Perspective & Empathy
To ensure the strongest team possible, a great producer empathize and understands the needs of all of its departments. Every job on set is important. erzuliefilm.com
Transcript
Adam Rani 00:26
Do you hear feedback from me?
Christine Chen 00:28
No.
Adam Rani 00:29
Well, ladies and gentlemen, welcome to another episode of the Get Reelisms podcast. I am Adam Chase Rani.
Christine Chen 00:41
And I am Christine Chen.
Adam Rani 00:43
Holy smokes you guys. I know it's been a minute; I am so sorry.
Christine Chen 00:48
It has been two weeks.
Adam Rani 00:50
It's been two weeks. And there's no excuse other than a set that was in the streamlined version of it was doomed to fail from the very beginning. And it was just it was just a flurry of everything happening all at once. And there was just absolutely no way for me to just have that little bit of reserve on Sunday or Saturday when we record this to, you know, just talk about it on this podcast, and I really wanted to, but I was like, exhausted, yeah, I everything. My body was just on fire, and I was also a van driver too. So, it was just me doing this like for eight hours a day white knuckling through the streets of Dallas. That's another story. Um, yes, ladies and gentlemen, we're here and Christine, you got you got some stuff you want to talk about? You want to go ahead.
Christine Chen 01:54
We both got stuff. Okay. So, let's get.
Adam Rani 01:57
Mine is more complaint though. You know what.
Adam Rani 02:00
We will give context.
Adam Rani 02:01
I don't about complain. Go head.
Christine Chen 02:03
So, I just got off of a 15-day shoot in.
Adam Rani 02:07
Los Angeles.
Christine Chen 02:08
In Los Angeles was close to Los Angeles was about an hour and a half from Los Angeles. We actually were filming in Frazier Park, which have you talked to anybody who lives in Los Angeles? Most people don't even know where that is. So, it's a mountain town.
Adam Rani 02:22
So, you talked about its last episode.
Christine Chen 02:25
Yeah. So that's, that's where it was. And I just drove back. With my second AD, Carly. We just drove back from LA, and I am in Austin, Texas. Now. That's where I am at the moment. So, my internet should be great. So that's, that's where I'm at. And what's your context?
Adam Rani 02:45
I mean, well, I just want to ask you, how was that trip? All the way? Did you drive to Los Angeles as well?
Christine Chen 02:53
Yes, I drove.
Adam Rani 02:54
So that trip must have been awesome. Going to and from.
Christine Chen 02:58
you know, a lot of people were like, oh, my God, I can't believe he drove all the way you I don't see why more people don't do it. Obviously, the time it takes us a lot more, but the thing is that we made it a mini vacation like a mini road trip. And I had a I had a lot of fun. I'm just driving and seeing stuff. So, I would have liked to have drawn out the last half of our thing and seen more stuff towards the end. But I think Carly needed time to I have noticed that lots of people need time to like to decompress, where I don't. And so, she was like, I just need time to like sit by myself at home. And I mean, while I'm like let's go explore thesis do stuff. Oh, but that was probably a lot to handle. So. So yes, we cut our trip a lot shorter than originally planned. Because we aren't going to be on another trip for the next set in a week. And she just wanted some time to herself. So, I don't fall for that. I totally get it. And so yeah, so we we've kind of rushed it for the last half we did our trip in basically two days instead of three or whatever we did the first time. So, we drove from our first stop from LA was Santa Fe, which I drove the whole like 13 or 14 hours. And then the second half was from the Santa Fe back to Austin. She drove for like the first eight hours and then I drove the last part of it so yeah, and now we're no I'm in Austin, Texas. Yeah, for very brief, though.
Adam Rani 04:38
I would say probably for a minute and then Louisiana, which is by the way.
Christine Chen 04:45
I mean, no, no, no, I'm not going to Louisiana actually. So, I Oh, okay. I leave on Wednesday to go to Colorado to visit my nephew and my parents and then for a few days, then I leave from there on September 13. Fly to Virginia. So, I'll be in Virginia for another shoot for Another 15 days. So, another month in Virginia, to AD another feature, so yeah, but get this just accepted a gig in Austin, Texas immediately after that. So, the longest shoot ever I've been that I will be on in that will be 30 days in Austin, Texas. So, I will be in Austin all the way till December starting at the end of October.
Adam Rani 05:32
Wow, can you? Yeah, I mean, you can't talk about this set. I assume but.
Christine Chen 05:38
Not yet, I mean, it was it’s gonna be a feature film a romcom 30 days to shoot film. I get to AD it. excited about it. Yeah, female director female top line which makes which is female empowerment type story line, which was took it. Um, and yeah, no, it's gonna be it's gonna be awesome. So. So that's in a nutshell, where my life is at the moment and still simultaneously working on Erzulie, getting that ready for the deadline tomorrow. All you guys out there. We're doing Sundance regular deadline is tomorrow, September 6. And yeah, what was your thing? You said Dallas?
Adam Rani 06:26
Yeah. So. Okay. I mean, I honestly it kind of like, is not me. Okay. Let me let me just start from the beginning. Okay. All right. So, this, this set? It's a learning. It was a learning experience. Christine. Everything you take every you told me this all the way back in writer's block. Yes, this is a learning experience. Everything Is Everything is a learning experience. This set was absolutely no different. It was 100% of learning experience. Um, it tested my patience. It tested the boundaries of me of my sanity before I just completely snap when it comes to communication. It's absolutely horrific. So, getting into the set, I was informed that this was going to be a very hang on, let's pause for a second, Kirk 101 on Instagram says What's your advice on balancing so much? And still making sure the quality of your work is great. Christine, that's a Christine. Christine question.
Christine Chen 07:46
Ah, I mean, you really, really have to be surrounded by people who support you. I can't stress that enough. And anytime I returned back to Austin or Shreveport or something, there's a select people that I go to just be loose goosey around. And that's so important because I think when you're working this much, you always have to be what we call quote unquote on to putting on a show per se you have to be the most supportive most upgoing most energetic most, you know, got your shit together leader. And it's nice to like, go back to a place where you can just be like, alright, like, I'm gonna just be lazy and like, sit in the pool with you and like, talk shit and like, be myself and not have to be on. I think that's really, really important. You have to have moments like that with people that you care about who are like, you know, I don't give a shit if your film gets into Sundance, or doesn't get into Sundance or like anything, like, we just like to be around you. And I have people like that, and, and all these cities that I met, so you need that for sure. Days of that. And then I think another thing is, people that again, is it's all about people. So, I have also a group of people that I'm not, I mean, not afraid to show my work too. And that I don't think that's not afraid. I still have a lot of trepidation when I show work to anybody, but you have to be willing to share your work with people that you trust, who will give you honest feedback, and I'm not talking about hey, your film is so awesome. I love it. It has to be like Dude, this scene is not working or like your film just needs so much more things.
Christine Chen 09:33
Constructive criticism.
Christine Chen 09:35
Yes, constructive criticism. You have to have that because you will get into spaces where everything looks the same. Like nothing is you because you've watched her read or whatever, a million different times for that script or that that edit, and you have zero perspective anymore. And you have to have these people look at it and tell you what's working what's not, and that helps you with the quality of film, and you need to be comfortable enough to be able to not take what they say personally. Because it is a lot of notes. And there is a such thing as being noted to death, you know, like, oh, to a point where you're like, Oh, my whole existence is shit, you know, like, because you're going to get so many notes because these people are looking for problems to make it better, you know, to fix to make it better. And so, I think having a mix of that is what will make sure that your quality is still great is having people outside of your circle, bring you back to reality, and also give you a way to locate your work objectively. So, I think I that's the long-winded answer. And I'm sure out of me, you are experiencing that with your script, correct?
Adam Rani 10:52
Yeah, I do. But here's the thing with my script, I'm it feels like I'm always working. Does that make sense? Yeah. Like, it just it always feels like, it's really that's why I say like, this is more of a you answer. Because like, yeah, the only thing I can relate is like how much work I'm putting into my script. Like my note’s app, on my iPhone, I'm using my iPhone. I'm literally looking for my phone, like, where's my phone, and I'm using it. On my note’s app, it's like, there's just, like, 7000 scrolls of just ideas for this script I'm writing and every single one of those notes’ idea. I always set a reminder for myself, like at the end of the day, or at least the next day. Hey, Kelly. Oh my gosh. Hi. It's been a minute.
Christine Chen 11:48
I am hanging out with Kelly tomorrow. Great. Kelly is originally one of the founders that get Reelisms. Oh, Adam, you should come too.
Adam Rani 11:58
I wish and I'm working. Dang it.
Christine Chen 12:01
That's so good. I'm so proud of you. Yeah,
Adam Rani 12:04
It is here. Yeah, home. Not on set. That's the problem. It's not. Yeah, it's still I'm still plugging away through that. But tomorrow is gonna be a heavy day because today I'm taking the day off. But tomorrow on Labor Day, I'm gonna be working. So hi, Kelly. And, uh, yeah, there's, there's some, there's gonna be something I was gonna point out. Oh, but, uh, like, to piggyback off the thing you said earlier, where your kind of just want to sit alone and decompress. Yeah, that's sort of like, very important, very important thing, especially like, if you need like a creative like, release in a way, it's so much benefit, so much more beneficial to just reserve like one day, maybe two days, if you need it. Sometimes people can't handle more than one day, like, just like not doing anything. But at least just having one day you have 15 hours to just do exactly whatever you want to do. So, like if you just want to get back to work you can. Or if you just want to play video games, like in my case, yes. Like I you just jump in. Or if you have a great book, you just want to read it. You just want to veg out on the couch all day and just read that book that's also read as well. It just you kind of have to.
Christine Chen 13:38
Like know yourself.
Adam Rani 13:41
Yeah, know yourself, but also know when to when to just like, take yourself away for a minute in your own world, just so you can kind of keep your creative mind and check in a way, I guess. You know, like what inspires you?
Christine Chen 14:00
When do you know you need to step away? I know when I do.
Adam Rani 14:04
So, it's usually when I it's usually when I'm working. And I'm expecting a different result but doing the same exact thing.
Christine Chen 14:16
Sure. Yeah. I would say I agree with that, too. Yeah, my ends also when like, I look at the same thing and everything looks like shit. Like am I hate everything that I'm doing? That's all I want to notice that step away. And that happens a lot.
Adam Rani 14:32
And I realized I realized to talking about this in therapy, I realized too, that I'm burnt out. I didn't know I was burnt out. I had no clue after the set. It was absolutely brutal. And the way I described it, especially to her, she was like, oh, yeah, you're just burnt out like it because the other day I was writing and I'm like, I don't get it like it was just it was just one of those things where I can't get Enough of it. Okay, he responded Kirk one on one. Thank you for that make sense since I last caught y'all on IG live? I was wondering new hats on set. I was working new hats on set. Oh, fantastic, man. Yeah, that is, it's hard. But when you can get that balance, it absolutely pays off. But
Christine Chen 15:19
Balanced a weird word. Because yeah, I don't feel like there is necessarily a true balance. I think balance just means where you won't lose your mind. That's where you're balanced.
Adam Rani 15:31
And that's why I almost lost my mind the other day, like the other day when I was writing, I'm like, I don't know what's happening with me, like I was on a roll before I did this stupid set. It's not stupid. It's a great set. But after doing this set, I was like, I this, this just doesn't make this doesn't make any logical sense to me. And she was like, no, you're burnt out, you've been averaging about what three to five hours of sleep at night. And you expect like to have all these results when you haven't even given yourself a time to just be in your own world, when you're just already in work mode the entire time. You know, and it's really hard to just remove yourself from that when all you're doing is just going into work mode. And, and it's hard to get out of that. So, when I got back here, I was like, I'm good to go straight into my script in it is what it is. Then, it doesn't work that way. Like I I'm just staring at a wall literally like this staring at my computer for like, three and a half hours wondering why can I write anything? Why? Why am I reading my script? And it feels like it's I wrote in a different language. Yeah, this doesn't make sense to me. You know? And, yeah, it's just, I'm burnt. I'm really tired. I'm just exhausted, I'm exhausted.
Christine Chen 16:54
It's okay to be that way. That's like, yes, I think that's the biggest thing you have to learn to as a creator is that like, it's okay to be tired. And to say, hey, I just can't, I just need a break. It's okay to be that way. And I it's hard to come to that, especially if you are a result driven person, which I am highly that way. I feel my go to emotion is I feel bad if I need to take a break. And that Yeah, you can't. You can't be that way. You know, you have to realize, and it's okay to have that feeling. But to realize, hey, I have this feeling that I feel like a piece of shit because I need time off. But that's just the feeling. But I know reality. I need that to be able to continue to be productive. You know?
Adam Rani 17:47
So, giving yourself a little bit goes a long way.
Christine Chen 17:49
Yeah, totally. So, I totally, I totally get it.
Adam Rani 17:58
But you know, go ahead. Sorry. Oh,
Christine Chen 18:00
I was gonna say but balance is a weird word in this industry. Because I don’t, I don't think there is balance. Like.
Adam Rani 18:06
it's so hard to achieve. It's very hard. But the people in this industry who do God bless you hats off hats, literally hats off to you. Because that is truly a superpower that I have yet to conquer. Even though I feel like I am so much better than I was three years ago, you know, after meeting Christine and being, you know, fucking skyrocketed into the slingshot and into this industry. It felt like to me, it paid off tenfold with everything that I've learned, especially thus far. Because yeah, this set that I worked on, literally proved the opposite of that. Okay, it literally so when I first approached this, it was just going to be when I when, through the interviewing process, just going to be a laid-back set. It's probably going to be half a day. 10 hours, maybe. And when I heard that, I was like, are you kidding me? Really? Like that's, that's pretty wild. All right. Yeah. So then cut to a, we get to this set, and a mutual friend of ours gave me the set. I don't want to mention this person by name because he's, he's a buddy of ours. And it's just like, I don't want to I don't want to out because this is it. Okay, let me let me also say this. This wasn't a terrible set. It wasn't terrible. It wasn't like, you know, the worst set I've ever been on. There was plenty of sets that were absolutely worse. But this set was by far the biggest learning experience that I've had because this was A set that I've never really worked on before. Because going into this set, there's only a line producer, on set, producer, director, no ADs. No Ads Like at all. Okay, Genie, two people gaffer in a day, that's the other thing too it was gaffer and swing. Okay, even though they're doing key grip, you just, you know, it just it felt like they did everything, everything in same with my position I was a key set PA and also a van driver. So, my job was to, you know, simple as picking up people from you know, base camp, which was the hotel and then taking, going to set you know, and then back again. And that's what I did every day, along with being a keyset PA. Okay, so I thought maybe this could be easy feels definitely strange. And I'm a keyset pa that I don't even know how many TAs there really are. Turns out there's only one other PA and, and also a Spanish is probably the most vital thing on this set. Oh, really a language that I have. I do not speak like at all. I look like I speak Spanish to some people to some people in their defense. So, they just begin speaking Spanish to me. And I'm wearing it and 95 masks, it's a reverse duckbill mask. I mean, you know, you guys know what they look like. And they just start speaking Spanish to me. So, I'm just like, I'm sorry, I, I don't know, you know, I can't. All that all those years in French class, just like it was just like, it came back to haunt me when I should have just taken Spanish. You know, I was there in freshman orientation. I just I didn't. And I still kick myself in the past for this. But in the interviewing process, they said it's not mandatory. It's not it's not at all necessary whatsoever. Oh, I am like. Oh, perfect. Awesome. Then I get to the set.
Adam Rani 22:18
60% of the crew speak Spanish. The other the other 40% of the crew are all from Texas. They're all from here. So, you from Dallas to San Antonio and stuff. And even then, even then they're just like, we don't know what's happening. We don't know what's going on. Because every single day, it felt like the there's one part of the crew that knows exactly what's happening. And then there's our part of the crew, which is the local crew, Texas crew, who have absolutely no idea what's happening, like 0 clue. And my job was to basically like, what I learned from the first day is get as much information as I possibly can from the two producers that are on set. Yeah, then relay that information to everybody including Genie, including Genie.
Christine Chen 23:15
You are an AD then.
Adam Rani 23:18
So that is also one of the lessons. Understand that what you are doing sometimes just isn't enough. And you need help. And I first certainly needed help. But when it came to the Texas local crew, and this sounds like I'm bashing the crew, I'm not because this was a set that was truly something.
Christine Chen 23:51
Was it organized? It's just done you think.
Adam Rani 23:54
Not at all? Okay, no, go ahead. Go ahead. Sorry,
Christine Chen 23:58
I was saying, what was the downfall of thee set is the fact that you guys had the language barrier, is that purely it?
Adam Rani 24:06
It was it was that, but it was also the own organization in the miscommunication of everything. So, when I was also working on that set, I couldn't trust just one piece of information coming from one source, I had to go to another producer with another piece of information that are two conflicting things that I can't, that I can't.
Christine Chen 24:30
Conflicting information.
Adam Rani 24:32
They're conflicting information. I can't do anything with this. So, I then go to the local Texas Group, and I sound like an idiot when I'm just like, hey, so this is what's happening, but she saying this is gonna happen. And then Genie looks at me and then di t looks at me, and then everyone else looks at me in the Texas crew and they're like, What? Like, what are you what are you talking about? And I'm like, I don't know. That's the problem. I don't know. So, every day is just me battling like, it’s me playing. Um, you remember that game was called 20 questions or 30 questions. It's like, yeah, 20 questions, it's like to get to the point of one thing, I have to ask 20 questions. So, like, in order for me to understand what we're going to order for lunch, we don't know if we're going to be in the second location or the first location. So, then I have to then ask two different people like, hey, are we going to be here until noon? Or one? One says, yes, that means we're gonna be having lunch here.
Christine Chen 25:43
But the other one says no.
Adam Rani 25:44
But the other one says, no, we're gonna we already ordered lunch in the second location. And it's like, you already ordered it. What do you mean, you ordered? It's like, oh, we ordered it last night.
Christine Chen 25:53
Oh, God, do it sound like my life every day as an AD.
Adam Rani 25:58
And I'm just like, I'm like, Are you out of here? Are you out of your mind? Like that's, that was every day. And it wasn't just that it was something completely different. And you're right, there was no first AD. So, I had to be the first AD.
Christine Chen 26:12
What it sounds like, to me, is you were a makeshift first AD.
Adam Rani 26:17
And a shot job at best. You know, I mean, like, it was a terrible job. Really, even everybody else on set was like Adam, and I'm like, Guys, I'm trying my best here. This is this is these, these people are killing me. They are literally killing me. And I'm getting there. So early to by the way, like, I'm getting there, like I'm getting. So, I have to get to the hotel and my call time is usually an hour before regular crew call for production. That's just not that's a normal thing. That's always normal. But I show up just 20 minutes before that, because my anxiety wakes me up before my alarm clock. So, I get up and I get to the base camp, and I'm there like just 20 minutes earlier. And I just, you know, get done. So, we have to do personal releases as well. Because this is a documentary, this is A show documentary. So I have to get releases, there was one day we were at, we were at a place a recreational place that had a lot of people that we just decided to just put in front of camera, like the DP in the first AC Just out of nowhere, was just like, hey, we're just gonna go ahead and start rolling on everything, and nothing against them. They're just doing their job. They're hired to do that. But they didn't circumvent that information through the producers, then back to me, to my responsibility to get everyone else's releases. So, I'm trying to get five releases, while I'm now hearing just random information that we're going to need 30 releases actually make those 50 releases. And it's like, what are you talking about? Like, I don't, I don't, I don't, I don't compute like, I'm like, I'm about to blue screen here. Like what are you talking about? Like I you know, so I'm literally running around trying to get everyone's releases and I'm throwing release. I'm like throwing my clipboard.
Christine Chen 28:32
You get a release; you get a release.
Adam Rani 28:34
you and I sound stupid because I am the only one who speaks English in the production. Like even my boss can speak a little bit of Spanish and in understand a little bit of it. I'm literally the only one who can understand a word of it. And I'm from Oakland, California, which is mind boggling to a lot of people. And its mind boggling to me I hate to say it, but you know it is what it is. I'm trying to just throw these releases out to people and they're looking at me like what are you who are you What is this? What are you What are you throwing at me? And then I have to grab you exactly Kirk 101 Everyone gets a release. You literally everyone.
Christine Chen 29:20
You are Oprah of the releases.
Adam Rani 29:22
Because I have to then be next to the DP in the first AC every time they roll.
Christine Chen 29:31
Dude you were the AD. That's what you're doing. Like I can't tell, you literally are the AD on the set. That's what life is that's why it was so awful.
Adam Rani 29:40
And also, the keyset PA and in the other PA was also too busy trying to gas up all the other vehicles and make grocery runs and food runs.
Christine Chen 29:50
He was actually doing the AD, THE PA sub you became the AD. So welcome. Welcome to my life Adam every single day.
Adam Rani 30:00
It's a nightmare, Christine. It's a nightmare. I'm kidding. No, I'm kidding. I'm kidding. It's not it's, it's not terrible.
Christine Chen 30:09
It's just hard. It's a lot was all at once all the time.
Adam Rani 30:13
It was not that day. And by the way, remember when I said it was going to be an eight-to-10-hour day, that's what they told me. Oh, it was like 14, 15-hour day, like we were I was there from like, from dusk till dawn, you know, it was just like it, or dawn till dusk. I mean, you know, it was just like it was we were always working, it was just an always, like, the amount of overtime and the amount of any time will not equate to work.
Christine Chen 30:48
How much you were putting in.
Adam Rani 30:49
How much work I was putting in the amount of bandwidth that I was just putting in the amount of just like pure and sheer focus for a stoner like me, that is incredible. And is insane. And I had like, Bobby Fischer, laser focus, like I was just on in ready to go. And every single day, it was just like, I had to make sure that I relay any in all information and also follow up with any other information that I know I'm going to ask for throughout the day. And the producer’s kind of already read my rhythm, and was just like, Okay, here's everything here is done. And then and then. And then I'm just like, couldn't you just do this in the beginning of the dairy, it doesn't matter. It doesn't matter.
Christine Chen 31:37
I find this conversation very hilarious, because you're literally show me you’re living literally having a shot of dealing with being in first ad. That's like, you're having a rude awakening of what it's like to be a first AD without having asked for that job.
Adam Rani 31:55
I didn't ask for it. Yeah. But I was willing to do it in order to just get through the day Christine. Yeah, it was just it was me. And my consciousness, basically telling me like, hey, dude, I want to get through this day, and I kind of just want to get through the set. And I want to get paid as well. So, you know, let’s just 180 this. Yes. And, and roll our sleeves and go get into it. Because a part of me was just like, you know what, man, you're just a van driver. You're just a van driver, and you're also just a first Pa, what more could you possibly do?
Christine Chen 32:30
A lot apparently, I can be an AD.
Adam Rani 32:34
I can do a lot more. But also, like, nobody asked for it either. You know, I mean, like, people were just like, oh, well, I guess the local Texas crews just gonna have to deal with the madness that we're gonna have to deal with in our communication, right. And it’s kind of is what it is. So, it's kind of like a free for all for you guys. So, you kind of have to figure this out? And then so I was like, Well, fuck that. I don't want to I don't want them to deal with that. Because that's not fair to them. They're already they're trying to communicate to the cinematographer in the deed, in the first AC. And there's a language barrier there too. You know, it's just like, we all have to we all have to be in this together. Yeah. And no one is trying to stitch it all together.
Christine Chen 33:24
You’re seeing it If you don't step in, then you'll get the nobody will get paid basically. And it's like, Okay, fine. I'll be the bigger person so that we can all get out of this alive because I want to leave at some point.
Adam Rani 33:37
Exactly. And it sounds like I'm trying to be a knight in shining armor. It's not that I just want to get to bed. Yeah, I get it. I just want to get to bed. I don't even want food. I just like I love food. And I want food so bad. Especially after wrap on a set. You have no idea how much you want food. You get so hungry but.
Christine Chen 33:58
Yes, you want food even when you don't need it
Adam Rani 34:01
When you don't need it five, but this set I just It drove me to the ground where I was like I can't I don't even want to eat. I just don't want to eat and I'm just gonna survive off a coffee and America spirits cigarettes. It's terrible.
Christine Chen 34:16
It's not good. For if I may jump in before we forget because it's coming in, Ariel had a question, Ariel tells us when you felt the best thing around. This is a both of us questions. So okay. Yes, Ariel said tell us when you felt the best in your realm so I'm gonna I know what mine is. I'll say it really quick. I think the best time I feel is when I've scheduled something perfectly. Like literally perfectly. It makes me feel so great. When like I scheduled in the towel comes in at this time. It was the perfect time. And there is no downtime of any sort and like everything just falls right into place. That's when I feel Like, I am God, basically like, I like it when everything works exactly how I had seen it in my head. That's when I feel I met the best in my role. So how about you, Adam?
Adam Rani 35:13
I feel like yeah, I feel I feel that as well like, but there's some, there's something so satisfying. When you tick off that last checkmark that last like task of the day, and you just have, that's when I'm in my absolute best realm is like the day off. I'm all about, I'm adding days off, I'm all about I'm all about them days off, I love I love a good, I love a good day off. And okay, and that's, that's my best realm. But creatively.
Christine Chen 35:48
When you are not in the realm.
Adam Rani 35:49
when I'm not. I'm just like, when I'm like, if there's like a lazy river realm, that's where I'm at. I've just like floating, you know, just hanging out and doing my own thing. If I if there's a way, I can play video games while I'm doing that. Perfect. And I usually make it happen sometimes. But when I am creative, creatively, my realm is making sure that everything else like everything else in the day. I set aside that time just to write so when it's like four o'clock, yeah, it's writing time baby.
Christine Chen 36:31
When you are flowing. That's creative way. That's I, I agree with that as well/
Adam Rani 36:39
I'm a night owl as well. So sometimes when I start at four, I don't go to bed till like maybe three, sometimes two, you know, but it's been averaging before this set, it was like two or three o'clock in the morning. And I look at my watch, and I'm just like, oh, okay, I guess I gotta go to bed. But that's when I'm at my most absolute creative flow. I just have headphones on. I have I have my whiteboard, as you can see still says Adam needs a background cylinder for me that I still need a background. Everyone on Instagram, I think that's mirrored. I don't know if you can read that. But everyone on Facebook, yep, you can see that I need a background. And it's been weeks, but I still write my ideas on this whiteboard. And at the end of the day, I wipe it, I take a picture first and then I wipe it all off. And then I go the next day, fresh, brand new, crazy ass ideas that I want to do, you know, and I'm just stuck in this office for hours on end kind of turns into a part because I can change these colors to and it just like I just turn off that light. And it just becomes like a crazy.
Christine Chen 37:49
It is a writing party.
Adam Rani 37:50
It's a writing party, and it's chill as fuck.
Christine Chen 37:55
I have some news reveal really quick.
Adam Rani 37:56
Please, no, I'm done.
Christine Chen 37:58
I don't know when this date will be. But I don't know if you know, but I am allowed to speak about it now before it was NDA. And you know what to talk about. So, the set that I was on, the director is Sung Kang who is who plays Han, and fast in the Furious Tokyo Drift and all that stuff. He says he will totally get on our podcast.
Adam Rani 38:23
No way. Really?
Christine Chen 38:25
Yeah. So yeah, yeah. Cuz, I want to I kind of want to because this was his first film that he directed. So, I kind of want to pick his brain. So, like, what his learning experiences are from it. And absolutely, so just yeah, he he's trying to wrap his brain around postproduction right now. And he's right after that uses fuel get onto it. But yeah, Sung Kang. So, for those. I didn't know who it was when I first started the film like zero.
Adam Rani 38:55
And I saw your Instagram posts on your story. I was like, is that is that Sung kang.
Christine Chen 39:01
I had no clue. Dude, I had no clue. And I asked
Adam Rani 39:05
No, come on.
Christine Chen 39:08
First day I go. What do you do?
Christine Chen 39:12
What do you do?
Christine Chen 39:14
He went along with these like, oh, you know, sometimes I act, I'm like, that's cool. I know, And Carly went back and she's like, she likes to creep and like see how what everybody's background is and stuff like that. And she was like, Christine OMG and she shows me like he's got this whole reel on IMDb of him from like, because he's like the biggest, you know, whatever, Asian star at that moment and stuff time or whatever. And I'm like, oh, foot in mouth. Like I totally just asked him what he did for a living. I asked him at the when we wrapped about that day. He laughed really hard. He's like, Yeah, I knew you would figure it out at some point, but I wanted to play it out and see like,
Adam Rani 39:55
What a gentleman he did that the right way. He does seem like a cool guy.
Christine Chen 40:04
He is very cool guy. Um, he is so nice. And I think what I learned the most from it, he wasn't he is a new director. And you can tell, but the biggest thing I learned about from him is the ability to inspire. And what he would do is he, at the start of every day, during our safety meetings, he would basically run through the day before and how great it was, and the positives of everything. And thank everybody for being there, and their hard work and everything every single day you would do this. And being on the receiving end of it, I didn't realize how important that was, and how much that could reset you as a team. Because you're beating down on a set, you know, like you're, you're working really hard, real late hours and stuff like that and be tempers flare and you say things you don't mean to because of the stress and everything and like, just that little like, hey, you're doing a great job was so important. And it made me realize, like, hey, when I'm on my own sets, I need to do that more. Because I come from a background, traditional, you know, immigrant family, stuff like that, where like, saying you did a good job, or any kind of positive feedback was never part of our culture. It was more like, hey, you can improve on these things. And you need to do this better. And then this soft, and they you suck, and all this stuff. This is like, that's how I grew up. So, I go through assuming people know that I really respect and appreciate the work that they're doing. Right? But maybe they do. But there's nothing compared to hearing that. From somebody, you know, just the simple words of hey, thank you. You're awesome. You're doing such a great job. Like, is like oh, like you just feel it's like everything that could have been wrong the other day you just forget about or you're like, oh, it's not as bad. You just say that like that. Just simply that gratefulness appreciation. Real, I just thought huge difference with the crew. Like every time Yeah.
Adam Rani 42:36
It's almost like a positive reassurance. If that's a word.
Christine Chen 42:40
Positive reinforcement.
Adam Rani 42:41
Positive reinforcement Sorry.
Christine Chen 42:43
Yes, it is. It's like, it puts everybody on the same page of like, hey, we're doing a great job making movies having a good time. It resets everybody. And I think if you're in this field, we're all super anxious. Because we all especially if you're good at your job, you care so much about doing a great job that you second guessed yourself, at every single minute of whether or not you're doing a good job. And so, a lot of the stress and anxiety is self-created. So, hearing an outside voice tell you hold up, you are doing a great job is like so comforting. You know.
Adam Rani 43:31
Because of all the stress and the worry of the previous day, it's sort of just kind of like washes away. It's like, oh, you actually appreciated the work and the time that I put in? Yeah, I'm not crazy.
Christine Chen 43:43
I wish but now I know. I wish I did more on Erzulie, I thought I did. You know, I tried to do that. But I No excuse I was so in my head and so overwhelmed every single day that I don't know if I did that enough. And so that's something that I hope to do more in the future, like on my sets, like let people know, hey, don't stress out. We're just making a movie. I appreciate everything that you've done, you know, I wish I told my crew and cast that more you know, and I am saying this I retrospectively that like, every single day that's what I felt like thank you, I feel so lucky and to be in the position I'm in even if I didn't vocalize it.
Adam Rani 44:34
Yeah, is that that's just the thing of it. It's just like if you feel like you haven't vocalized it enough, you vocalize the period, you know, you still you still are thankful of the cast and the crew. I mean, you say yourself even now, you know so whether or not you think you did it enough. It's been said and I've also taken you thank you because you've even like taken time. off your day off, like on the shoot to just say, Hey, you're doing a great job. I know this is crazy. But you're doing a fantastic job. And you did that, like just taking a day out of your time. And I was, I was still asleep too. And you're like, hey, are you are you good? Are you asleep? I'm just like, Yeah, I'm good, good. What's up? I thought something had like, I thought we were I thought I was late. That's what I thought. I thought you were coming in, like you were about to like, scream at me shit. You're just like, you're gonna lose your shit. I mean, and then you come in, and you're just like, no, I just want to thank you, and just say how much I appreciate you. And you, you've taken that time out of your day to just say that to me, Christine. And that's, that's, that's all I can ask for. So just know that like, Hey, I'm on the right track. Whether or not I think that, like, I'm just beating myself up because I'm not doing enough. And that's always been the case for almost every set that I've just not doing enough. Except for this one. This last one, I learned. I learned my lesson to just appreciate what I've got you and I mean, like, just appreciate the things that like being an art assistant. Like, you know, you learn to just miss that when you go back to being a PA, you know, and then when I do pa stuff, then I'm just constantly reminded that like, oh, no, I'm still doing this thing. And it reassures me that like, No, man, you're on the right track. This, this, I mean, there's people way better at being a PA than I am. That is that's just a that's just a matter of fact, there's no way I can be the best PA, I can try to be the best person I can possibly be. But in terms of being a PA, that's, that's not an Adam game. That's just that's a game that that I respect very much so. But also, just like first ad I'm not good at it, Christine. I'm not good at it at all.
Christine Chen 46:59
It is hard.
Adam Rani 47:00
I done it.
Christine Chen 47:02
You were doing it.
Christine Chen 47:03
It's not easy. It's it was like my day, my day began, and it crashed landed into anxiety. Yeah. You know, I mean, it was just like, you know, just that fear and that realization of just like, I was supposed to text someone so yeah, so didn't receive this, you know.
Christine Chen 47:24
I think the metaphor is your you the moment you step on, you're on a roller coaster, and it doesn't stop at all. until it crashes. Like, that's it like just on it is like adrenaline 24/7 People talking to you all the time you're processing the entire time. Like, all the way till the end, like it doesn't even that if you are true AD, it doesn't even stop when it ends, like people are still like messaging you.
Adam Rani 47:50
Yeah, exactly. Yeah. Because I just took that initiative. And a lot of these people really did not like that shit at all. Because there are there was times were. I don't know, like maybe I did step on some people's toes. But it was just one of those things where we were not getting through our day. And we had no clue. Especially like when we were when we were just like starting off. Okay, hang on. Let's take a pause. Yeah. All right. It's a good question. Kirk 101 says curious question. Never been a PA on set. But feel I should experience it. Is it better to become a PA to know the ins and outs on a set from that level? Or is it okay not to, you can absolutely be a PA on that level. Are you kidding? Absolutely. And there's nothing wrong with doing that because I started off as a PA. Christine got me, we joked about it in the very beginning of the podcast that like feels like we come called Full circle with writer's block. But truly like starting off as a PA, if you don't know which department you really want to lean into being a PA is the absolute best way to just like understand, it's almost like the sorting hat position of where you want to go in your respective department where you want to go to. Sometimes you don't though, and there's nothing wrong with just working in production too.
Christine Chen 49:15
I guess. There is no right or wrong. I can give you the pros and cons to both.
Adam Rani 49:24
Please, you're the expert.
Christine Chen 49:26
The biggest thing is being a PA humbles you think people who didn't start off being a PA don't realize how hard it is and how important being a PA is and how important PAs are to a set. And I have a problem with that the people that I have the biggest issues that I work with are the people who haven't done those jobs. And the reason is because they don't appreciate what those jobs entail and they don't appreciate the people who are in those positions. Now, can you start off not as a PA and appreciate those positions? Sure, it's just easier if you have that perspective, if you've been in those shoes to truly understand that, so, so there is no right or wrong, whether you have to be start off as a PA or have any pa experience, and that you've only been a director or producer, I think the biggest thing is understanding it and having an appreciation for the other jobs that you may or may not have done before. And it certainly is a lot easier to have that perspective when you have done that job before. And so many people will tell me that I'm a good AD, because I literally have done every single job on a set. So, I know what the GNA people are dealing with when they have to rat out late at night, and they're pulling really, really heavy ass equipment and cables and stuff, because I have done that, and I am okay to go and help them with that. Because I know how sucky that is. I also know, having been on the other side of the camera, how hard it is to do something over and over and over and over and over again in the heat in or in the cold and not dressed for that weather and, and stuff like that. And, and having that perspective. And when you have that perspective, what you have is empathy. And empathy goes a long way, when it helps to understand what other people need to succeed at their job. And so, the longer answer is that I do think people who have PA have more empathy, and understanding of how a set is run and therefore can run this set more effectively. Do you have to start as a PA No, definitely not I, I was I've pa before, but I started off. Same thing I started out with as a director and a producer first, I put myself in those positions as a PA one strategically, because when you start to want to get on to bigger sets, sometimes that's the only way to get on those sets, right, is to start on the bottom and work your way up. So, some of these bigger sets. I wanted to have that experience. I knew I couldn't get on otherwise, unless I PAed. And I decided to do that. I'm glad I did that. But I think if I hadn't had have hadn't have had that experience, I probably would not be as empathetic to people in that position, you know as much. So that's, that's the longest short, whatever, that's the long answer is that, yes, you don't have to start as a PA, but I'm sure it gives you a lot of perspective and perspective as power. And perspective will help you become a better director and a better producer and better whatever position you want to be. So like I know art people who like really appreciate the grips that help the art people because at first maybe that grip was an art person, you know, or like, I can just say the worst directors I've been with, or the producers are the ones who just expect a lot but don't understand the work it takes Yes, you know, or like they think, Oh, the PA is the lowest, you know, position. Therefore, like, I should treat them like shit, you know, but like, they don't understand that PAs are the worker bees to a set, and they are the ones that keep the set running. You know, you should.
Adam Rani 53:35
Absolutely.
Christine Chen 53:39
Like the PAs have some of the hardest jobs in my opinion. So, so with that, that empathy, you know, or we've worked with directors or producers who are like, oh, that Prop like, Can I have it now? And you're like, are you kidding me? Like this prop takes like a week to make, you know. And if you haven't had that perspective, you literally could not know just like, I have no clue what that does. Because I've never experienced that. So, I have zero empathy. But what if you were to tell me everything that happens on his job? I would be like, I don't know, you know, like, I have no, okay. Yeah, like, whatever. So, it's the same thing. Like, unless you've truly experienced that, I think it's harder to have empathy. And so that's what separates I think the good directors and the good producers from the bad ones, at least from an AD perspective, like I as an ad have to work very closely with the director and the producer. And like the best directors are the ones that have that perspective. So, I think why son was so good, not necessarily because he's been in those positions or worked as a PA. I don't know whether he has or not, but he works as an actor. And so, he knows, at least to a certain extent, like the people who kept him I'm happy or, you know, allowed him to do his job at the best that he can do, you know, so he's appreciative of those people when in he treats all those people well and respectful and, and whatnot. So, I don't know, that's, that's my two cents I don't know about you Adam.
Adam Rani 55:19
No, I mean, that's, that's basically like the same thing like working with a like, because there's no such thing as like, oh, this was the best director I've worked for, or because everybody is kind of a different breed of who they are, you know, that's kind of like what makes video game like role playing games. So interesting, because there's so many variations of human beings according to, you know, Fallout Lore, and you know, Mass Effect and stuff like that. So not every single person can work on the same wavelength is how Christine works, or how Adam works, you know, and even Adam and Christina working together sometimes aren't on the same wavelength, Christine, like, I just need to see things for the bigger picture, Christine, just like goes for it and just tackles every single task. And I just some, somehow, my brain just doesn't connect those two together. And it just, it doesn't, it doesn't work that way. But when you're working with a director, who understands a and b, and also C, you know, like, if you have the patience in the end, and the empathy, that can go a really long way, for being a director, because when you have the patience, and when I say patients, I really mean time, as well. I mean, you got to understand how much time it takes for literally, every single department, hair and makeup department is not going to finish their all of their shit at the same time that every other department is going to be done. So, then we're going to be picture up and ready to go at the same exact time every other department is done. That's not how it works. You kind of have to, like go into an understanding that like, the problems are going to happen. And it's whether or not how you respond to that to put out that fire. And also, like understanding scheduling wise, why you got to do what you got to do instead of just like, you know, just saying, like you said, like, can I just have the prop now. And it's just like, well, art department is nowhere even close to being done. And you want people already in hair and makeup by now. So, you can rehearse you like what are you doing? Like, yeah, we gotta you gotta think about this, you know.
Christine Chen 57:44
And think about everybody's needs and understand how they need that time to give them that time.
Adam Rani 57:51
And how much time that takes too.
Christine Chen 57:53
And to respect the need for that time. I think the issue whenever different departments get upset and angry, and I and I know this happen on our set, is when another department feels like they're not being respected for the time that they need, you know, yet. Maybe camera department, it feels like they're ready, then why isn't everybody else ready? Like, like that? That's a lack of respect for the art of the hair makeup department. You know, maybe they need an hour, but maybe camera needs only 20 minutes. But that doesn't mean that their hour is any less important than that. 20 minutes at the camera department
Adam Rani 58:36
Looks like you're taking a 15-minute break.
Christine Chen 58:40
So, it's, it's that I think when tempers flare and stuff, it's usually because of that. When the departments feel like each other departments are not taken as important are not treated as importantly, because the time that they need is not being respected. And I think as an ad, that's the hardest job to juggle is all our needs and expectations and how do you make it so how do you time it so that they perfectly aligned together when you need it? So, like, for example, if you know that hair makeups gonna take an hour, how do I give them that hour of time yet be ready to shoot when Camera needs 20 Okay, maybe I need to pre call. Maybe I need to pre call hair makeup so that they start 30 minutes earlier. So, by the time camera and everybody else is ready, we're already together, you know, so we, we minimize that amount of wait time and stuff like that. That's what ADing is about. It's that beauty of balancing that everybody's needs in time.
Adam Rani 59:46
And you don't have to be in AD in order to be a director either, you know, but if you can understand that. Communication is literally everything when it comes to the production side of it. We know that communications, everything with camera department and the other departments and all that stuff. But when it comes to production, that's like, these are the schedule makers, you know, in the, in the in the heartbeat of the set, like, like, you got to feed it, all the things that you got to feed it with, in order for the schedule and everything else just run smoothly the way it's supposed to be run. And in the instance, for this set, it was like, it was like, it was like two ships passing each other in the night. And nobody, nobody was saying each other at all, we just smile, and we just waved, you know, and that's all we did.
Christine Chen 1:00:40
Hope that was enough to convey what we needed from each other.
Adam Rani 1:00:44
Ship A, you didn't tell me that I'm going to run right into the iceberg. But I also didn't tell ship B that they're going to go into the dark abyss, you know, like they just everybody is already set up to fail. And if we just had that moment of pre-production, oh, and also, we had no locations person. So, imagine this, Christine, imagine parking, Genie camera, and also the passenger vans to load and transport, crew and stuff like that. Imagine trying to park that on a main street in Dallas, and you're in front of this place in you. This is a towaway zone. And if you think that there haven’t been already a few cops that came by and say, Hey, uh, why are you guys parked here for more than four hours? I have to explain to them that, yeah, this is production. And we're shooting something. And I guess, I guess no one mentioned to you that we're gonna be here. And they're like, well, you're gonna have to go. And when the law comes into play, there's nothing you can do, ladies and gentlemen. There are some people who think some productions and some people who are just shooting stuff, filmmakers are above the law. They're not you the law, the law applies to literally everybody. And when there's a police officer that says, get out, you got to go in it is what it is. And we had to park and move basically base camp around the block to a public parking structure, where we paid an exuberant amount of money that we should not be paying whatsoever. But because of the sake of the law, we had to, but then here's the problem. Then you got about 75% of the crew, who are just absolutely complaining that, and they have every right to say that. Yeah, why do I have to carry sandbags all the way down the block to then haul my ass all the way back, you know, like this, like, you're totally working against each other. And you have no control. That's the problem. That was like, the biggest thing with the set was that I thought I could have control and there was none. There's nothing I can do. Literally nothing I can do. And it had taught me a very valuable lesson in that if there was something truly.
Christine Chen 1:03:16
That's your lesson. You do not want to be an AD. It taught me a valuable lesson being an AD is hard.
Adam Rani 1:03:25
Yeah, exactly. No, but it basically taught me that like, you got to understand that a person can do only so much in a way when something is just out of control. Ladies and gentlemen, it is out of control. It is what it is. It is what it is. It's not your fault. You are literally doing the job you're supposed to do. And then some I did even more. So, because I did even more. Felt like I shot myself in the foot. Really? Because then then everybody looks at me like, oh, why didn't you just tell the cop that we're just gonna stay here? And it is what it is. It's like, well, An it's a cop and B No, in C Shut up. We have to do what the cop says, are you out of your mind where you want to get this production shut down.
Christine Chen 1:04:18
When you've done that every single day of your professional life as an AD. That's where you start. And I don't know if you whether you're at that place where you see this now, you appreciate the crew who also have empathy. The crew cast said that under that may not understand your job but are empathetic enough to not make your life harder. So that's when you realize why I always stress that I will take that my biggest pet peeve is complaining and complainer's because I'm here to try to give you a solution, you may not like the solution, but I at least have a solution. And that's what it is. And like, it's not all about you. And so that's why my crew specifically, I try to pick people who don't complain, because usually the people who don't, or the people who have been in those positions, and have been there to understand what it feels like, when you have no control, yet everybody's looking to you for the answers. And yet, they may not like the answers, so complaining about it is not going to solve any, anything at all, make anybody's life easier, because that is the only solution that you have. You just have to deal with it.
Adam Rani 1:05:44
And nobody else is bringing anything to the table. So, you have to put on your big boy pants and start making some decision.
Christine Chen 1:05:51
Exactly. So that's why I constantly say, I cannot stand crew that complain. Like, there is a validity to it sometimes like Hey, okay, this is an unsafe situation, I'm going to speak my mind about it today. It's gonna play everybody to an extent. But there is a point where if the production is doing the best, you can tell they're doing their best with what they have and the resources that they have. Telling them, all of your complaints and unhappiness and stuff like that is only going to make them not want to hire you again. So that's just like that, if I were to give anybody a piece of advice, it is trying to think about how it would feel like if you were in their same position. Now, if they're in that position, and you realized that they could have control the situation in the first place. And they just out of hindsight.
Adam Rani 1:06:53
That's a different discussion.
Christine Chen 1:06:54
That's a different discussion. But if you see that they've done everything they possibly can with what they have to get the best solution for everybody to be happy. And you still complaining, that is a problem. So, like, I cannot stress that enough. And now that you've been to this position out of, I'm sure you totally understand you, you will have your list of people that you're totally cool. We're cool. I'll work with you again. You didn't make my life harder. And then that's there's the other list of people who just don't give it about how you feel and are going to complain to the cows come out. And you're like, Nope, never working with you again. That's how you distinguish. And those are the people that end up working a lot and the people who do not, is that?
Adam Rani 1:07:39
Exactly.
Christine Chen 1:07:40
And yeah, so I can go on and on about this.
Adam Rani 1:07:45
No, because you're echoing exactly what I feel. You're echoing exactly how I feel Christie because like, aside from who I met in the Texas crew here, awesome. Yeah, read. Even the even the other people the Mexico crew. Great, awesome, awesome, dude. So, at the end of the day, they're actually really cool, cool people. It's just everything else that was in charge around it was sort of like, it's almost like it's almost like they're on another planet, and Christine and me are like, way over there. You know, I mean, like we're on, we're on completely separate planets at all times. And that's fine. There are some people who are just completely checked out or the set. And that's great. That's awesome. Some people are just like, Yeah, you know what, I'm just here for the paycheck. But for the fact that these are the leaders of the set, who are already preexisting that they just want to get this over with in this set, just proves to the set in the long run, how it's going to be if you already determined your feelings before you even step foot in your first day. Yeah, you really as a leader, and as a director, or if you're a producer, you have us almost like you're the entertainer of the party, you're the head of the party. You're the one who's going to be driving this energy.
Christine Chen 1:09:15
Yeah. And if you don't give a shit, then that determines the entire feeling of the entire set.
Adam Rani 1:09:21
Exactly. So let the first AD do their job. Let every other department do their job. But what you do is just be patient and well aware of the fact that what is happening is going to require time. So, you complaining and whining and wondering why is it taking so long these days are way too long when you have absolutely no other thing to bring up to like to offer to the table. You should understand where your production in where your entire set is going to go. You should already know that because if you have that much money disregard for what you are doing to your crew, then you probably deserve to have to just you probably deserve everything that is going to be the result of the set. Yeah, period. You know, and that goes for any that goes for anybody else who wants to be a director and have absolutely no experience in the industry. And I still don't you guys, I'm still learning everything. But we're all still learning. But this is what I gathered so far. And it's truly alarming, as opposed to the other sets that I've worked on. That was actually like really good. Like, WE Christina and I worked on a set, she was first ad for it. And I was a van driver for, and it was a PA as well, but it was it was also a van driver. And that set felt like a cakewalk compared to this set. It was like I almost kind of missed that set in a way. Like in a way. I don't really BUT in a way. I'm just like, oh, you know, those were the better days when I drove a 10-passenger van. But I'm driving a 15-passenger van, and it feels like I'm driving a school bus. And it is it is a completely different world. I'm like, What's the difference between a 10 passenger and a 15-passenger van. And I learned that lesson ladies, gentlemen, and that answer is a lot. There is a lot different with a 15-passenger van. You it feels like driving a big rig truck.
Christine Chen 1:11:30
Of kids.
Adam Rani 1:11:31
Of kids. Christine. I was hauling kids every day on this set. These people were toddlers. Some
Christine Chen 1:11:44
Yes kids. I'm a camp counselor right now. Yes. Now this
Adam Rani 1:11:49
First one there. Last one leave. Yeah.
Christine Chen 1:11:51
Peyton's laughing, I know she knows what I'm talking about.
Adam Rani 1:11:56
She knows what we're both talking about.
Christine Chen 1:12:00
Man complaining, I can't I just can't pick up what's why I love the set that I was just on. Which is the Sung kang for versus the film. Is that Yes, there will come days where we're all stressed out. And we will be snapping at each other and everything.
Adam Rani 1:12:16
Oh, always.
Christine Chen 1:12:18
Yeah. But we, at the end can still go and have a beer or whatever and say, hey, man, I'm sorry that I was.
Adam Rani 1:12:26
We just get a hug. And we just know we're not, we don't mean it that way. Yeah. A
Christine Chen 1:12:30
And there's no ego. What were the problem comes is the ego? Right? When people have that ego, and they're not able to separate the ego from everything else. That's when like, you have bad sets from people think it's all about that. That's we have a bad set. Now on this set. Nobody thought that you know, it'd be days. Like this was the nicest GMAT. What a nice GMAT. They've been on, and they had some hard days, but they were quick to if art needed help, they could go and help them even though they thought they're going to get done deal with right. They never complain, they one day feel our key gaffer she's a vegetarian and all the vegetarian meals got taken away. And he could have been a dick about it. You know, but he wasn't. He was understanding. And he was like, hey, like that suck. Please don't do that again. But like, I get it. I'm sorry. Like, yeah, I get it. You know, like, that's awesome. That he was able to do that. And I think that's just hard for, for jaded people in this industry, where, you know, we're, it's hard you work really, really long hours, and sometimes you get treated like shit. And sometimes you just want to be angry and not be a good.
Adam Rani 1:13:57
Kirk says, I appreciate what y'all are sharing. I have my insecurities on my lack of experience. But this has been helpful to encourage me and others to persevere. Absolutely, Kirk. I mean.
Christine Chen 1:14:07
We all have insecurities I still have insecurities.
Adam Rani 1:14:10
I have so many insecurities. Yeah, it's because there's some people who can absolutely understand and empathize with other departments. But then there's some people and there is no it's no nothing against them. They just don't have that enough awareness or experience with the other departments who have no experience with any of them whatsoever. Like, of course I've worked with directors and producers that have absolutely no idea what it takes for light and what it takes to be a hair and makeup. What it takes to be in costume. What it takes to be an art department. Oh my gosh, art department. It is hard and you It's so crazy how many sets I've been on, where people just completely disregard not just the art department, other departments as well. But there's been a few sets where they just sort of disregard the art department because they're just like, I mean, what do they do? They just like they just set dress. And you know, that's, it's like, no, we also have to be in the loop of everything else. We have no idea what the talents holding, whether or not it's props, everything we have to predetermine literally everything. And, little by little, if you start to disregard, and somewhat disrespect other departments, that's also going to trickle down. And people. And also, a lot of these people think these human beings can't remember. That's the other part. Yeah, I want to make the best impression at all times. I want to make sure that everybody who I'm friends with who are who I am with, always knows that I'm just going to be there for them. And I will always want to transmit that at all times. But it's crazy when you are someone who is complaint and terrible, and don't want to work and yell at other departments for no reason. Do you think those people don't remember who these directors are? Yeah, easily, they're gonna be like, hey, do you recommend this director for this? Or do you with this director? It's like, no way homie. Like, oh, man, the other cheek, go the other way. It's not worth the cash. Sometimes there's gigs that are just not worth the cash doesn't matter. If you are, if it's the worst director, the cash sometimes just is not worth it.
Christine Chen 1:16:46
Not worth it. And then jumping onto that people will always remember the way you made them feel. It doesn't matter what your end product is, or like what its people will always remember the way you feel. And you and maybe in this set, I can't do anything about it. But you sure but if somebody asked me whether or not who to recommend, you're not going to be a list. Oh, that's how I know. And so, in any future lists ever, you know? And so yeah, if I remember all the people who made my life hard on set, and I remember all the people who had my back, and those people who had my back, like, I will recommend it, I will go to, you know, I will fight for those people to be on set. And everybody else would be like, hell no. And it's happened multiple times, people have been like, hey, I want to hire this person. I'm like, hell no. And that person was onset. Because I remember the day they made my life hell, you know, and it's nothing personal. It's the fact is that this is a high stress job. And we want to work with people that make us feel good and amplify how we, as a team, put together you know, a lot of people who are responsible, who at the end, you enjoy your job, and do the best that you can together as a team. It's not about one single department. It's about every single department. That's the part that I feel separates the good crew, the good cast from the bad. And the bad cast is people who only think about their department, nobody else. And it shouldn't be that way it is filmmaking is compromised. And filmmaking is about teamwork. And if you can't think in that mindset, you're not going to go very far.
Adam Rani 1:18:33
Exactly. It shouldn't be like that. I mean, we are How long have we an hour and a half? Is that right?
Christine Chen 1:18:42
Yeah, I think, we got to take it for a landing.
Adam Rani 1:18:44
Yeah, we gotta get that we got you an extra-long episode. Well, it's just to make up for the last two weeks ladies and gentlemen, you know, and we had a lot to say. But I guess Christina's right we should probably take this bad boy in for a landing Christina was there anything else you want to address on the Erzulie side?
Christine Chen 1:19:01
No, we are about to submit out cut to Sundance for Tomorrow is the deadline the regular deadline September 6. Very excited about that excited about the team that it very appreciative of the team that's been able to make this happen. It's been like I've been editing this while I'm eating like it's been a whole thing. Carl would come back and I'm there at my thing editing and like clips and all that stuff. It's been but I've been able to do this because I have an incredible post team incredible production team and everything and like a thank you to our investors who are you know, Marshall came in to help us with posts and see Shanti, Moreland productions and TB films like making our dreams come true. And yeah, just be on the lookout for it. I'm very proud of their proper team. And yeah, we'll see what happens where I'm going to Virginia, you're on some other set. So yes, tune in next week, and who knows sung kang is coming on the podcast.
Adam Rani 1:20:09
I was gonna ask.
Christine Chen 1:20:11
He says he has wrapped his brain around post production. I totally get it. So once he's ready, we're gonna bring him on. And yeah, because he's awesome.
Adam Rani 1:20:21
And he has a whole slew of experience. And we'll it'll be our most famous person on this podcast, ladies and gentlemen.
Christine Chen 1:20:27
Most famous first I've ever worked with basically.
Adam Rani 1:20:32
Yeah. Exactly. I think that should be your MO now. You should just only work with famous people so we can get them on the podcast.
Christine Chen 1:20:38
On the podcast.
Adam Rani 1:20:38
Please. Please. Ladies and gentlemen. That is, it for us that we are out of podcasting out of time, ladies and gentlemen, we appreciate the comments. Thank you for the interactivity on Instagram, Facebook, we love you. I haven't been checking in and I'm sorry. We just been getting heavy handed into this discussion. I don't have time to look at any comments.
Christine Chen 1:21:05
Appreciate it, we love it when you guys ask questions.
Adam Rani 1:21:07
We love it.
Christine Chen 1:21:09
This is what Get reelisms is about, it's about for all the people who are in this industry that need time to vent or want perspective on things. Like we can't say that our perspective is the best or anything, but it is a perspective that maybe might help you in your journey to being the best filmmaker that you want to be.
Adam Rani 1:21:26
Exactly. And with that being said, get on get Getreelisms.com, pick up your book, pick up your poster Erzuliefilm.com. For all the previous early episodes, we talked about everything leading up to the production and then after production and everything else in post, and everything else in pre if you want to go all the way back all the way to the beginning. Ladies and gentlemen, thank you so much. Thank you, Instagram. Thank you, Facebook. We're gonna go now.
Adam Rani 1:21:56
Peace