00:00www.mesmerism.info
00:30I found it was an opportunity for me to write a love letter to cinema, to all of the things I love about going to the movies and watching movies with an audience. That feeling that drove me to want to become a filmmaker, drove me to film school, drove me to want to learn how to create these things. And I'm incorporating all of the lessons that I've learned over the last four films that I've written and directed, maximizing all the relationships that I've formed with all of the folks that helped me make those movies.
00:59And I'm kind of just like, you know, cashing it in, you know what I'm saying, on this picture. And at the same time, it's the first film that I've made, like since I think I've become like a fully formed person, you know what I mean?
01:13And I kind of know who I am, you know what I mean? For the first time, you know, I'm a dad, a husband, a business owner. And I've been through some things, you know, and it's given me some perspective.
01:23But also, I'm still curious about life and those questions I've put into this film. So yeah, I think in many ways, it's the most important movie I've ever made. It's straight from me to audiences.
01:38Ho viaggiato in tutto il mondo. Ho visto persone morire in modi che non sapevo fossero possibili. Ti voglio bene, fratello. Sta attento. Lo farò.
01:55Ho viaggiato in tutto il mondo.
01:57Oftentimes, I'll write scripts with actors in mind. I still did that on this one, but I also kind of had to take a step back and try to put the actor away as much as I could and just imagine the characters, you know?
02:14And I think with this film, that process kind of paid off because these performances from Michael are so much different from anything else that I've seen him do before.
02:28I think, you know, what makes it, you know, so satisfying and enjoyable, you know what I'm saying, to work with Coog would be, you know, I think the comfort of it all, you know?
02:53I think, you know, the trust, you know, knowing that it's going to be, you know, an enjoyable experience and, you know, I'm going to get pushed, you know what I'm saying, beyond my comfort zone.
03:06I mean, we're constantly always trying to grow, you know, from project to project, you know, throughout our lives and also throughout our professional career.
03:12So, you know, the fact that, you know, we get along so well, you know, he's somebody that I've known for a really, really long time.
03:19You know, when you're working with your friends, you know, you want to, you don't ever want to let them down for anything.
03:25He picks up the phone and calls and thinks about you for a certain, you know, project, you know, that's really, really personal to him.
03:29That means a lot to him.
03:30And he trusts you to deliver the message to be that, you know, be a part of that process.
03:34You take it seriously and it means a lot.
03:36So when he hits you up, you know, I kind of, I kind of, you know, heard the pitch and I was like, oh man, this is like different.
03:41And I was, I was a little nervous at first, you know, because for me, it's probably be the most adventurous role that I've played thus far.
03:48Ma di tutte le cose che ho visto
03:53Non ho mai visto demoni
04:01Né fantasmi
04:04Né magia
04:08Fino ad ora
04:13I knew that we would need actors that had experience in some of these smaller roles, you know, but also the film would need actors that would be discoveries in some of these roles specifically too.
04:30And once the screenplay was written, I kind of, I kind of knew if there was an actor out there who could do, who could do, who could do, who could do the parts.
04:37I kind of had them in mind. And this was one of those movies where, you know, for the most part, everybody said, everybody said yes.
04:43And then the other, the other folks, man, that we, that we found through the auditioning process, man, it was just, it was just fantastic.
04:49I mean, even a lot of the local actors in Louisiana were just incredible, man.
04:54Io non credo nella magia
04:56Nei fantasmi
04:59Nei demoni
05:00Solo nel potere
05:04Somebody please take me
05:07The process of kind of like going from one character to the next. Like for me, it was a lot of, you know, music and catchphrases and things of that nature.
05:14Um, a body position or a stance, you know, that, that, that, um, that I worked through to kind of establish the, the two of them and, you know, lock it into that, you know, uh, you know, day after day, you know, you start to create your own rhythm and routine.
05:32You know, smoke wore his trauma differently. You know, he, he, uh, he kind of closed up a bit. So, you know, smoke is, you know, a man of a few words.
05:42And that's what we kind of understood a lot amongst identical twins, you know, usually, you know, you know, twin brothers that, you know, are around each other a lot, you know, you know, one is more dominant in certain areas than the other.
05:54You know, if you're always with your brother and, you know, your brother usually does most of the talking, you naturally don't talk that much because, you know, your brother's taking care of most of that.
06:02So finding out those little details was a lot of fun and very informing on, on, on, on just the process.
06:08But, you know, smoke, you know, had, had a heaviness to him that, that I kind of wore that took time to get off, you know? Um, and, and, and, and stack was a lot lighter, you know, he smiled through his pain, you know, he smiled through his trauma.
06:21He, he talked his way through it, you know, so he, um, you know, had a lot more things to do and say and, and, and, um, and to deflect, to not, to, to not sit still and let those feelings and those traumas kind of catch up to him.
06:37So stack was always kind of like, he's always on the move, always, always kind of fleeing from, from things.
06:43So, yeah, the process as a whole was just experimental, but, and, and by, you know, halfway through it, you know, it was a process and, and, and that we saw all the way to, to the, to the end.
06:54Ci sono leggende su persone, con il dono di rendere la musica così vera.
07:01Questa può evocare spiriti dal passato.
07:03Se continui a danzare con il diavolo,
07:29Un giorno lui ti seguirà a casa.
07:34Abbiamo un problema, gente.
07:36Che diavolo succede?
07:37Abbiamo sentito che c'è una festa.
07:39We were looking for Sammy before we had a script and we looked everywhere, man.
07:44We, we, we read, uh, we read incredible actors and musicians from all over the world, man.
07:48We'd get tapes from, from, from Paris.
07:51We'd get tapes from the continent.
07:52You know, Miles sent in a tape from New York and he was like in his, he was like in his basement or something with the lights out.
07:57You know what I mean?
07:57He didn't know what he was, he didn't, you know, you know, you got a little, a little bit of a glimpse of him.
08:02And he just heard that voice, you know, and it was, and it was instantly like, you know, you never forgot it.
08:08When he got time to read his pages, he was far and away the best of all of the folks.
08:14And even though he had never acted before, he learned the guitar for the movie.
08:17Cause he's a pianist.
08:19And, uh, yeah, man, he just, he just continued to, to, to impress us.
08:22Every day we left everything, you know, on set, you know, went home with nothing left to give daily, you know?
08:32So we, we put everything into this after seeing the project and seeing how everything came together, uh, because we're playing with a few different genres in this and tone.
08:43And, you know, it's going to, it's a, it's a ride.
08:46It's, it's, it's definitely a ride.
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