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00:23:42Yeah.
00:23:43You know, work for this.
00:23:44I don't know them personally.
00:23:46Right.
00:23:46But they're just names that could work.
00:23:47Right.
00:23:48Like Paul Hogan?
00:23:50Crocodile Dundee?
00:23:52Okay.
00:23:52No question.
00:23:54Bindi Owen?
00:23:56Now you're just getting me excited.
00:23:58Alright, what about Yahoo Serious?
00:24:03That's tough.
00:24:04Wouldn't work?
00:24:05Paired, maybe?
00:24:06Paired, yes.
00:24:07With another celebrity?
00:24:08Yeah.
00:24:09You'd have to get two people.
00:24:10One thing to consider.
00:24:11Were you able to confirm that you'd be able to have kangaroos in the movie?
00:24:18Um...
00:24:19Yeah, you could probably manage that.
00:24:21Well...
00:24:22Ooh, koalas.
00:24:23Yeah.
00:24:24That's a must.
00:24:25That's easier.
00:24:26Oh, okay.
00:24:27They all have chlamydia.
00:24:29Every single...
00:24:30I saw that on TikTok that koalas have chlamydia.
00:24:32Okay.
00:24:33And every Australian as well.
00:24:35That's perfect.
00:24:37That's good.
00:24:39Okay.
00:24:42So now that we have a shortlist, I need to fully master the asylum way.
00:24:47So how many asylum films have you seen?
00:24:50Like 25 to 30?
00:24:51Maybe 40?
00:24:52That's disappointing.
00:24:53You have to see at least 100 to 200 before you call yourself a fan.
00:24:57Let's go all the way down here to like the sci-fi days.
00:25:01Road Wars.
00:25:02I haven't seen that, but I've seen Mad Max.
00:25:04I love that.
00:25:05Huh?
00:25:06Who is it that's driving the car that you drove five years ago?
00:25:11I don't know.
00:25:13I don't know.
00:25:14Liar!
00:25:15With sci-fi, we did zombie films.
00:25:18I haven't seen that one.
00:25:19See?
00:25:20You should probably take that with you.
00:25:21You have a lot of research to do.
00:25:32More infamously, have you seen Shark Waters?
00:25:41That will be the start of your homework.
00:25:47It's clear the asylum have a specific set of rules.
00:25:50They all feature a vaguely familiar star, the occasional use of CGI, tedious monologues,
00:25:56ridiculous plots, cheesy action, and thankfully, they're all under 90 minutes.
00:26:02These movies all feel the same, but I do see the potential.
00:26:06If I master the formula and twist it just enough, I can turn the familiar into the unforgettable.
00:26:13What films have you written for the asylum?
00:26:15Well, I had a string of meteor disaster movies that I'd written.
00:26:19One was Collision Earth.
00:26:24Meteor Moon.
00:26:25The moon gets crashed into, that turns into a meteor.
00:26:28It's going to crash into the Earth.
00:26:30The moon crash.
00:26:33Similar to Meteor Moon.
00:26:34It's all mostly marketing that really brings our viewers in,
00:26:39so it's got to have a catchy title and catchy artwork.
00:26:42Nobody's really looking for an asylum title.
00:26:45They're sort of scrolling and scrolling, and then it's like, great.
00:26:48The Land Before Time forgot.
00:26:49You know what I mean?
00:26:50Like, let's watch this.
00:26:51Sure.
00:26:51One of yours is called Myth Gator, right?
00:26:54That's right.
00:26:54Yeah.
00:26:55And what was that about?
00:26:57It's in the title, thank goodness.
00:26:58There's no subtlety.
00:26:59Alligator eats a bunch of meth, slaughters a bunch of people.
00:27:03I'm sorry for the spoilers.
00:27:05A lot of people can do big budget films.
00:27:08Easy.
00:27:09Anytime there's a problem, you throw a little bit of money.
00:27:12Not anybody can produce an asylum film and succeed and do it well.
00:27:17There's a very high whiplash factor.
00:27:19So there's a lot of being, like, on top of the world,
00:27:21and then the next morning it all goes to shit,
00:27:23and then you're really mad and suicidal,
00:27:25and then something good happens,
00:27:26and then you're feeling really good about that.
00:27:28And then you're like, wait a minute, am I being naive,
00:27:30feeling good about this?
00:27:31And then it turns out you are,
00:27:32because something horrible happens.
00:27:33What's the balance between art and commerce at the asylum?
00:27:40It's subject to time constraints, budget constraints,
00:27:44the notes we're getting from upstairs.
00:27:46Is it my movie? Not really.
00:27:48You know what I mean?
00:27:48And you just have to accept that.
00:27:50It's commerce.
00:27:52You know, if there is artistry involved,
00:27:54it's definitely the visual effects department.
00:27:58We've got five people on staff, and we have ten freelancers.
00:28:03So basically it's all hands on deck,
00:28:05and we do what we have to.
00:28:07And if you watch, you will see what we do.
00:28:10So there's the shark.
00:28:12Oh, it gets attacked by a dolphin.
00:28:13So there's the animation.
00:28:15There's the wireframe of the dolphin and the shark.
00:28:17This is what we do for every shot.
00:28:19When a director doesn't know the difference between better and different,
00:28:23we get into trouble.
00:28:25What if it did this?
00:28:26You're going, well, that shot's done.
00:28:28Yeah, but what if it did this?
00:28:29You're going, oh, my God.
00:28:30Pick your battles.
00:28:31You guys make your movie in seven days for $7,
00:28:36I have to do the equivalent of that in post.
00:28:38But my vision, my art, I got three weeks.
00:28:43I know you want to make your artsy-fartsy film.
00:28:45We don't have the time and budget for it.
00:28:50So our door is always open.
00:28:51My phone's never off.
00:28:53Yeah, great.
00:28:53Thank you for checking.
00:28:56Even if this movie isn't exactly my dream project,
00:28:59it can put me on the right path.
00:29:01If I nail it, I could be the next big thing out of the asylum.
00:29:06That's not something to take on lightly.
00:29:08You guys got everything you need?
00:29:10Do you need anything else?
00:29:11Any final words of advice or warning?
00:29:13Don't do it, run.
00:29:14Um, it'll be over before you know it.
00:29:17Try and enjoy it while you can.
00:29:19It's going to be very stressful.
00:29:21Go with the flow.
00:29:22Just make sure the actors know their lines.
00:29:25The more authentic things look, the better.
00:29:29All right.
00:29:31Thanks again.
00:29:32Good travels.
00:29:33All right.
00:29:33Thanks for the opportunity.
00:29:34I look forward to seeing the dailies and, uh, good luck.
00:30:03I've been back for a week already and I still don't have a script.
00:30:07There's not really much I can do without the script.
00:30:09So I can't get cast.
00:30:10I can't get crew.
00:30:11I can't get locations.
00:30:14I assume it's all happening.
00:30:16Like, I haven't heard otherwise.
00:30:19But it's starting to feel like L.A. was just some weird fever dream
00:30:22and, you know, some prank.
00:30:26Like, you'd think if you're making a movie in six days,
00:30:29you'd give the filmmakers more time to prepare.
00:30:35But they don't.
00:30:44Hello, Anthony.
00:30:45Hey, how you doing?
00:30:47I'm good.
00:30:48Just, you know, working over this budget.
00:30:50How are you doing?
00:30:50Yeah, not too bad.
00:30:52I was just wondering, do you know when the script's coming through?
00:30:53That is a great question.
00:30:56You know, it is delayed.
00:30:59Um, they are doing another pass with more, uh, more notes and stuff.
00:31:02But you have the one pager.
00:31:05And the one pager, the film is always going to stick to the one pager.
00:31:08Okay.
00:31:09So you're not walking blind.
00:31:11You're just walking slightly blind.
00:31:15All right.
00:31:16Thanks for that.
00:31:17Of course.
00:31:19Chat soon.
00:31:19Catch ya.
00:31:20Bye.
00:31:27No one's going to take me seriously without a script.
00:31:30But I can't keep waiting for it.
00:31:32Have you ever dreamed of working on a Hollywood movie?
00:31:34Well, now's your chance.
00:31:35Part of the deal is that I find a local producer.
00:31:37Someone who can do all the boring stuff like insurance and contract.
00:31:41Haven't seen the script yet.
00:31:42You shoot in a few weeks and production will take six days.
00:31:44But mostly, someone else who believes in this movie.
00:31:49So I don't know where to start, but there's no script.
00:31:52No budget.
00:31:54We're kind of starting from square one here.
00:31:56You mentioned you may have read a one pager.
00:31:59Yeah.
00:32:00I can't make sense of it.
00:32:02Oh.
00:32:03And it makes less sense with every read through.
00:32:06Yeah.
00:32:08There's someone with a dying mother.
00:32:10What?
00:32:13Someone's mum's in hospital and they're trying to get back to...
00:32:16Oh, okay.
00:32:17It's pretty jam packed.
00:32:19Does this worry you?
00:32:21The filmmaker in me knows that this is a bad idea.
00:32:25It'll be a hellish week and we'll come out of this as ragged husks.
00:32:33This is wild.
00:32:35Yeah.
00:32:37I think the script and the budget will be the next question, really.
00:32:41Yeah.
00:32:43I'm trying to play it cool.
00:32:44And not let on how desperate I am.
00:32:48But without a local production company to oversee the shoot,
00:32:51the asylum will pull the plug on me.
00:33:00Exterior, Ocean Day.
00:33:01A US Navy barge moves through the vast Bering Sea
00:33:05with no land or other sign of life in sight.
00:33:07Finally, the script came in.
00:33:10It feels...ambitious.
00:33:12I'm nine pages in.
00:33:14And there's been, like, explosions, dinosaurs, submarines,
00:33:19about six characters, wetsuits, underwater shots.
00:33:25Maybe this is hell.
00:33:27Maybe we already died.
00:33:28That's why Arm says we can't get off this island.
00:33:30It'll be like this for eternity.
00:33:32I'll never see my mum again.
00:33:35There's 34 locations.
00:33:38We're going to have to find a forest and or woods that can play as every location.
00:33:43Otherwise, this is impossible.
00:33:46Welcome to the land that no one knew was there.
00:33:51There's a lot we can do here.
00:33:53Getting pulled down by the T-Rex.
00:33:55Yeah.
00:33:56Like, totally.
00:33:57That looks like a sheer cliff face.
00:33:59That's great.
00:34:00This is the magic of cinema.
00:34:02Mm-hmm.
00:34:03Mm-hmm.
00:34:05You know.
00:34:06It's not my call, but...
00:34:08It's relatively safe.
00:34:09Yeah.
00:34:11Relatively.
00:34:13All right.
00:34:15Come up here, Aaron.
00:34:16Have a little gaze, mate.
00:34:16All right.
00:34:21Look at this.
00:34:22Here, where you are, look.
00:34:24I'm going to go deeper into the cave.
00:34:26Oh, yeah.
00:34:27Oh, man.
00:34:28And I'm going to...
00:34:29And if you shoot even, like, from there...
00:34:31Yeah.
00:34:32I'm going to go deeper into the cave now, Anthony.
00:34:35If I don't come back, call my mum.
00:34:39Oh, hello, hello, hello, hello.
00:34:42Right?
00:34:43Yeah.
00:34:43Yeah.
00:34:44Wide shot down here, and he...
00:34:46Whoa.
00:34:46Whoa, the wind.
00:34:48I think I've found the perfect director of photography.
00:34:51Even here's a little shot.
00:34:53You know?
00:34:53The rocks.
00:34:54And it seems like he really understands my vision for this film.
00:35:00This is amazing.
00:35:02Yeah.
00:35:02You can't get that in Burbank.
00:35:06But without Tom on board, Aaron's hesitant to make this official.
00:35:13Thankfully, negotiations are going great.
00:35:15Just silly.
00:35:17Tom's on the hook.
00:35:19Brendan just sent an email, by the way.
00:35:21What did he say?
00:35:22Uh...
00:35:23Changes.
00:35:24Second AD, one prep day.
00:35:26PA, one prep day, one wrap day.
00:35:28DP, one prep day.
00:35:29No.
00:35:30That's fucking crazy.
00:35:31That's not...
00:35:32That's not good enough.
00:35:33Mike.
00:35:35But this is his first real look at the budget, and he's not amused.
00:35:39I don't mean to alarm anyone, but that's not doable.
00:35:45Not even funny, ha-ha.
00:35:47Yeah.
00:35:47Like, that's...
00:35:48That's just...
00:35:52I'd like...
00:35:53We can't do it.
00:35:55But actually...
00:35:56What are the expectations?
00:35:58Yeah.
00:35:58I want a product, but I'm giving you no money and no time.
00:36:02Yeah.
00:36:02Make the thing.
00:36:08Do you have a plan B?
00:36:13Not really.
00:36:14Yeah.
00:36:21I'm sorry.
00:36:22I'm so sorry.
00:36:24I'm so sorry.
00:36:26And mostly I'm just upset for you, because this is really important.
00:36:39It's like, everything I made up to this has just been friends getting together and just
00:36:43making something for the love of just making something.
00:36:45And now it's like, you know, we have to worry about insurance and contracts and casts
00:36:49and all these sort of, like, fucking things that you just never think about.
00:36:52So without a producer, it's just...
00:36:54We don't have the movie.
00:36:56You know, I don't know what the fuck to do.
00:37:03This just went from difficult to impossible.
00:37:06With Tom out of the picture and no production company backing me,
00:37:10I'm not holding up my end of the bargain.
00:37:14I think...yeah.
00:37:15I'm scared to tell the asylum.
00:37:19No, he's not doing it.
00:37:22So...
00:37:22I just can't let them take this film away from me.
00:37:26I...yeah.
00:37:27They decided there's only one solution left.
00:37:38They're sending over, their enforcer.
00:37:47How you doing?
00:37:49I'm a little tired.
00:37:50How you doing?
00:37:50I'm good.
00:37:51So this is the Adelaide Airport.
00:37:52Yep.
00:37:53I love that.
00:37:54You might get a glimpse of the city.
00:37:57I think I'm nervous about getting everything together in time.
00:38:00Because it's really, like...
00:38:02Today's Wednesday.
00:38:03We're planning to shoot Tuesday.
00:38:05And nothing's really locked yet.
00:38:08Yeah.
00:38:08Is this normal?
00:38:10Very much.
00:38:11I mean, why do you keep doing it?
00:38:14Well, because it's addicting.
00:38:17You know what?
00:38:18Last week I was doing, like, a fantasy medieval movie.
00:38:22And now I'm doing, like, a modern jungle island adventure film.
00:38:26I have an ulcer from the stress back in my throat.
00:38:28Are you serious?
00:38:29Back in my throat.
00:38:30Oh, my God.
00:38:32Welcome to asylum.
00:38:35My movie lives to fight another day.
00:38:38It's like this little number here has to go to that.
00:38:45Now I don't need to find a local production company.
00:38:47Because I basically have the asylum here with me.
00:38:51It's like you can just chop here, here, here.
00:38:53Like, all three of these don't need them.
00:38:56Brendan knows how to get the numbers working.
00:38:58The asylum way.
00:38:59I've literally seen the impossible happen.
00:39:02I've made the impossible happen.
00:39:03So, for me, I'm just like, it's fine.
00:39:05But it's just, like, explaining to someone else
00:39:07who's just not used to that.
00:39:09You know?
00:39:09Like, you can do this.
00:39:10It's possible.
00:39:12Mentally not easy.
00:39:13But it's how we do it.
00:39:18Thankfully, there was still room in the budget for some crew.
00:39:21I'm here with Brendan, who is a producer from the asylum,
00:39:25talking about potential crew for our shoot.
00:39:27And I was hoping a bit of LA flair
00:39:29would help get the local industry behind me.
00:39:31Yeah, okay.
00:39:32If you don't mind sending me his details, I can give him a buzz.
00:39:35We are in that water the second Bradley gives us the signal.
00:39:38And boom!
00:39:38The Russians go down with his fucking barge.
00:39:41Yeah.
00:39:41Yeah, it's good.
00:39:42I don't foresee a 40-page day on this show.
00:39:44But 20 to 30-page day could happen at least once.
00:39:48A bit of experience would be good.
00:39:50No answer.
00:39:51The only way we will ever be safe is if we kill it.
00:39:55We have to kill the T-Rex.
00:39:57She could the asylum look, you know?
00:39:58And she sold this scene, I think.
00:40:00I would put her first.
00:40:02Yeah.
00:40:02I just need someone who has insurance and who I can pay to pay the cast and crew.
00:40:08Besides acting, is that something you'd be interested in?
00:40:13I really want Josh Davies because he's my best friend.
00:40:18There we go.
00:40:19Success.
00:40:20My message Anthony said I was the key to script supervisor.
00:40:23Well, would you want to jump back into firsting for a show?
00:40:26Oh, I'm not sure.
00:40:26I mean, do you have a script supervisor?
00:40:28They don't even have that in the budget.
00:40:30I feel like things are actually moving now that you're here.
00:40:33Yeah, they should.
00:40:34That's why I'm here.
00:40:35Order 66!
00:40:37Now!
00:40:37Go!
00:40:38Go!
00:40:38I achieved more with Brendan in the last two days than I did in the last two weeks.
00:40:44This is a perfect scenario.
00:40:45Great.
00:40:46Awesome.
00:40:47Cool.
00:40:48Cool.
00:40:48Welcome to the show.
00:40:49Thanks, Ben.
00:40:50Bye.
00:40:50That's great.
00:40:51Alright, let's get to next.
00:40:53Let's make this fucking movie.
00:41:00The one thing we can't land is an Australian name actor.
00:41:03Budget-wise, it's 300 Australian a day for 12 hours.
00:41:08I can give you guys about an hour, but then I have to move on to somebody else.
00:41:12For some reason, every Aussie with a profile is busy the moment they hear from us.
00:41:17Okay.
00:41:18So we're forging on without one.
00:41:20It's a shame.
00:41:21I was really looking forward to working with a star.
00:41:24And now I'm gonna have to get some pretty stellar performances out of the rest of the cast.
00:41:29But it's been ages since I directed anything that wasn't a corporate video.
00:41:33I'm rusty.
00:41:35And kind of terrified.
00:41:37So I'm seeking advice from someone who went from being a self-made YouTube star to making box office hits.
00:41:44Surely he knows what he's doing.
00:41:47So what are you shooting?
00:41:48It's like a Bermuda Triangle time travel dinosaur movie.
00:41:52Damn.
00:41:53Yeah.
00:41:53Dinosaur movie?
00:41:54Yeah, yeah.
00:41:55Okay.
00:41:55And how long have you got to shoot it?
00:41:57Six days.
00:42:01What?
00:42:02That's like a YouTube video.
00:42:03Yeah.
00:42:04It's like 25 pages a day.
00:42:06Oh my God.
00:42:07But there'll be six pages in one day for a talk to me.
00:42:09And that felt impossible.
00:42:11Are you going in there to make a masterpiece?
00:42:13I'm gonna try.
00:42:14But the odds are against me.
00:42:16Have you done any movies or anything or anything?
00:42:18No, it's my first.
00:42:19Alright.
00:42:19Just so you know, no one knows what they're doing.
00:42:22Even if you've directed four movies, you'll go on to it and be like, I don't know what I'm doing.
00:42:25Every time you go on set, you don't know what you're doing.
00:42:27There are no rules to directing.
00:42:29You find your own rhythm and your own pace.
00:42:31I feel like you could make the first and most amazing Asylum film.
00:42:34I know, because if there was an amazing Asylum film, it'd be the most impressive thing ever.
00:42:37The Sharknado was good.
00:42:38How many days did they have?
00:42:39I think they had ten.
00:42:41See, that's unfair.
00:42:42Call the producer now and say you want ten.
00:42:45No, it should be good.
00:42:47I don't know.
00:42:50Do you just not believe in yourself at all?
00:42:53You feel like you've already given up.
00:42:55Why have you already given up?
00:42:56What the fuck?
00:42:57I'm trying.
00:42:58This needs to be amazing.
00:42:59This has to be amazing.
00:43:01Mate, you're the first.
00:43:02You're the Australian voice of Asylum.
00:43:05You feel defeated already.
00:43:06It's sad to see.
00:43:08Usually your will breaks in the middle of production.
00:43:11Yeah.
00:43:11Well, the middle of production is three days in, so it's not so bad.
00:43:15I'm telling you, I've shot things in six or seven days.
00:43:18It's not impossible.
00:43:19You have to live and breathe it.
00:43:20You can't do anything else.
00:43:27I've been thinking about this all wrong.
00:43:29These limitations are actually my secret weapons.
00:43:32Low expectations, ludicrous story, no money.
00:43:36If I pull off something half decent, I'll look like a genius.
00:43:40Boop, boop, boop, boop, boop, boop.
00:43:41Flushing maps.
00:43:42And we'll get on the slider.
00:43:44Fucking slider.
00:43:45Yeah.
00:43:45Something here, here, here.
00:43:46Just a little foreground shit.
00:43:47And we'll get here.
00:43:48My enthusiasm must be infectious.
00:43:51Because even Aaron decided to stick around.
00:43:54I'll shoot it on the fucking 135 real tight.
00:43:57You're like this, and then none of this shit matters.
00:44:00Yeah, it doesn't matter.
00:44:00Yeah, great.
00:44:01OK.
00:44:03So this is our barge set.
00:44:04Well, this is the submarine.
00:44:06This will be our sub-sub.
00:44:07Yeah.
00:44:08Barge, barge.
00:44:09So, yeah, we're just trying to block it a bit, work out how to make it look schmick.
00:44:13The crew are really rising to the occasion.
00:44:16It's inspiring to see such dedication to something so blatantly absurd.
00:44:21I can show you some beautiful Russian patches to put on the uniforms.
00:44:25And some Australian patches to also put on all the uniforms.
00:44:29And then all of our beautiful buttons for our World War I German infantryman.
00:44:33Love that.
00:44:34Because he has 16 buttons on his coat.
00:44:36Day one.
00:44:37It's easy.
00:44:37It's a nice, slim and achievable 11 pages.
00:44:40Yep.
00:44:41And I've allowed...
00:44:42The soft plan was to shoot here first.
00:44:45Because some of the elements of this set are being moved over to build that.
00:44:48Great.
00:44:48That information is brilliant to have after.
00:44:51I need to know if it's Mosasaur or Mosasaur or...
00:44:54I thought it was Mo...
00:44:56Oh, now I don't know.
00:44:57Yeah, I think it's Mosasaur.
00:44:58Mosasaur.
00:44:58I should know this so I can tell the actors.
00:45:01Yeah.
00:45:02But we did manage to score a local actor who's already survived over 15 asylum movies.
00:45:10A seasoned veteran.
00:45:12Hi, Jay.
00:45:13Hey.
00:45:13Hey.
00:45:14How are we, guys?
00:45:15Very good.
00:45:15How are you?
00:45:16Good to meet you.
00:45:17Welcome to the chaos.
00:45:19Plus, he's even willing to run crew payroll through his marketing consultancy.
00:45:24Good.
00:45:24I was organising camera insurance for us.
00:45:27Huh.
00:45:27Yeah.
00:45:28Apparently that's what I do now.
00:45:29Yeah.
00:45:31Just a little creative accounting.
00:45:33Yeah, I'm excited.
00:45:34This is a submarine hatch.
00:45:35Oh, yeah.
00:45:35So we're going to pop that on the beach.
00:45:37So if you just like...
00:45:38Pretend you're climbing a ladder.
00:45:39Yeah.
00:45:40Alright, action.
00:45:41What's that?
00:45:41Sorry.
00:45:43I've only got a couple of these in me.
00:45:49Action.
00:45:53Land.
00:45:54No visual on survivors, but land less than a mile.
00:45:57Port side.
00:45:57With the rest of the cast here, we could finally start making sense of this script.
00:46:01Maybe this is hell.
00:46:03Maybe we already died.
00:46:05That's why Arm said we can't get off this island.
00:46:08It'll be like this for eternity.
00:46:10I'll never see my mum again.
00:46:12Where is the knife?
00:46:13How would I know?
00:46:14Yeah.
00:46:16You're outnumbered, punk.
00:46:18Give up the knife.
00:46:19I have done nothing but comply since the dinosaurs appeared.
00:46:24Why not blame your crew member who, good fighter or no, is a nervous wreck?
00:46:29Swim!
00:46:30Now!
00:46:30We do.
00:46:31We survive that giant one.
00:46:33Quickly!
00:46:34You hold metal hull torn by a rock.
00:46:37It is not meant to be gripped and is slick with mist coming off of the waves.
00:46:41Potatoes, eggs, milk, bacon.
00:46:44Ruined.
00:46:45We recovered six cans of bean soup.
00:46:48No sealed rations.
00:46:50Remis off!
00:46:51No!
00:46:52T-Rex and snaps its head towards the boiling adrenaline.
00:46:56With the giant one gone, treaties are being offered.
00:47:00Now, please, rest.
00:47:02There's a hammer.
00:47:02Yes, sir.
00:47:04Quick about it.
00:47:04Everything we do has to be about leaving, not staying.
00:47:07Sure.
00:47:07There are a few plot holes you could drive a truck through.
00:47:10Bradley Sy is standing in turns to eat the last of the Mosasaur meat.
00:47:14The Russians scowl defiantly.
00:47:15But the cast, they're really selling this dialogue.
00:47:18Just help me take this wood to the water, will you?
00:47:22Remis off is in the submarine.
00:47:24I couldn't wait to get on set.
00:47:26Honestly, there's no way I can fail.
00:47:29You will fail.
00:47:31You'll fail.
00:47:32No, this is some of the sub stuff.
00:47:34Yeah.
00:47:36Amazing what you can do with a bit of starfoam, eh?
00:47:38Yeah.
00:47:38So, yeah, you're gonna screw it up.
00:47:40You're gonna screw it up.
00:47:42You're in very, very poor hands with Brendan.
00:47:45That is so cute.
00:47:48I fucking love it.
00:47:48It's a little chlamydia panda.
00:47:50But that means you're just gonna have to work that much harder.
00:47:54The genre is the star.
00:47:56Make sure that you deliver those moments that people want to see.
00:48:00We don't seem to be getting any of that.
00:48:02Sorry, what's the last line?
00:48:04So you're telling me that the reptile is a dinosaur?
00:48:06Damn it.
00:48:08As long as the directors, you know, don't try to be all artsy and creative, you know, then the films
00:48:14work out.
00:48:15We have seen it all.
00:48:17Okay?
00:48:18We have had directors gone on the deep end and gone, you know, total, you know, apocalypse now nutso.
00:48:25Okay?
00:48:26But, um, we'll see what happens.
00:48:30They embrace the end.
00:48:37What a good time.
00:48:38What a good time.
00:48:39What a good time.
00:48:40Well, uh, yeah.
00:48:42I guess I'll see you on Monday.
00:48:44LAUGHTER
00:49:03Four weeks ago, I was directing corporate videos.
00:49:07Today, I'm on set of my debut feature film.
00:49:13Yeah.
00:49:14Yeah, maybe that works.
00:49:15It's a dream come true.
00:49:17So I'm ready to give it my all.
00:49:20I don't care how near Russia we are.
00:49:21We need a charter course to landfall so we can fucking do something.
00:49:25Uh, so we can...
00:49:27Oh, fuck, sorry, guys.
00:49:28In the last five days, I've gone from nothing to a full crew, cast, locations, and I could now officially
00:49:36call myself a director.
00:49:39Very good.
00:49:40How's that?
00:49:43Yeah.
00:49:43I need to call myself, guys.
00:49:45Oh, I'll be sorry.
00:49:46Yeah.
00:49:46Sorry.
00:49:47But I have to wait a bit longer to shoot my first shot.
00:49:51I'm gonna steal you for a second.
00:49:54Oh, okay.
00:49:54Because we're gonna call that and go over the costumes.
00:49:58The asylum team in L.A. needs to approve the costumes.
00:50:01Just get ready for us.
00:50:01Before we can start rolling.
00:50:03We're gonna be having three more costumes coming through in the next hour.
00:50:08Right now, we're just, like, getting, you know, like, the flags and stuff on them.
00:50:11That's great.
00:50:12I know I'm a rookie, but I feel like this could have been done earlier.
00:50:17Like, before the shoot.
00:50:18Just hope that they get approved.
00:50:21Because this will take, I'm assuming, about six hours.
00:50:24All right.
00:50:24I'll set a timer.
00:50:27All right.
00:50:27It's not exactly the start to the day I was hoping for.
00:50:31Yeah.
00:50:31All I can do is smile, nod, and keep rehearsing.
00:50:35Front week.
00:50:36Get on NAVCOM.
00:50:38Mayday, mayday.
00:50:38Do you smell smoke?
00:50:39I'm sorry.
00:50:40Had the dust of fire back there, but we're good.
00:50:42Checking NAVCOM.
00:50:42Mayday, mayday, mayday.
00:50:44This is...
00:50:44This is Captain...
00:50:45Fuckin' David.
00:50:46This is Captain Tim Olsen of the Royal Australian Navy.
00:50:49Does anyone read?
00:50:50This is good.
00:50:51I know...
00:50:52Oh, take it again?
00:50:53Okay.
00:50:54If Lat sees that in the dailies, he's gonna yell.
00:50:56And I do have to say that you guys shot without getting approval.
00:50:58Okay.
00:50:59I thought...
00:51:00I thought we were gonna hear about that, like, an hour ago.
00:51:03But is...
00:51:03But is everyone else...
00:51:04Is everyone else approved?
00:51:05Follow...
00:51:06Nope.
00:51:08What are we doing?
00:51:09I don't know.
00:51:09I guess we...
00:51:10Wait?
00:51:12And...
00:51:13Action or rehearsal.
00:51:15Jesus Christ, what was that?
00:51:17Are we under attack status?
00:51:19Panels on the fritz.
00:51:20Pan, ID, origin, result, method of damage.
00:51:21All right, Tyler, get eyes up.
00:51:24Sorry.
00:51:25Get eyes topside.
00:51:26Uh...
00:51:27Fuck.
00:51:27Get eyes topside.
00:51:28Fuckin' Jesus.
00:51:29Hostiles.
00:51:31Threatenlies.
00:51:31Anyone.
00:51:32I need a...
00:51:33Visual status.
00:51:34Sorry, guys.
00:51:35Yes, sir.
00:51:35This is where we have rehearsals.
00:51:38All right.
00:51:38And clear.
00:51:39Clear on rehearsal.
00:51:40I'm gonna place a little MC for coops.
00:51:42Who told me to calm down earlier?
00:51:43Who was that?
00:51:44Was that you?
00:51:44Yeah.
00:51:45Thanks.
00:51:45That was me.
00:51:47Word of advice, never tell an angry person to calm down.
00:51:49All right.
00:51:50Word of advice, don't fuckin' like yell at all the crew on the first day.
00:51:52How about that?
00:51:53I didn't fuckin' yell at this crew at all, mate.
00:51:56Do you understand what I'm saying?
00:51:57You got very loud.
00:51:57I'm getting...
00:51:58Yeah, I'm getting loud because I'm getting frustrated.
00:51:59But I...
00:52:00Don't...
00:52:00Guys, guys.
00:52:01Don't get in my face, brother.
00:52:03Don't get in my face.
00:52:03Again, this is when I said, like, I know it's, like, a lot.
00:52:06But let's not get angry at each other because...
00:52:08I'm not getting angry.
00:52:09I'm getting frustrated.
00:52:11No, I know.
00:52:11I didn't take it out on anyone.
00:52:13What?
00:52:13Oh, if you've got a problem, mate, don't, don't...
00:52:15Dude, don't...
00:52:15Guys.
00:52:15It's done.
00:52:16Aaron.
00:52:17Okay?
00:52:17We're here to work.
00:52:18I'm here to work.
00:52:20Conversation's over.
00:52:21Let's...
00:52:21Let's keep it, okay?
00:52:22Let's just both keep our heads.
00:52:23Yeah, exactly right, mate.
00:52:25So don't tell me to calm down, all right?
00:52:28Sorry.
00:52:29I'm just getting a slate.
00:52:29I'm not sure if I should step in or just pretend this is all part of the rehearsals.
00:52:34Do you want to do...
00:52:35Did we want to do another rehearsal?
00:52:36I would love to do another rehearsal.
00:52:38Yeah, that'd be great.
00:52:38Let's do another rehearsal, guys.
00:52:52I'm not prepared for this.
00:52:54This stuff needs to be repaired now.
00:52:56It doesn't help that the asylum made a bunch of script changes a few days ago.
00:53:00Bradley comes over.
00:53:01Is that correct?
00:53:03Maybe let's just cut and have a look.
00:53:04Yep, let's cut there, guys.
00:53:05See what I mean?
00:53:06We're all struggling to make sense of them.
00:53:12And it's up to me to stop this whole shoot from falling apart.
00:53:16Give me, like, five minutes.
00:53:18Before we really begin.
00:53:21We can't film with that.
00:53:22We can't?
00:53:23No.
00:53:24No filming yet.
00:53:25All right.
00:53:26I need to get y'all approved through wardrobe.
00:53:28Great.
00:53:30You're welcome.
00:53:32Well, I just want to make sure that it's regulation.
00:53:35So everything has to look correct and proper.
00:53:37Yeah.
00:53:38So something like this, we need to see pictures that look like they're supposed to.
00:53:42Yeah.
00:53:42And not interpretive.
00:53:44We can do that.
00:53:45Yeah.
00:53:45Bradley, get to the bomb.
00:53:46Reduce it to 20 seconds and 20 seconds only.
00:53:48LaRue, you cover our exit points.
00:53:50Copy?
00:53:50This is embarrassing.
00:53:52We are in the water.
00:53:53Yep, we are in the water.
00:53:53I pulled together an entire cast and crew just to watch rehearsals.
00:53:58I just want to prove that I actually know what I'm doing.
00:54:01All right, let's move.
00:54:02Yes, sir.
00:54:03All right, lunch.
00:54:06Guys, I want to apologise for my little outburst earlier.
00:54:09That was really not appropriate at all.
00:54:11I'm sorry, that won't happen again, okay?
00:54:13I really feel bad about that, okay?
00:54:14Roger that.
00:54:15Thanks, man.
00:54:15Thanks for that.
00:54:17I have to send a picture, but essentially, yeah, and then the sticker thing.
00:54:20Yeah.
00:54:23Finally, the asylum gave their approval on the costumes.
00:54:27You guys know what you're doing or do you want to have a proper suit?
00:54:28Status, where is he?
00:54:29Yeah, yeah, yeah.
00:54:30We can finally start shooting.
00:54:33Great.
00:54:33All right, let's turn over, everyone.
00:54:36Mark it.
00:54:37And action.
00:54:38Australian?
00:54:38No, Australian never rescue.
00:54:41Kuprin.
00:54:41Intel report.
00:54:43Status.
00:54:44Where is he?
00:54:45Cut.
00:54:47Yeah!
00:54:48Yeah!
00:54:49Verdammt derasse!
00:54:50But with a full day's worth of scenes to get through in half the time...
00:54:54Yeah, cut.
00:54:55All right, we're clear.
00:54:56Got it.
00:54:57I had no choice but to speedrun the entire schedule.
00:54:59To you, you're coming in to me and you threw it to something like that.
00:55:02If I could just...
00:55:05Move!
00:55:06Move!
00:55:06Maybe you should try pissing in it.
00:55:09Maybe a little more, uh, a little more Russian.
00:55:12Maybe you should try pissing in it.
00:55:16Somehow we blitzed through the scenes and managed to catch up.
00:55:19Cut.
00:55:20We're clear.
00:55:20For a moment, I actually thought we were back on track.
00:55:24Until...
00:55:25This looks like a garage door.
00:55:27Like, there's a world they might want us to reshoot the entire thing.
00:55:31This is why I have to babysit Seb.
00:55:34Sometimes.
00:55:35He's doing good.
00:55:35But you can't film in front of a garage and say it's a battleship.
00:55:38I mean, look, we've got maybe ten minutes of light.
00:55:41And just to not see the garage at all?
00:55:44Yeah.
00:55:44In that case, it's that wall.
00:55:45I would say do that wall.
00:55:46Okay.
00:55:47Just because I know what's gonna happen, and I know the notes we're gonna get,
00:55:50and I don't wanna wake up to that.
00:55:52That last setup was just much better.
00:55:54Where's Brendan?
00:55:56So, yeah, hiding behind these barrels now.
00:55:58So, same action.
00:55:59Same action.
00:56:00Running from...
00:56:01Over there?
00:56:02Yeah, that works.
00:56:03Scene 7, 9, 11, 15.
00:56:05Charlie.
00:56:05Mark it.
00:56:08Action.
00:56:12Cut.
00:56:13That's better.
00:56:14There you go.
00:56:16There's no more light, and we packed out.
00:56:18Is that a wrap?
00:56:18We did it.
00:56:19Alright, that's a wrap, guys.
00:56:20Thank you so much for the day.
00:56:22Congratulations, everyone.
00:56:23Woo!
00:56:24We got there.
00:56:29After a rocky start, we hit our stride.
00:56:32Okay, long beard.
00:56:33Actors, crew, everyone.
00:56:35Move, move!
00:56:36They're everywhere!
00:56:37We really clicked.
00:56:41Hey!
00:56:43Look at this.
00:56:44Bit of a money shot here?
00:56:45Yeah.
00:56:46That's a master.
00:56:46A trademark technique, though, so...
00:56:48Don't go using it.
00:56:50I won't go using it.
00:56:51I know, hey, sorry.
00:56:51Get up!
00:56:52Get up!
00:56:53Go, go!
00:56:53It's futile!
00:56:54We're slowing you down!
00:56:55For a ridiculous Lost World dinosaur film, this might actually end up being pretty cool.
00:57:01No, I just need you to explain the fuel dumping valves to me.
00:57:08The actors that are doing accents, trying to get their performance a little more authentic.
00:57:14It's definitely got its moments, and I was starting to see why I always knew I was meant for this.
00:57:20The shot is going to be from here.
00:57:22You're just going to turn around and sneak up and have a look, and we're just going to kind of
00:57:26like right focus to your face.
00:57:27So you could probably come up.
00:57:29Yeah, exactly.
00:57:30That's perfect.
00:57:31Guys, heads up.
00:57:33There's a Channel 10 crew incoming.
00:57:35We were going to do a bit of a news story.
00:57:37Alright.
00:57:38Do I have to look both?
00:57:39No, no, no.
00:57:40I feel like it's kind of a big deal, bringing a Hollywood studio movie down under, even if it is
00:57:44a tiny budget and a dinosaur movie.
00:57:50Remisov!
00:57:51No!
00:57:53Maybe do that again, but look down.
00:57:56Remisov!
00:57:57No!
00:57:59And we'll cut there.
00:58:01Cutting.
00:58:02Also, Anthony, do I look in his direction when he falls?
00:58:05I reckon, yeah.
00:58:06And look down to him, yeah.
00:58:07I was looking at the flag on the corner.
00:58:11It's a little shirt.
00:58:15It's the wrong way up.
00:58:18Courtney?
00:58:19Yeah?
00:58:20The Russian flag is upside down on its thing.
00:58:22Whoops.
00:58:24It's been filmed like that the whole time.
00:58:27Anthony!
00:58:29Hi.
00:58:30So, um, we found something out.
00:58:32What?
00:58:34Look at his flag.
00:58:35Compare the pair.
00:58:35Yeah.
00:58:38What?
00:58:39Oh.
00:58:40We have discovered it's upside down.
00:58:43It's an intentional fun little Easter egg.
00:58:43At least ours is the same.
00:58:46I will talk to the studio after the film wraps.
00:58:49Oh, yes, yes, yes.
00:58:50Anyways.
00:58:52Keep filming.
00:58:52Oh, God damn it.
00:58:56Remisov!
00:58:56No!
00:59:00It's not all smooth sailing, though.
00:59:02Our little flag mishap has put the asylum on high alert.
00:59:05And there's still one costume that needs to be approved.
00:59:09The studio wants a very specific look.
00:59:13That look, the only costume that I can find right now is in Sydney.
00:59:17If we're able to shoot other stuff right now...
00:59:21Now they're getting more hands-on and basically dictating what they want me to do.
00:59:25I am disgusted by that.
00:59:28Absolutely disgusted by it.
00:59:30It's like they don't trust me anymore.
00:59:33Yes.
00:59:35It's not what I imagine arm looking like.
00:59:37No, I know.
00:59:38It just looks like Aladdin to me.
00:59:40I'm not happy with that costume at all.
00:59:41They keep changing their mind.
00:59:43Now my favourite character is sidelined until the costume is sorted.
00:59:47You alright?
00:59:47Yeah, I'm good.
00:59:48I'm totally fine.
00:59:49Dude, are you okay?
00:59:51Yeah.
00:59:51Yeah?
00:59:52Yeah, we'll figure it out.
00:59:53We'll get this.
00:59:53We absolutely will.
00:59:55The holdup's really messing with the schedule.
00:59:58Boom.
00:59:59No!
01:00:01No!
01:00:02No, no, no.
01:00:03Damn it!
01:00:05I don't think the crew fully understood what they signed up for.
01:00:09I feel kind of guilty.
01:00:11Send it immediately.
01:00:12No.
01:00:12No, they don't get approval.
01:00:13We die it.
01:00:14We shoot.
01:00:15They have to.
01:00:15They can't.
01:00:17I need you to not be having that energy over here right now.
01:00:19Take it somewhere else.
01:00:20Taking the energy somewhere else.
01:00:21I just need everyone to stay on board
01:00:23before this whole thing falls apart.
01:00:26If we film anything with those characters,
01:00:28he will shut the entire show down.
01:00:29You're not going to be able to shoot this costume until tomorrow.
01:00:32It's afternoon.
01:00:33So we're going to have to probably...
01:00:35Yeah.
01:00:36Okay, staff.
01:00:38How many pages do we have tomorrow?
01:00:4122.
01:00:42Okay.
01:00:42And how many pages?
01:00:43It's our biggest day.
01:00:43Okay.
01:00:44So it's probably going to be a 30 page day?
01:00:50Cool.
01:00:51It'll be a 30 page day.
01:00:53It'll be a 30 page day.
01:00:55We're not officially fucked.
01:00:56We're just...
01:00:57Yeah.
01:00:57Tomorrow is...
01:00:59You wanted an asylum shoot.
01:01:01This is how you got one.
01:01:08Anthony!
01:01:08Yes.
01:01:09Yes.
01:01:09Can you...
01:01:10It might help a lot of the crew in the cast.
01:01:13If you could sort of suggest where bits of the boat are...
01:01:20I'm currently talking to the DOP to decide that.
01:01:22So I just need one second to discuss lighting
01:01:24with the guy who's responsible for lighting.
01:01:27But that's going to depend on where we can put cast.
01:01:31So they need to know where they can go.
01:01:33Right.
01:01:40Oh shit, should I have a block through a 27 and see how that works?
01:01:43Do you have a spray bottle just to wet him a little bit?
01:01:46We're not wetting him yet.
01:01:48Ah, you fucking take over then.
01:01:49For fuck's sake.
01:01:50Like, Jesus Christ.
01:01:54Oh fuck.
01:01:55Just...
01:02:03And action!
01:02:16Why do I care so much about this movie?
01:02:28I apologise.
01:02:29I really sincerely apologise.
01:02:31And I'm sorry for talking to me.
01:02:32You are doing a fantastic job.
01:02:33I really appreciate everything you've done.
01:02:35Because I feel like I'm doing a...
01:02:36You are really doing an amazing job.
01:02:37But yeah, I think we just...
01:02:38Yeah.
01:02:39Look, on the...
01:02:40I don't mean to be condescending.
01:02:41I know I can be very short and very curt.
01:02:43Um...
01:02:44So, I'll work on that.
01:02:51Yep.
01:03:02So, I reckon you're up here too.
01:03:04I reckon you're up here too.
01:03:04If you can...
01:03:05You're just holding a script, we'll have you on a tight shot.
01:03:07And if you forget your lines, take a breath, have a read, deliver it.
01:03:11Yeah?
01:03:11Nine pages with you.
01:03:12You've basically got like a two or three page sort of speech.
01:03:15So...
01:03:15For some reason, we scheduled the most gruelling scenes to be shot all in one day.
01:03:21And action!
01:03:22Give me that first line again.
01:03:24Yep.
01:03:25Can you see how still and dense that forest is?
01:03:28Every asylum film has these convoluted monologues that any actor would struggle with.
01:03:33Can you see how still that...
01:03:34Okay, dense, sorry.
01:03:35Can you see how still and dense that forest is?
01:03:37Yes, sir.
01:03:38I want this whole film to be entertaining and cinematic.
01:03:42It's too bad that we didn't...
01:03:44It's too bad that we didn't...
01:03:45Fuck, sorry.
01:03:45It's bad enough we didn't land anywhere friendly.
01:03:47And we're on our own out here, right?
01:03:49You understand that, don't you?
01:03:51But this is worse than I imagined.
01:03:53Shit.
01:03:53If it was flat Russian...
01:03:54If it was flat Russian tundra, you could probably spot an arctic fox from miles away.
01:03:59Like it's everything you shouldn't do.
01:04:00People stop watching the movie at this point.
01:04:02They do.
01:04:03This is about 20 minutes in.
01:04:04Shit.
01:04:06Let's just bang through it.
01:04:07Yeah.
01:04:08Get it over there and then we can move on.
01:04:09Honestly.
01:04:10I want another dinosaur kill.
01:04:12That's what I'm after.
01:04:13We're hundreds of miles from shoreline and nowhere near any islands as far as I can tell.
01:04:21Based on the location of the sun, we're only a couple of hours from nightfall.
01:04:30At the end of the day though, this is on me.
01:04:32A good director would rise to the challenge and make this movie fun.
01:04:37To watch and to make.
01:04:38Alright, be quick.
01:04:39Fuck me dude.
01:04:40A little bit.
01:04:40Okay.
01:04:41And a bad director would make something so bad that it's good.
01:04:46We have to do every single thing to hasten our exit from this place.
01:04:49The problem isn't just that I'm not good enough.
01:04:52It's that I'm not even bad enough.
01:04:54And if there is any other kind of strange animal in this weird ass ecosystem or any type
01:04:59of trouble, I'll leave it up to you whether you want to defend yourselves or follow me.
01:05:05I might be able to even spot a fresh water source from up there.
01:05:07Okay.
01:05:07It's going to take me about an hour, I'd say, but um, fuck.
01:05:12Maybe at the top I can light a beacon.
01:05:14Clive is acting CEO until I return.
01:05:16Copy?
01:05:16Yes sir.
01:05:17What he says, go.
01:05:18He is the tip of the spear.
01:05:19Copy, sir.
01:05:21Your eyes before me.
01:05:22If rescue comes before I get back, then Godspeed.
01:05:27Cut.
01:05:28Yeah!
01:05:30I'm going to throw this in there.
01:05:32Jesus Christ.
01:05:33That was a f***ing...
01:05:34I knew this was going to be prescriptive, but at the end of the day, it's my name on this
01:05:40film.
01:05:40So it's my job to make it work and to elevate it.
01:05:43I just don't know how.
01:05:45Action.
01:05:49We kind of put these directions in the script.
01:05:52You're going to do it this way because we want to make sure this is a genre film.
01:05:58You're showing the monster.
01:06:00It's not artsy because the audience is supposed to be entertained.
01:06:06You must have attracted it here.
01:06:09As much as people say that they like to watch important films and art films and foreign films,
01:06:15the truth is they don't.
01:06:17But I think that you have to decide what you want to do.
01:06:20If you are an artist, you make art.
01:06:22That's a diesel engine!
01:06:25Without diesel lubrication, the pistons are going to shed sparks!
01:06:28This box!
01:06:29Listen to us!
01:06:31There's nothing wrong with pursuing that artistic vision, but you have to assume that you're
01:06:36probably not going to be successful and certainly not going to be rich making it.
01:06:40I did not sign up to fight dinosaurs.
01:06:43Only Australians.
01:06:44That doesn't matter now.
01:06:46You know, art smart.
01:06:48That's certainly the way I feel.
01:06:49I'm a sellout whore.
01:07:02It's five days in and I need to clear my head.
01:07:08I think asking for this wasn't such a crash hot idea.
01:07:14I sold what remaining shred of creative integrity I had.
01:07:18And I haven't even been paid yet.
01:07:23When I used to work for free, making stuff with my friends, it was all about having fun.
01:07:28There were no expectations, so we could just enjoy the process of creating anything.
01:07:33That's what I've always loved doing.
01:07:35And it didn't matter if no one saw these videos.
01:07:38In fact, it's probably for the best that most people didn't.
01:07:44Now I'm working for a Hollywood studio and they've pre-sold this movie.
01:07:49So people will see it.
01:07:51And that I directed it.
01:07:53Poorly.
01:07:55Maybe I just don't have what it takes.
01:08:01But I've got one last day.
01:08:03And all I can hope is that it's smooth sailing.
01:08:07Action!
01:08:11Get down.
01:08:14Get down.
01:08:15You alright?
01:08:16Oh shit.
01:08:20Cut.
01:08:21Where should we set up our massive fucking fluorescent surfboards?
01:08:26I've never seen anyone at this beach before.
01:08:35There's just no point fighting it anymore.
01:08:40And remember, patience with the refuelling process.
01:08:46We'll make a dart line to your location.
01:08:48This is actually one of the stupidest things I've ever made.
01:08:51I think one of us should go with them, sir.
01:08:53Normally, yes, but we know bugger all about the fuel transfer.
01:08:59Oh fuck!
01:09:00I've made a lot of stupid things.
01:09:02Now that I think about it, it's what I do best.
01:09:04Yeah, okay.
01:09:04It's what I do best.
01:09:05Arrgh!
01:09:08I got it, sir!
01:09:10Arrgh!
01:09:12Arrgh!
01:09:12Arrgh!
01:09:13Arrgh!
01:09:13Arrgh!
01:09:15That's actually, I was sick.
01:09:16Yeah, that was great.
01:09:17Oh, cool!
01:09:18That was so fun.
01:09:22And then I can come up behind you and if I've got you in front of me like this,
01:09:25and I'm like, who, guess who's got the knife?
01:09:27What's my line?
01:09:28Uh, it's, I would never take any of you off this island with me.
01:09:32I am living alone.
01:09:33I would never take any of you off this island with me.
01:09:36I am living alone.
01:09:39Come on, silly.
01:09:40There's just one scene left to shoot.
01:09:42And only now is this film starting to feel a lot more like my usual stuff.
01:09:46Action!
01:09:47I would never leave this island with any of you.
01:09:51And I am going now, alone.
01:09:54Come on.
01:09:55I got so wrapped up in taking this seriously.
01:09:58Get up, you son of a bitch!
01:09:59That I forgot to just enjoy it.
01:10:02Damn.
01:10:07That's brilliant.
01:10:08Really good stuff.
01:10:09This is how the whole shoot should have gone.
01:10:11The cat's gonna get their lines.
01:10:12We're ready.
01:10:13Then when they drag out, I'm gonna move in and I'm gonna shoot.
01:10:15Get out of here.
01:10:16Not too far.
01:10:16Not too far.
01:10:17Stuff.
01:10:19Action.
01:10:20Just hold.
01:10:21Oh, sorry.
01:10:25Get out of here.
01:10:28Action.
01:10:30Please!
01:10:31Just let us help figure out a safe way off the island for you!
01:10:34I hear your little mind games!
01:10:36War has made me vulnerable to them.
01:10:38Now I am leaving.
01:10:40I'll free to say goodbye!
01:10:43Frederick!
01:10:52Now I really don't want this to end.
01:10:55Cut!
01:10:56That's a wrap!
01:11:02I just hope I get another chance to do it again.
01:11:08Hey, I can't take your call right now, but uh, if you leave a message, I'll get back
01:11:11to you when I can.
01:11:13Hey Anthony, hope you've been resting up from the shoot.
01:11:16We have already done the first cut of the movie.
01:11:19Unfortunately, there are some problems with it, so the studio's written a few extra scenes
01:11:25to fix it.
01:11:26They are gonna have to be shot here in LA.
01:11:28It's up to you if you do want to come and do it.
01:11:32Um, you know we can't pay for the flights because, hashtag, we broke.
01:11:37Let me know.
01:11:38Give me a call back.
01:11:38Bye.
01:11:55We've established the raptors are all going that way.
01:11:58They're running away, so camera right is where raptors are.
01:12:01Yeah.
01:12:01So, all his friends have gone over here, camera left.
01:12:06So, how is he being attacked by a raptor from this side?
01:12:09Because that's where his friends are.
01:12:11Mm.
01:12:13So...
01:12:17Most of these scenes felt good while we were shooting them.
01:12:20This is a huge problem for me to put raptors behind.
01:12:23I guess you can't always trust your gut.
01:12:25This raptor comes out of the foreground going, grr!
01:12:28They're running towards the raptor that has just confronted them.
01:12:32So, again, the staging here is very weird.
01:12:38Literally, if I put the T-Rex here, you'd see his ankles and his junk.
01:12:43That's all that would be on screen.
01:12:45My personal opinion.
01:12:47Aside from the VFX, there are some major plot holes that need fixing too.
01:12:51So, yeah, I'm looking forward to seeing the rest of the film.
01:12:54But I knew that while I was shooting it.
01:12:56Yeah, great.
01:12:57Thanks, Glenn.
01:12:58You're welcome.
01:12:59Yeah, thanks so much.
01:13:02To help fix this mess, they've booked an asylum regular for these final scenes.
01:13:07So my movie will have a star in it.
01:13:10I can't wait to direct a real celebrity.
01:13:16But before then, I wonder what will come next for me if I manage to pull this movie back from
01:13:21the brink.
01:13:22There is someone who, after cutting her teeth with the asylum, has gone on to work with the big studios,
01:13:27won an Emmy, and has built a career for herself as a real director.
01:13:31I am chopping wood. I'm using it to create levers.
01:13:35She should know if I've got what it takes to follow in her footsteps.
01:13:38I think you are just the man to be helping me. So come.
01:13:41Yeah, it's confusing. It is confusing. But you got all your coverage. I feel like, you know.
01:13:49Yeah, we got there.
01:13:50Honestly, she seems pretty impressed.
01:13:53What do you think I should do next? Do I make more asylum movies or do I try to move
01:13:56on?
01:13:57Yeah, I mean, I would make another asylum movie.
01:14:01Yeah?
01:14:01I mean, I don't know. Right? As long as it doesn't sound terrible to you to do it, I feel
01:14:06like just doing anything and figuring out what your next step is, you know.
01:14:11How many asylum movies do you think you need to make before you can move on to, like, bigger budgets?
01:14:14Well, it's not even, like, number of movies. It's more like, okay, so I made this asylum movie that was
01:14:18a musical.
01:14:24Christian musical. I'm, like, Jewish atheist. It's, like, not, you know, it's not like, oh, this is my soul.
01:14:33I'm gonna let it shine. I'm gonna let it shine.
01:14:35And then was in a meeting with a studio exec and as sort of a joke mentioned, like, oh, this
01:14:40Christian musical I made.
01:14:41She was like, oh, you've done musicals? And then she sent me, like, a musical script and pitched me up
01:14:47to her boss for it.
01:14:48And that was how I got my first studio movie.
01:14:56You know, there's so many different paths and you don't know what's gonna work and, like, everyone, like, it's kind
01:15:01of unrepeatable anyone's specific journey.
01:15:03Yeah.
01:15:04Like, most people haven't directed a feature and so even having that base level of knowledge and a credit, like,
01:15:09is a lot more than a lot of people have.
01:15:12I never thought I'd get to make one.
01:15:13Yeah. I mean, that's how I felt. That was, like, yeah. It's cool.
01:15:17Just give any dummy a movie and you can just get to make it. It's great.
01:15:27I have to stop comparing myself to everyone else.
01:15:35It's time to just be the director I am rather than the one I want to be.
01:15:48The Asylum are depending on me to fix this film.
01:15:52And I'm not going to let them down.
01:15:55And I can't wait to see who the star of my movie is.
01:16:00And action.
01:16:05Piers, we need to figure out what happened on that Russian sub.
01:16:09We need to know it wasn't disappearing on purpose this close to Alaska.
01:16:14Piers, tell me we have some answers.
01:16:17Well, the Russian sub intercepted the Australian naval vessel in the Bering Sea along the coast of Russia and Alaska.
01:16:25But something went wrong and we're not sure what.
01:16:30Admiral, where are you going?
01:16:32I'm going to visit my sister who's in hospice and inform her that her child may be hostage on board
01:16:39a Russian vessel.
01:16:43Cut.
01:16:44I don't think Michael recognized me without the scrubs on.
01:16:47But there's no time to reminisce anyway.
01:16:50We have too much work to do.
01:16:51I think that's our best bet for communication is sending a message.
01:16:54Let's get to work and see if it, see, let's get to work and what?
01:17:00Find out.
01:17:01Let's get to work and find out.
01:17:03Do you think?
01:17:03Let's get to work and find out.
01:17:05Okay.
01:17:06It's exciting.
01:17:06Wow.
01:17:07And a bit intense to be directing such a battle-hardened pro.
01:17:11We're going to do another one?
01:17:12Yeah.
01:17:13Holy shit.
01:17:15This is what you signed up for, Michael.
01:17:1779B.
01:17:18How are we doing up here?
01:17:20Yeah, good.
01:17:20Just finishing up the first scene.
01:17:22Laugh at, laugh at.
01:17:24And action.
01:17:28FRB 2220 was a radio wave that was detected from all places as Western Australia in June of 2022.
01:17:36This dialogue is so dense, I can barely keep up.
01:17:39Do you think that they travel across gravitational anomalies too?
01:17:44I think it's our best chance at communicating and sending a message.
01:17:48It certainly looks a lot more like the asylum's usual stuff.
01:17:51Lee, this is Uncle Jackman.
01:17:53Tell us where you are and we'll bring you home.
01:17:56Cut.
01:17:57How are you working? How's it looking?
01:17:58Yeah, it looks great.
01:17:59Yeah, let's see.
01:18:02Status report.
01:18:03There is no way to tell until it's done.
01:18:06You text the number you're trying to reach and there's a one in a billion chance that it goes through.
01:18:12It feels like I'm directing a totally different movie.
01:18:15Although, some things still feel the same.
01:18:18I want the US and this salver in the Bering Sea at the exact coordinates of that Russian, that fucking
01:18:23Russian boat.
01:18:25Fuck.
01:18:26I'm sorry.
01:18:27I had hoped for a crew of more than three people with fewer broken limbs.
01:18:32I mean, we have one guy running lights who's in a fucking boot.
01:18:37Really needed two people.
01:18:39Yeah.
01:18:39On that team.
01:18:42I've got no idea why we're actually shooting any of this.
01:18:46That's good to me.
01:18:48I thought we were here to fix plot holes.
01:18:51Listen, I don't know how to tell you this.
01:18:53I'll make more of them.
01:18:55We think they may have been taken hostage, but we are doing everything that we can.
01:18:58Why are you here?
01:18:59Sure.
01:19:00You should be trying to find Lee.
01:19:04Now, Pinky, promise me.
01:19:10Cut.
01:19:13If we wrap it, let's say, 10-10 in 30 minutes, or should we wrap it 10 in general?
01:19:18Like, do you feel comfortable?
01:19:20I think we should wrap it 10-30.
01:19:2210-30?
01:19:23How the hell are we going to get all this done?
01:19:24They're not going to be done lighting for 15 minutes.
01:19:27There's nobody on this.
01:19:28There's like two people that will be accruing overtime.
01:19:30I know.
01:19:32Literally be like 80 fucking dollars.
01:19:34How much?
01:19:35Oh, if it's 80, that's fine.
01:19:37I mean...
01:19:37That's fine.
01:19:38How many people are going into overtime?
01:19:39Are you paying these people overtime?
01:19:41No, I don't have to worry about them.
01:19:42Good.
01:19:43So then, yeah, you got fucking two people on overtime.
01:19:46And action.
01:19:48Admiral, we're maxed out at 15 knots, about 10 nautical miles from the Australian barge.
01:19:54The Swiss haven't reported anything out of the ordinary, but I'll update you if they do.
01:19:58The sooner we get there, the sooner we'll know what the heck happened.
01:20:01Then it clicked why I'm actually doing this.
01:20:03Son is alive.
01:20:04Rescue boat.
01:20:06Items left behind.
01:20:07It isn't to fix any problems.
01:20:10They just need me to shoehorn a named actor into this movie.
01:20:13It's a contractual obligation.
01:20:15Yes or no?
01:20:15Yes or no?
01:20:16Go again, right?
01:20:16Yes or no?
01:20:17I think we're good.
01:20:18Yeah, I think it's okay.
01:20:19You like it?
01:20:20We like it?
01:20:20Moving on.
01:20:21With the growing prospect of going overtime and budget,
01:20:25and that I'm making a ridiculous film even more confusing.
01:20:30I realise this isn't about me.
01:20:35I'm just a cog in the asylum machine.
01:20:38Helmsman, full speed ahead.
01:20:40Get us out of here now.
01:20:41No one will remember who directed this film.
01:20:44Scene BD53A, take two.
01:20:48I'm an asylum director.
01:20:51And I'm making a goddamn asylum film.
01:20:54And action.
01:20:57People say to me all the time,
01:20:59why don't you, you know, just save up your money and make a good movie?
01:21:03And, you know, after I kill them,
01:21:06I say, no one knows what a good movie is.
01:21:08And I think that's very, very true.
01:21:11Many, many companies before ours have bet the farm
01:21:14on making a good movie and lost everything.
01:21:18And that's just not the model that we pursue.
01:21:23I don't read reviews anymore.
01:21:26Some people online are very bored and mean.
01:21:30They don't get enough love from their mother.
01:21:32But the most egregious failure for an asylum movie is that it's dull
01:21:37and boring the crap out of the audience.
01:21:41If you make the best film now, oh, my God.
01:21:47That's like winning an Oscar in your first movie.
01:21:49That's horrible.
01:21:50You know, where do you go from there?
01:21:52Ugh.
01:21:53What a lousy existence.
01:21:54You're done with this.
01:21:58I always thought I was destined for a place among the greats.
01:22:02I just had no idea what that actually meant for me.
01:22:05Until now.
01:22:06At its worst, it's...
01:22:08Affects the speed of time.
01:22:11Like a black hole, like time dilation.
01:22:14Maybe the real reason I reached out to the asylum
01:22:16was because, deep down, I knew this is where I should be.
01:22:29Everything I've ever done has been building towards this moment.
01:22:33In the land that I forgot!
01:22:39Anthony, how are we doing?
01:22:41What's that?
01:22:41Last setup.
01:22:42Last setup.
01:22:44Last shot.
01:22:45Last shot.
01:22:50Because when no one else was willing to give me a shot,
01:22:53the asylum did.
01:22:55Not because they believed in me.
01:22:58Just that they needed someone to do it.
01:23:00My...
01:23:00My instruments, they're all going off the charts!
01:23:03Cut.
01:23:06How long do we have this?
01:23:07Can we wrap right now?
01:23:10Yeah.
01:23:10I mean, there's a couple of shots we could get.
01:23:13Josh.
01:23:15How long do you need to wrap out?
01:23:17It's 1106.
01:23:1940.
01:23:2040.
01:23:2140.
01:23:211106.
01:23:22We have to wrap.
01:23:23Alright.
01:23:24We're wrapping.
01:23:24Alright.
01:23:25You can call it.
01:23:26Alright guys, that's a wrap.
01:23:28Josh, great work.
01:23:29Yeah, man.
01:23:31Thank you, Anthony.
01:23:32Thank you very much, sir.
01:23:33It was a fun project.
01:23:35Now we can do everything.
01:23:36Alright.
01:23:36Hi, Anthony.
01:23:36Thanks again, Brendan.
01:23:53I went into this hoping that making a bad movie was better than never making a movie at all.
01:23:59And now I know for sure, it is.
01:24:04Anyone could have directed The Land of Time Forgot.
01:24:06But no one else was meant to.
01:24:13Hi, everyone.
01:24:15Hello.
01:24:16Is it turned on?
01:24:17Yeah.
01:24:25Now, this might not be the movie I dreamt of making when I was a kid.
01:24:29But I'm proud to share with you the first ever asylum film made in Australia.
01:24:34And my first ever film.
01:24:36And enjoy The Land That Time Forgot.
01:25:16Oh, Pinkie promise me.
01:25:26Go!
01:25:29Go!
01:25:29Let me go!
01:25:31Go!
01:25:35Go!
01:25:37Go!
01:25:39Go!
01:25:40Go!
01:25:41Go!
01:25:48Go!
01:25:58We're trying to help you! We can help you! Get up the island water!
01:26:01I hear your little mind games!
01:26:03And four has made me invulnerable to them.
01:26:06Hmm?
01:26:07Now, I am leaving.
01:26:10I'll be the same.
01:26:12Come!
01:26:19Yeah!
01:26:22Yes!
01:26:23Yes!
01:26:24Yes!
01:26:24OK!
01:26:29OK!
01:26:42So beautiful, I got so many champions of the Patreon.
01:26:45And, if you dream again, and have a head perhaps.
01:26:47You can find the image of these champions.
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