00:00 Do I remember 2005? Do I remember 2005?
00:04 I love it.
00:05 Because it was placed in the real life of the Terry Shivo case, that does make your decision of placing it in 2005.
00:13 But were you always wanting to keep all of those elements in reality?
00:18 Because you could have made it, I guess, a fictional case or just a current day or things like that.
00:22 Well, I think the coincidence of my brother being there was just something that was the impetus for the idea of wanting to write about it in the first place.
00:31 It was just the odd fact that that occurred in my life.
00:35 And so I think then the fun of 2005, that became like, "Oh, that's fun. We can use flip phones and we can have all of our music be from that era."
00:43 And that added, I think, to the overall fun of the movie.
00:47 I think there's also something about a significant moment in American history and a significant moment in your personal history.
00:55 And when they're both so intense and they intersect and collide, there's something about it that is-
01:01 And thematically, too.
01:02 That's just interesting.
01:03 The theme of Terry was so, yeah.
01:05 Laura, Lenny, when you think about your 2005, what was significant for you during that era?
01:12 Do I remember 2005? Do I remember 2005?
01:15 I love this.
01:16 What happened in 2005?
01:18 I was a freshman.
01:20 Oh, don't tell me that.
01:22 Anyone from Searchlight remember what was happening in 2005?
01:26 What was happening?
01:27 Terry Shiloh.
01:28 As I'm making a movie for you.
01:29 It's a blur, to be honest with you, 2005.
01:34 If someone could tell me what movie I was making in 2005, I can tell you what it is.
01:39 Or the aughts.
01:40 What do you, when you think about, I guess, even just anything from that general era.
01:44 Or were you using flip phones?
01:46 Was this new to you guys, all these props?
01:49 Yes.
01:50 Okay, yeah.
01:51 I was five.
01:52 2005.
01:53 So this was all-
01:55 And it was so fun for us because we were like-
01:58 Because I think now the 2000s, everybody's getting into the 2000s.
02:02 We want to wear the clothes.
02:03 And so getting back into that world.
02:05 And Laura created such an authentic world of walking onto the sets.
02:10 The flip phones and the little, what she had hanging on the mirrors or on the refrigerator.
02:15 It was just so from that time.
02:17 Even the music that we would listen to on set.
02:19 The music we'd listen to in the car and the wardrobe.
02:21 It was, you know.
02:23 It definitely made me feel elder.
02:25 Because these kids didn't have anything like, "Oh my God, we're in a museum."
02:28 They were like, "Oh, look at the TV."
02:30 Yeah.
02:31 Well, I remember I had filmed Squid and the Whale around that period of time.
02:37 So yeah.
02:40 It was, you know.
02:41 And the thing that's wonderful about it is that there's a continuity of how independent film is made.
02:46 And there's something about, you know.
02:50 When you're doing independent film, there is an ownership to it.
02:53 That I think, because it's a scaled down group and because there is this very unified effort being made.
03:01 That you feel very close to these films.
03:04 And that is the same in 2005 as it is now, you know, fortunately.
03:10 [BLANK_AUDIO]
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