00:00No!
00:01No!
00:02No!
00:03No!
00:04No!
00:05No!
00:06No!
00:07No!
00:08No!
00:09No!
00:10No!
00:11No!
00:12No!
00:13It is harmless.
00:14It exceeds our value.
00:16We've chosen.
00:17For those it does not value,
00:19it consumes!
00:21Run!
00:26Run!
00:30Arm yourselves.
00:32Whatever you can carry.
00:33Get ready for a fight!
00:36Come on.
00:37You could have just opened it.
00:39I mean, that was super dramatic and all, but...
00:41Now I have to crawl over broken glass.
00:42The thing is, this film has a palpable feeling of both, like Amblin,
00:46which I know you were saying, Joseph, but also, you know, the 90s,
00:49sort of Parker Lewis can't lose type style.
00:52Can you talk about finding the balance of humor and style,
00:56both as a director, but then finding the tone of a character like Hank?
01:02Hmm.
01:03You know, let me put it this way.
01:06I always wanted to be Steven Spielberg growing up.
01:09And then I made Twerk, and then I realized, holy shit, I am not Steven Spielberg.
01:13I am weirder.
01:14My sense of humor is much more outside of the mainstream sometimes.
01:18I'm more sardonic.
01:20Maybe my sense of humor is both more innocent and mean.
01:23It's a weird combination of everything.
01:25I'm just a weird person, I've discovered.
01:27And as much as I want to be Steven Spielberg, I'm Joseph Kahn.
01:30So that style and that humor together, that's me.
01:35And if you talk to me in real life, you'll go, wow, he's just like one of his movies.
01:40He talks that fast.
01:41He makes those jokes.
01:43My movies are conversation, and I grew up learning visual language at the same time as I spoke English.
01:50And so my movies are conversation between the audience and me.
01:54And all those jokes and all that style, that's me.
01:57Promise me you'll take me with you to the NFL.
02:02To a giant mansion with a giant pool that has a fat hot tub that's connected to a giant pool so I can swim from watch to call whenever I want.
02:08Yes.
02:09I love you, Stacey.
02:15Just takes a second.
02:16Did you see Charlie's TikTok about how the ick is pure gluten?
02:20What's gluten?
02:21The ick is just frankapoo GMO, set free from Monsanto lab.
02:25That's why I only eat organic.
02:28Mr. Wallers, why aren't we talking about the ick?
02:31About the ick.
02:32You thought your problems were going.
02:41Okay, Grace.
02:42Let's talk about the ick.
02:44And, you know, you've evolved that, though.
02:46No, it's because I think we talked for twerk.
02:48And the thing is, is that between twerk and all the music videos, because you're dealing with so many different personalities, you know, the thing is to make it individual enough that people can understand it, but broad enough that it's universal.
03:00Does that make sense?
03:01Yeah, absolutely.
03:02Well, that's always been the fun part of it.
03:05That's the craft that I've been learning over the years.
03:07Maybe I'm getting better at that particular aspect of it, of knowing how to speak to multiple people.
03:12It's just like somebody who goes up on stage.
03:14At first, you kind of suck at it, and then you do it more and more.
03:17Then you know how to speak to more and more people, and you know how to control the room.
03:21And I feel that ick is the latest version.
03:23I'm just showing you how much I can control the room now compared to where I started.
03:27Mr. Wallace?
03:28Yeah, Grace?
03:29What's on our phones is important.
03:30Why aren't we talking about the ick?
03:31Okay, Grace.
03:32Let's talk about the ick.
03:33There's no origin story for ick.
03:34We didn't watch it arrive on a meteor or escape from a government lab.
03:35It's just here.
03:36At first, we hardly noticed.
03:37But each day, year by year, it kept growing.
03:38It doesn't move, at least we don't think.
03:40It's stationary as a plant.
03:41Growing, spreading slowly.
03:42It's omnipresent, but not bothersome enough that cars can't drive down the street, people
03:47can't go about their usual routines.
03:48Most folks choose to ignore the ick altogether, hoping it just goes away, especially with rumors
03:54swirling that it's starting to attack.
03:55There's no origin story for ick.
03:56We didn't watch it arrive on a meteor or escape from a government lab.
03:59It's just here.
04:00First, we hardly noticed.
04:01But each day, year by year, it kept growing.
04:02It doesn't move, at least we don't think.
04:03It's stationary as a plant.
04:04Growing, spreading slowly.
04:05It's omnipresent, but not bothersome enough that cars can't drive down the street.
04:08People can't go about their usual routines.
04:09Now, Brandon, looking at a world, obviously, I keep thinking, obviously, Scott Pilgrim,
04:14because that was such a specific tone.
04:16Can you talk about looking at Hank?
04:18Because you have to play his idiosyncrasies, his ego, but also just, you know, sometimes
04:22his awkwardness of the situation he's in.
04:25Yeah.
04:26The tone was, I felt, in the movie.
04:31I felt connected to Hank's voice all along.
04:36I just didn't know how to speak it.
04:38Like, speak it.
04:39I don't know.
04:40I didn't, or I didn't trust it yet.
04:42Like, I felt the, that version of a character connections.
04:48I felt those connections early on.
04:49And then it was, you know, in speaking with Joseph and then seeing more visuals and being
04:55in the first couple of days of the filming process as we were building our communication,
05:01that, you know, we, I found that I was, I was pretty right on about a lot of things I
05:08was thinking and what I wasn't sure of, Joseph was sure to like, you know, turn the volume
05:13up or down or even suggest a different, uh, tempo altogether.
05:18See if Wallace can pull himself together on this drive.
05:21Eastbrook needs this W against Picklesburg.
05:24And break.
05:25Oh, awful snap.
05:26Wallace is scrambling.
05:27Oh, a tragedy tonight in Eastbrook.
05:32What did you glom onto?
05:43What did you find was sort of the, the key component of Hank?
05:59You got to keep going.
06:06It's like, okay, what next?
06:09I'm, I'm still here.
06:10It's, I'm still kicking.
06:12It's that, that, that aspect of, uh, of, of a lot of that.
06:17I think a lot of people, it's the hard work attitude.
06:19It's like, well, I've been down and I, and I was sorry for myself for a long time.
06:24Then I can keep being sorry for myself and keep myself in a hole.
06:27Or I can, you know, be upset that I was upset about myself and somehow carry that with me till I can let that go.
06:34And just, you know, keep learning and being a part of the process.
06:40Or don't, because life is short.
06:44Let's go!
06:45You ladies are moving slower than these tar tentacles!
06:48That's racist.
06:53Attaboy.
06:54I'm bored.
06:56Is the ick gonna do anything?
06:59It's been here like, two months.
07:01Jazla, the ick's been here for years.
07:04Huh.
07:05So I guess I just never really noticed what it's doing here.
07:07What's anything doing here?
07:08This town sucks.
07:12Hey!
07:13You girls smoking?
07:14No.
07:15The thing is, you have to find stakes.
07:16You have to find the balance between stakes and the humor and sort of filter that through the movement, the direction that Joseph's giving you, but also the camera.
07:25You're dancing with the camera.
07:28Could you talk about that?
07:29Because it's a very specific skill set.
07:32Not everybody can do it.
07:33You know?
07:34Yeah.
07:35It's like, it's kind of a, like, it's a game.
07:37Like, there's a competitive level to that, the way we did some of those scenes.
07:43You know?
07:44It's like, you just gotta, you gotta, you gotta, it's hard work.
07:48Like, I'll be honest.
07:49Like, I think it's hard work.
07:50Uh, it's not the same work as, um, ripping shingles off of a house, which I've done many times in my life as a youth and worked on a garbage truck for two, for two weeks at the state fair.
08:02Like, I've done stuff.
08:04Um, and hard work is hard work.
08:06It's just a different version of it.
08:07And it's like, it's trusting your, your teammates, trusting Joseph, trusting the camera and all the other departments that everyone's gonna do their game.
08:17It's a high level, it's, it is high stakes.
08:20Uh, and that can be, you know, you wanted to have, still be a fun time, be high stakes.
08:26Yeah.
08:27But there's that kind of thing that is in the movie that added to the experience of filming the way that we did.
08:34It was very visceral.
08:39I lost my parents too.
08:41And I, I know, it feels like the heartbreak will never end.
08:47But, um, I'm here for you, Grace.
08:54Heather, Griffin, you're a couple.
08:58Mr. Wolofs.
09:00Come on.
09:01Come on.
09:04All right.
09:05Gotta get out of here.
09:06Find someplace safe.
09:08Allergen.
09:09The stadium lights emit UV radiation.
09:11Not as much as the sun or a black light, but hopefully enough to keep us safe.
09:16Harm yourselves.
09:18Whatever you can carry.
09:19Get ready for a fight.
09:22Come on.
09:24You could have just opened it.
09:25Can I add a little thing here about the way we filmed?
09:28So I wasn't shooting master shots and I would often shoot in pieces like John Ford.
09:33You just little pieces.
09:34One, one piece of dialogue from this angle, another piece of dialogue from that way.
09:37And so a lot of people think acting is very easy, but it's actually really hard, especially if you have a director saying, okay, we're going to shoot in the middle of the scene.
09:44You're going to say this line here, then we're going to go over here.
09:46We're going to shoot the end of this line.
09:48How do you track that performance as an actor?
09:51That's really hard.
09:52And Brandon would actually go, okay, we're doing this scene here because we have to do it because of the timing.
09:57Brandon would sit there, sort of breathe, think a little bit, meditate, and then do the scene.
10:03And that was some skill stuff because he had to do the entire film that way.
10:08That's a very, very hard way of making a movie.
10:11But you're trying to visualize, I think I was trying to visualize what you had said, like match what you were saying.
10:15Now that I knew the shot with like a picture of it, projecting what it, trying to get your vision.
10:22I've only seen another actor.
10:23I've worked with a lot of actors.
10:24The only other guy I saw do that was Bruce Willis.
10:27Like Bruce Willis would do the same thing.
10:28He would just like, I would put an angle here and he would visualize, like visualize himself in the scene, give himself a sec and then do the scene.
10:34Brandon did the same thing.
10:35There are only two actors I've ever seen do that.
10:37I've never seen do that.
11:07Ed!
11:28I'm done.
11:33Well, does your mind die though?
11:35Does it, has it transformed in the time that you've been doing this?
11:38Because obviously there's odes to the blob in this.
11:41There's odes to, you know, the nineties or music videos that you've done, but there's something in between.
11:47Has your sort of mind's eye evolved in the way that maybe you saw the concept of this film and then the actual delivery of it?
11:56Well, I've always had a particular style that I've been developing from the beginning because I learned how to make films wrong.
12:02Apparently the way that they teach you is that you do a master shot and then you do a bunch of close-ups and you sweep it out that way.
12:07And that is not the way I shoot.
12:09I shoot linearly from the very beginning because I started off shooting on a VHS camera when I was a kid and I didn't have editing machines.
12:17So I would just roll the camera. It would take three seconds to roll.
12:20I'd tell the actors, okay, we got three seconds, three, two, one, count it.
12:23They'd say their line. Then I'd pause it.
12:25Then we'd go over here and three seconds here and do that.
12:27And then we'd piece it together and we'd just play the tape.
12:29And that's how those movies were made.
12:31But that taught me how to think very linearly in every shot that way.
12:35And now I got these big sets and big things and great big stars.
12:40I'm still making it like that kid with the VHS camera going, okay, three seconds.
12:44You say this line here.
12:45So it's a very odd way of making a movie.
12:47After decades in stasis, the intracellular kinoplasm known as it has reached its kinetic state.
12:59Barricade your doors and your windows.
13:02Stop up your sinks and your drains.
13:05Again, do not go outside.
13:08But it's also music.
13:09I mean, there's a rhythm.
13:10There's a rhythm to the acting, Brandon, but there's also a rhythm to the scenes and obviously using all the music that you did, Joseph.
13:16Can you talk about music and rhythm and the importance of that?
13:20Absolutely.
13:21I mean, obviously, I'm a music video director for 35 years.
13:23That will definitely affect you.
13:24And people would always say, oh, Joseph Kahn has his MTV style.
13:27But I've been doing it for 35 years.
13:28That's pretty much since the birth of MTV.
13:30So does MTV have my – do I have MTV style or does MTV have my style, you know?
13:35But then, look, it's not just music.
13:38Here's the thing.
13:39It's not that all these songs are playing like randomly with just like a music video.
13:44They're integrated into sound and rhythm and emotion.
13:48And so really what people sort of miss about my style is that 50% of it is visual, but the other 50% is audio.
13:54And I'm not just talking about music.
13:56The sound effects and the way that these scenes come together and the way backgrounds play and how the music integrates in and out and flows.
14:04And then on top of this orchestrated score that I've worked with on Brian and Melissa, that's an incredibly complex piece of music that they put together.
14:11I love hearing movies as much as I like seeing movies.
14:16To me, it's one thing.
14:17It's one thing.
14:18Kids can still go to prom tomorrow, right?
14:20Uh, yeah.
14:21You should definitely cancel prom.
14:22False flag!
14:23Process actor!
14:24I need to tell you something.
14:25I might be your dad.
14:26Shit!
14:27Next joy is for all the lovers out there.
14:28This is the song your parents conceived you to.
14:32Maybe the rubber broke.
14:33Maybe there was no rubber.
14:34No!
14:35No!
14:36No!
14:37No!
14:38No!
14:39No!
14:40No!
14:41No!
14:42No!
14:43No!
14:44No!
14:45No!
14:46No!
14:47No!
14:48No!
14:49No!
14:50No!
14:51No!
14:52No!
14:53No!
14:54No!
14:55No!
14:56No!
14:57No!
14:58No!
14:59No!
15:00No!
15:01No!
15:02No!
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