Vulnerability & Creativity
Being creative means showing the world the vulnerable side of yourself. erzuliefilm.com
Transcript
Adam Rani 00:24
Ladies and gentlemen, welcome to another episode of the Get Real podcast episode 52. I am Adam Chase Rani.
Christine Chen 00:33
And I am Christine Chen.
Adam Rani 00:36
Boy of boy, Christine you had a week.
Christine Chen 00:42
I had a week all the start off with all the dumb shit.
Adam Rani 00:46
I hope everybody had a great Fourth of July weekend, by the way, happy belated America birthday.
Christine Chen 00:52
Yes. Happy Birthday America.
Adam Rani 00:55
Um, yeah. Christine. Yeah.
Christine Chen 01:04
Well, the thing is that, like, we're getting older and yet we're saying like, hope that you will make fewer stupid decisions. But yes, what you don't, it's like, is a start, I start off the week breaking my phone.
Adam Rani 01:22
So how did that happen? Explain, I know it's a raw, it's a raw memory. And I was
Christine Chen 01:29
working out or trying to, and I don't have weights at home. So, I use my roommate has like these boxes for books. And I put books in there, and they're still not heavy enough. So, I was like, you know what, I've got this pan. I guess it's a skillet or a cat, school, etc. I was like, I'm gonna put it on top of this. Well, I'm lifting in the thing slides off and falls onto the ground. And my phone is on the ground because I watch videos to help me with what I'm going to work out. And of course, it smashes onto my phone. And my phone is smosh. No, it was it was because I wasn't editing on the treadmill. I tried to not do that. I tried to work out like a normal person. But of course, I didn't have weights and smashed my phone. So that was the first stupid thing, it is an adult technology. And the next stupid thing I tried to do was use this little piece that's sitting here, I just did this like two minutes ago.
Adam Rani 02:39
Oh my gosh, ladies and gentlemen,
Christine Chen 02:41
This thing to connect my phone to, you know, be able to broadcast our Instagram feed nice and you know, professionally. Well, stupid me it was like, oh, you know, I'll just attach this to my computer. But what I didn't think about is this computer screens are highly delicate. You put any pressure on it, it like, does funky things to the screen. Well, well, I'm sorry, I broke my other computer too. So.
Adam Rani 03:13
Because you never you never think about this right? Because ladies and gentlemen, I've done the same show. And if you are telling me listeners that you have never done a dumb thing like that, you've done some variation of a dumb thing like that. Because we we've done the same exact shit. And the fact is, is that you just don't know how delicate a screen is until you get, and you learned the hard way. And that's the fucked-up part about this entire endeavor. It's just like, when you do it, you're like, oh, it's not gonna be that much pressure. She's gonna be lean on the screen of anything. Like it's just, it's gonna be fine. And all the pressures coming from the back right.
Christine Chen 03:55
No. Yeah, so I don't and I'm trying to, I don't know if it's like, because I'm so mentally and emotionally exhausted, that I'm making all these stupid decisions, but seems that they're all accumulating this week. But it's, it makes sense. I've I haven't really left my house for almost a whole month. And I just wake up and go to my treadmill and edit. And then that's about it. Yeah, that's my entire day. Yeah, but maybe we're close. We're getting close.
Adam Rani 04:37
For the listeners who don't know though editing. It is. I mean, you explain it better than I do, Christine. But editing is like, I mean, it's not like you're just editing a couple hours here and there. You're having like, long your day tonight. Right?
Christine Chen 04:57
The reason for this is that They've actually done studies on this apparently. But you, it's not just editing. It's also with brightening and stuff like that. There comes a point where you get to what we call, I believe it's there's the technical term is flow. It's real, yes. Where you're just, it's just coming out, nothing can take that focus away. And it gets, it's so hard to get into that flow that we are in it, you got to stay in it. Right? You have. And so, what's the best and worst thing about editing, the worst thing about editing is that you literally need to hold yourself up and basically be a hermit. And which is very hard for someone who's naturally extroverted. You just have to buckle down, be by yourself in an editing room by yourself. And just do it. That's the that, for me is the hardest part. Like I, the most I do is I go, I go and take a walk around the block to make sure that I still have some somewhat some sanity like, you still see sunlight, sunlight, so that I know that it's but I've tried to position myself in a way where it like it feels like I'm outside. So, I have my treadmill pointing towards the window. So, I can at least look outside and know like, hey, it's nice out today. I'm least walking the whole time. So, I you know, there's blood rushing to my brain and I'm actually like, physical and that keeps me on track and focus for as long as I can be. But like yesterday I went I was I finally went and saw people I went to go see I actually visited Reese. Reese is directing his feet us not feature. He's directing a short film for the Louisiana film prize. Congrats to Reese. It's awesome. They built like a house. Yeah, it's really Oh, they built like a fake bathroom to give them space and like the way they want to. It's really cool when it was like, oh, my gosh, um, and yeah, they're shooting today as well. So, I visited that set. And I was cool. And then I went and saw Camille, and I brought myself along. And Camille was like, I do not want to look at Erzulie. And like, All right, cool. Just, I guess we'll just talk about like, life.
Adam Rani 07:46
That's so you're so because your mind because I'm the same way with my script. Like, you're just you're all in that world right now. And that's all you're thinking about. That's literally from beginning to the end of your day. That's all you're thinking about. And all you want to do is just talk about it.
Christine Chen 08:03
That's all I can. That's all my brain has the capacity to handle right now, you know, it's like, yeah, I'm also I mean, I'm also doing get rules and stuff and whatever and trying to like to be well balanced. But there's, there's no balance, especially with like this, this kind of schedule that we have, you know, my I gotta get this thing done in August to be fair and give other people their time to be able to do the work that they need to do the best they can like sound and coloring and stuff. So, so it's um, I mean, there's just there's no shortcut. You just have to sit and do it, you know, and I think another to answer. Roxy's other question of like, What's the best part? You know, I, the part I've enjoyed the most has had been these test screenings. I have had, three of them so far. No, two of them so far. Okay. One was in my friend's backyard, in Austin. A quick, very, they're very kind to say, Jared and Christine. Who we also shot stuff in.? The background we watched the film. And that was a neat Yeah, it was great. It was meant to be very low key. So, a few just a little bit, just to kind of dip the toe into it and got really good response from that. And then our, our second bigger one was in Shreveport at mini city. And that was amazing because it was it was actual, like big screen and the speaker system.
Adam Rani 09:57
How, how is it seeing Erzulie on a big screen?
Christine Chen 10:01
It is definitely started off nerve racking. Like I'm about to show this. Wow. And then then what I could remember was that the speakers at mini city are actually quite very good. And when the music kicked in, and I, you could feel the bass. And I was like, okay, I finally felt like a real movie Like, I don't know, for the listeners out there, they understand, like, I edit on a tiny, tiny laptop, MacBook, 13-inch MacBook, old, tiny laptop. And my sound system is this year, these exact earbuds that I'm using here right now. So, I can't hear the nuance of what my composer has pointed, you know, and even when I'm with him, he doesn't have the, the, it's, you know, he’s designed this for a viewer it for a movie theater, you know, with amazing surround sound and stuff. And so, when I finally heard that come through, through the speakers, that was to me a whole nother experience, and then to hear people laugh at the right places, and like, just seem to have a good time. Like, that was, that's been the best part of the experience. Because most of the time I'm in by myself on my treadmill, editing and laughing to myself, and hoping that I'm not the only weirdo like thinking this is very funny, you know, it's all my own experience, but being able to share that experience and watch your film how its intended with other people. That's very cool. So that's been my favorite part of the experience and learning, you know, you never know, what's clear to an audience? And what's clear to you know. Yeah, I've been living and breathing this film since forever, since its inception. So, the world of where this film takes place is very clear to me. You know, I know this world, inside and out. The audience does not. And so, things I thought were like de learning that they were not, you know, on screen is, for me a learning experience is how I can be a better director. And later on, you know, yeah. And so that's, that's not saying yes. Seeing larger screen as you work. you notice things visually Yes, that's and that is why I it's important for me to watch it on a bigger screen, because you will notice details I just don't see on a on a bigger screen. Luckily, there weren't a lot that was like, holy shit. That's like, I can't live with that. Everything's been like, oh, you know. But yes, every everything's different from the experience of watching on a small screen versus a big screen is definitely
Adam Rani 13:22
That was your first experience on a big screen. That wasn't a small monitor or your laptop.
Christine Chen 13:28
Yeah, pretty much. Yeah. First time. And so that was it was cool to watch it that way and to hear others, it's also very, like I said, it was nerve racking. I had just done some filming in Austin and had driven from Austin all the way directly to the screening because the night before I had been waiting on the export and it because I started the export so late, which I now learned the hard way it takes about 15 hours to export my entire film. Yes, at least. And that's exporting it 1920 By 1080
Adam Rani 14:12
What are you exporting Lord of the Rings? That is insane
Christine Chen 14:17
was because my computer system so I don't have the e best.
Adam Rani 14:22
Your poor MacBook is working overtime.
Christine Chen 14:25
Oh yeah, my computer is like What the f is this? What are you? Yeah, what is this? Why are in so 15 hours. So, by the time I finish exporting, it was 3pm which gave me exactly five half hours to make my screening at 8:30pm at mini city so I go directly to the screening, which again, my car has no AC at the moment actually is in the shop right now. But it's for that exact reason. So, I was like dying. You're going to the movie theater. Like, when I showed up, I'm like loopy, because I'm probably dehydrated even though it was chugging water the whole time. But I was like, whoa, and then like sweaty and stuff, and just, and then like, seeing people come in and like, just like that anxiety. Which brings us actually is a nice segue to one of the first questions that we got from Christine Herman. She was a good question. Actually, she has, how do you cope with the vulnerability of sharing creative work? Ah, a lot of it is just practice is getting used to it. I don't think you ever get away get over the feeling the nerves, any, anytime I show anything, it's stressful. A huge, it's something I just accept that that's just how it's going to be. I will not cease to feel those feelings. They will always be there. They just get less and less stressful because I've done it so many times. But like, it's to the point where if there's a movie that I I've edited, I haven't done a scene in a while, and some asked me to see it. I've gotten to the point where I've watched the movie first to make sure it wasn't shit. Right before sending that, like, let me remind myself whether this movie I made is terrible or not first watch it and be like, alright, it's actually not bad. And I'll send it to my friend. And I'll do that too. With like, scripts and stuff. Oh, can I read this? Oh, sure. I'll read it first and be like, Oh, no, but I'm sorry. Can't hear you with the camera. Can you hear me now? Okay, is it can you hear me out? Um,
Adam Rani 16:47
Yeah, I can hear you fine. Okay. Well, I hear you through Facebook.
Christine Chen 16:52
Right. But not through Instagram, Roxy to you. I'll try to move a bit closer. All right.
Adam Rani 16:59
I hear you. Okay, cool.
Christine Chen 17:01
Sorry Roxy, I just did not talk to
Adam Rani 17:05
We are still trying to figure out audio.
Christine Chen 17:08
Yeah, so yeah. Yeah, no, it's completely nerve wracking. And, yeah, you just, I guess I combat these little test screenings are ways to make it better. Because they're with people that I trust. Even that is nerve wracking, but at least it's like, alright, I did once it's out there. And these are people I trust. And I know that they're just trying to help me make the movie better. So, it becomes less nerve wracking. But I mean, long story short, is just the way you cope with it. It's just doing it over and over and over again. Right.
Adam Rani 17:49
Yeah. I mean, like, you're also tackling like a whole different beast, it feels like Right, like, because this Erzulie is. I mean, you can disagree with me, but it is it is different than fun employed. That is what I'm saying though, like you have these. It's almost like you're like you're trying to practice while challenging yourself. Does that make sense?
Christine Chen 18:20
Yes. Of course.
Adam Rani 18:21
Like, yeah, you just, you want to put in that time and effort into the editing. But it's, it's gonna be a completely different thing. I mean, get granted, you'd find employment, you only had a group you can count with your fingers. Maybe. But yeah, you know, it's one of those things where now this is a this is a bigger movie ass movie.
Christine Chen 18:43
Right? Yeah. I think the difference too, with funemployment. This is that. it was less expectations. It was. Yeah, we didn't know what we were doing. We were ignorant. And yes, the famous saying ignorance is bliss. It's so true. You know, we went in being like, we're gonna make an Academy Award winning film. Like, I don't know what that means, or, or whatnot, and we just figured it out. But with experience, you understand the proper way or the, to do things. And people expect more out of out of you because you have done more. And that's, that's good. Because you're growing and they want to see you grow as well. And so, I think with Erzulie, there was a, there was a lot of more pressure. I was working with people who have been in the industry for a lot longer than I have. So, there's an expectation there. I've been in the public with my work for a good 10 years already. So, there's that pressure of like, hey, I don't want to create some shit. And then the third pressure is This is not my money at all. None of it is, it's investor money. And I have a responsibility to treat that money with as much care and respect as possible and to do the best work that I can, you know, and so there's that pressure. So that's what makes Erzulie so hard, is that it's, like immense amount of pressure going in and coming out and everything. But yeah, how do you how do you cope with it is just, you just got to do a lot of trial by fire. The more you do, the less it becomes as hard you know, I guess it's like, I always related to dating. It's like your first heartbreak, right? The first one is going to have hurt more than anything else, because it's the first thing you've ever felt that, but the more you do it, the less it hurts because you expect it you know, what it feels like and, and whatnot. So that's, that's how you cope with the vulnerabilities is just through practice. Um, the other. Yeah, we have actually had a list of questions today. So, we're gonna we're gonna start with that. Yeah, like the other question that we got was from John Nuni. He asked what directors have influenced you growing up and why? That's a good question. I mean, for this particular film.
Adam Rani 21:30
It's a very good question. Wow.
Christine Chen 21:32
Yeah. For this particular film, by Steven Spielberg, by hands down, Steven Spielberg
Adam Rani 21:39
Did he say growing up?
Christine Chen 21:41
He said growing up. Yeah, but that is also true for me growing up. Because he'd made the films I was actually allowed to see. You know, like, they were like, semi kid friendly and stuff. So, I didn't start watching a lot of the other stuff until later and honestly, like my when I actually started to watch movies was more so when I was in undergrad and older. Prior to that, it's, you know, my decisions are what I watch very dictate much dictated by my family. And you know, what I was allowed to watch and, and even then, my, my, I would say, my intelligence for film as cinema intelligence was very low. So, like, what I love about Steven Spielberg is how original his stories are yet he's able to appeal to a wide audience. And with this film, that was the biggest goal was like, we are making we want to make a blockbuster film, a film that appeals to as many people as possible. That is fun for all, you know. And so, Steven Spielberg, for sure is somebody that I really looked into his treatment of suspense is something that I like, I can't tell you how many times I've watched just the intro of Jaws, or the intro of Jurassic Park. So, it was really cool. Actually, one of the test screenings, my friend Carl said, oh, this intro reminds me of the Jurassic part. Am I yeah, you nailed it is very much inspired by that? The writing was inspired by a lot of the stuff that Jurassic Park had and a lot of people said that the film reminds them of the Goonies. It's funny, because I actually that's one film I never I hadn't watched. prior to making the film, I ended up watching it retroactively and then discovered, oh, it's because Steven Spielberg produced it, and also, I believe, wrote it, or like he didn't direct it. But he had a very, he had very much a creative influence on that film.
Adam Rani 23:56
Story and produced.
Christine Chen 23:57
Yes, and that makes perfect sense why this film would feel like it was influenced by the goonies. So, I would say definitely Steven Spielberg, and then the other director that really influenced me. There's I'm gonna only name two more. Christopher Nolan. And what I love about Christopher Nolan is that again, I've found that I really respect directors who have original ideas, but they don't alienate the masses. So, like, he's still very much like, creating very unique ideas with time and stuff. Like he still appeals to a wide range of people. And Christopher Nolan was on and for me, the film that put him on the map for me, was the dark night. Um, I, again, that I was, I guess during undergrad when that came out, and I didn't know about Christopher Nolan. at all, because I hadn't watched momento, I hadn't watched anything of his. So, I went back and watch that. So, but I watched Dark Knight and what I loved about it was he was the first director that humanized a superhero for me. And I honestly believe he changed superhero movies from then on, because everything after that superhero were humanized. way and there's a whole series of, you know, the Marvel Comics and stuff like that, like where the all the heroes are, I felt more approachable, they're less comic related, and more human related. And, and that's what I loved about Christopher Nolan. I went retro actively watched, momento and the following and everything. And he is definitely somebody that I influenced by growing up. Now a current director that I am extremely influenced by and is, I wouldn't say influenced by of like style, stuff like that, but more just inspired by his. It's his, it's their entire team, but Jim Cummings and vanishing angle.
Adam Rani 26:23
Wow, yeah.
Christine Chen 26:24
I am a huge fan of their stuff. And why I'm such a huge fan is I respect directors that just do what it takes to make it work. So, if you know anything about Thunder Road, Jim wrote it, he stars in it, he helped to, you know, help to produce it. He also edited it; he also wrote the music in it. And being in that position, right now, I have immense respect for creators that do that, that don't wait for other people that just do what it takes is necessary to be able to tell their story and make their film, because I can't tell you how hard it is to raise money. It is so hard to as a new director. They make, I mean, it's no fault of anybody's it's just it's a huge risk. And so, I applaud any investor that takes that risk with a new director, it is a new risk, there's Nope, that director has been proven that their work can be marketable, right? It's all on faith alone. And to be able any, any filmmaker out there that's gone through this process, like we're much respect to you guys for that and to if that director is like, I can't, I can't afford to pay blah, blah, blah. So, I'll just do it myself and figure it out. Hey, I hats off to that person, you know, and I know that there's people who don't agree with that, you know, because yes, it's compromised or whatever. But like, that's, I think film indie filmmaking is compromised and in and we, I don't know, I just, I think that's what makes some of these indie films so unique, and different, is that there's a special human element to it that comes from compromise. Does that make sense?
Adam Rani 28:50
It makes perfect sense.
Christine Chen 28:51
So, like, there's a more personal touch to it. So that I, at least that's how I think of it because like, Camille sings the theme song in our film. I mean, how personal can you get to it? You know, she wrote the music and the lyrics for it. And because she's a writer of one of the cores, she wrote this film with me, she's able to take that and funnel it into an original song, you know, and you don't get more connected to our project.
Adam Rani 29:25
That amongst other departments she worked o set. Yeah,
Christine Chen 29:28
Yeah. And so that personal connections to something makes a film that much more special, my opinion. You know, there is going to be you know, like I said, the art department, Kelly, Roxy, they all knew about the seed of this idea before it was even written way in advance. And they were able to think about it and vegetate about it, that time that you're, you sit with something, because it's your kid that all funnels into that film in a way that I don't think you get with films that, hey, just get a group of people who are not emotionally attached to something, we just were paid to work. And we're there for a certain period of time, my clock starts when I have a contract, I put in the time that I have paid for. And this is the work that I deliver it to the best of my ability, that that kind of work is going to be different. And I'm not gonna I'm not saying it's better or worse. It's just different from the work where you're connected to it from its inception. Does that, you know.
Adam Rani 30:51
Absolutely.
Christine Chen 30:53
Yeah. So, I just, I think that's, that's the beauty of it. So, then the other question that I have is, patient said, how do you decide which projects to get made first, and which ones get shelved. And a lot of it comes with limitations with resources, and how I'm emotionally connected to that project at that time. So, when I was writing enroute, I was very emotionally connected. When I was writing that, because it was a topic. PTSD amongst first responders is a topic that I feel very strong, passionate about, well, the pandemic happened. And from a logical perspective, that whole film was about the medical field. And if I made if I need to be able to shoot and have access to the medical field, and there's a pandemic happening, that probably is going to be more difficult to shoot that film, right? Logistically because like probably the access to hospitals, the access into, you know, EMT, I don't think that it will be as easy as before the pandemic, you know, sorry, that's why shelved that project for now. It's the mood too of the world right. So, the world has gone through a lot of shit recently. Businesses having to close people losing family members and stuff like that. And when we're going through such a traumatic experience, people want to escape when it comes to the content that they're watching. Right. So, with that in mind, I don't think that watch, subject matters that are very strong and very dark, is necessarily something that people want to watch. So that also dictates what I decided to come out with. So luckily, Erzulie is so dark is very funny. It's a comedy, really. And it's lighthearted. And it's something I feel like people can accept, given the circumstances that have been happening around the world. So that's also another reason how I decided what projects get paid first, which was going to show just resources, time, and access to those resources based off of what's happening in the world and the topic, the world would accept it. Payton also asked, what's your favorite part of the writing process? Um, this one's hard to nail down for me, because for the I think that the very beginning of the writing process is very fun for me like the first draft.
Adam Rani 34:01
Yeah, getting the story beats out, discovering the story.
Christine Chen 34:06
Discovering and learning. Yeah, because the world is your oyster at that time. And it can go in where and I think that like, limitless situation is very fun to play around with. If you are building a story from scratch, you have no limits, and it's very free. And I love that. I think the hardest part about the writing process is when you're got your first draft and then you got to go back and edit it. It's like you made a baby now you're going to tear its arms off, its hard you got to kill the baby first. Yeah, you gotta kill the baby and like detach the head and like put on a new head or whatever, you know, like that is I use that, and I know it's very, because it is literally it feels that way. it is that that intense. And so? Yeah, that's my favorite part is creating the world. My least favorite part is going back and destroying the world and trying to make it better. And then Candace and Mr. Spanky pants Brad, as the question is more as synonymous, but it's how are you such a beast in specific events and what did your mama do to make you so cool? And I actually have a serious answer to it. It's the people around me who I get to work with are what makes me work, how hard I work. And what makes me it's cool. They make me look cool. And I work this hard because I have a lot of people I don't want to let down. That's why I'm inspired by the hard work of my team. Am they their hard work? encourages me to keep pushing forward, and to do the best that I can every single day with what I have. So that is why I'll sit there and work till the sun goes down, go back and sit there because like, I got to do this story that they put time and justice you know, so I think that's why I'm a beast. And also, I have big plans and I want to take over the world and all that stuff.
Adam Rani 36:43
Yeah. Master the universe.
Christine Chen 36:46
Yes. Also, my Wi Fi just died. So, I gotta go back on live again. So, you know.
Adam Rani 36:54
Oh.
Christine Chen 36:55
Yes, Checking connection. You're not alive again. You're gonna have to come back and find me. So, we can go back.
Adam Rani 37:01
Okay. Yeah, no worries.
Christine Chen 37:05
I think that is all the questions that we had. Alright, which is quite a bit. Um, but uh,
Adam Rani 37:15
Are you going back on?
Christine Chen 37:17
I am trying, trying my phone. Let me see. I'm trying man. Yeah, I should be live.
Adam Rani 37:32
Okay. So, all right, ladies and gentlemen, everybody on Facebook. sorry about the delay, but we're still answering questions.
Christine Chen 37:42
Yes, we're still answering questions.
Adam Rani 37:44
Okay. And we're coming back. We're gonna go live. Um, so there we go. We're here now. So, we were talking about your favorite process and writing, but also there was no, it was how much of a boss you are on set. And was there anything else to add before the disconnection happened?
Christine Chen 38:20
I said what I wanted to say. So, it's just more that like, the people that you surround yourself with and have the privilege to work with. That that for me, really inspires me. I'm a people person. So that's why being in this postproduction production process is very hard, because I'm not surrounded by people, just by myself. But, uh, yeah, it's, I am inspired by what comes out of other people's brains. Like, like, how to make it, how to utilize it to make a project or make a story better and stuff like that. So, I'm just constantly amazed but I like, what Kelly makes what Reese makes what, what Roxy does what you do what, like, it's all very interesting to me. And like, we're all different. So, like, what we come out with the solutions we come up with are like, are all going to be things that you may not have thought of, and you learn from that so yeah, that's why I work that's why I'm a beast. That's why I work so hard because like everybody else is and I got to do them justice to you know, so
Adam Rani 39:37
You're an inspiration Christine3.
Christine Chen 39:40
Yeah, I just want to I just want all my friends be able to be on set and to make movies the way we want to make them into tell stories that people want to watch. That's ultimately the privilege to live that dream.
Adam Rani 39:58
Do you have any more questions? Christine,
Christine Chen 40:01
ah, no, I think I answered all of them. Yep. So, the writing process, being a beast, how you cope with Yep, I got a I think we answered all the questions. Do you have any?
Adam Rani 40:12
We answered, you answered, I didn't answer these fucking questions. What are you talking about? I've been here just with my mouth shut lady.
Christine Chen 40:22
My bad.
Adam Rani 40:23
It's fine. It's okay. I mean, I don't know how much time you have. So, I mean, you know, questions were already answered. So, I'm like, well, I'm gonna let you drive. I mean, I don't know how much more time you want to do. We could take this bad boy for landing. What do you
Christine Chen 40:41
see? Yeah, I guess I guess I can just update how the process is right now. I been editing for a solid. almost a month, right. A month, I think solid. I mean, we wrap this project about two months ago. So, this whole month has been just editing, non-editing, doing test screenings, re editing. That's so there's something too, that I find is really cool. Knowing multiple aspects is that once I do the test screening, and I know what I need, it's a lot easier for me to fix things on the back end, because I know how to shoot. And I know a lot of the stuff. And so, it's just a lot of this has been some trial and error like, oh, let's try this ADR here and see that helps to answer the question or let's try this and fix it that way. And see that helps with the story and stuff. So, this this has been an interesting trial and error period of learning about just filmmaking and what works with the audience and what doesn't you know? Right? Yeah, yeah, so we're almost supposed to pitch this coming week. Colby, our onsite editor slash also VFX. Person. This is coming later tonight. To my places. I don't have a car right now to take the stuff that needs to be done and put in VFX. So yes, that will be cool. And then things will be going to Nick and me with Nick as our composer Nick Longoria from fugue has been, we've been doing the music, because music is awesome. Music is so important. I can't stress that enough. So, we've been going back and forth on music already. And I mix I'm excited to see this thing mixed. Because everything we've watched so far with a test screening has been raw, unprocessed audio. So, like, ADR sounds like it's right here when it shouldn't be like sounds like ADR, like there's ambience that's not there. It's not mixed. It's not you know. So, I think that part will be very, very cool to see it makes to see how it all plays, again, with new test screens, which we have another test for you are aiming for. There's two of them. And also, here's a recommendation for any of you filmmakers out there. Setting test screenings is a great way to get your ass kicked into gear. Because it's a deadline, right? But once you set that test screening, it's not moving, you can't just be like, hey, JK not going to do that test screening. I want to move it two weeks from now. I mean, you could but it doesn't look good, you know because people raise their schedules to try to see your stuff. So, what happens is that it kicks you into overdrive to try to meet that deadline, you know, and then if you have those deadlines into place, then then the pressure is on or you can actually finish your film in a timely manner. I think that's the problem that I don't know it's a pros and cons because having infinite amount of time to do your film could ask could also mean that you get to, you know, perfected or, or whatever, you know, not enough time with it. But I also know lots of filmmakers who have infinite amount of time, and they just never finished the film. You know. So that's it. That's advice build in some bulletproof timelines that will force you to finish your film by a certain time.
Adam Rani 44:56
Right, just create deadlines for you to break
Christine Chen 44:58
Create deadlines. So, I have deadline for July 26 will be our next in progress screening at create escape, which is a co working space in Austin, Texas. I hope that people will make that will be the first time be able to see the first things of coloring this the things of sound exciting and, and all that jazz. Because we are projected to be done this film in August just submit to Sundance, so we'll see.
Adam Rani 45:34
Yeah.
Christine Chen 45:36
So that's where we're at right now.
Adam Rani 45:41
I love it, Christine. I mean, was there anything else you want to bring up? Or? Yeah, you just been you just been on high gear with Erzulie. So, I'm sure that your brain can span to.
Christine Chen 45:57
I am super boring right now.
Adam Rani 46:00
I mean, I would chime in but you like, with you seizing all the questions. I was like, oh, this Okay, so sure where the direction of the podcast was heading. So, I'm like new drive this this episode. So, whatever you want to do.
Christine Chen 46:16
Is there something that we haven't talked about that you would like to talk about?
Adam Rani 46:20
Well, I mean, well, now I'm self-conscious about what how much time we have? I don't know. I don't know.
Christine Chen 46:29
I'll say one more question. But from you. Because you are my cohost.
Adam Rani 46:33
Why I don't have any questions. I mean, oh, I've just been no, because I know you. What kind of questions do I have I, I get I get caught up by you just filling me in on all these podcasts? Anyways, this is hanging out with you. And then you just take the driver's seat, and I'm like, oh, so that's what's happening. Oh, that's cool. So now I don't have questions. I do have like comments.
Christine Chen 46:59
What's your comment?
Adam Rani 47:00
I have comments that I've been writing down here on my notebook. Um, you talked about in the beginning of the party, the flow state of editing, also you are using that flow state with writing. I'm in the middle of that flow state. And I, I, I'm at a point now where I don't know how I'm going to get out of this because I'm approaching the end of the script. And I don't know what else I'm going to do. After that. I'm going to go back and I'm going to rewrite and I'm going to tweak up some things. But like, this is I mean, it's nerve racking for finishing. I'm like approaching the finish line. I see it in the horizons, and I'm just like, Oh my god. So, I don't know i.
Christine Chen 47:48
Are you nerve wrecked because you don't want it to end? And now that you're in the Nada, it's going to end. You are just sad about it.
Adam Rani 47:58
That and also, I'm terrified that it's terrible. Because I'm my own worst critic.
Christine Chen 48:07
But that's a natural part of the process, though, I think is it has to do that vulnerability. Like, it's this thing. It's like, if we never finish it, then we never have to share it with the world. And then we don't have to be vulnerable. Right? Right. But now that you don't have an excuse, because you are now finished. And the only other thing to do after that is to share it with the world so you can get feedback to be able to make it better. That's nerve wracking. Yeah, it's vulnerability. Now, yeah, yeah. It's easier to not share stuff into hold it up and, and say, oh, and just working on it. It's just been, it's not finished yet. So that's why I can't show you but now you have no excuse.
Adam Rani 48:53
So, I'm approaching that point in, in the flow state of writing. But I am, nonetheless, super excited about the story. And that's the other part about it, too. Like, I'm worried that because part of me what happens with my brain is that if I start to work on something, then I start to lose its flavor. Its consistency with it. And then I'm no longer attached to the story. And there's so many things that I've done writing wise, that that have led me to that point. This is the first story that hasn't. This is the first story that is just like, oh, no, all I'm doing is just writing, writing, writing, writing notes, notes, notes, notes, writing, writing, writing notes, notes, like, every single day, every time I wake up, even going outside for a walk. I'm just on my voice memos. You know, you know, yelling at wasps attacking me and also other notes on my script, too. You know, so, yeah, I just been in this world and it's, yeah, it It's just it's an it's a nerve wracking time for me right now because I'm in this world so much that I, A don't want it to end like you said, and also B, I'm terrified of and like you said vulnerable of what the because I'm wearing this script, like, like my heart on my sleeves. You know I mean like this is this is gonna be a raw fucking story that's very personal even though it's a female led cast, which comes to say how much of a woman I am. And it shows that you know what my beliefs are what I think about and what I and I've lived with these fucking characters for a fuck almost two years now wow characters and I am I am I am dreading the day that the end comes when I just have to let it go. You know, and I you know, it's something I have to learn to deal with for sure. It's not like I'm never ever going to, you know, not share the story, because I want to share this story. Now the likelihood of me getting the story out there isn't going to happen. I have no fucking clue. But I do know, this is probably one of my favorite things I've been working on. Like, oh, it is my favorite, it is my favorite sport. Because, like you said earlier, the best part about writing is that it's the world that you make the world for me. And now that I'm pushing almost, I mean, like, over almost two years now of just of just living with these characters in my head. And on paper. It's I have a completely different relationship that I had two years ago, because two years ago, I came up with these dopey fucking characters, thinking that there's nothing, there's nothing and then a setting to it was just like, I don't know, I feel like I was in over my head. But then as I keep thinking about it, it feels like if you had like a childhood friend that would just like bother you to play, you know, like, just always constantly bother you. It's like, a part of me is bothering me to play. You know, I need to go back. And I need to play within the script. And yeah, keep fleshing out these ideas. And even though there's certain scenes that I read, I'm like, oh, my God, you know, I can't, I can't How do I live with myself, I just go back, and I do it all over again, or I make it better or whatever. It's, it's a, it's a process that I'm in love with now. And it's like, it's like, it's like the first day I worked on writer's block as just a PA as a dumb PA, meeting you a panic, you know, first ad Christine and shit like that, you know, it was just like that day and then meeting everybody else. It was just like everything. It felt like that here with this script. And I'm just like, oh, this is this is what I'm what I'm looking for. And I didn't realize that until I was in the middle of it. Like, like you said, like dating, like you won't know until you're in the middle of it. It's like, oh, I am in love. Oh, okay. But then I start pitching my shit to you and you're not gonna give me and then we have to break up. Oh, kidding. I'm kidding. No, that's and it's a terrible joke. But yeah, it's one of those things where I'm very excited about but equally as excited. I am fucking terrified.
Christine Chen 53:46
Yes, so it's definitely both it is both and it happens at every single juncture of the filmmaking process. Like every single one. I mean, like before, was like, oh, I'm not gonna be able to get the money. Oh, well guess we're not gonna make the film. Right. That's safer. But then. But even scarier when we got the money because then it was like, alright, we're making this film. Shit. That was even scarier like it was. Yes, it was.
Adam Rani 54:24
That is not what I expected you to say.
Christine Chen 54:27
You know, you got to talk to people you don't know and hope that they want to buy into your idea. But that point is just an idea. Right? Right. when we got the money and it was like, all right. We got to do everything. And that was scary. That was scary. Because then it was like, your idea, you know, is on paper, but now it's gonna be a reality.
Adam Rani 54:49
Yeah, you got to make this idea happen from nothing.
Christine Chen 54:52
Yes. So, every juncture is scary. And it's like, I think the way people succeed and do well in this industry is like is how many like levels of these scary junctures they can pass through. Yeah. It's like, I passed this level one is like, right idea onto paper. Right?
Adam Rani 55:16
It's a video game.
Christine Chen 55:17
Yeah, it is video game, life is a video game, it is totally is. All right, cool. Wrote idea on paper. Great. Now I gotta make this a coherent thing. Now whole coherent story level two, you know, put idea into coherent script. Now, right, pass that level three. You know, it, each of them comes with emotional excitement and scariness. Yeah. And I feel like the scariness keeps amplifying.
Adam Rani 55:51
It because it like as you get closer, because it's like seeing a mountain at a distance and you're like, oh, that I can climb that. That's fine. Yeah. You get to the mountain. You're like, yeah, there's no way Christine. We can't go up this mountain. Yes. You start on the bottom, and you're just like, yeah, there's no way we can get at the top. Yeah. And then when you get to the top, you're like, Whoa, yeah. Oh, yeah. Because you can't you slayed the dragon. Right? You conquered it, you made it all happen. And not only you conquered the dragon, but you've done it so many fucking times that you know it like the back of your hand. You know?
Christine Chen 56:34
Yeah. And the thing with filmmaking is, it's not just one mountain. It's like you got little mountains leading to the big mountain to the big boss, the big boss, you got to fight the big boss.
Adam Rani 56:47
You're hiking Mount Kilimanjaro on top of Everest. You know, it's just like, it never fucking ends. And then once you get on top you can see fucking you can see everything in the world.
Christine Chen 57:01
Everything you see, all the mistakes you made.
Adam Rani 57:03
You see the mistakes and then you laugh about them truly in the end, you know.
Christine Chen 57:12
New phone and new everything like those stupid. Yeah, but like, that's, that's life.
Adam Rani 57:21
And, you know, I don't I don't dread any of it. At the slightest, even though. The listeners probably think Christina and I probably complain about 75% of the time. And we're not we truly love all of this. Yes, the entire the entire process, because that's the only way for you to survive, is to experience those fucking mistakes and mishaps and whatever. And success to you know, like, we all have to, we all have to experience it someday. But yeah, it is. I mean, dude. I never thought in my wildest dreams growing up talking about inspired filmmakers, like, growing up, like, I remembered like buying deals, like my mom used to work. She was a not to flex here, but she used to work for GameStop. And she, she was a district manager. And there's one time where GameStop you could buy DVDs, and stuff. So, GameStop became like my second blockbuster in a way where I just went to there, and I just kept buying DVDs, and I would try it in DVDs. You can buy and sell games and stuff. And also, DVDs and GameStop at the time. I don't know if you can do that now. But at the time, you could. And I would just trade out movies all the time. And behind those movies. Like I would watch. I would rent at the time my sister like who got me into movies, at one point. rented me three movies. It was it was Reservoir Dogs, Jaws. And a third movie that I'm not remembering. Okay. There's what was it? It was it was um, hook. It was hook. It was all good film. It was it was Steven Spielberg, another. Spielberg. And then and then also, I was introduced to Quentin Tarantino because my sister was excited about this movie that I wasn't really excited about. And she was like, oh my God kill bill is coming out this summer. Adam, you don't even know Quentin Tarantino, do you? And I'm like, no, I was just this fat, chubby anxious kid. Just know, I don't know. And then we walked to Blockbuster. And we rented three movies. You know, and then we brought him home and immediately after watching every single one of those movies I go to the behind the scenes and watch like, all the BTS footage, like I see steven Spielberg with Robin Williams, like just going through the beats of the fucking scenes and Rufino and all that, like, it's amazing. And then with Jaws like seeing, like, Steven, just like direct simultaneously what the actors are doing here and then the fucking mechanical shark there, you know, like he you can see panic in Steven Spielberg's eyes during Jaws, it was fantastic. It was like, I mean, Christine, first week I'm kidding. I'm terrible.
Christine Chen 1:00:42
Panic, panic and be like, Oh, God.
Adam Rani 1:00:49
It was the same thing. It was like it was sort of the same thing with Reservoir Dogs too, because this was a script that like Quinn Tarantino's like very, like personal about and that I gravitated to the most because I am never knew a movie can take place in only three settings and be fucking amazing. It is such a small budget that you wouldn't never think that because to me, it feels like a like a like a Scorsese mobster film, but it was made for a fraction of a Scorsese mobster film made by Tarantino.
Christine Chen 1:01:29
I'm looking at this. Oh my god, it's still $1.2 million of a budget.
Adam Rani 1:01:35
Well, I know but I'm saying like, as opposed to Goodfellows I mean, look up Goodfellas budget. That's fucking insane.
Christine Chen 1:01:43
I'm just like.
Adam Rani 1:01:46
I understand. I understand. But I'm saying, okay, let's, let's take a step back here. This was also in the 90s to where nothing, barely anything was fucking digital. Things still work with Kodak cameras and shit like that. But anyways, I digress, watching those behind the scenes, and also going back to the movie store. And then Ashley, my sister, she was just like, oh, have you had you know, Kevin Smith? Oh, my no is like, okay, let me rent clerks and clerks, too. Because clerks to just literally came out on video literally that like, December or something like that was like, a summer release. And then that summer, and she rented both clerks one and clerks two. And I also that was also another mind-blowing thing that I didn't know movies can be that way. Like, it's just, it's all fucking dialogue. It's a polar opposite of Tarantino, for sure. But it was like, I never knew movies could just have dialogue and be equally as compelling as a movie like Tarantino, where you have sort of like a non sequitur scene, and they talk about a story, but it's somehow relating to the plot at hand. You know, it's very much like that. Yeah, but on, on like, a polar opposite scale. You know, I mean, and I found that beautiful to me with that's what inspired me as becoming who I am today, because at first, I thought I just wanted to be a storyteller, like a writer. I was like, oh, yeah, I'll just want to do all the writing and stuff. But then I, but and I didn't know what directing really meant until, like, I got older, like when I was in my teens. And then and then I participated in directing a short film for the high school for my high school. And that was a trip that was like, I mean, we barely did anything, and I didn't have like, it wasn't even a professional fucking set to begin with whatsoever is potato chips and backup, some guy’s cars call it crafty. Like we just, we didn't know what the fuck we were doing. And that was equally as fun as discovering these directors and stuff like that. So, everything sort of like evolves to it's one thing and then you get that same fiery feeling that you're like, wait a second, if these guys can do it. And they've, they're no, they're no dumber than I am. I'm pretty dumb, but like, I think I can get away with this. I think I can do something with this. And you sort of sort of like kind of set yourself up and I don't know my life. Anything else that isn't movies, which is probably a terrible thing to say. This sounds like as though it's not like I'm out of touch with reality. I am very in touch with reality. I watched the news Shut up. But I'm saying like, movies are everything that I know. So, if I didn’t, have it? Yeah, I wouldn't. I think I would still be working retail. You know, just for the rest of my life. Like just doing nothing. You know, I'm not saying that retail is nothing for anyone who's working retail. Retail is an extraordinary profession in an industry that I am not accepted in. And I won't accept myself be accepted in there if that makes any sense. Yeah. So that being said, the film industry is sort of like is my home, it's my home. You know, and that's the only the only thing I know. So, yeah, just anyways, it's a long, roundabout way of like, you know, explaining who my inspirations are, but it always, it always changes, but it's always the same feeling that fiery feeling in my chest that is just like that inspiration shot. I call it like, somebody, there's a comedian who calls it like an inspiration bullet to the chest. And it's just like, Ooh, I felt that. Oh, okay. I need to do something about this. I'm now getting like, like, fidgety. Like, I got it. I gotta work. I gotta do something, you know. And that's how I feel about with a good movie with a fantastic director. Even like, I watched a recent movie that made me felt the same way as this Korean film that I had somehow flew underneath my radar. It's called Old Boy. And I haven’t ever, ever seen it? And I watched it. And I'm like, hey, how, how did this leave my radar? What did I do what happened? And I watched it three more times. Like, it's, that's how good it was like, I That movie is completely different than anything I've ever fuckin seen. And it's so good and done in such a special way that I don't think any other filmmaker can do that. You know, I mean, like, that's, that's the other part about it, too. And that's kind of the cool thing about Erzulie, it's kind of like your own. It can't be duplicated nor fabricated. You know, I mean, like, it is its own thing.
Christine Chen 1:07:02
Yeah. No, it is. That was the unique is the uniqueness. Yeah, yes. Something that cannot be recreated, because people do not know, I knew this place inside and out. I wrote for specific people that I had personal relationships with, that I knew could play certain roles. I brought in people who I've been, you know, learning and growing as a filmmaker with for years, 10 years and stuff. So, we have our own nuances that we tied in there that he can't recreate? No, you're exactly right. It is. I think it's all those little personal nuances and things that happen. Because you don't have all the resources that you want in this world that make it unique and different.
Adam Rani 1:07:54
When it started, it starts in the script, though. You know, I mean, in in with you in your uniqueness. I knew this was a Christine and Christine film when I read. You know, I mean, like, there's no way this isn't the Christine Chen film, like blindfold me dropped me in the same circle of hell with this script. I know, it's a Christine Chen film, you know, don't get me wrong, but that's kind of like the special thing behind it. You know, and that, like you said, that can never be duplicated, because it's yours, you know, and I feel I feel like I'm putting in that personal touch. So much. So, in this script, I'm right. Yeah. You know,
Christine Chen 1:08:39
you know what's interesting? Because I haven't read your script, I do want to, is I want, I'd like to know, because I've had people say, like, oh, that's very clearly a film that you make. What makes what? Because I am too deeply connected with my own stuff to be able to be like, oh, that is a real moment. Like, what are the things that make it stand out that that is a film that I made?
Adam Rani 1:09:11
What are what are the parts of it, like between writing and in production?
Christine Chen 1:09:16
Like, like, how do you How could you because like, when you watch a Steven Spielberg film, or you watch a film, and let's say you're blindfolded and you, you can tell like that's a Steven Spielberg. Nolan is easy, Nolan, because it's having to do with time and its epic in this proportion, Ebola, I want to know from an outsider, what you think people will see and say, That's a Christian film. What is it?
Adam Rani 1:09:43
It's an amalgamation of a few things. It's not just one thing. So, it the first bit is the atmosphere of what you are and you can get a feel of the atmosphere with the script, but you watching bits and pieces of what was conjured in, in the Filming Principal photography process was no short of the atmosphere that is because it's also the paced ness of it too. So, like, the speed and the and the, the edginess with it as well. And by the way I'm explaining on my site so anybody else can probably have a different opinion, but this is just this is just how I feel when I see this as.
Christine Chen 1:10:33
It is that is fascinating because I don't know, because I'm in it right.
Adam Rani 1:10:41
But it's also equally because I know your comedy as well. So, I see I see the comedy bits with it too because that's where I see the humanity is if you can have a little bit of a comedic relief with within something that isn't just so fucking like David Fincher Fucking serious all the goddamn time. Take that fucking, you know, shit. Like, like, if the doors knocking fucking into the door, like you're gonna see, you're gonna follow through with any comedic bit. And there's no I mean; it's not I'm not saying that originally as a comedy. But like you said earlier in the episode you have these comedic timings like in the script, and in the scenes that it just works like even in a silly Goonies way, or a Jurassic Park a Steven Spielberg way. You know, Spielberg knows comedy. granted, he's directed some comedies that were Oh, but, you know, that's neither here nor there. He still directs movies that still have some sort of underlying comedy with it, you know, but you still have the seriousness of Christopher Nolan. You still have the edginess and the sophistication of him. But nonetheless, you still you still remind people to not take this seriously. Well, no, you do. But also have fun with it. You have fun with it, Christine. And that's what I love seeing and that's what makes me excited for Christine Chen feature, especially like Erzulie, I know I worked on it, but I'm equally just as excited watching it. You know, I'm it because there's no way there's no way for, for anyone else to take your idea and run with it. You know, I mean, like, there's, there's, like, all I see is Christine everywhere. So, like I said, it's not just one particular thing, and probably after this podcast, I'm gonna think about it more. And we'd like you to want to know something else that I like about a Christine Chen feature. You know, like, there's, it's always gonna change, it's always going to add as well. But um, you know, it's the same feeling how you watch a Steven Spielberg movie, you can pop on any movie, and you can know if that's
Christine Chen 1:13:14
Yeah, I think that's the cool part. When people can tell it's you.
Adam Rani 1:13:23
Yeah, right. That's the other thing though. Steven Spielberg doesn't know that he's doing a Steven Spielberg. Spielberg shit. Is that in the same fucking boat with that motherfucker? You know? So, like, you, you understand, Christine that like, you can't define your own fucking films, because they define themselves. Yeah, they kind of show themselves and express themselves in your characters, by the way, steal the fucking show. They are the ones who are taking the story and running with it. It feels like for me, and that's what makes a really good script is letting it feels like the characters are in full control of the story. You know, because I've watched plenty of movies that feels like there's character shoehorned. Or there's plot shoehorned within, like the beast, or whatever, with certain characters, it just doesn't fundamentally work in the grand scheme of the film. Whereas in a, in a feature like originally, everything, everything all happens with the characters, and you take the characters Seriously, just like any good filmmaker does, just like Spielberg does just why assume he does. But you know, it all. It all stems from that how serious you take your characters, and how far you willing to take your characters too. Because, you know, sometimes there's not enough risk reward with some of these characters. And you got to have to have some level of that in a way and it feels like every single one of those characters have a risk reward with them, you know? So, yeah, I mean, and also, too, I'm very much about the story as, as little as I feel about the mechanics and the inner workings of the behind the scenes even though I love the behind the scenes shot of it. What matters to me the most is the story first and foremost. Yeah, that kind of story. That's kind of what that's the reason why go to the behind-the-scenes stuff, special features on every DVD that I own. And I still do whenever I feel like I mean, I don't do it anymore, but when I worked retail, I used to do that whenever I want to feel better. Like I just put on a BTS of I don't know, fuckin Jay and Silent Bob Strike Back. I don't know. It's you know, it's some something some documentary behind the scenes that I'm just like, oh, this is this feel like, this feels like a like a home to me. And it feels it feels real. Um, so yeah, I just I feel like I feel like the process of a Christine Chen feature can it's never it can never be labeled as one thing or another, you know, so. I don't know. I just I feel like in fact, I'm not only excited to watch the film, but I'm more excited for other people to watch this and understand, Christine fucking Chen you know and they're going to get it with this flick. I'm excited of course. Everyone else with it too and Camille. Everyone along with it. And then fucking Christine. You know.
Christine Chen 1:16:52
It's a cool film. I love it. And I hope other people will too.
Adam Rani 1:17:00
I'm sure they will.
Christine Chen 1:17:02
Yeah, I hope so. It's fun. So, it really is.
Adam Rani 1:17:06
It is fun. I enjoy it. Um, but I think that's I mean that's been like an hour and a half I think almost were pushed.
Christine Chen 1:17:16
Yeah, that's it.
Adam Rani 1:17:17
So that's been a podcast, ladies and gentlemen. We got to go for this fucking landing. Because also I'm starving. My tummy is tumbling. So, let's go get food. And you guys Getreelisms.com. Thank you so much for tuning into our podcast Erzuliefilm.com is where you're gonna find the episodes of these podcasts. And subscribe. iTunes, Spotify everywhere. Everywhere you guys come on, listen in. Learn something. Not for me. Yeah, but definitely from Christine fuckin Chen. Alright, ladies and gentlemen. That has been the get Reelisms podcast. Thank you so much. We love you all. We appreciate you and please send us more questions to was on Instagram. GetReelisms on Instagram, Facebook, Get Reelisms dm message do what you got to do. We love the questions. It's what gets the show going.