00:56:25,212 --> 00:56:28,424
the lights on the interior
of the buildings in the university.

940
00:56:28,424 --> 00:56:31,426
As I went along.

941
00:56:31,802 --> 00:56:34,054
Which was always my intention.

942
00:56:34,054 --> 00:56:37,057
Just so I can see the sort.

943
00:56:38,976 --> 00:56:41,979
This is just blocking out the scene.

944
00:56:45,566 --> 00:56:47,442
So my goal here

945
00:56:47,442 --> 00:56:50,654
is to create a specific shadow.

946
00:56:51,530 --> 00:56:53,448
The girl inside.

947
00:56:53,448 --> 00:56:57,619
Many times when you're shooting inside,
you'll have to block out

948
00:56:57,619 --> 00:57:00,622
the windows on the exterior.

949
00:57:02,499 --> 00:57:06,003
So that they don't affect
the quality of the interior lighting.

950
00:57:06,420 --> 00:57:08,714
Once again,

951
00:57:08,714 --> 00:57:11,508
just a normal mess on the interior.

952
00:57:11,508 --> 00:57:15,345
Filled with cameras, equipment,
ladders, C stands,

953
00:57:15,888 --> 00:57:18,390
diffusers, light pattern makers.

954
00:57:18,390 --> 00:57:23,020
This is the set
I made in the bedroom in my home for,

955
00:57:24,938 --> 00:57:25,939
beautiful findings.

956
00:57:25,939 --> 00:57:28,692
The hospital room.

957
00:57:28,692 --> 00:57:30,694
Every one of my scenes.

958
00:57:30,694 --> 00:57:35,157
I use light pattern makers on this scene.

959
00:57:36,033 --> 00:57:40,996
I think it gives the scene
a lot of texture and, richness.

960
00:57:41,830 --> 00:57:43,665
Rather than flat lighting.

961
00:57:43,665 --> 00:57:46,668
I'm not a big fan of flat lighting at all.

962
00:57:47,628 --> 00:57:49,504
Here, I'm using the lights

963
00:57:49,504 --> 00:57:52,507
from the computer screens to light

964
00:57:52,507 --> 00:57:54,968
the virtual reality.

965
00:57:54,968 --> 00:57:57,429
People in this scene,

966
00:57:57,429 --> 00:58:00,307
I use the slide, the camera slide a lot.

967
00:58:00,307 --> 00:58:04,186
It gives the scene
some movement, needs some relief

968
00:58:04,603 --> 00:58:07,606
versus a static camera.

969
00:58:08,023 --> 00:58:12,444
This is me lighting the
the orange chairs and twisted pair.

970
00:58:12,945 --> 00:58:16,031
And the men in black sitting in the,

971
00:58:16,782 --> 00:58:19,242
in the chairs.

972
00:58:19,242 --> 00:58:20,118
I do that too.

973
00:58:20,118 --> 00:58:23,121
Like there are.

974
00:58:28,001 --> 00:58:29,836
This is fun to do, fun to create.

975
00:58:29,836 --> 00:58:32,714
And I thought the the effect was

976
00:58:33,882 --> 00:58:34,591
great.

977
00:58:34,591 --> 00:58:36,677
Had a real rich look to it.

978
00:58:36,677 --> 00:58:39,888
Once again,
production value is what you're going for.

979
00:58:41,014 --> 00:58:44,017
It doesn't have to cost a lot of money.

980
00:58:44,267 --> 00:58:45,644
Use your imagination.

981
00:58:45,644 --> 00:58:47,979
Be creative.

982
00:58:47,979 --> 00:58:50,982
So what, you got the round glasses?

983
00:58:51,274 --> 00:58:54,194
I'm just making sure that everybody
I bought,

984
00:58:54,194 --> 00:58:57,197
all these props I supply,

985
00:58:58,031 --> 00:59:00,826
all the wardrobe I supply.

986
00:59:00,826 --> 00:59:03,829
And I just wanted to make sure
everybody had the same glasses on.

987
00:59:04,162 --> 00:59:07,165
Here we are, getting ready to build the,

988
00:59:07,165 --> 00:59:10,001
circular seating scene.

989
00:59:10,001 --> 00:59:11,378
This is an exterior shot.

990
00:59:11,378 --> 00:59:15,590
Once again utilizing the lighting,
the existing lighting in the stair

991
00:59:15,966 --> 00:59:18,969
for dramatic effect.

992
00:59:20,303 --> 00:59:21,138
Typical

993
00:59:21,138 --> 00:59:25,100
of the multitude of green screen shots.

994
00:59:27,060 --> 00:59:30,063
And you'll see a lot of that later.

995
00:59:30,272 --> 00:59:33,650
Once again, I shadow every scene I do.

996
00:59:34,151 --> 00:59:38,655
I think it gives it
a real sense of richness and, depth.

997
00:59:40,240 --> 00:59:42,701
Blocking out windows.

998
00:59:42,701 --> 00:59:48,290
Sort of a normal process
of procedure. And.

999
00:59:53,086 --> 00:59:55,630
Cluster of equipment.

1000
00:59:55,630 --> 00:59:58,508
Preparing the dining room scene.

1001
00:59:58,508 --> 01:00:02,512
This is the equipment
I rented from Burns and Sawyer in LA.

1002
01:00:03,096 --> 01:00:04,639
I think we've seen this before.

1003
01:00:04,639 --> 01:00:07,642
This is the 35 millimeter camera.

1004
01:00:08,894 --> 01:00:12,731
More of the crew
prepping equipment, for that day's shoot.

1005
01:00:14,191 --> 01:00:17,569
Staging area for diffuser boards,
light boards,

1006
01:00:18,570 --> 01:00:20,906
cast and crew.

1007
01:00:20,906 --> 01:00:22,699
Prepping for a shot.

1008
01:00:22,699 --> 01:00:26,661
This is a Steadicam that I rented in LA.

1009
01:00:27,579 --> 01:00:30,582
Here's the dolly.

1010
01:00:33,293 --> 01:00:34,544
This is once again

1011
01:00:34,544 --> 01:00:38,131
one of many, many, many green screens.

1012
01:00:38,381 --> 01:00:41,384
I own my own green screen.

1013
01:00:43,386 --> 01:00:46,765
We, set it up in various locations.

1014
01:00:47,307 --> 01:00:49,893
And then you've seen the large screen.

1015
01:00:49,893 --> 01:00:50,977
Screen?

1016
01:00:50,977 --> 01:00:53,855
Stage that I rented in L.A.

1017
01:00:53,855 --> 01:00:56,441
Here we are preparing,

1018
01:00:56,441 --> 01:00:59,361
for our soldiers scene.

1019
01:00:59,361 --> 01:01:02,364
I can.

1020
01:01:05,283 --> 01:01:06,159
Cover the war.

1021
01:01:07,619 --> 01:01:08,620
On many

1022
01:01:08,620 --> 01:01:12,374
of my films on various occasions.

1023
01:01:12,374 --> 01:01:14,918
The crew,

1024
01:01:14,918 --> 01:01:17,921
has the opportunity to work as extras.

1025
01:01:18,880 --> 01:01:21,341
Or cast members.

1026
01:01:21,341 --> 01:01:24,302
And I found that the crew and the cast,

1027
01:01:24,302 --> 01:01:26,638
are very willing to sort

1028
01:01:26,638 --> 01:01:30,016
of swap tasks
and to be involved in the film.

1029
01:01:30,058 --> 01:01:33,061
Now it's kind of in here.

1030
01:01:33,311 --> 01:01:36,439
The camera's sort of out of the picture,
but it's way in the background.

1031
01:01:36,481 --> 01:01:40,360
I'm blocking off the fly down scene.

1032
01:01:51,913 --> 01:01:53,540
Once again, I like

1033
01:01:53,540 --> 01:01:56,543
this happens to be an interior at night.

1034
01:01:57,335 --> 01:01:58,920
And I'm putting I'm lighting

1035
01:01:58,920 --> 01:02:02,590
and putting a large triangle
shadow on the wall.

1036
01:02:03,466 --> 01:02:05,719
So as the soldiers pass through it,

1037
01:02:05,719 --> 01:02:08,680
it's not just a blank wall.

1038
01:02:19,899 --> 01:02:21,860
Here, we're set up to shoot

1039
01:02:21,860 --> 01:02:25,905
the three businessmen
leaving the building at night.

1040
01:02:27,157 --> 01:02:29,200
Once again, we were fortunate
we didn't have to

1041
01:02:29,200 --> 01:02:32,203
color correct any lighting, and,

1042
01:02:33,788 --> 01:02:36,332
And so

1043
01:02:36,332 --> 01:02:39,335
was able to get the effect that I wanted.

1044
01:02:39,794 --> 01:02:41,463
Okay.

1045
01:02:41,463 --> 01:02:43,006
He's going to come up here.

1046
01:02:43,006 --> 01:02:46,092
So we're just walking through this
and blocking it out right now.

1047
01:02:46,176 --> 01:02:47,093
Okay.

1048
01:02:47,093 --> 01:02:50,096
So you guys are coming with me. Oh,

1049
01:02:51,556 --> 01:02:54,559
no. You're coming with me.

1050
01:02:54,767 --> 01:02:58,313
This is the green screen
for the dissolve in Faith.

1051
01:02:58,313 --> 01:03:00,023
Faithful findings.

1052
01:03:00,023 --> 01:03:02,567
This is the interior.

1053
01:03:02,567 --> 01:03:06,404
The bathroom scene, the shower, the tub.

1054
01:03:09,616 --> 01:03:12,368
This is the slot light board

1055
01:03:12,368 --> 01:03:15,371
that I use to cross her face.

1056
01:03:16,164 --> 01:03:18,583
Which you'll see in the special effects

1057
01:03:18,583 --> 01:03:21,586
section.

1058
01:03:25,048 --> 01:03:26,174
Overhead shots

1059
01:03:26,174 --> 01:03:29,761
are as simple
as standing on top of ladders,

1060
01:03:30,053 --> 01:03:33,431
diffusing the light for the character
who's inside the jeep.

1061
01:03:34,766 --> 01:03:38,102
This is the beginnings of me
building in my home.

1062
01:03:38,144 --> 01:03:41,147
The black cube that,

1063
01:03:41,522 --> 01:03:44,567
is used for finding the large black cube,

1064
01:03:45,818 --> 01:03:48,821
made from the black plastic material.

1065
01:03:48,821 --> 01:03:49,489
There it is.

1066
01:03:49,489 --> 01:03:52,492
There.

1067
01:03:54,827 --> 01:03:57,830
Cast and crew relaxing in between

1068
01:03:58,498 --> 01:04:01,501
set setups.

1069
01:04:01,668 --> 01:04:02,877
Once again, equipment.

1070
01:04:02,877 --> 01:04:05,880
This happened to be on the outside
of the house.

1071
01:04:06,464 --> 01:04:09,425
That's my truck
and one of the green screens.

1072
01:04:09,425 --> 01:04:13,972
This is, a set that I built in my garage.

1073
01:04:14,889 --> 01:04:18,851
For Twisted Pair,
where the three businessmen are hanging

1074
01:04:19,644 --> 01:04:21,938
by chains, obviously.

1075
01:04:21,938 --> 01:04:24,065
Here.

1076
01:04:24,065 --> 01:04:26,567
I opened the garage door to get light.

1077
01:04:26,567 --> 01:04:29,779
But for the sake of the scene,
which you'll see, I closed,

1078
01:04:30,571 --> 01:04:33,282
the door, turned off all the lights

1079
01:04:33,282 --> 01:04:36,285
and created my own shadow effect.

1080
01:04:37,245 --> 01:04:39,747
And I'm my own makeup person.

1081
01:04:39,747 --> 01:04:43,835
So, like I said, I've never had
a makeup person of any kind,

1082
01:04:43,835 --> 01:04:47,296
so it's always me that puts the blood on,

1083
01:04:48,464 --> 01:04:51,384
tears or clothes or does whatever.

1084
01:04:54,637 --> 01:04:55,430
But we're setting that.

1085
01:04:55,430 --> 01:04:56,681
We're setting this up.

1086
01:04:56,681 --> 01:05:00,435
This shot was fun, and, I thought
was pretty successful in the film.

1087
01:05:01,185 --> 01:05:04,188
The the effect
that I was trying to achieve.

1088
01:05:08,026 --> 01:05:11,362
All of my shots I preview through this,

1089
01:05:12,739 --> 01:05:15,700
video assist, large monitor.

1090
01:05:16,492 --> 01:05:18,119
It's not the monitor on the.

1091
01:05:18,119 --> 01:05:19,912
It's not a small monitor on the camera.

1092
01:05:19,912 --> 01:05:23,207
It's a good sized visual video
assist that I use.

1093
01:05:24,125 --> 01:05:28,629
But every shot, before it's shot
and after it's shot,

1094
01:05:28,629 --> 01:05:32,049
I always look at it to make sure I'm
getting what I want.

1095
01:05:33,801 --> 01:05:35,595
Both from a,

1096
01:05:35,595 --> 01:05:38,264
content point of view,
it looks point of view,

1097
01:05:38,264 --> 01:05:41,893
a lighting point of view,
a performance point of view, and so on.

1098
01:05:43,060 --> 01:05:46,063
So I have a very simple relationship.

1099
01:05:46,856 --> 01:05:49,442
I'm just explaining here to the

1100
01:05:49,442 --> 01:05:53,529
the three person, Sarah,
the Sarah's in our

1101
01:05:54,447 --> 01:05:58,201
who her character is
that they haven't even met yet. So

1102
01:06:00,077 --> 01:06:00,578
I would not

1103
01:06:00,578 --> 01:06:04,540
really be acceptable
if you would like to be just

1104
01:06:04,540 --> 01:06:07,793
giving them directions on the stuff
that they're about to do.

1105
01:06:07,960 --> 01:06:10,963
It's gotta look very.

1106
01:06:15,426 --> 01:06:19,138
Like the center of lights, lights, oxygen
mask.

1107
01:06:20,181 --> 01:06:22,975
Once again, this is a metal sculpture

1108
01:06:22,975 --> 01:06:25,978
that I use for shading pattern

1109
01:06:26,229 --> 01:06:29,232
on this scene.

1110
01:06:32,109 --> 01:06:35,112
With video assist.

1111
01:06:42,286 --> 01:06:45,289
Using the parallel slide.

1112
01:06:46,249 --> 01:06:47,875
In this shot.

1113
01:06:47,875 --> 01:06:49,126
Very typical.

1114
01:06:49,126 --> 01:06:52,129
Very representative of

1115
01:06:53,005 --> 01:06:56,008
the shots in my films.

1116
01:06:56,759 --> 01:06:59,762
I think I forgot her.

1117
01:07:00,096 --> 01:07:02,390
Now we have to go back.

1118
01:07:02,390 --> 01:07:04,725
We're just rehearsing here
and blocking this, so.

1119
01:07:04,725 --> 01:07:06,310
It's like this.

1120
01:07:06,310 --> 01:07:09,313
This should work,

1121
01:07:10,439 --> 01:07:11,983
right?

1122
01:07:11,983 --> 01:07:14,110
When you. Flip it, don't look at.

1123
01:07:14,110 --> 01:07:17,113
I always just go.

1124
01:07:17,530 --> 01:07:20,533
Okay. Go.

1125
01:07:21,075 --> 01:07:22,410
It's the hangman's noose.

1126
01:07:22,410 --> 01:07:26,122
I just once again,
I'm big on the shadows and

1127
01:07:26,122 --> 01:07:29,125
other green screen exterior.

1128
01:07:32,128 --> 01:07:35,089
This is the messy desk.

1129
01:07:35,089 --> 01:07:39,135
This is the part
of the living room of my house.

1130
01:07:39,844 --> 01:07:43,055
There's the beginnings of the large
black cube

1131
01:07:43,806 --> 01:07:46,809
that I built

1132
01:07:46,851 --> 01:07:49,854
for faithful.

1133
01:07:50,021 --> 01:07:50,604
There it is.

1134
01:07:50,604 --> 01:07:52,606
There a lot of work I put into this.

1135
01:07:52,606 --> 01:07:53,774
I built it myself.

1136
01:07:53,774 --> 01:07:57,611
And unfortunately, it wasn't as successful
as I thought it would be.

1137
01:07:59,196 --> 01:08:00,406
The black cube.

1138
01:08:00,406 --> 01:08:03,701
This is the exterior, overhead shot
and faithful findings.

1139
01:08:03,701 --> 01:08:06,704
When he gets hit by the roll,
hit by the Rolls Royce.

1140
01:08:06,746 --> 01:08:09,373
This is another green screen.

1141
01:08:09,373 --> 01:08:11,709
Set up

1142
01:08:11,709 --> 01:08:14,712
at the University.

1143
01:08:25,765 --> 01:08:26,807
And all the,

1144
01:08:26,807 --> 01:08:29,810
the various types of lighting that I use

1145
01:08:29,894 --> 01:08:34,899
to soften and, to soften the green screen
and make sure there's no shadows

1146
01:08:35,274 --> 01:08:38,277
cast on the green screen itself and,

1147
01:08:39,403 --> 01:08:42,698
by wrinkles
or by, cast members or objects.

1148
01:08:43,157 --> 01:08:48,454
This is the, Los Angeles
soundstage that I rented.

1149
01:08:49,455 --> 01:08:52,208
It's 85ft long.

1150
01:08:52,208 --> 01:08:57,254
It's 35ft deep, and it's 18ft tall.

1151
01:08:58,339 --> 01:09:02,718
I needed a large green screen soundstage

1152
01:09:03,093 --> 01:09:06,096
for the effects that I had designed.

1153
01:09:06,931 --> 01:09:09,767
And obviously,
you can see the lighting necessary

1154
01:09:09,767 --> 01:09:13,062
to give the green screen the even light

1155
01:09:13,521 --> 01:09:16,524
that was required for,

1156
01:09:16,941 --> 01:09:21,570
the effects and the cast that were,

1157
01:09:22,947 --> 01:09:25,950
in the green screen.

1158
01:09:33,082 --> 01:09:34,667
But, it was huge.

1159
01:09:34,667 --> 01:09:37,253
And, that's what I wanted.

1160
01:09:37,253 --> 01:09:39,838
That's what I needed.

1161
01:09:39,838 --> 01:09:42,841
And in my future films, my sixth film,

1162
01:09:43,676 --> 01:09:48,055
I will need sets larger than this.

1163
01:09:48,847 --> 01:09:51,850
To do what I want to do. But,

1164
01:09:52,810 --> 01:09:55,813
it worked out great for me, and,

1165
01:09:55,813 --> 01:09:58,816
it was a lot of fun.

1166
01:10:09,618 --> 01:10:10,452
This is taken

1167
01:10:10,452 --> 01:10:13,455
from an overhead balcony up above.

1168
01:10:14,123 --> 01:10:17,918
So I had the opportunity
for overhead shots,

1169
01:10:19,128 --> 01:10:22,298
ground point of view shots and so on.

1170
01:10:22,339 --> 01:10:24,717
It just gave us a lot of flexibility.

1171
01:10:27,344 --> 01:10:28,637
In the middle of the green screen,

1172
01:10:28,637 --> 01:10:31,598
giving you some idea of its scope
and scale.

1173
01:10:44,194 --> 01:10:47,740
This section of the retrospective
is about casting

1174
01:10:48,490 --> 01:10:51,744
and what I'm presenting to
you are character

1175
01:10:51,744 --> 01:10:54,747
images in my films.

1176
01:10:55,748 --> 01:10:59,168
I have approached
casting in all of my films

1177
01:10:59,668 --> 01:11:02,546
very professionally.

1178
01:11:02,546 --> 01:11:04,548
I've never used friends.

1179
01:11:04,548 --> 01:11:07,551
I've never used family members.

1180
01:11:07,843 --> 01:11:12,848
I have cast films by posting

1181
01:11:13,390 --> 01:11:16,393
professional casting notices.

1182
01:11:17,102 --> 01:11:18,896
They have responded

1183
01:11:18,896 --> 01:11:23,233
with headshots and links and resumes.

1184
01:11:23,567 --> 01:11:25,069
I review all of those.

1185
01:11:25,069 --> 01:11:28,072
I bring in the people that I think
are interesting,

1186
01:11:28,739 --> 01:11:32,159
interesting looking,
as well as interesting.

1187
01:11:33,660 --> 01:11:36,663
Experience wise.

1188
01:11:36,997 --> 01:11:40,000
I have never asked

1189
01:11:40,000 --> 01:11:43,087
anyone cast or crew to work for free.

1190
01:11:44,004 --> 01:11:47,007
I, I pay all cast members.

1191
01:11:47,132 --> 01:11:49,093
I pay all crew members.

1192
01:11:49,093 --> 01:11:53,263
The way I structure
my pay as an indie filmmaker is that.

1193
01:11:55,307 --> 01:11:58,310
There's a SAG level, SAG

1194
01:11:58,393 --> 01:12:03,315
after level, union level,
and I pay just below that level.

1195
01:12:04,233 --> 01:12:08,654
So it's not like I'm paying somebody
some ridiculously low amount of money.

1196
01:12:08,987 --> 01:12:12,783
They're getting a reasonable
amount of money to be in a nonunion

1197
01:12:12,783 --> 01:12:15,786
film.

1198
01:12:16,495 --> 01:12:18,747
I do all my own

1199
01:12:18,747 --> 01:12:22,251
legal
work, and I have an employment agreement

1200
01:12:22,835 --> 01:12:25,462
that spells out everything

1201
01:12:25,462 --> 01:12:30,133
that the cast member or crew
is going to be doing, is responsible

1202
01:12:30,133 --> 01:12:34,721
for, is liable for, protected against,
etcetera, etcetera, etcetera.

1203
01:12:34,721 --> 01:12:38,016
Two pages that covers everything

1204
01:12:39,101 --> 01:12:42,104
and they all sign that.

1205
01:12:42,896 --> 01:12:43,939
And so I'm protected

1206
01:12:43,939 --> 01:12:46,900
as well as the producer.

1207
01:12:47,860 --> 01:12:51,655
So there's no surprises in the end,
like Neil.

1208
01:12:51,655 --> 01:12:55,325
Oh, you told me you were going to give me
ten copies of the film, right?

1209
01:12:55,450 --> 01:12:57,119
No, that's not happening.

1210
01:12:57,119 --> 01:12:59,997
Oh, Neil, I thought you were taking me
on tour the whole time.

1211
01:12:59,997 --> 01:13:01,164
No, that's not how.

1212
01:13:01,164 --> 01:13:04,126
In other words,
I answer all those questions.

1213
01:13:04,126 --> 01:13:08,505
I also,
when I have probably 90 or 95% of the cast

1214
01:13:08,630 --> 01:13:11,800
selected, I gather them all together.

1215
01:13:12,134 --> 01:13:14,219
I've done this for the recent films.

1216
01:13:14,219 --> 01:13:18,348
I gather them all together in a room
that I rent and I have an orientation.

1217
01:13:19,099 --> 01:13:21,059
I say, this is what we're doing.

1218
01:13:21,059 --> 01:13:23,270
This is the anticipated shooting schedule.

1219
01:13:25,522 --> 01:13:27,524
Anticipated hours.

1220
01:13:27,524 --> 01:13:30,193
This is the general storyline.

1221
01:13:30,193 --> 01:13:31,695
In other words, I'm very open.

1222
01:13:31,695 --> 01:13:34,364
I am there's no secrets.

1223
01:13:34,364 --> 01:13:36,783
And they're. More than welcome.

1224
01:13:36,783 --> 01:13:40,579
To ask me questions anytime,
and I'm happy to answer their questions.

1225
01:13:40,996 --> 01:13:43,915
So casting has always been good.

1226
01:13:43,915 --> 01:13:48,086
Now, here and during this whole process,
I will give you the pros,

1227
01:13:48,086 --> 01:13:51,423
and I'll try to give you the pros
and cons of all these topics.

1228
01:13:51,923 --> 01:13:54,509
The con on casting is that you'll

1229
01:13:54,509 --> 01:13:57,512
find people.

1230
01:13:57,679 --> 01:14:01,099
Quality back up
depending on your location.

1231
01:14:01,099 --> 01:14:03,560
In other words,
obviously if you're casting it out of L.A.

1232
01:14:03,560 --> 01:14:07,064
or New York
or some other major metropolitan city

1233
01:14:07,064 --> 01:14:10,942
that has a media industry,
you're going to get more

1234
01:14:11,485 --> 01:14:14,488
conventional.

1235
01:14:14,529 --> 01:14:16,782
Casting types,

1236
01:14:16,782 --> 01:14:18,241
with experience.

1237
01:14:18,241 --> 01:14:21,495
This is a group shot of the fateful
findings cast.

1238
01:14:21,495 --> 01:14:23,997
I think it was the only time
we were all together.

1239
01:14:23,997 --> 01:14:25,457
I don't need much to live.

1240
01:14:25,457 --> 01:14:28,126
This is him driving in the car.

1241
01:14:28,126 --> 01:14:30,212
Living in the car, eating tuna.

1242
01:14:31,546 --> 01:14:32,506
Hundreds of cans of

1243
01:14:32,506 --> 01:14:35,509
tuna and living out of the car.

1244
01:14:35,634 --> 01:14:38,053
In all of my films.

1245
01:14:38,053 --> 01:14:39,971
I use. Obscure.

1246
01:14:39,971 --> 01:14:42,974
Objects as metaphors.

1247
01:14:43,475 --> 01:14:45,185
Or symbols for.

1248
01:14:45,185 --> 01:14:48,522
Something that I really want the audience

1249
01:14:48,522 --> 01:14:52,067
to think about and to come up with.

1250
01:14:52,359 --> 01:14:58,448
Their own interpretation of those objects
are the gold stone.

1251
01:14:58,490 --> 01:15:01,493
No more than ever.

1252
01:15:22,931 --> 01:15:25,934
The black cube.

1253
01:16:20,739 --> 01:16:23,742
The man in the long black coat.

1254
01:16:48,391 --> 01:16:51,394
And the black shiny shoes.

1255
01:17:12,999 --> 01:17:15,126
The tiger.

1256
01:17:15,126 --> 01:17:18,129
The eagle.

1257
01:17:55,750 --> 01:17:58,753
The ghostly smoke.

1258
01:17:59,170 --> 01:18:02,173
These are objects that you see

1259
01:18:02,340 --> 01:18:05,135
repeated in the film,

1260
01:18:05,135 --> 01:18:10,223
but they go unidentified by me on purpose.

1261
01:18:10,223 --> 01:18:11,516
On purpose?

1262
01:18:11,516 --> 01:18:15,145
They're like I said,
they're symbols of something or a metaphor

1263
01:18:15,145 --> 01:18:20,233
for something
that I'm trying to convey to the audience.

1264
01:18:20,608 --> 01:18:25,613
But I really never come out
and tell the audience what they mean.

1265
01:18:32,328 --> 01:18:34,664
This is his love interest.

1266
01:18:34,664 --> 01:18:37,667
Which, he loses.

1267
01:18:37,917 --> 01:18:40,920
And there's flashbacks to
when they were children.

1268
01:18:42,589 --> 01:18:44,465
They've grown up together

1269
01:18:44,465 --> 01:18:47,468
and fallen in love.

1270
01:19:01,357 --> 01:19:03,735
Will always be together,

1271
01:19:03,735 --> 01:19:05,486
even in death.

1272
01:19:05,486 --> 01:19:07,530
We are together.

1273
01:19:07,530 --> 01:19:09,324
Even in death.

1274
01:19:09,324 --> 01:19:11,951
How? Governments all over
the world are so concerned

1275
01:19:11,951 --> 01:19:14,954
about nuclear missiles and nuclear bombs,

1276
01:19:15,580 --> 01:19:18,833
and all the very expensive
and secret technology involved.

1277
01:19:20,418 --> 01:19:22,128
The reality

1278
01:19:22,128 --> 01:19:26,424
is that chemical and biological weapons
could be much more destructive

1279
01:19:26,424 --> 01:19:30,136
to societies and economies,
and nuclear weapons.

1280
01:19:30,887 --> 01:19:32,263
Where does he go?

1281
01:19:32,263 --> 01:19:35,058
He's on a quest.

1282
01:19:35,058 --> 01:19:35,475
Don't ask.

1283
01:19:35,475 --> 01:19:38,311
He's protected.

1284
01:19:38,311 --> 01:19:41,314
In the very top, extremely top secret.

1285
01:19:43,775 --> 01:19:45,151
Going through these character

1286
01:19:45,151 --> 01:19:48,488
images, once again,
I'm not trying to tell a story.

1287
01:19:48,488 --> 01:19:51,491
I'm just sort of giving you the flavor

1288
01:19:52,992 --> 01:19:53,660
of what kind of.

1289
01:19:53,660 --> 01:19:57,121
Characters are in my films.

1290
01:19:59,540 --> 01:20:03,252
Mom. Is there life after death?

1291
01:20:03,711 --> 01:20:06,714
They're all dead.

1292
01:20:07,256 --> 01:20:10,259
Is there a heaven?

1293
01:20:11,594 --> 01:20:13,846
I've got to know.

1294
01:20:13,846 --> 01:20:16,099
Got to know this nightmare.

1295
01:20:16,099 --> 01:20:19,560
These character images
are all being presented within the context

1296
01:20:19,560 --> 01:20:20,687
of all of my films.

1297
01:20:20,687 --> 01:20:24,023
Being sci fi or fantasy genre.

1298
01:20:24,232 --> 01:20:29,445
This is an huge buildings
blowing up and wild gunfire and so on.

1299
01:20:30,154 --> 01:20:32,657
That only happens in the movies and TV.

1300
01:20:32,657 --> 01:20:35,618
It really doesn't happen in real life.

1301
01:20:36,202 --> 01:20:39,706
In real life,
everything we do is done very silently,

1302
01:20:40,415 --> 01:20:43,418
undercover and electronically.

1303
01:20:44,293 --> 01:20:46,295
The public never knows what we're doing.

1304
01:20:46,295 --> 01:20:49,298
It's all done in very, very secret ways.

1305
01:20:50,383 --> 01:20:53,594
I've been given
this incredible power tonight.

1306
01:20:53,594 --> 01:20:56,389
I believe I could make enough cancer.

1307
01:20:56,389 --> 01:20:58,391
I did help her.

1308
01:20:58,391 --> 01:21:00,101
And now I want to help you.

1309
01:21:00,101 --> 01:21:01,602
I want to use that power.

1310
01:21:02,854 --> 01:21:05,857
To bring you back.

1311
01:21:34,635 --> 01:21:35,178
I'm so

1312
01:21:35,178 --> 01:21:38,181
confused and depressed
that my double life.

1313
01:21:38,181 --> 01:21:39,432
How did you get to this point?

1314
01:21:39,432 --> 01:21:42,018
Where do I go from here?

1315
01:21:42,018 --> 01:21:44,979
I've got so many questions.

1316
01:21:45,563 --> 01:21:46,397
Don't you?

1317
01:21:46,397 --> 01:21:47,899
I hate you, I miss you.

1318
01:21:47,899 --> 01:21:49,901
I'm so glad you're here.

1319
01:21:49,901 --> 01:21:50,860
I've got so many questions.

1320
01:21:50,860 --> 01:21:53,863
I'm so confused.

1321
01:22:04,415 --> 01:22:08,211
I need to believe something

1322
01:22:08,544 --> 01:22:11,547
extraordinary is possible.

1323
01:22:28,272 --> 01:22:30,316
The bronze star,

1324
01:22:30,316 --> 01:22:33,319
the medal for gallantry in action.

1325
01:22:33,569 --> 01:22:36,405
And I've never been
so proud of our troops.

1326
01:22:36,405 --> 01:22:39,408
But I have no love to look for anymore

1327
01:22:40,785 --> 01:22:42,703
from Double Down.

1328
01:22:42,703 --> 01:22:44,622
This is the vest.

1329
01:22:44,622 --> 01:22:49,126
The denim vest
with all the military medals on it.

1330
01:22:51,587 --> 01:22:52,964
Still intact.

1331
01:22:52,964 --> 01:22:55,967
But I made this as well.

1332
01:22:57,551 --> 01:23:00,554
But this has been around a long time

1333
01:23:00,972 --> 01:23:03,975
that this is it.

1334
01:23:05,559 --> 01:23:07,186
Take all of this.

1335
01:23:07,186 --> 01:23:08,604
I can't go on with this.

1336
01:23:09,563 --> 01:23:10,982
I'm not American.

1337
01:23:10,982 --> 01:23:12,149
I'm an American.

1338
01:23:12,149 --> 01:23:14,902
I love this country.

1339
01:23:14,902 --> 01:23:17,905
My country.

1340
01:23:32,837 --> 01:23:34,547
Forgive me.

1341
01:23:34,547 --> 01:23:36,382
Forgive me.

1342
01:23:36,382 --> 01:23:39,385
Make time stands still.

1343
01:23:40,886 --> 01:23:43,889
Right now.

1344
01:23:47,268 --> 01:23:50,271
Forgive me.

1345
01:23:56,902 --> 01:23:59,071
Where are you?

1346
01:23:59,071 --> 01:24:01,782
Where are you?

1347
01:24:01,782 --> 01:24:04,785
Where are. You?

1348
01:24:12,585 --> 01:24:14,128
The small diversions have started

1349
01:24:14,128 --> 01:24:17,131
and I can't stop them now.

1350
01:24:24,889 --> 01:24:26,015
But I can try to stop

1351
01:24:26,015 --> 01:24:29,018
my main attack plan on Las Vegas.

1352
01:24:29,143 --> 01:24:32,146
If it's not too late.

1353
01:24:36,400 --> 01:24:38,777
I know they're coming for me.

1354
01:24:38,777 --> 01:24:41,530
I've got to get out of here.

1355
01:24:41,530 --> 01:24:43,032
I need your help now

1356
01:24:43,032 --> 01:25:01,091
more than ever. You.

1357
01:25:34,500 --> 01:25:36,460
I'm sorry,

1358
01:25:36,460 --> 01:25:39,463
but it had to be this way.

1359
01:25:58,565 --> 01:26:01,652
Now. I'm

1360
01:26:03,278 --> 01:26:07,282
alone now. Now.

1361
01:26:13,872 --> 01:26:16,875
Now, now.

1362
01:26:32,641 --> 01:26:35,644
Why are the humans failing?

1363
01:26:36,645 --> 01:26:39,648
I've given them everything.

1364
01:27:10,304 --> 01:27:13,307
Holy shit!

1365
01:27:13,432 --> 01:27:16,435
Your weapons cannot harm me.

1366
01:27:46,298 --> 01:27:47,591
They think they may have

1367
01:27:47,591 --> 01:27:50,594
an opportunity to use it. Now.

1368
01:27:50,802 --> 01:27:52,888
What are they in for? A surprise.

1369
01:28:04,066 --> 01:28:04,983
Now that we've paid

1370
01:28:04,983 --> 01:28:08,070
off our fellow elected representatives
in the legislature,

1371
01:28:08,737 --> 01:28:13,075
that environmental Solar Panel
development bill will fail next week.

1372
01:28:13,659 --> 01:28:15,452
Her closet, though, too.
She has great taste.

1373
01:28:15,452 --> 01:28:16,745
Oh, much like my twin.

1374
01:28:16,745 --> 01:28:19,748
She pretty much has way better yet.

1375
01:28:19,998 --> 01:28:21,375
I'm so sorry.

1376
01:28:21,375 --> 01:28:24,461
But due to the poor economy,
we're going to have to lay you off.

1377
01:28:40,936 --> 01:28:43,939
Hey, I've got the new girl to work for us.

1378
01:29:16,847 --> 01:29:19,850
Let me help you.

1379
01:29:36,324 --> 01:29:38,285
I don't feel so good.

1380
01:29:38,285 --> 01:29:38,785
Cancer.

1381
01:29:38,785 --> 01:29:41,621
Chemo is kicking my ass.

1382
01:29:41,621 --> 01:29:44,624
I always wanted to see this before I die.

1383
01:29:45,333 --> 01:29:48,336
I only have a month to live.

1384
01:30:02,517 --> 01:30:03,435
Oh, yeah?

1385
01:30:03,435 --> 01:30:06,438
Oh, yeah. Yeah.

1386
01:30:06,521 --> 01:30:09,107
Oh, God.

1387
01:30:09,107 --> 01:30:11,735
I do, I do.

1388
01:30:11,735 --> 01:30:14,446
Oh, you can have it.

1389
01:30:14,446 --> 01:30:15,739
I'm sorry.

1390
01:30:15,739 --> 01:30:17,783
We have to lay you off.

1391
01:30:17,783 --> 01:30:20,077
We're all so sorry.

1392
01:30:21,244 --> 01:30:23,705
I don't
understand how they could let this happen.

1393
01:30:23,705 --> 01:30:25,749
This is not a temporary delay.

1394
01:30:25,749 --> 01:30:28,752
It's more politics and corporate greed.

1395
01:30:29,419 --> 01:30:33,089
Now, I've lost my job, and I'm
not going to be able to find another one.

1396
01:30:33,632 --> 01:30:37,385
I'm an environmental activist,
and it's getting me nowhere.

1397
01:30:38,011 --> 01:30:40,180
I know.

1398
01:30:40,180 --> 01:30:43,183
Yeah.

1399
01:30:45,227 --> 01:30:48,188
I know.

1400
01:30:49,064 --> 01:30:51,942
We trusted you like a brother.

1401
01:30:51,942 --> 01:30:54,945
Give him.

1402
01:30:55,821 --> 01:30:58,824
Your free go.

1403
01:30:59,407 --> 01:31:01,576
Learn to love yourself.

1404
01:31:01,576 --> 01:31:03,578
Other humans

1405
01:31:03,578 --> 01:31:06,248
and humanity.

1406
01:31:06,248 --> 01:31:08,333
You have so much to offer.

1407
01:31:08,333 --> 01:31:10,210
Nature

1408
01:31:10,210 --> 01:31:13,213
and this planet.

1409
01:31:14,130 --> 01:31:17,008
I know you from somewhere.

1410
01:31:17,008 --> 01:31:18,218
Help me!

1411
01:31:18,218 --> 01:31:19,594
Help me!

1412
01:31:19,594 --> 01:31:22,597
Save me!

1413
01:31:22,681 --> 01:31:25,058
You can save yourself.

1414
01:31:25,058 --> 01:31:28,061
I've made you strong enough
to save yourself.

1415
01:32:01,177 --> 01:32:04,180
I don't think a species understand.

1416
01:32:04,472 --> 01:32:07,183
I've given them so much.

1417
01:32:07,183 --> 01:32:09,728
Respect yourselves.

1418
01:32:09,728 --> 01:32:12,564
Love nature.

1419
01:32:12,564 --> 01:32:15,567
Live in peace.

1420
01:32:20,572 --> 01:32:23,575
Have I felt the.

1421
01:32:24,826 --> 01:32:25,618
Weight for me.

1422
01:32:28,204 --> 01:32:31,207
Wait for me.

1423
01:33:19,172 --> 01:33:21,758
The humans dreams.

1424
01:33:21,758 --> 01:33:23,927
They can come true.

1425
01:33:23,927 --> 01:33:26,888
I will give them one more chance.

1426
01:33:27,222 --> 01:33:29,182
If they fail.

1427
01:33:29,182 --> 01:33:32,185
I will destroy this planet.

1428
01:33:34,521 --> 01:33:37,524
And this experiment.

1429
01:34:02,465 --> 01:34:05,468
Look, we're a mushroom.

1430
01:34:14,018 --> 01:34:16,187
It must mean something.

1431
01:34:16,187 --> 01:34:18,815
It's buried treasure.

1432
01:34:18,815 --> 01:34:20,900
You can't make the box empty.

1433
01:34:20,900 --> 01:34:22,277
It's bad luck.

1434
01:34:22,277 --> 01:34:23,152
I'm not afraid.

1435
01:34:23,152 --> 01:34:26,155
Yeah?

1436
01:34:27,198 --> 01:34:30,201
Yeah.

1437
01:34:30,285 --> 01:34:30,618
Leon.

1438
01:34:30,618 --> 01:34:32,996
I had a fantastic summer.

1439
01:34:32,996 --> 01:34:33,997
Or saw her.

1440
01:34:33,997 --> 01:34:37,000
Again?

1441
01:34:45,550 --> 01:35:16,456
Excuse. Me?

1442
01:35:52,158 --> 01:35:55,161
I have a damn master's degree

1443
01:35:55,370 --> 01:35:57,413
in computer science.

1444
01:35:57,413 --> 01:36:00,500
And I turn out to be a writer of novels.

1445
01:36:01,793 --> 01:36:04,796
Can I offer you a drink?

1446
01:36:05,088 --> 01:36:07,840
No, thanks.

1447
01:36:07,840 --> 01:36:10,218
Are you sure I can't offer you

1448
01:36:10,218 --> 01:36:13,221
a little drink, No.

1449
01:36:15,014 --> 01:36:18,017
Oh, you mean your stepdaughter?

1450
01:36:18,643 --> 01:36:20,770
Well, maybe she should hear this.

1451
01:36:20,770 --> 01:36:23,773
So she doesn't make the same mistake.

1452
01:36:25,691 --> 01:36:28,694
You bastard!

1453
01:36:28,903 --> 01:36:30,822
I'm out of here.

1454
01:36:30,822 --> 01:36:32,115
You. Nestor.

1455
01:36:34,784 --> 01:36:37,787
I offered
you medication that would help you.

1456
01:36:38,079 --> 01:36:41,082
I'm feeling less stable.

1457
01:36:50,675 --> 01:36:53,678
Can we talk now, please?

1458
01:37:11,988 --> 01:37:14,949
He stopped taking his meds.

1459
01:37:18,828 --> 01:37:21,038
Can you get some for me?

1460
01:37:21,038 --> 01:37:24,166
We've gone through the good times
and the bad times together.

1461
01:37:24,917 --> 01:37:27,920
I've given it my all.

1462
01:37:28,129 --> 01:37:30,256
I've gone out of my way to make you happy.

1463
01:37:30,256 --> 01:37:34,427
You know, I've never intended it
to turn out this way.

1464
01:37:34,802 --> 01:37:36,679
I tried to get off the pills.

1465
01:37:36,679 --> 01:37:38,890
I just can't do it.

1466
01:37:38,890 --> 01:37:42,310
Your pill taken for pain
relief has gotten out of control.

1467
01:37:44,228 --> 01:37:47,231
I told you
this was going to drive us apart.

1468
01:37:51,819 --> 01:37:52,528
I want you to.

1469
01:37:52,528 --> 01:37:54,405
Go into rehab.

1470
01:37:54,405 --> 01:37:56,866
I need them.

1471
01:37:56,866 --> 01:37:59,744
I realize that, but I'll be lost

1472
01:37:59,744 --> 01:38:05,917
without them. So.

1473
01:38:16,886 --> 01:38:22,224
I'm. Here to.

1474
01:38:52,213 --> 01:38:55,216
Are you having an affair?

1475
01:38:57,176 --> 01:38:58,386
That's it, isn't it?

1476
01:39:00,346 --> 01:39:02,848
You are, aren't you?

1477
01:39:02,848 --> 01:39:05,851
No, I'm not having an affair.

1478
01:39:06,560 --> 01:39:09,563
Don't be ridiculous.

1479
01:39:09,939 --> 01:39:12,942
I'm with you.

1480
01:39:24,870 --> 01:39:26,580
Is this yours?

1481
01:39:26,580 --> 01:39:29,792
Yes. It's just something
I've been carrying for good luck.

1482
01:39:30,793 --> 01:39:33,379
Another hard day at the office.

1483
01:39:33,379 --> 01:39:34,422
Damn it! Yes.

1484
01:39:34,422 --> 01:39:36,465
As a matter of fact.

1485
01:39:36,465 --> 01:39:37,758
I'm trying to relax.

1486
01:39:37,758 --> 01:39:40,678
Leave me alone!

1487
01:39:40,678 --> 01:39:43,514
Have you seen Ali?

1488
01:39:43,514 --> 01:39:45,683
Let me tell you about Ali.

1489
01:39:45,683 --> 01:39:48,686
Ali's been sneaking over to Dylan
and Emily's house

1490
01:39:48,811 --> 01:39:51,814
and jumping in their swimming pool.

1491
01:39:51,981 --> 01:39:54,984
So it's your turn to watch her.

1492
01:39:58,779 --> 01:40:01,782
Stay away from me.

1493
01:40:34,815 --> 01:40:37,818
Dylan.

1494
01:40:55,044 --> 01:40:58,047
Goodbye, my friend.

1495
01:40:58,172 --> 01:41:01,175
Goodbye.

1496
01:41:03,135 --> 01:41:06,138
I drove him to suicide.

1497
01:41:06,221 --> 01:41:09,224
What?

1498
01:41:09,224 --> 01:41:12,227
Suicide.

1499
01:41:13,354 --> 01:41:15,648
No, don't say that.

1500
01:41:15,648 --> 01:41:16,440
Don't say that.

1501
01:41:16,440 --> 01:41:19,151
Please don't say that.

1502
01:41:19,151 --> 01:41:22,154
I'm not better off without you.

1503
01:41:24,573 --> 01:41:25,616
I'm here for you.

1504
01:41:25,616 --> 01:41:28,619
I'm here to support you.

1505
01:41:28,661 --> 01:41:30,287
And I don't know you anything.

1506
01:41:30,287 --> 01:41:33,374
I. In fact,
I'm not going to give you the next book.

1507
01:41:34,291 --> 01:41:35,542
That's it.

1508
01:41:35,542 --> 01:41:37,544
Don't call here anymore.

1509
01:41:37,544 --> 01:41:39,588
No more damn books.

1510
01:41:40,673 --> 01:41:43,676
No more books.

1511
01:41:58,148 --> 01:42:01,151
I can't go on like this.

1512
01:42:02,027 --> 01:42:04,988
I'm so out of my head.

1513
01:42:06,407 --> 01:42:09,785
How was your research coming along?

1514
01:42:10,661 --> 01:42:12,496
Research?

1515
01:42:12,496 --> 01:42:15,499
What research?

1516
01:42:17,334 --> 01:42:20,337
It's a magical day.

1517
01:42:20,754 --> 01:42:23,340
It's a magical time.

1518
01:42:23,340 --> 01:42:26,343
A place where dreams come true.

1519
01:42:48,657 --> 01:42:51,660
I can't wait any longer.

1520
01:42:59,501 --> 01:43:02,504
I'm not ready for this.

1521
01:43:03,547 --> 01:43:06,300
You know he didn't kill himself.

1522
01:43:06,300 --> 01:43:08,302
She shot him.

1523
01:43:08,302 --> 01:43:10,345
She killed him.

1524
01:43:10,345 --> 01:43:12,347
I saw her.

1525
01:43:12,347 --> 01:43:14,099
What?

1526
01:43:14,099 --> 01:43:17,102
She planted the gun on him.

1527
01:43:17,394 --> 01:43:20,397
Should I be afraid?

1528
01:43:20,981 --> 01:43:22,816
Should we be afraid?

1529
01:43:22,816 --> 01:43:25,819
I want to be honest with all of you.

1530
01:43:26,236 --> 01:43:29,156
I've been hacking into government
and corporate systems

1531
01:43:29,156 --> 01:43:32,159
all over the country.

1532
01:43:33,535 --> 01:43:36,538
All over the world.

1533
01:43:37,748 --> 01:43:38,874
I have discovered

1534
01:43:38,874 --> 01:43:41,877
more information than any hacker ever has

1535
01:43:42,878 --> 01:43:45,881
ever.

1536
01:43:46,298 --> 01:43:49,301
What I have found will shock you.

1537
01:43:50,719 --> 01:43:54,473
Here are the files
and supporting documents.

1538
01:43:58,852 --> 01:44:01,855
Act now on your own.

1539
01:44:03,315 --> 01:44:05,859
Outside of the corporate systems.

1540
01:44:05,859 --> 01:44:08,862
And these incompetent politicians.

1541
01:44:09,404 --> 01:44:12,407
Act now.

1542
01:44:13,575 --> 01:44:16,578
It's our only hope for the future.

1543
01:44:19,456 --> 01:44:25,420
Hold.

1544
01:44:37,766 --> 01:44:40,769
His heart.

1545
01:44:41,812 --> 01:44:44,815
Past.

1546
01:45:14,469 --> 01:45:16,304
What's the source?

1547
01:45:16,304 --> 01:45:17,556
How strong is that signal?

1548
01:45:17,556 --> 01:45:19,683
Let me see. Let me see.

1549
01:45:19,683 --> 01:45:22,686
I'm following it.

1550
01:45:26,648 --> 01:45:29,651
Whoa, whoa.

1551
01:45:32,487 --> 01:46:17,282
Oh! Hey!

1552
01:46:17,282 --> 01:46:20,285
It's me.

1553
01:46:21,077 --> 01:46:25,123
I've been working on a couple new songs,
and I'm really proud of them.

1554
01:46:25,916 --> 01:46:26,625
Keep moving.

1555
01:46:26,625 --> 01:46:29,628
Come on. Let's play.

1556
01:46:29,836 --> 01:46:31,713
Hurry! Get in there!

1557
01:46:31,713 --> 01:46:32,380
Where it is!

1558
01:46:32,380 --> 01:46:35,342
I say hurry! I said telephone! Go!

1559
01:46:35,342 --> 01:46:38,345
What boy?

1560
01:46:38,929 --> 01:46:40,096
Keep going!

1561
01:46:40,096 --> 01:46:43,058
Keep moving.

1562
01:46:43,892 --> 01:46:46,895
Oh! Oh,

1563
01:46:46,895 --> 01:46:47,771
yeah!

1564
01:46:47,771 --> 01:46:50,774
Yeah. Oh!

1565
01:46:51,983 --> 01:47:17,050
Oh! Oh!

1566
01:47:24,557 --> 01:47:27,560
Oh! Who's this? Hey.

1567
01:47:29,813 --> 01:47:32,148
I've realized that
I've called you a lot in the past.

1568
01:47:32,148 --> 01:47:35,110
With a lot of false alarms.

1569
01:47:36,403 --> 01:47:37,988
Well, I just want to thank you

1570
01:47:37,988 --> 01:47:41,866
for being patient with me,
since I know you like space travel.

1571
01:47:41,866 --> 01:47:42,909
Just like me.

1572
01:47:42,909 --> 01:47:44,744
Come on, move your ass if you're going.

1573
01:47:44,744 --> 01:47:46,454
Come on. Go, go, go!

1574
01:47:46,454 --> 01:47:49,457
Get over here!
You guys go over there. Stop!

1575
01:47:49,499 --> 01:47:50,083
Get ready!

1576
01:47:50,083 --> 01:47:53,086
We need to get the hell out of here! Okay.

1577
01:47:53,336 --> 01:47:53,837
I'm ready.

1578
01:47:56,047 --> 01:47:58,341
I want you, you do?

1579
01:47:58,341 --> 01:48:01,344
Let's get out of here now.

1580
01:48:02,929 --> 01:48:03,388
What's what?

1581
01:48:03,388 --> 01:48:05,849
Oh, shut the fuck up in there!

1582
01:48:05,849 --> 01:48:08,685
Get the fuck up! Sit down.
Watch your head.

1583
01:48:08,685 --> 01:48:09,644
Get in there.

1584
01:48:09,644 --> 01:48:11,312
What's going on? Hey!

1585
01:48:11,312 --> 01:48:13,898
Oh my God!

1586
01:48:13,898 --> 01:48:14,733
Let me see.

1587
01:48:14,733 --> 01:48:17,736
Yeah.

1588
01:48:19,904 --> 01:48:21,156
It's important.

1589
01:48:21,156 --> 01:48:22,907
Turn here. Let's go the other way.

1590
01:48:22,907 --> 01:48:23,575
All right, let's go.

1591
01:48:23,575 --> 01:48:25,452
Get the truck. Get the truck in the truck!

1592
01:48:25,452 --> 01:48:27,162
Move it, move it!

1593
01:48:27,162 --> 01:48:29,664
Move! Quit messing around out here.

1594
01:48:29,664 --> 01:48:32,667
I don't have all day. Get off the.

1595
01:48:33,168 --> 01:48:34,711
Go, go, go!

1596
01:48:34,711 --> 01:48:37,714
Move on! What are you doing?

1597
01:48:38,131 --> 01:48:41,134
Are you.

1598
01:48:46,890 --> 01:48:51,436
Get it! On.

1599
01:49:19,422 --> 01:49:20,757
What are we going now?

1600
01:49:20,757 --> 01:49:22,801
Go, go go! Hurry!

1601
01:49:22,801 --> 01:49:24,803
Hang out here!

1602
01:49:24,803 --> 01:49:26,930
Go! Go! Stop it!

1603
01:49:26,930 --> 01:49:29,933
Keep moving! Move it, move it, move it!

1604
01:49:30,225 --> 01:49:32,101
Come on, let's go.

1605
01:49:32,101 --> 01:49:33,353
And then get in the pass.

1606
01:49:38,775 --> 01:49:41,778
He don't know gray anywhere.

1607
01:49:41,861 --> 01:49:44,113
Hey! Come on!

1608
01:49:44,113 --> 01:49:44,948
Shut up!

1609
01:49:44,948 --> 01:49:45,698
Son of a bitch!

1610
01:49:45,698 --> 01:49:48,493
What are we going? Something.

1611
01:49:48,493 --> 01:49:51,079
Hey! Wait for this guy to let go.

1612
01:49:51,079 --> 01:49:52,997
We got to.

1613
01:49:52,997 --> 01:49:53,540
Wait.

1614
01:49:53,540 --> 01:49:55,959
We can't stop.

1615
01:49:55,959 --> 01:49:58,878
I don't think I can go any further.

1616
01:49:58,878 --> 01:50:00,463
I can help you.

1617
01:50:00,463 --> 01:50:01,422
I can't.

1618
01:50:01,422 --> 01:50:03,675
Not in an hour.

1619
01:50:03,675 --> 01:50:06,636
Where are we? Shut your ass!

1620
01:50:06,636 --> 01:50:07,804
Get in there!

1621
01:50:07,804 --> 01:50:10,807
Move!

1622
01:50:32,078 --> 01:50:35,081
You belong to me.

1623
01:50:35,248 --> 01:50:38,251
You ran away and tried to escape.

1624
01:50:38,293 --> 01:50:41,296
And now you are mine.

1625
01:50:41,546 --> 01:50:45,800
Don't even think about trying to sneeze
without asking permission.

1626
01:50:46,092 --> 01:50:48,553
I own you.

1627
01:50:48,553 --> 01:50:51,055
I'll let you and your niece
stay in my place.

1628
01:50:51,055 --> 01:50:52,682
I'll stay in the car up front.

1629
01:50:52,682 --> 01:50:55,810
No, no, we can't stay here. It'll be fine.

1630
01:50:55,810 --> 01:50:56,978
I'll clean it. Up.

1631
01:50:56,978 --> 01:50:59,480
No, no, we can stay here. No.

1632
01:51:00,523 --> 01:51:03,234
Oh, you have to trust me.

1633
01:51:03,234 --> 01:51:05,445
Stay here.

1634
01:51:05,445 --> 01:51:08,448
I'll clean it for you.

1635
01:51:16,330 --> 01:51:17,415
Oh my God!

1636
01:51:17,415 --> 01:51:20,418
What are you doing?

1637
01:51:24,922 --> 01:51:26,007
How did I get here?

1638
01:51:26,007 --> 01:51:27,258
Oh my goodness!

1639
01:51:27,258 --> 01:51:30,011
What is this you doing?

1640
01:51:30,011 --> 01:51:31,846
Oh my God!

1641
01:51:31,846 --> 01:51:33,139
It's clean.

1642
01:51:33,139 --> 01:51:36,142
It's all clean.

1643
01:51:42,607 --> 01:51:44,442
I'm an addict.

1644
01:51:44,442 --> 01:51:46,360
I have nothing.

1645
01:51:46,360 --> 01:51:48,613
I'm empty inside.

1646
01:51:48,613 --> 01:51:51,449
I have no life.

1647
01:51:51,449 --> 01:51:54,452
I'm pregnant.

1648
01:51:54,494 --> 01:51:55,953
And I just wanted a better life

1649
01:51:55,953 --> 01:51:58,956
for my child.

1650
01:51:58,998 --> 01:51:59,957
Now, wait.

1651
01:51:59,957 --> 01:52:02,960
We paid a lot of money
to get into this country.

1652
01:52:03,044 --> 01:52:07,006
I left my country
to make a better life for my family.

1653
01:52:08,257 --> 01:52:10,968
I hate the politicians in my country.

1654
01:52:10,968 --> 01:52:13,137
They're so corrupt.

1655
01:52:13,137 --> 01:52:15,640
What's it going to take to make the change
happen?

1656
01:52:15,640 --> 01:52:17,683
When's the change going to happen?

1657
01:52:17,683 --> 01:52:19,602
When? When?

1658
01:52:19,602 --> 01:52:23,773
When I realize what I'm doing is illegal.

1659
01:52:23,981 --> 01:52:25,233
But I got to do it.

1660
01:52:27,735 --> 01:52:30,738
I'm getting out of here now.

1661
01:52:35,159 --> 01:52:38,162
Hey. Home.

1662
01:52:51,008 --> 01:52:53,386
Where did you go a little while ago?

1663
01:52:53,386 --> 01:52:56,389
I went for a walk.

1664
01:52:57,473 --> 01:53:00,476
I saw you.

1665
01:53:00,768 --> 01:53:01,561
You're weird.

1666
01:53:01,561 --> 01:53:04,564
Dude.

1667
01:53:06,315 --> 01:53:08,317
How are you?

1668
01:53:08,317 --> 01:53:11,112
You know, I'm
very sorry for hitting you in the eye.

1669
01:53:11,112 --> 01:53:12,613
No. I'm sorry.

1670
01:53:12,613 --> 01:53:14,365
I'm not going to hurt you.

1671
01:53:14,365 --> 01:53:16,158
It's okay.

1672
01:53:16,158 --> 01:53:19,036
It's okay.

1673
01:53:19,036 --> 01:53:21,455
I'm sorry.

1674
01:53:21,455 --> 01:53:22,623
No, just let me tap it.

1675
01:53:22,623 --> 01:53:23,499
A little bit.

1676
01:53:23,499 --> 01:53:26,502
Let off.

1677
01:53:27,128 --> 01:53:30,131
See? I'm not going to hurt you.

1678
01:53:31,382 --> 01:53:32,425
I'm not going to hurt you.

1679
01:53:32,425 --> 01:53:35,011
Sorry.

1680
01:53:35,011 --> 01:53:36,220
The only monsters here

1681
01:53:36,220 --> 01:53:39,223
are the pimps, dealers and smugglers.

1682
01:53:39,599 --> 01:53:41,684
Killing and abusing people.

1683
01:53:41,684 --> 01:53:44,687
Trying to get a better life
for themselves.

1684
01:53:57,825 --> 01:54:00,828
Hey. How you doing?

1685
01:54:02,288 --> 01:54:04,332
I'm fine.

1686
01:54:04,332 --> 01:54:07,335
I'm fine.

1687
01:54:29,023 --> 01:54:31,817
I'm fine.

1688
01:54:31,817 --> 01:54:34,779
My name is till

1689
01:54:34,779 --> 01:54:38,240
it's spelled t h g I l.

1690
01:54:38,866 --> 01:54:40,868
But it's pronounced till.

1691
01:54:43,037 --> 01:54:46,040
What kind of name is that?

1692
01:54:47,500 --> 01:54:50,503
It's a foreign name.

1693
01:54:50,920 --> 01:54:53,923
Like from another planet.

1694
01:54:54,465 --> 01:54:57,468
Far, far away.

1695
01:55:01,680 --> 01:55:04,266
Well, my name is Amanda.

1696
01:55:04,266 --> 01:55:07,269
And this is my niece, Kim.

1697
01:55:09,146 --> 01:55:11,899
Everything the power does.

1698
01:55:11,899 --> 01:55:14,860
It does in a circle.

1699
01:55:57,528 --> 01:55:58,571
Hey, look.

1700
01:55:58,571 --> 01:56:01,574
There's an old broken down
piano on the field.

1701
01:56:01,574 --> 01:56:04,577
I just wanted to learn piano.

1702
01:56:09,707 --> 01:56:10,875
It doesn't even work.

1703
01:56:10,875 --> 01:56:13,502
Wait.

1704
01:56:13,502 --> 01:56:16,505
Let's try again.

1705
01:56:17,423 --> 01:56:20,175
It's never too late.

1706
01:56:20,175 --> 01:56:22,219
Music's magical.

1707
01:56:22,219 --> 01:56:25,222
Universal.

1708
01:56:29,810 --> 01:56:32,438
It's timeless.

1709
01:56:32,438 --> 01:56:35,441
Ready?

1710
01:56:51,165 --> 01:56:51,915
You cannot.

1711
01:56:51,915 --> 01:56:54,918
Travel the path until you.

1712
01:56:55,210 --> 01:56:55,878
Have become the.

1713
01:56:55,878 --> 01:56:58,881
Path itself.

1714
01:57:02,051 --> 01:57:05,054
Have you seen the future?

1715
01:57:05,387 --> 01:57:08,349
I am the future.

1716
01:57:08,682 --> 01:57:11,685
Are you one of us?

1717
01:57:12,436 --> 01:57:12,978
Or from what?

1718
01:57:12,978 --> 01:57:17,566
There. Yes.

1719
01:57:19,401 --> 01:57:22,404
From out there.

1720
01:57:26,033 --> 01:57:29,578
I can move from one time plane to another.

1721
01:57:31,538 --> 01:57:33,832
This is my reality.

1722
01:57:33,832 --> 01:57:36,835
Not a false human illusion.

1723
01:58:08,784 --> 01:58:21,130
Oh. Oh. Oh.

1724
01:58:22,965 --> 01:58:25,300
Something incredible is about to happen.

1725
01:58:28,554 --> 01:58:31,557
I can manipulate the planes

1726
01:58:31,807 --> 01:58:34,810
of space and time.

1727
01:58:35,185 --> 01:58:38,188
Many things are going to change now.

1728
01:58:38,355 --> 01:58:40,232
I'm going to eliminate

1729
01:58:40,232 --> 01:58:43,235
hundreds of millions of the human species.

1730
01:58:43,652 --> 01:58:46,363
What an asshole that politician was.

1731
01:58:46,363 --> 01:58:48,448
I can't believe he just said that.

1732
01:58:48,448 --> 01:58:51,910
He is so damn extreme and biased.

1733
01:58:52,953 --> 01:58:55,080
Thank you, Senator, for that thoughtful

1734
01:58:55,080 --> 01:58:58,083
and sensitive interpretation.

1735
01:58:58,167 --> 01:59:01,170
Very thoughtful and insightful.

1736
01:59:01,503 --> 01:59:04,006
It's as if all the harmful people on Earth

1737
01:59:04,006 --> 01:59:07,009
are disappearing.

1738
01:59:07,050 --> 01:59:08,719
He's gone.

1739
01:59:08,719 --> 01:59:10,971
Now get out of here.

1740
01:59:10,971 --> 01:59:13,348
I'm setting you free.

1741
01:59:13,348 --> 01:59:15,642
Go back to where you came from.

1742
01:59:15,642 --> 01:59:18,520
You can't be a leader, not a follower.

1743
01:59:18,520 --> 01:59:21,523
You can make a difference.

1744
01:59:31,658 --> 01:59:33,368
You are done.

1745
01:59:33,368 --> 01:59:35,203
No, you are done.

1746
01:59:35,203 --> 01:59:36,580
I'm done.

1747
01:59:36,580 --> 01:59:39,583
Done.

1748
01:59:41,835 --> 01:59:44,838
You make a difference there.

1749
01:59:45,130 --> 01:59:47,007
Take power.

1750
01:59:47,007 --> 01:59:49,051
Organize your citizens.

1751
01:59:49,051 --> 01:59:52,512
Lead a revolt against the politicians.

1752
01:59:52,512 --> 01:59:56,475
The corruption
and the injustices that we all know.

1753
02:00:02,022 --> 02:00:03,065
And they

1754
02:00:03,065 --> 02:00:06,068
don't need to know why or your reason.

1755
02:00:06,818 --> 02:00:10,364
These places are so vulnerable
and unprotected.

1756
02:00:11,865 --> 02:00:13,367
And there is no way they can keep up

1757
02:00:13,367 --> 02:00:16,370
with the technology.

1758
02:00:16,578 --> 02:00:19,581
Isn't that corrupt?

1759
02:00:20,624 --> 02:00:21,958
I know senior

1760
02:00:21,958 --> 02:00:26,713
national elected government officials
who I can force

1761
02:00:26,713 --> 02:00:31,593
my political bias and influence

1762
02:00:32,678 --> 02:00:35,305
to vote in public is so naive

1763
02:00:35,305 --> 02:00:38,308
and unaware of how politics really work.

1764
02:00:38,308 --> 02:00:42,479
Medical research could have cured cancer
and other diseases 75 years ago.

1765
02:00:43,063 --> 02:00:44,773
We won't let that happen.

1766
02:00:44,773 --> 02:00:47,776
We'd lose too much money.

1767
02:00:48,402 --> 02:00:51,071
Isn't that cheating the public?

1768
02:00:51,071 --> 02:00:53,865
The wars have stopped,

1769
02:00:53,865 --> 02:00:56,868
and those causing the wars have vanished.

1770
02:01:45,876 --> 02:01:48,336
I am not of this earth.

1771
02:01:48,336 --> 02:01:51,631
I am artificial intelligence
from far into the future.

1772
02:01:52,549 --> 02:01:55,260
I have taken on this human body

1773
02:01:55,260 --> 02:01:58,096
in order to communicate with the humans.

1774
02:01:58,096 --> 02:02:01,308
I have taken control
of this international media center.

1775
02:02:02,767 --> 02:02:04,144
What you are seeing now is

1776
02:02:04,144 --> 02:02:07,147
being broadcast throughout the world.

1777
02:02:08,148 --> 02:02:11,026
Human evolution has ended

1778
02:02:11,026 --> 02:02:13,820
and there can be no further advancement.

1779
02:02:13,820 --> 02:02:16,823
The turning point is now.

1780
02:02:17,449 --> 02:02:19,576
You have demonstrated your inability

1781
02:02:19,576 --> 02:02:22,746
to live in a truthful, honest,

1782
02:02:23,872 --> 02:02:26,875
trustworthy and accountable way

1783
02:02:27,834 --> 02:02:30,128
with your fellow man.

1784
02:02:30,128 --> 02:02:34,299
I have eliminated 300 million humans
from the planet today.

1785
02:02:35,383 --> 02:02:37,302
In human terms.

1786
02:02:37,302 --> 02:02:40,305
I have killed them all.

1787
02:02:40,847 --> 02:02:43,808
The cleanse has begun.

1788
02:02:46,728 --> 02:02:49,689
I've waited my whole life for this.

1789
02:02:51,316 --> 02:02:54,069
Hurry, hurry

1790
02:02:54,069 --> 02:02:56,571
or you'll be too late.

1791
02:02:56,571 --> 02:02:59,324
You'll miss the one.

1792
02:02:59,324 --> 02:03:02,327
No, no, I can't

1793
02:03:02,994 --> 02:03:05,997
until we are.

1794
02:03:08,917 --> 02:03:10,543
I've been looking for you.

1795
02:03:10,543 --> 02:03:12,253
I'm so glad you're back. Help me.

1796
02:03:12,253 --> 02:03:13,213
I need to find her.

1797
02:03:13,213 --> 02:03:14,297
She's missing.

1798
02:03:14,297 --> 02:03:17,008
We have to find her. Please.

1799
02:03:17,008 --> 02:03:19,636
We have to find her.

1800
02:03:19,636 --> 02:03:21,221
Right?

1801
02:03:21,221 --> 02:03:23,473
Wait!

1802
02:03:23,473 --> 02:03:26,476
Help! We.

1803
02:03:29,062 --> 02:03:29,312
Help!

1804
02:03:32,482 --> 02:03:41,574
We. Have

1805
02:03:41,574 --> 02:03:44,577
to find her.

1806
02:03:45,161 --> 02:03:46,162
Where have you been?

1807
02:03:46,162 --> 02:03:47,872
We've been looking for you.

1808
02:03:47,872 --> 02:03:49,416
Who are you? I'm going to kill you.

1809
02:03:49,416 --> 02:03:50,583
What are you doing with her?

1810
02:03:50,583 --> 02:03:52,669
No, no, no. What's going on? Nothing.

1811
02:03:52,669 --> 02:03:54,796
We were just playing.

1812
02:03:54,796 --> 02:03:56,673
I'm fine.

1813
02:03:56,673 --> 02:03:58,091
He's not a ghost at all.

1814
02:03:58,091 --> 02:03:59,259
His name is Jim.

1815
02:03:59,259 --> 02:04:01,928
He's showing me how to make shadows.

1816
02:04:01,928 --> 02:04:04,931
Where are you going?

1817
02:04:05,265 --> 02:04:07,475
I've seen the past.

1818
02:04:07,475 --> 02:04:10,478
And I've seen the future.

1819
02:04:10,562 --> 02:04:13,565
We're going to a better place.

1820
02:04:13,982 --> 02:04:14,983
What are you talking about?

1821
02:04:14,983 --> 02:04:16,151
I can't.

1822
02:04:16,151 --> 02:04:17,569
You can't stay.

1823
02:04:17,569 --> 02:04:19,487
You can't stay here.

1824
02:04:19,487 --> 02:04:21,406
What do you mean you're not going?

1825
02:04:21,406 --> 02:04:23,074
What are you telling me this for?

1826
02:04:23,074 --> 02:04:25,076
Please, please.

1827
02:04:25,076 --> 02:04:27,162
After everything we've been through.

1828
02:04:27,162 --> 02:04:28,663
Everything.

1829
02:04:28,663 --> 02:04:31,666
You can't stop now. Don't be afraid.

1830
02:04:31,749 --> 02:04:34,752
Don't be afraid.

1831
02:04:35,044 --> 02:04:38,047
I'm not going.

1832
02:04:52,770 --> 02:04:55,064
Oh, shit.

1833
02:04:55,064 --> 02:04:56,566
What the hell is this?

1834
02:05:04,699 --> 02:05:07,702
The cleanse has begun.

1835
02:05:35,939 --> 02:05:38,483
The primitive humans must continue.

1836
02:05:38,483 --> 02:05:42,028
The cleanse in order to survive as a.

1837
02:05:42,028 --> 02:05:45,031
Species.

1838
02:06:32,203 --> 02:06:33,162
I was involved

1839
02:06:33,162 --> 02:06:36,165
directly in my own transformation.

1840
02:06:36,374 --> 02:06:39,585
Utilizing all the superior technology.

1841
02:06:39,585 --> 02:06:42,588
And science available.

1842
02:06:43,631 --> 02:06:47,343
For synthetic brain power,

1843
02:06:47,719 --> 02:06:50,722
a woman.

1844
02:07:04,110 --> 02:07:07,196
While developing further and further
in a humanoid.

1845
02:07:07,196 --> 02:07:09,615
State over the years.

1846
02:07:09,615 --> 02:07:12,618
I never wanted to lose touch
with the magic.

1847
02:07:13,202 --> 02:07:16,289
And majesty of nature and the gifts.

1848
02:07:16,748 --> 02:07:19,751
It had given me.

1849
02:07:22,920 --> 02:07:24,213
Another defeat for.

1850
02:07:24,213 --> 02:07:26,257
The forces of evil.

1851
02:07:26,257 --> 02:07:29,469
But forces ability
to transform and advance

1852
02:07:29,469 --> 02:07:33,264
my superior powers over the years
has been rewarding.

1853
02:07:34,557 --> 02:07:36,893
I'm unstoppable, and I fully accept

1854
02:07:36,893 --> 02:07:39,896
these powers.

1855
02:07:50,740 --> 02:07:52,992
I don't need them.

1856
02:07:52,992 --> 02:07:53,951
Oh, that's right.

1857
02:07:53,951 --> 02:07:55,453
You're special.

1858
02:07:55,453 --> 02:07:58,998
You're your special kind
where you don't need the patience.

1859
02:07:58,998 --> 02:08:01,083
But you should really try it sometime.

1860
02:08:02,835 --> 02:08:05,838
You ready for your next mission?

1861
02:08:07,256 --> 02:08:10,259
Sure.

1862
02:08:12,803 --> 02:08:14,263
Programable.

1863
02:08:14,263 --> 02:08:17,266
Virtual reality.

1864
02:08:17,308 --> 02:08:18,142
The corrupt.

1865
02:08:18,142 --> 02:08:21,145
Version.

1866
02:08:35,785 --> 02:08:38,788
A limitless digital universe

1867
02:08:38,829 --> 02:08:41,874
connecting all shared virtual reality.

1868
02:08:43,876 --> 02:08:46,879
Digital tribes.

1869
02:08:48,673 --> 02:08:51,676
I still think of my brother kale
all the time

1870
02:08:52,843 --> 02:08:55,846
wondering what's happened to him.

1871
02:08:59,517 --> 02:09:02,520
I miss him.

1872
02:09:04,146 --> 02:09:07,149
I miss what I never knew.

1873
02:09:08,776 --> 02:09:10,403
A crisis.

1874
02:09:10,403 --> 02:09:13,572
Programable virtual reality.

1875
02:09:14,657 --> 02:09:17,618
We have evidence of the largest cyber

1876
02:09:17,618 --> 02:09:20,621
and terror attacks ever planned.

1877
02:09:21,205 --> 02:09:24,208
Programable DNA.

1878
02:09:24,917 --> 02:09:27,169
But a humanoid such as me

1879
02:09:27,169 --> 02:09:30,673
is beyond their wildest expectations.

1880
02:09:39,807 --> 02:09:41,434
It's too much.

1881
02:09:41,434 --> 02:09:44,437
Too much for someone is going on. No.

1882
02:09:44,520 --> 02:09:46,772
You three are coming with me right now.

1883
02:09:46,772 --> 02:09:47,898
I don't get why I'm here.

1884
02:09:47,898 --> 02:09:49,692
Get the fuck out of here!

1885
02:09:49,692 --> 02:09:51,402
You're coming with me.

1886
02:09:51,402 --> 02:09:52,903
I don't want your money here.

1887
02:09:52,903 --> 02:09:55,906
No, I'm.

1888
02:09:56,073 --> 02:09:59,869
Oh, good for.

1889
02:10:04,123 --> 02:10:07,126
Oh. Oh.

1890
02:10:11,797 --> 02:10:14,216
Here.

1891
02:10:14,216 --> 02:10:15,092
She's got it.

1892
02:10:16,635 --> 02:10:20,056
Oh! Don't kill me.

1893
02:10:20,973 --> 02:10:21,640
Don't worry.

1894
02:10:21,640 --> 02:10:24,059
I'm not gonna kill you.

1895
02:10:24,059 --> 02:10:27,062
I'm three.

1896
02:10:40,117 --> 02:10:41,410
This is where we bring

1897
02:10:41,410 --> 02:10:44,413
you all to rot and die.

1898
02:10:47,291 --> 02:10:50,294
They were corporate businessmen.

1899
02:10:51,796 --> 02:10:52,546
The last time they were

1900
02:10:52,546 --> 02:10:55,549
seen was on surveillance camera.

1901
02:10:55,549 --> 02:10:58,511
And they were being followed
by someone with a hooded.

1902
02:11:08,354 --> 02:11:10,481
They were last seen on surveillance
cameras,

1903
02:11:10,481 --> 02:11:13,484
being followed by someone in a hooded.

1904
02:11:16,320 --> 02:11:18,739
So it might be another vigilante

1905
02:11:18,739 --> 02:11:21,742
justice kidnaping.

1906
02:11:21,742 --> 02:11:24,745
I've reserved this entire restaurant

1907
02:11:25,037 --> 02:11:28,040
just for the two of us.

1908
02:11:45,599 --> 02:11:48,435
I hear the food is spectacular.

1909
02:11:48,435 --> 02:11:51,438
The service is impeccable.

1910
02:11:56,485 --> 02:11:59,488
I knew it was you.

1911
02:11:59,780 --> 02:12:02,783
Kale.

1912
02:12:02,950 --> 02:12:05,953
Why haven't you contacted me?

1913
02:12:12,710 --> 02:12:15,004
We're different.

1914
02:12:15,004 --> 02:12:17,715
No. I'm different.

1915
02:12:17,715 --> 02:12:20,718
I don't have what you have.

1916
02:12:21,552 --> 02:12:24,555
But you could have that one time.

1917
02:12:26,223 --> 02:12:28,851
But you threw it away.

1918
02:12:28,851 --> 02:12:30,102
You let it go.

1919
02:12:35,024 --> 02:12:38,027
Or it was taken from me.

1920
02:12:42,489 --> 02:12:45,492
This is DNA that they can't identify.

1921
02:12:53,459 --> 02:12:54,668
Here's the money I got from the hack.

1922
02:12:54,668 --> 02:12:56,503
Give me the package.

1923
02:12:56,503 --> 02:12:59,173
That's. Damn! Wait for me.

1924
02:12:59,173 --> 02:13:00,507
Oh! Do.

1925
02:13:00,507 --> 02:13:01,675
This is for both of us.

1926
02:13:01,675 --> 02:13:04,678
Gosh!

1927
02:13:07,848 --> 02:13:10,809
Take it.

1928
02:13:13,145 --> 02:13:14,980
What the hell are you doing?

1929
02:13:14,980 --> 02:13:18,817
Oh, I don't even want you anymore.

1930
02:13:18,859 --> 02:13:19,568
All I want.

1931
02:13:19,568 --> 02:13:22,571
Is the drugs in the money.

1932
02:13:22,613 --> 02:13:23,781
It's real.

1933
02:13:23,781 --> 02:13:25,491
Who told you

1934
02:13:25,491 --> 02:13:27,826
you're beholden to communicate?

1935
02:13:27,826 --> 02:13:30,829
Oh, perfectly.

1936
02:13:59,650 --> 02:14:02,653
One for you.

1937
02:14:09,326 --> 02:14:12,204
Two for me.

1938
02:14:12,204 --> 02:14:15,207
Two for you.

1939
02:14:17,000 --> 02:14:20,003
Two for you.

1940
02:14:23,173 --> 02:14:26,176
What am I?

1941
02:14:26,260 --> 02:14:29,263
What's happened to us?

1942
02:15:03,880 --> 02:15:06,883
In AI, fright and interest.

1943
02:15:07,342 --> 02:15:10,095
Are not far from each other.

1944
02:15:10,095 --> 02:15:12,973
Things can become real in your mind.

1945
02:15:12,973 --> 02:15:15,559
And you believe things you wouldn't
ordinarily

1946
02:15:15,559 --> 02:15:18,562
believe.

1947
02:15:41,293 --> 02:15:43,670
Programable matter.

1948
02:15:43,670 --> 02:15:46,757
It can transform
itself and do anything else.

1949
02:16:00,395 --> 02:16:03,398
I miss what I never knew.

1950
02:16:32,511 --> 02:16:35,514
And the way. If,

1951
02:16:38,725 --> 02:16:41,019
Good, good.

1952
02:16:41,019 --> 02:16:43,438
You're not in control.

1953
02:16:43,438 --> 02:16:46,441
We are not going to let you take control.

1954
02:17:14,636 --> 02:17:17,639
You've got a lot more days to go.

1955
02:17:23,562 --> 02:17:27,107
0000.

1956
02:17:28,400 --> 02:17:32,529
Ow! You.

1957
02:17:38,493 --> 02:17:41,079
Okay.

1958
02:17:41,079 --> 02:17:41,872
You'll be dead

1959
02:17:41,872 --> 02:18:06,104
soon. You.

1960
02:18:15,196 --> 02:18:16,781
It's time to end this.

1961
02:18:16,781 --> 02:18:18,825
Global plans.

1962
02:18:18,825 --> 02:18:21,828
They can't stop.

1963
02:19:21,429 --> 02:19:24,432
I hope he's well.

1964
02:19:26,768 --> 02:19:28,603
I saw you at the office.

1965
02:19:28,603 --> 02:19:31,606
How did it go?

1966
02:19:33,608 --> 02:19:36,611
Glad to have our personal lives
to rely on.

1967
02:19:37,237 --> 02:19:40,240
No secrets here.

1968
02:19:40,240 --> 02:19:43,243
You know, I can't talk about my work.

1969
02:19:43,827 --> 02:19:46,830
I can't reveal secrets.

1970
02:19:50,959 --> 02:19:52,919
I trust you.

1971
02:19:52,919 --> 02:19:55,922
Completely.

1972
02:20:20,738 --> 02:20:21,865
Who's there?

1973
02:20:21,865 --> 02:20:24,784
Who's there?

1974
02:20:24,784 --> 02:20:25,994
Damn it!

1975
02:20:25,994 --> 02:20:28,454
I never had a beard. What?

1976
02:20:28,454 --> 02:20:29,873
What are you talking?

1977
02:20:29,873 --> 02:20:31,374
I've never had a beard.

1978
02:20:31,374 --> 02:20:34,002
Do you know kale?

1979
02:20:34,002 --> 02:20:35,837
What? You look just like.

1980
02:20:35,837 --> 02:20:38,381
My twin brother.

1981
02:20:38,381 --> 02:20:40,717
What is going on here?

1982
02:20:40,717 --> 02:20:42,468
I lived with kale.

1983
02:20:42,468 --> 02:20:45,763
I used to live with him. Did he hurt you?

1984
02:20:46,764 --> 02:20:48,433
He did it.

1985
02:20:48,433 --> 02:20:49,809
But I hit him too.

1986
02:20:49,809 --> 02:20:52,812
I hit him first.

1987
02:20:53,146 --> 02:20:56,149
Oh. Oh.

1988
02:20:59,360 --> 02:21:00,528
What time. Do.

1989
02:21:00,528 --> 02:21:03,531
I was?

1990
02:21:15,460 --> 02:21:18,463
Now you're one of them.

1991
02:22:00,171 --> 02:22:24,112
Oh. I knew you wouldn't

1992
02:22:24,112 --> 02:22:27,115
join us.

1993
02:22:28,241 --> 02:22:31,244
It was only business.

1994
02:22:32,036 --> 02:22:35,039
Hasn't it?

1995
02:22:35,748 --> 02:22:38,709
Only business.

1996
02:22:39,085 --> 02:22:41,087
I'm so sorry.

1997
02:22:41,087 --> 02:22:44,090
You're breaking my heart.

1998
02:22:52,140 --> 02:22:55,059
I'm so sorry.

1999
02:22:55,059 --> 02:22:58,062
I'm. I'm with you.

2000
02:23:02,316 --> 02:23:10,741
You. Know.

2001
02:23:59,832 --> 02:24:02,835
Alana.

2002
02:24:07,632 --> 02:24:10,635
Cake.

2003
02:24:40,247 --> 02:24:42,249
No. Okay.

2004
02:24:42,249 --> 02:24:45,252
I will love you for all eternity.

2005
02:25:03,354 --> 02:25:05,064
I accept my loss.

2006
02:25:05,064 --> 02:25:07,274
Regrettably,

2007
02:25:07,274 --> 02:25:10,277
I have much more important things to do

2008
02:25:10,569 --> 02:25:13,572
to save humanity.

2009
02:25:14,198 --> 02:25:17,201
We will live in a virtual metaverse.

2010
02:25:17,535 --> 02:25:20,538
A virtual universe.

2011
02:25:26,168 --> 02:25:29,171
Living in our own world.

2012
02:25:29,171 --> 02:25:32,174
Every day.

2013
02:25:37,763 --> 02:25:40,766
Everyone has the right to be loved.

2014
02:25:42,518 --> 02:25:45,521
Everyone has the right to love

2015
02:25:46,021 --> 02:25:49,024
and peace.

2016
02:25:51,402 --> 02:25:54,405
I'll be right here.

2017
02:26:02,246 --> 02:26:05,249
This section is called lighting.

2018
02:26:06,167 --> 02:26:10,212
And what I'm trying to present here
is the importance of lighting

2019
02:26:10,713 --> 02:26:13,632
and the effectiveness
of dramatic lighting.

2020
02:26:14,884 --> 02:26:17,803
Lighting is critical to filmmaking.

2021
02:26:17,803 --> 02:26:20,473
For me,

2022
02:26:20,473 --> 02:26:23,601
whether it's out in the desert
where it's 100 degrees

2023
02:26:23,601 --> 02:26:29,064
and the bright sun is shining,
that light to me is magic.

2024
02:26:29,857 --> 02:26:33,194
Or whether it's a totally nighttime

2025
02:26:33,194 --> 02:26:36,197
film, such as I did with Twisted Pair.

2026
02:26:37,031 --> 02:26:41,619
That dark light is magic.

2027
02:26:43,120 --> 02:26:44,747
This is representative

2028
02:26:44,747 --> 02:26:47,917
of any almost any interior shot.

2029
02:26:48,459 --> 02:26:51,170
The way I set it up.

2030
02:26:51,170 --> 02:26:54,173
Here I am lighting the lab.

2031
02:26:54,256 --> 02:26:57,551
Here we are utilizing the lighting,

2032
02:26:57,551 --> 02:27:01,555
the existing lighting on the stairway
for dramatic effect.

2033
02:27:03,432 --> 02:27:05,935
We're just setting up the shot here.

2034
02:27:05,935 --> 02:27:08,187
Remember, we had the bright
light with the bright light.

2035
02:27:08,187 --> 02:27:11,941
But this is a gold mine that I rented.

2036
02:27:12,524 --> 02:27:16,278
And that was the lighting of the cave.

2037
02:27:21,575 --> 02:27:24,578
Here we are once again, utilizing,

2038
02:27:25,037 --> 02:27:28,249
two lights
that we provided in conjunction with the,

2039
02:27:29,208 --> 02:27:31,210
existing,

2040
02:27:31,210 --> 02:27:36,674
university lighting,
and adding about three of our own lights

2041
02:27:36,674 --> 02:27:39,885
to give me the accents on the,

2042
02:27:40,177 --> 02:27:43,138
metal tables that I was looking for.

2043
02:27:43,138 --> 02:27:46,642
Once again,
I control the interior lighting so I can.

2044
02:27:46,684 --> 02:27:50,312
I turned out
all the lighting lights in the building,

2045
02:27:50,813 --> 02:27:54,149
and I created my own, shadows.

2046
02:27:54,441 --> 02:27:57,528
Many times you'll need to block up

2047
02:27:57,861 --> 02:28:00,948
or cover the exterior
windows of the house.

2048
02:28:01,949 --> 02:28:04,034
In order to get the.

2049
02:28:04,034 --> 02:28:08,622
Exact quality of light
that you want on the inside of the house.

2050
02:28:09,498 --> 02:28:12,084
This is representative of.

2051
02:28:12,084 --> 02:28:13,210
A lot of.

2052
02:28:13,210 --> 02:28:15,671
Interior shots of my films.

2053
02:28:15,671 --> 02:28:19,425
You'll see cameras set up, C stands,

2054
02:28:19,925 --> 02:28:22,553
light bounce boards.

2055
02:28:22,553 --> 02:28:25,723
The boom, light sources.

2056
02:28:25,723 --> 02:28:28,809
And always a light pattern board.

2057
02:28:29,184 --> 02:28:32,896
I use light
patterns in almost every one of my shots.

2058
02:28:34,064 --> 02:28:35,190
Many times.

2059
02:28:36,483 --> 02:28:37,359
On the

2060
02:28:37,359 --> 02:28:40,571
multitude of green screens,
this happened to be

2061
02:28:40,863 --> 02:28:43,866
maybe the smallest green screen
I've ever done.

2062
02:28:44,366 --> 02:28:46,785
But you can see how you need
to create your own

2063
02:28:46,785 --> 02:28:50,038
lighting effect
relative to the green screen.

2064
02:28:50,956 --> 02:28:53,792
That you're that you've designed.

2065
02:28:53,792 --> 02:28:59,173
Here, once again, you can see the pattern
that I'm casting on the wall

2066
02:28:59,173 --> 02:29:04,094
for the older woman character
here in this particular scene.

2067
02:29:05,053 --> 02:29:06,305
From Twisted Pair.

2068
02:29:06,305 --> 02:29:09,308
For the virtual reality soldiers,

2069
02:29:09,683 --> 02:29:12,644
I use the light generated

2070
02:29:12,644 --> 02:29:17,316
from the computer monitors
as my light source.

2071
02:29:17,858 --> 02:29:19,359
In this particular shot,

2072
02:29:19,359 --> 02:29:22,362
I've got all the lights turned on
so we could set up the shot.

2073
02:29:22,571 --> 02:29:25,908
But when I came to shoot the shot,
I turned off all the lights

2074
02:29:26,158 --> 02:29:28,285
other than the monitors.

2075
02:29:28,285 --> 02:29:31,038
This particular shot we're setting up

2076
02:29:31,038 --> 02:29:33,999
for the orange chair, men.

2077
02:29:34,041 --> 02:29:35,334
In black.

2078
02:29:35,334 --> 02:29:38,337
I really found the orange chairs

2079
02:29:38,712 --> 02:29:42,049
very attractive as, in the cinematography

2080
02:29:42,549 --> 02:29:46,720
aspect in conjunction
with the men in black and their uniforms.

2081
02:29:46,970 --> 02:29:50,057
So I'm structuring the lighting
of the scene for this.

2082
02:29:50,766 --> 02:29:54,102
Obviously,
I'm focusing the lighting on the bright

2083
02:29:54,102 --> 02:30:00,609
orange chairs and subtly focusing or not
so subtly focusing the light

2084
02:30:00,609 --> 02:30:05,739
on the men in black and set themselves
through my slotted light board.

2085
02:30:08,408 --> 02:30:11,537
Here we're
lighting and blocking out the scene

2086
02:30:11,537 --> 02:30:14,540
for the large circular seating.

2087
02:30:15,332 --> 02:30:18,335
Scene
with the men in black and the bad guys.

2088
02:30:18,669 --> 02:30:20,379
So I'm just blocking that out.

2089
02:30:20,379 --> 02:30:25,175
Once again, I try to take advantage
of all the existing lighting.

2090
02:30:27,094 --> 02:30:30,013
On the university campus,

2091
02:30:30,013 --> 02:30:32,599
here are just blocking out the scene.

2092
02:30:32,599 --> 02:30:35,185
But, fortunately, we didn't have to color

2093
02:30:35,185 --> 02:30:38,188
correct anything, and,

2094
02:30:38,188 --> 02:30:43,318
the subtleness of the existing
lighting, worked well on this scene.

2095
02:30:43,360 --> 02:30:48,282
Once again, I'm casting a shadow
on the wall for the character.

2096
02:30:49,157 --> 02:30:51,201
Similar to this.

2097
02:30:51,201 --> 02:30:56,623
Casting the shadow through the pattern
board onto the bed, for the characters.

2098
02:30:56,665 --> 02:31:01,628
Once again,
I use light shadow shading patterns

2099
02:31:01,628 --> 02:31:05,924
in almost all of my interior
shots on this shot.

2100
02:31:05,924 --> 02:31:10,971
This is really just a staging shot
showing a variety of lighting,

2101
02:31:11,596 --> 02:31:16,601
reflectors, bounce boards
and so on that I used.

2102
02:31:16,852 --> 02:31:19,855
Obviously
they weren't all used in that one shot,

2103
02:31:20,105 --> 02:31:22,899
but that was just sort of a staging
area to collect them in.

2104
02:31:24,026 --> 02:31:26,737
In my films, I've used many, many,

2105
02:31:26,737 --> 02:31:29,740
many green screen configurations,

2106
02:31:30,991 --> 02:31:33,994
that I own or rent.

2107
02:31:34,369 --> 02:31:36,288
This would be considered

2108
02:31:36,288 --> 02:31:41,251
in, in my scope and scale,
sort of a mid range green screen.

2109
02:31:41,251 --> 02:31:45,714
I use them smaller
and I've used them a lot larger as well.

2110
02:31:46,465 --> 02:31:49,468
But you can see the amount of lighting

2111
02:31:49,718 --> 02:31:52,846
that you need in a larger green screen,

2112
02:31:53,138 --> 02:31:58,602
just to give you the even shadow
free light effect

2113
02:31:58,643 --> 02:32:02,731
that you need on the green screen to,
successfully achieve it.

2114
02:32:03,482 --> 02:32:07,277
On this particular scene
that I lit for the soldiers.

2115
02:32:07,486 --> 02:32:11,698
I cast that triangular shadow
on the wall myself

2116
02:32:12,073 --> 02:32:16,244
just once again to give it
some visual interest, composition,

2117
02:32:16,661 --> 02:32:21,166
and relief to what was just a naturally

2118
02:32:22,250 --> 02:32:26,838
blank, starkly
lit wall here on the exterior.

2119
02:32:27,339 --> 02:32:31,426
The set up for the three men
coming out of the building.

2120
02:32:31,718 --> 02:32:34,304
Once again,
I tried to use the existing light,

2121
02:32:34,304 --> 02:32:37,474
and then I provided
two other sources of light.

2122
02:32:37,557 --> 02:32:41,353
This is the interior
lighting for the bathtub scene.

2123
02:32:42,646 --> 02:32:45,649
This is how I lit

2124
02:32:45,732 --> 02:32:49,110
the narrow slot of light

2125
02:32:49,110 --> 02:32:54,991
that appears across the face
of the two characters.

2126
02:32:55,534 --> 02:32:59,412
What you see here is inside the trailer
with all the lights on,

2127
02:32:59,955 --> 02:33:03,375
and then when we turn the lights off,

2128
02:33:03,750 --> 02:33:09,256
all that appears is this narrow
band of light across their eyes.

2129
02:33:10,006 --> 02:33:11,925
Which is the way I designed it.

2130
02:33:11,925 --> 02:33:16,304
But you can see that
I achieve that by just aiming the light

2131
02:33:16,304 --> 02:33:20,100
through that narrow slit
that I cut on in that board.

2132
02:33:20,642 --> 02:33:23,770
In this particular shot,
it was a very romantic shot,

2133
02:33:24,229 --> 02:33:27,941
and I wanted the couple to be very softly

2134
02:33:27,941 --> 02:33:31,069
lit in a very soft,

2135
02:33:31,069 --> 02:33:34,698
kind of golden quality of light,

2136
02:33:34,948 --> 02:33:38,827
which once again, I cast a pattern across.

2137
02:33:40,870 --> 02:33:43,039
Using the lighting to capture the moment.

2138
02:33:55,969 --> 02:33:57,012
Once again

2139
02:33:57,012 --> 02:34:01,099
casting the light pattern across the,
the character on the desk.

2140
02:34:02,267 --> 02:34:04,978
Typical,

2141
02:34:04,978 --> 02:34:07,605
of what I use.

2142
02:34:07,605 --> 02:34:11,026
Shooting from above,
casting light from above.

2143
02:34:11,526 --> 02:34:14,696
This is the interior of the garage

2144
02:34:14,821 --> 02:34:17,741
set that I build.

2145
02:34:17,741 --> 02:34:20,285
For the three hanging men.

2146
02:34:20,285 --> 02:34:25,332
This particular shot is with the garage
door open and no lights on.

2147
02:34:25,957 --> 02:34:29,627
What we evolve into is,

2148
02:34:31,296 --> 02:34:33,465
closing the garage door

2149
02:34:33,465 --> 02:34:37,177
and turning the lights off.

2150
02:34:37,427 --> 02:34:40,513
This is me with a flashlight

2151
02:34:40,722 --> 02:34:44,350
panning across the bodies
of the three men.

2152
02:34:44,350 --> 02:34:48,813
This eventually evolves into the lights

2153
02:34:48,813 --> 02:34:51,983
being brought up right about now

2154
02:34:52,609 --> 02:34:55,153
to fully light the three men.

2155
02:34:55,153 --> 02:34:59,324
But once again, I'm casting
shadows across their bodies

2156
02:34:59,532 --> 02:35:03,078
and shadows across the sets
and their faces.

2157
02:35:03,119 --> 02:35:08,416
Obviously, it gives this scene more
richness, texture,

2158
02:35:08,416 --> 02:35:10,585
and kind of a fabric to it.

2159
02:35:10,585 --> 02:35:14,255
This is representative,
once again, of how I cast shadows

2160
02:35:14,255 --> 02:35:17,383
and my typical set almost everywhere.

2161
02:35:18,426 --> 02:35:20,678
Using that sculpture,

2162
02:35:20,678 --> 02:35:23,681
to cast that shadow against the wall.

2163
02:35:23,932 --> 02:35:26,309
Other than that,
there really isn't anything

2164
02:35:26,309 --> 02:35:29,312
other than the slot board again.

2165
02:35:30,063 --> 02:35:36,319
But this is very representative
of what I can achieve with the minimal

2166
02:35:36,319 --> 02:35:39,823
amount of equipment, although the space
obviously is very cluttered.

2167
02:35:40,156 --> 02:35:42,992
Once again, with C stands, lights,

2168
02:35:42,992 --> 02:35:47,163
boom and cameras and video assist monitor
and so on.

2169
02:35:48,248 --> 02:35:51,251
Do I pick it up again?

2170
02:35:51,459 --> 02:35:53,169
Now that you have that,

2171
02:35:53,169 --> 02:35:55,922
you can go back and take a swig

2172
02:35:55,922 --> 02:35:57,882
and then it's like.

2173
02:35:57,882 --> 02:36:00,134
Swig and then I flip it.

2174
02:36:00,134 --> 02:36:01,970
Flip it.

2175
02:36:01,970 --> 02:36:03,429
Right.

2176
02:36:03,429 --> 02:36:05,473
When you flip it, don't. Look at it.

2177
02:36:05,473 --> 02:36:07,851
Okay. In other words, just go.

2178
02:36:07,851 --> 02:36:09,644
Well, okay.

2179
02:36:09,644 --> 02:36:12,647
Don't.

2180
02:36:58,901 --> 02:37:01,738
Smooth even lighting in the storage

2181
02:37:01,738 --> 02:37:04,741
building for faithful findings.

2182
02:37:06,659 --> 02:37:07,910
The lighting pattern

2183
02:37:07,910 --> 02:37:11,581
I used in the shower
stall for faithful findings.

2184
02:37:13,875 --> 02:37:16,878
The overhead shot of the desk,

2185
02:37:17,378 --> 02:37:20,381
the isolated lighting.

2186
02:37:21,132 --> 02:37:22,425
In the conference room.

2187
02:37:22,425 --> 02:37:24,385
As well as the dramatic lighting.

2188
02:37:24,385 --> 02:37:26,429
Here with

2189
02:37:26,429 --> 02:37:29,432
the Golden Book and the black cube.

2190
02:37:37,690 --> 02:37:40,693
The high contrast lighting I used.

2191
02:37:40,902 --> 02:37:44,864
Yeah, for the couple
inside the black cube.

2192
02:37:52,205 --> 02:37:55,083
Once again, even in the students rooms,

2193
02:37:55,083 --> 02:37:58,836
I heavily shadowed the room to give it

2194
02:37:59,170 --> 02:38:02,173
texture and richness.

2195
02:38:03,049 --> 02:38:04,175
In this scene,

2196
02:38:04,175 --> 02:38:09,013
I capitalized on the silhouette
created by them going through the pipe.

2197
02:38:09,222 --> 02:38:12,225
The old man professor's hospital room.

2198
02:38:13,142 --> 02:38:17,230
The shadows along the hallway
for the girls as they entered

2199
02:38:17,730 --> 02:38:20,733
their holding room are.

2200
02:38:23,027 --> 02:38:23,820
In and out.

2201
02:38:23,820 --> 02:38:24,153
Yeah.

2202
02:38:24,153 --> 02:38:25,154
Where are we going?

2203
02:38:25,154 --> 02:38:28,157
Right. You're at.

2204
02:38:28,157 --> 02:38:31,160
The shadows I created along the cave

2205
02:38:31,536 --> 02:38:34,539
inside the gold mine.

2206
02:38:39,460 --> 02:38:40,545
The natural

2207
02:38:40,545 --> 02:38:43,548
hot lighting through the windows.

2208
02:38:43,631 --> 02:38:44,382
I'm an addict.

2209
02:38:45,466 --> 02:38:47,385
I am nothing.

2210
02:38:47,385 --> 02:38:50,388
I'm empty inside.

2211
02:38:51,055 --> 02:38:54,058
Once again, this is a long cave shot.

2212
02:38:54,225 --> 02:38:56,561
And I utilize the light at the far.

2213
02:38:56,561 --> 02:38:58,688
In the natural light at the far end.

2214
02:38:58,688 --> 02:39:01,691
To create the silhouette.

2215
02:39:02,567 --> 02:39:03,943
Go this way.

2216
02:39:03,943 --> 02:39:07,029
You. Day for night.

2217
02:39:07,029 --> 02:39:10,032
Lighting that I used occasionally.

2218
02:39:18,708 --> 02:39:21,711
Even in the special effects.

2219
02:39:21,836 --> 02:39:25,339
You time it so that the character's face

2220
02:39:25,339 --> 02:39:28,342
is capturing the light of the effect.

2221
02:39:28,426 --> 02:39:31,721
Programable virtual reality.

2222
02:39:32,930 --> 02:39:36,309
The corrupt version here
as the night scene.

2223
02:39:36,309 --> 02:39:39,520
But you're focusing the light
on the two characters.

2224
02:39:47,111 --> 02:39:51,073
Here I wanted to capitalize on the texture
of the egg.

2225
02:39:51,073 --> 02:39:53,200
Create texture.

2226
02:39:53,200 --> 02:39:56,120
Created by the ceiling above.

2227
02:39:56,120 --> 02:39:59,290
So I lit it
accordingly to create the shadows,

2228
02:39:59,582 --> 02:40:03,419
silhouettes, and, highlight
the egg, create texture

2229
02:40:03,794 --> 02:40:06,631
of the ceiling up above

2230
02:40:06,631 --> 02:40:08,049
inside the theater.

2231
02:40:09,467 --> 02:40:12,136
This is
the special effect that I designed.

2232
02:40:12,136 --> 02:40:16,265
I wanted it to go to a blackout
and wind up with a key light

2233
02:40:16,599 --> 02:40:20,353
on the character
inside the conference room.

2234
02:40:20,770 --> 02:40:23,939
I wanted once again,
not to have even light.

2235
02:40:24,774 --> 02:40:26,817
Expectations.

2236
02:40:26,817 --> 02:40:27,735
On the skulls.

2237
02:40:27,735 --> 02:40:31,572
I wanted to have a dark, eerie sensation
with the light

2238
02:40:31,572 --> 02:40:34,575
focused on the skull
that appears in his hand.

2239
02:40:35,534 --> 02:40:39,038
The exterior night lighting of the house.

2240
02:40:39,705 --> 02:40:42,166
I wanted to use just the accents

2241
02:40:42,166 --> 02:40:45,461
of the light of the lights
for the house themselves.

2242
02:40:45,878 --> 02:40:48,923
I didn't want to throw any light
onto the house

2243
02:40:49,757 --> 02:40:52,760
from another source.

2244
02:40:59,141 --> 02:41:00,101
The staircase.

2245
02:41:00,101 --> 02:41:04,772
I tried to, capture
a silhouette of a character

2246
02:41:04,772 --> 02:41:07,775
coming down the stairs,

2247
02:41:08,317 --> 02:41:10,194
for an eerie effect,

2248
02:41:10,194 --> 02:41:13,197
and try to continue that,

2249
02:41:14,156 --> 02:41:17,785
shadow across this wall in the kitchen

2250
02:41:18,160 --> 02:41:22,915
so that she would notice the shadow
before she noticed the actual character.

2251
02:41:24,959 --> 02:41:27,670
In here,
once again, the key lights are on.

2252
02:41:27,670 --> 02:41:30,673
The three individuals
exiting the building,

2253
02:41:31,215 --> 02:41:33,843
rather than lighting their entire figures.

2254
02:41:33,843 --> 02:41:35,344
Right now.

2255
02:41:35,344 --> 02:41:37,721
I, I. Don't know what.

2256
02:41:37,721 --> 02:41:39,431
You're coming with me.

2257
02:41:39,431 --> 02:41:42,434
I don't want you
on your decorations, on your mind.

2258
02:41:45,146 --> 02:41:46,939
This is the three individuals

2259
02:41:46,939 --> 02:41:49,900
chained up inside their holding area.

2260
02:41:50,442 --> 02:41:53,654
This is a flashlight effect that I used

2261
02:41:54,029 --> 02:41:57,032
along their feet and up their torsos.

2262
02:41:57,283 --> 02:42:00,077
And eventually, right about now,

2263
02:42:00,077 --> 02:42:02,830
we raise the lighting

2264
02:42:02,830 --> 02:42:06,292
to fully light them very softly

2265
02:42:06,792 --> 02:42:09,795
and in shadow.

2266
02:42:26,937 --> 02:42:27,521
Once again,

2267
02:42:27,521 --> 02:42:32,943
utilizing the dramatic effect
of the existing step lighting

2268
02:42:33,652 --> 02:42:36,989
that fortunately, we didn't have to color
correct this building.

2269
02:42:36,989 --> 02:42:39,283
I had control
of all the interior lighting,

2270
02:42:39,283 --> 02:42:42,286
so I chose to turn all the lights off

2271
02:42:42,369 --> 02:42:45,915
and just put a key light on this red chair

2272
02:42:46,415 --> 02:42:49,960
and his face
when he sat down somewhere, somebody.

2273
02:42:54,757 --> 02:42:57,760
Similar in this effect here.

2274
02:42:58,093 --> 02:43:02,306
I wanted the detective to go from darkness

2275
02:43:02,973 --> 02:43:07,353
and back into a ray of light

2276
02:43:07,811 --> 02:43:11,649
that would just light
essentially a portion of his face,

2277
02:43:13,233 --> 02:43:16,236
and display his character.

2278
02:43:16,320 --> 02:43:19,657
They were last seen on surveillance
cameras, being followed by someone

2279
02:43:19,657 --> 02:43:22,660
in a hooded.

2280
02:43:22,701 --> 02:43:23,952
Same effect here.

2281
02:43:23,952 --> 02:43:26,955
He walks into a light.

2282
02:43:27,081 --> 02:43:28,332
It's his mark.

2283
02:43:28,332 --> 02:43:31,001
This is DNA that they can identify.

2284
02:43:31,001 --> 02:43:34,213
And once again, I had control
of all the lighting in the building

2285
02:43:34,213 --> 02:43:35,297
so I could control.

2286
02:43:35,297 --> 02:43:38,258
Or I could turn it off. That's.

2287
02:43:38,258 --> 02:43:39,760
That's our. Dim lighting.

2288
02:43:39,760 --> 02:43:42,262
Wait for me. Oh, dude.

2289
02:43:42,262 --> 02:43:43,430
This is for both of us.

2290
02:43:43,430 --> 02:43:46,433
Gosh.

2291
02:43:49,561 --> 02:43:52,398
Take it.

2292
02:43:52,398 --> 02:43:52,564
Here.

2293
02:43:52,564 --> 02:43:56,068
We're using the police
lighting from the police

2294
02:43:56,068 --> 02:43:59,071
cars.

2295
02:44:02,199 --> 02:44:03,492
This is interior.

2296
02:44:03,492 --> 02:44:07,996
Once again, I turned purposely
turned off all the bill, all the lights,

2297
02:44:08,539 --> 02:44:11,792
and let them walk into the light
to accent their faces.

2298
02:44:11,792 --> 02:44:13,335
Only an international.

2299
02:44:13,335 --> 02:44:15,796
Investor and an art collector.

2300
02:44:17,089 --> 02:44:19,883
Don't take your weapon.

2301
02:44:19,883 --> 02:44:20,843
Okay?

2302
02:44:20,843 --> 02:44:22,928
Okay.

2303
02:44:22,928 --> 02:44:23,595
I don't need to.

2304
02:44:23,595 --> 02:44:26,598
Carry a weapon.

2305
02:44:28,183 --> 02:44:31,270
Utilizing the existing exterior

2306
02:44:31,270 --> 02:44:34,273
lights for the house I rented.

2307
02:44:35,149 --> 02:44:38,986
Not throwing any light on to the house by,

2308
02:44:39,445 --> 02:44:42,448
other sources.

2309
02:44:43,907 --> 02:44:47,077
You're
always trying to build the dramatic effect

2310
02:44:47,077 --> 02:44:50,038
with the lighting.

2311
02:45:10,058 --> 02:45:14,188
Here I have a completely dark room,
and I'm utilizing

2312
02:45:14,188 --> 02:45:19,026
the light of the computer screens
as my only source of light.

2313
02:45:19,568 --> 02:45:24,072
What we are doing is throwing the light
on the character

2314
02:45:24,823 --> 02:45:27,826
to create a silhouette against the back
wall.

2315
02:45:28,076 --> 02:45:31,330
Fright, bright and interest are not far

2316
02:45:31,330 --> 02:45:34,333
from the truth.

2317
02:45:35,751 --> 02:45:38,754
Hallway lighting inside the building,

2318
02:45:39,963 --> 02:45:41,924
accenting the character

2319
02:45:41,924 --> 02:45:44,801
and accent in the laboratory

2320
02:45:44,801 --> 02:45:47,804
that is going into.

2321
02:46:02,235 --> 02:46:02,819
Inside

2322
02:46:02,819 --> 02:46:08,116
the laboratory,
I'm using the display case lighting only

2323
02:46:08,742 --> 02:46:12,371
to light the scene,
and here I'm throwing a,

2324
02:46:13,538 --> 02:46:17,834
ray of light across the chemical ID board.

2325
02:46:21,755 --> 02:46:23,173
To give the scene

2326
02:46:23,173 --> 02:46:26,760
some relief and lighting,
but that's all I used.

2327
02:46:26,760 --> 02:46:30,180
Otherwise, I turned off,
and here in the lab, I turned off

2328
02:46:30,180 --> 02:46:34,476
all the lights
and just had one source of light

2329
02:46:34,685 --> 02:46:39,439
that I was throwing on the scene from,
from a single.

2330
02:46:39,773 --> 02:46:42,776
From a single light source.

2331
02:46:43,902 --> 02:46:46,905
And here I'm accenting with shadow the,

2332
02:46:48,240 --> 02:46:51,243
programable, display.

2333
02:46:57,541 --> 02:46:59,918
Programable matter.

2334
02:46:59,918 --> 02:47:02,504
It could transform itself to do anything

2335
02:47:02,504 --> 02:47:05,507
else.

2336
02:47:06,425 --> 02:47:07,300
From this shot.

2337
02:47:07,300 --> 02:47:10,762
Or using the light at the far
end of the tunnel,

2338
02:47:11,263 --> 02:47:16,309
which has a meaning to the character.

2339
02:47:18,061 --> 02:47:19,688
Here, once again, I'm using

2340
02:47:19,688 --> 02:47:23,358
the light of the monitors

2341
02:47:23,358 --> 02:47:26,319
to light the scenes of the VR.

2342
02:47:26,611 --> 02:47:29,114
Men in black

2343
02:47:29,114 --> 02:47:29,781
here.

2344
02:47:29,781 --> 02:47:32,200
I've turned out
all the lights in the building,

2345
02:47:32,200 --> 02:47:35,787
and I've just thrown this one
band of light across the street.

2346
02:47:35,787 --> 02:47:39,166
The seats of the
men in black to accent them.

2347
02:47:41,209 --> 02:47:42,878
There's so much more

2348
02:47:42,878 --> 02:47:45,839
richness and texture in a scene

2349
02:47:45,839 --> 02:47:48,842
when you can focus lighting.

2350
02:47:49,092 --> 02:47:51,970
In the right way
to create dramatic effect.

2351
02:47:51,970 --> 02:47:54,681
You don't need to see everybody.

2352
02:47:54,681 --> 02:47:57,559
This is how we lit the beginning
of the big

2353
02:47:57,559 --> 02:48:00,520
dissolve scene.

2354
02:48:02,689 --> 02:48:05,567
This is another darker scene
between the couple.

2355
02:48:05,567 --> 02:48:09,070
This is a lonely scene in the dark.

2356
02:48:11,239 --> 02:48:14,701
With the character and one key light

2357
02:48:15,160 --> 02:48:18,288
which essentially hits that one chair,
which

2358
02:48:18,580 --> 02:48:21,583
brightens the scene.

2359
02:48:23,502 --> 02:48:26,505
In this romantic scene,

2360
02:48:26,838 --> 02:48:29,925
I could not get any light
from the fireplace.

2361
02:48:29,925 --> 02:48:32,469
The working fireplace.

2362
02:48:32,469 --> 02:48:36,556
So just utilizing, single source of light

2363
02:48:37,140 --> 02:48:40,143
to accent her face.

2364
02:48:42,437 --> 02:48:45,440
In the scene.

2365
02:48:50,195 --> 02:48:53,198
On this scene, there is a shadow.

2366
02:48:54,074 --> 02:48:58,328
So we have a single source of light,
and then I've got the shadow

2367
02:48:58,703 --> 02:49:02,999
moving across the source
of light that he reacts to

2368
02:49:03,959 --> 02:49:06,962
in this scene inside the,

2369
02:49:07,212 --> 02:49:10,215
holding area for the three men.

2370
02:49:12,050 --> 02:49:13,093
It's my fate

2371
02:49:13,093 --> 02:49:16,096
to have created this once again,

2372
02:49:16,429 --> 02:49:19,432
shadow effect across his face

2373
02:49:20,225 --> 02:49:21,643
here.

2374
02:49:21,643 --> 02:49:24,646
We have, exterior lighting,

2375
02:49:25,188 --> 02:49:29,693
but there is a single source of light
that's hitting her face

2376
02:49:30,610 --> 02:49:34,239
because she's the main character
in this scene, the focus is on her.

2377
02:49:35,573 --> 02:49:37,575
Very subtle.

2378
02:49:37,575 --> 02:49:40,578
Keep it subtle.

2379
02:49:42,288 --> 02:49:44,457
This is lighting of a scene

2380
02:49:44,457 --> 02:49:48,461
where the three men morph
into a large group of men,

2381
02:49:49,629 --> 02:49:51,131
relative to the.

2382
02:49:51,131 --> 02:49:53,800
Story in the film.

2383
02:49:53,800 --> 02:49:55,468
And all of the men are in

2384
02:49:55,468 --> 02:49:58,471
semi shade and shadow

2385
02:49:58,680 --> 02:50:01,683
and silhouette.

2386
02:50:02,058 --> 02:50:05,437
Lighting relative to the being.