Editing is like Writing
Adam and Christine attempt to talk about production design with Erzulie production designer Kellie Penna, but her internet simply would not have it. In the end, technology prevailed and Adam and Christine talk about the similarities of the writing and editing processes, instead.
Transcript
Adam Rani 00:22
Ladies and gentlemen welcome to another episode of The Get Reelisms podcast. Wow episode 53 Ladies and gentlemen, I am Adam Chase Rani.
Christine Chen 00:35
And I'm Christine Chen and today we have a guest special guest you seen her before it's Kelly Pena and Kelly is in the art department and also one of the original OGs of moth to flame so that's how we know Kelly and one of the creators of the get Reelisms book as well. That's right now you're supposed to do the blow horn/
Adam Rani 01:05
So, what's going on Kelly, All right.
Christine Chen 01:16
Ah, Kelly is making a cake everyone. Oh, but it's not for consumption. Well, it needs to be safe for consumption. But it's because you are needing it for an art project for a short film correct.
Kelly 01:31
This was practice for, it is edible.
Christine Chen 01:42
Your internet is terrible, you're like a robot right now and you're frozen as well. You're giving us like a weird stare Oh, now? Well, Kelly's internet is frozen. So
Adam Rani 02:16
She'll be like the she could be like, you know, the Andy kindler, to your cone. And she'll just like chime in every once in a while. And that sounds good. We check in with Kelly and see what her two cents is.
Christine Chen 02:30
Oh, I feel like she's gonna have to sign out back in. So, she's frozen, frozen. So hi, guys. Technology sucks. Sometimes, but uh, for ones it's not me.
Adam Rani 02:47
Yeah, we're, I'm yeah, my internet is not the best either. But I am. I am, like, hardwired to an Ethernet because I have no other choice. So precisely record the best possible signal. You guys. Yeah.
Christine Chen 03:07
Aways keep talking. You just keep talking.
Adam Rani 03:11
I mean, I do, but not in the slightest experience that Kelly has, not at the slightest. She can better articulate stuff? Yes. So hopefully, alright, so for those of you on Instagram, she signed out on Facebook. For those of you on Facebook, she's gonna be back. Everyone else. She's gonna be back. Hopefully with better stronger back in Yeah, usually. But yeah, and it's fine. It's fine. We're rolling through the punches, and it's not that big of a deal. Um, so Christina, let's get into Erzulie, how was the editing going? How's?
Christine Chen 04:01
Editing is good. It's, it's always it's a constant up and down of frustration. And I it's, you know, I It's very.
Adam Rani 04:11
You were talking about the music last time.
Christine Chen 04:13
Yeah, editing is very similar to writing the process. You get to a draft and you're like, this is it, I'm done. And then you show people and people are like, this is terrible. And then you're like, Great, now I got to edit it. And then you edit it and get through the first edit. You're like, I think this is done. And then you said to people, people like No, it's not done, like great. And it gets worse as you get closer to so because each time, you're even more convinced is done yet you're still getting no it's not yet. And so, and you're like, I don't know what else to fix, you know? So that's where I'm at right now. It's, I'm this last iteration that we were taking, and then sent it over.
Adam Rani 05:00
Hey, Christine. Let's try not to play with this a little bit. It's interfering for some reason with the mic.
Christine Chen 05:08
Okay.
Adam Rani 05:09
Yeah, it's okay. yeah, no, you're good.
Christine Chen 05:17
So, I, we sent it over to the art distributors and there, then they gave us notes. I'm like, Ah, crap. Now we're not. It's annoying because when you're editing, there's a point where you have to pitch a lot because everything else, every other position is in a different program. So, the colorist works in resolve, the sound mixer works in Pro Tools. And the reason for picture lock, is that these, they don't integrate seamless seamlessly with each other. If that makes any sense.
Adam Rani 05:55
It doesn't make sense.
Christine Chen 05:56
Yeah. So, on premiere, if I decide to edit after pitch along it fucks up all their timelines.
Adam Rani 06:05
Yeah, completely.
Christine Chen 06:07
And so, it's really frustrating, because I feel
Adam Rani 06:10
Like you actually can't afford that just timewise.
Christine Chen 06:13
Timewise. Yeah. So, it's really frustrating, because I am here being like, Okay, pretty sure we're almost there. And then now I'm getting notes. And I can't stop the process for us for color or sound right now, because of how tight our timeline is. So, we're having to strategically work around it. So well, how I'm dealing with it, poor Jeff, is that he so the film itself is so big, that you have to cut it up into pieces to deliver it to the other parties. So right now, in order for the, what we call the omit files to go over to the sound person, I have to cut it up into 10-minute reels to deliver over. Because through premiere, you can only export at a maximum of two gigabytes. After two gigabytes, it won't include all the files, and it does something funky. So, you have to you have to cut it up into tiny little pieces. And so, I'm basically telling Jeff more backwards, like, I know that the front is going to change but not the back. So, like start working backwards. And I'll tell you like when, when I start editing the first part, I'll know when the first reel ends, and he can just move everything to that exact timeline. And hopefully, it'll just seamlessly links together. That's my in theory, that's what I'm hoping will work but like, sound people hate this, obviously, because like the likelihood of screwing up what they are doing right now is huge, you know, so I just I had to be very good with knowing like, Alright, I'm only I'm editing here and this is where this real one starts here. We'll two ends here real you know, type of thing.
Adam Rani 08:03
Instead of doing it all one lump sum.
Christine Chen 08:06
In all lump sum. It just sucks.
Adam Rani 08:08
You can’t spread that, Jesus Christ Christie.
Christine Chen 08:12
So, I just it's really, really frustrating. But right now.
Adam Rani 08:16
I seem like it's the most productive thing to do is to just like keep it piece by piece. By the way, Kelly is on the Instagram. So, Kelly requested join with Christine if you can. I think you can, right.
Christine Chen 08:34
She should be able to but isn't she she's not on, the problem she can't hear you because she's not on Zoom.
Adam Rani 08:40
Well, I mean, oh, by she knows she can hear me through Instagram.
Christine Chen 08:44
Instagram, right.
Adam Rani 08:45
Can no one hear me on Instagram?
Christine Chen 08:48
No, they can, you are fine on Instagram, but Facebook.
Adam Rani 08:52
You make me nervous. I want to make sure I'm projecting.
Christine Chen 08:57
Request to join this IG story, basically.
Adam Rani 09:03
That's right.
Christine Chen 09:03
Yeah. You just need to join that IG. Oh, well, we'll figure it out. But yeah, so we're, that's the point where I'm at is like, this timeline is stupid. So, I never really knew.
Adam Rani 09:16
What is the most productive? That's the point I was trying to make. Like it's probably for you. And for the sake of the crew. Probably like.
Christine Chen 09:25
what we're trying to do is make that the timeline for Sundance, Sundance is regular timestamp is August. Luckily, it's not August 5. I thought it was August 5, August 5, it's actually the early submission. So, the so we actually have a little bit more time than we think. However, we're also remember how I said we built in kind of a built in forced, or they call deadlines along the way. And so, to make us to kind of light a fire in our app So the two deadlines that we have are the 23rd is, is a little in progress screening in Gainesville, for the folks of Gainesville, that donated to our film. And then the 26th in Austin. So that's what the colorist and sound people are rushing to do right now, which is good, because these are like actual projected bait screens with like good sound systems and stuff. So, it's a give us an opportunity to also hear and see how everything looks on a big screen. You know, I'm so yeah, but it's also just really stressful because of this whole cut still and still cutting or figuring out like, what to cut from the intro and whatnot. So, it's technically not still pick you’re a lot. But.
Adam Rani 10:56
But your close, you can taste the rainbow.
Christine Chen 11:01
Yeah. So, but, uh, yeah, I know that this is I liken this process to writing a lot. Where each iteration, you just feel like this is it and then people give you notes like, mother effer. Like, when is this going to end? Like I thought this was done? You know? So, the question of what point do you pull the plug and say it's done. So, I don't know what Kelly is doing.
Adam Rani 11:27
I don't know either. But let's just keep going. We're gonna see the requests at some point. And or Kelly, if you want to just go back to zoom if it's better connection that way and just go audio only. That's, that's totally fine. Well, we want you on the show, Kelly. So, try it out if you want. If not, it's no big deal. We know. I know, internet issues. It is fucking stinks. Yeah. Kelly's with a spirit in cyber spirit. So, Christine, are you feeling? Like you must feel like some sort of relief that you're like, almost towards the end zone here. Right?
Christine Chen 12:17
Yeah, it's definitely not like I'm, I'm not at a breakneck. I mean, it feels weird. Because like I said, my, my schedule was wake up, go and edit, then go to sleep. Literally every single day for the past month and a half, two months. Right. So, it's weird now. Now, when I got to the point where I'm not doing that, it's kind of like, okay, now what you know, so, so that's, it feels weird, but it is nice to have time back. But I think that's I don't know I think it's just hard because I'm still balancing like some producing stuff to the outside. So, it's like I'm luckily, I have Payton, Payton is helping me out a lot with was it while the producing things like in Candice, but
Adam Rani 13:14
Shout out.
Christine Chen 13:15
Yeah, never end in the I think what I'm learning from the experiences is that it always is? Every, every department has perfectionist, right? Yeah. And that's awesome. And that's why you have department heads. So that they completely focus in on what they're good at. But what comes of that, too, is that at some, some point, I think the department heads also have to realize that this is a bigger picture, too. It's not always about one single department. It's all how they all come together. And so, it's interesting having to juggle that. That like everybody wants the best for their department, the image, the sound or whatever, but like, like Jeff is having to work around the fact that the edit is not completely done, even though I thought it was you know, but he's concerned with like, his workflow, you know, but, but because of his experience, he's able to be like, Okay, I'll figure out how to flex and work with you and stuff like that, and essentially compromise on his end. Same thing with a color. She's dealing with a very tough schedule, and we're all working virtually luckily, I am in town this week for the purpose of being able to talk or work with her person and go through coloring and stuff like that. But it's tiring.
Adam Rani 15:05
I bet I mean; I mean just hearing you say all that. Yeah, I can understand why you Yeah, every everything just feels so spread thin. Not at the, you know, at the, you know, at the expense the people around you they're doing absolutely fine job. It's just you in almost getting to that end zone I hope you take a break. I mean, I know probably can't but yeah, you should celebrate because it isn't immoral. And you still listen 20 episodes ago and also on the show. You talked about that tattoo? Maybe? Maybe it, picture lock.
Christine Chen 15:50
When picture when we're actually for real, everything's done then yes, I will. I will definitely celebrate at the point right now. It's like so close and within my grasp, get so far away. And I've memorized the film, literally from the front, I can any part quote, I even have the exact inflections of how the accurate, say their lines, because I've stared at it so many, so much. But I don't know, I'm very proud of them proud of what people have done. But and I don't know, it's, we won't know how it's going to be until the world starts to see it and give their two cents. And that's the that's the scary part is that.
Adam Rani 16:42
Or the most exciting.
Kelly 16:43
It's both, it's exciting, because it's really fun to hear and see how people react. And it's been the test screens have been great. In general, people have reacted very briefly at the right spots, which is really fun. But when you come to like, critics, or people who this is their whole job, and all they do is watch movies, they don't care what you had to work with, you know, none of that makes a difference to them, you know, oh, you only know them days don't do shit. That only we should if you had only this, that's why it's so hard. Because you're competing with the million-dollar budgets. Right? That's they just care what's on the screen. Literally.
Adam Rani 17:25
Right? Yeah. Which, which is unfortunate. But also, at the same time? I don't know. I feel like the audience is smart in that way. I mean, it's an old philosophy thing. But Joseph Campbell said, never underestimate the audience. And you I mean, because audience, oftentimes are smarter than you think. So, they probably do see the quality and the love and the passion behind the storytelling of originally. I mean, it shows for me, I'm sure it's gonna show for, for a lot of people, and that's coming from a dummy, ladies’ gentleman. That's not coming from a guy who is just like, I'm a savant in the in the art of film. I'm not. I'm a I'm a I'm a greasy dummy from Oakland, California. It's not the
Christine Chen 18:18
Stop it.
Adam Rani 18:20
But you know what I mean, though, right, Christine? Like it's, it's one of those things where you should definitely be proud of what you've what you've done. And I think that will show with it. If that makes sense. It's just like, the love and the passions all it's all going to be there. Because everyone around you. I'm so burpee today, Jesus. Um, everyone around you are, like you said, the department heads are perfectionist, like we care about the story so much just as maybe not just as much but very fucking close, if anything, or just as much, you know, and you shine through that, you know, and then you also cast a spotlight on all of it. Between props to cinematography, it's all there it shows. And I think anybody who knows film and loves cinema, and loves film, like Christine and I do, it shows, it shows dude, I think it will. I'm not a bet man but I'm willing to bet.
Christine Chen 19:30
I mean, it's tested really well. Like people were like, wow, this is a really fun story. And yeah, everything. So, I hope we proved. What I'm battling with right now is that the distributors distribute Okay, here's something I'm learning distributors hate cross genres. They hate things that don't fit easily within a certain genre because it's harder to market. They like, purely poor are they like purely calming or purely this like it's because it's all sorts it's not it's a drama, but it's also a relationship film. It's also though a creature film, it is also a horror inspired. It's fantasy. It's so it's unique.
Adam Rani 20:22
It does every time. Here's the thing with cross genres every time I think of that, like, however you cross the genre. It's not the fact that you have to market it as such label. I mean, I know I know, it's I'm going as far as say that we need to live in a categorless Society of fucking genres. This is dumb and stupid. But I live my life with genres. So, what the fuck can I say? But I think that whole reason behind like the marketable, like, commercially viable standpoint of it is just it's a little. I don't know, I don't get it. i but that's why I guess that's why marketing is there. Because right. It's hard. Like me. i It's hard, because I know. That's bullshit, in my opinion. But I know, like, in the long scheme of things, it's like, well, no, like we have to. You want as many faces on this as possible, which is just come on. Give me a break. Action Adventure. Action adventure.
Christine Chen 21:32
Yeah, I, I feel like it's a fantasy, thriller.
Adam Rani 21:36
Fantasy thriller.
Christine Chen 21:37
Yeah, it is fantasy thriller, action thriller, and then it's rooted, it's obviously going to be very female, skewed in terms of who our target audience is. And it's just happening to have a creature in it. You know, like, I don't know it. If you like, it's that Arts Market. But I don't know, distribution. But I'm talking more in distribution who tend to do cross genres to get their opinion on it. But I'm very lucky to be friends with the people from vanishing angle, who did Thunder Road and their newest one, which is the wolf of snow hollow, which is across genre. And they just did another one. I haven't seen this one because it's in the festival route right now. But werewolves within that's also across genre. So, I'm kind of, I'm going to them right opinion, as to like, hey, what are your thoughts on this? Because they've had a lot of success when it comes to distribution with cross genres and stuff. So, we'll see. Yeah.
Adam Rani 22:48
I have faith.
Christine Chen 22:50
Yeah. Yeah, I have faith in and I'm like, this is so easy. So, I don't know why it's why it's a problem. But I, I also haven't seen I haven't had to sell a lot of film. So, I mean, first of everything, right?
Adam Rani 23:04
Yeah, that's a good point. Uh, did we get any questions at all?
Christine Chen 23:12
Ah, I didn't I actually did a terrible job asking for people to get to ask questions.
Adam Rani 23:19
Right. Okay. All right. So then I want to ask you this there was something last episode that I kept thinking about and I wrote it down to today because I knew I knew I wanted to talk about it at some point, um, the editing process and the like sharing that like having your film projected on a big screen for the test audiences. Yeah, like your perception and your reaction because I didn't think about it either for myself, but I always live my life through small monitors and I sometimes often don't think about big screens and I was kind of having like this moment of like, Oh, right. You are always its filmmakers far way before us like I always thought about you know like the scale of what you know the theater could have and like how many characters you can have and you know, one frame and stuff like that. You know, you don't you don't think about this but seeing it for the first time on a big screen when you just seen it through your 15 inches. Yeah, it's just like, I can't imagine what a trip that must be.
Christine Chen 24:37
It's definitely a different experience because like they say for example, like
Adam Rani 24:42
a 10-foot Erzulie right in front of you. That's amazing and people are going to experience that. I'm so excited.
Christine Chen 24:48
Um, the way I can liken it too, is I watch the behind the scenes of like what it takes to film using IMAX type stuff and their IMAX there. They're like, frames are like this like are huge, you know. And they're saying like a tiny speck of dust when blown up on IMAX screen looks like a giant like as piece of something on the on the frame because
Adam Rani 25:15
Everything is magnified.
Christine Chen 25:16
Everything is magnified. That's the biggest thing. I and I have an even another big problem my computer so old and our case, I can't even really feel the pacing of the film sometimes without having to export out film because it lags every minute. So, I have to, it's really annoying. So, I have every night. So, I can the next day, watch it through without it like lagging, and then I can feel the real pacing of the film. Um, so that's been difficult. But yeah, when it's on a big screen, that's when you start noticing like, oh, on the small screen, that wasn't a big issue. I can see her face there. And now I can see it magnified. And that's clearly out of sync, you know, things like that. So, it's good to test these things. Or like we're listening or hearing it through different speaker systems and stuff. Understanding the sound and how, how it flies and how, oh, the music's too loud here. I can't hear any of the voices because you know, like, just, I don't know, it's, each process has its nuances, that's for sure. So, I'm lucky to be able to have the opportunity to be able to like to see it on a big screen first before, you know that not everybody gets to do that. I like I can say I have seen none of my short films on a big screen until they're at a festival. Right, right. So, this is the first time I've been like putting in the extra effort to have these. That's why these test screenings have been so valuable because I'm able to like, see how the audience reacts to certain things or get audience feedback, or just really see how it translates on a big screen and know how to what I need to do to make it better, you know?
Adam Rani 27:18
Yeah. And every frame fucking counts, too. So, like you said, like, things you couldn't see on the small monitor you like, yes. Oh, man. Look at see that shit. You see on the big screen like Oh, yeah.
Christine Chen 27:30
Oh, totally can see that. Yeah, exactly.
Adam Rani 27:34
That's, but that's that must be, I don't know, that must be an amazing feeling to because just like as a child, like I dreamed of, like, that day of just like seeing something that big because my entire childhood. I mean, don't get me wrong, it's great. But it's me just like in front of a TV that fucking close. You know, so I, I just live my life on small little monitors and stuff like that. And then, of course, going to the movie theaters. I live in the movie theaters, for sure. But I never thought of like, the frame its scale, as it is like in the movie theater as opposed to home video. You know, or when you watch it at home, streaming it at home, whatever.
Christine Chen 28:19
You know, the part that I saw the most impact was sound.
Adam Rani 28:24
And sound is the most and like it's the most easily glazed over thing that you think of and then once it happens, and the surround sound hits, too, when you talked about that last episode, you're like, you didn't know how something was gonna work until you tested it in the test screenings. And you're like, yeah, that's how movie theater speakers Yeah,
Christine Chen 28:49
I'm like, feels good. Yeah, I feel the vibrations in my seat. Yeah,
Adam Rani 28:54
That is fucking rad. That's like Terminator two shit.
Christine Chen 28:57
Yeah, the feeling is cool. Especially when I mean, this is how, like, this is the best quality like sound is through this you know. And that's limited and maybe through my laptop speaker. So, I mean, even doing the sessions in with my composer in his studio, which is much better than mine. Still, you don't feel when it's these giant ass speakers that are surround sound booming with the subwoofer and stuff like that. It's just, like, can't compare magic with that. Yeah, when that happens, you're like, oh, shit, I made a film. I made a film, you know. So.
Adam Rani 29:39
Fuck, dude. That's awesome.
Christine Chen 29:40
That part is really cool. Yeah, I'm a, it's a learning experience. I'm learning a lot through this process. I'm very proud of what we made. Trying to take all because all the criticism and notes with the You know, grain of salt, but also trying to not be discouraged as well, because everybody wants the film to be better. But it is a lot. Everybody's giving you notes. Right? It gets to a point where like, is any of this good? Yeah. Yeah.
Adam Rani 30:17
No, I, yeah, that I never I never thought of it that way. But you're right. Yeah, that's like you, you just don't know until it happens. And then the people react and experience it, you know? Yeah. And then and then you're trying to fight the urge of just like, alright, well, we're gonna we're gonna have the Christine Chen cut next year. Like the Snider cut, release the 10. Cut?
Christine Chen 30:43
Yeah.
Adam Rani 30:44
Release the chin cut? Um, yeah. I mean, you know, I think, um, I think you're right, I think yeah, it is something to be proud of. But from the moment that you had this idea, just kind of like on paper, and then having it become the way it is. And of course, it changed throughout that process. But Ladies and gentlemen, you saw it right before your eyes. You know, I mean, we experienced an entire year of Christine in I mean, of course, we didn't talk about Eruzlie nauseum, like at that time, but you had the idea. And then once, once you got into the swing of the writing, and then you got the script down, and all that. That's when we went into season three. And in that process, that was a magical journey in of itself. It's a long-winded way for me to say thank you for the journey, Christine.
Christine Chen 31:51
it's still a journey, it's going to be a journey all the way to this thing gets released. Because I'm sure there's a whole other like after this, it doesn't stop. I had to cut a trailer. I got to make sure that they're the artwork, and the poster looks good. And so that people will want to buy it. You know, that's the whole thing.
Adam Rani 32:13
Yeah. But I was, yeah, that's why with Kelly, I was I was excited to have her on, but I hope she's watching this right now on Facebook or Instagram. We miss you, Kelly. But I wanted to say, though, that the even the experience of just being on set, yeah, that was that was in of itself, a fantastic experience, of course, you know, take it with what you will, you know, by, by however experience you got within the cast and crew, and there's even some of the crew on this Instagram live right now. Who can vouch for that, but I think the journey nonetheless, was, it's, it's something that will, that will always seep into my head every time I think of the word Erzulie, you know, and I and I'm part of that history? And I couldn't be prouder of that. I couldn't be more excited about that. Just to just to be that small little part of Erzulie, it just that's a that's, that's awesome. I mean, when I was a kid, I didn't think I would have like a film credit at all. I thought that's just that's a that's a dream for another dummy. Not this dummy. You know, I thought I was just like, I know, it's just gonna be retail for the rest of my life. You know, I don't know, I don't know about you guys. But I'm living I'm living that store manager life through retail. And then I realized I'm unhappy. And, you know, I gave it up to do this. And I couldn't believe the like, I mean, because we all struggled like you, crew everybody. Like we all even in the Austin film industry. At some point. We've all struggled any industry for that matter. Everybody at some point has struggled but to get to this point, makes all of that so fucking worth it. so goddamn worth it. It's, it's truly magical one when you when you have a retrospective on it, once everything was done, and then you think about, you know, you think back and stuff like that. Even going back to the journals to that I talked about on the podcast. That's a trip. That's fucking awesome. You know, I smile ear to ear even. Even on the bad days. I'm just like, Yeah, I'm mad. And I'm just like, you know, I get so happy. I get so excited. Like, I remember that. I'll remember that for the rest of my life. That's amazing. And yeah, I was part of that stuff and whatnot.
Christine Chen 34:48
Yeah, I think that's the biggest thing is like.
Adam Rani 34:50
This isn't the end of the podcast, by the way, ladies and gentlemen, we're not gonna end the podcast. It feels like we're ending this podcast. We're not. We're gonna keep doing this podcast. wheels fucking come off, Christine. Okay. It's just what it is. Yeah, I love this too much. And I love doing this with you too much. So, uh, anyways, I interrupted you what were you're saying.
Christine Chen 35:12
When all said and done. I was listening to a podcast by M. Night Shyamalan. And from how you how I built this is the, is where it was from. And he says something that I really that really resonated with me was the fact that like, anytime somebody is doing something original, they're going to have to fight a lot of stuff. Because it hasn't been proven hasn't been done before. And people are scared about things that they don't know. They don't have any records of how to make it work. So, you just have to remember that that's just natural for that, that fighting process. Like you're because you're trying to prove to someone that, hey, even though this is original and different, that there is a place for it. And that it's you know, it's easier to make carbon copies of what exists out there already. You know, and if distributors had their way seems like that would be better, because it's I get it, it's easier if they have the marketing plan already in place in order to do much research. It's like, it's already there. It's there. There's a reason why sequels do well, you know, because they now have found their audience, all they had to do is resell it to that same audience, right. So, he kept saying that, like, yes, it's in the beginning. It's like a fight to prove to people that, you know, your film works, that there's a market for it. But in the end, he's he said that it's not about it's not about the awards. It's not about what other people think it's not it's all for the film work for the filmmaker. It's all about the process. And I look back and it's like, yeah, I'm stressing out on, obviously, oh, selling this film, stressing out about people liking and stressing about all that stuff. But like, I'm sure when I look back, it's like, I just feel lucky that we even got to do this, you know? And, yeah, it's neat to hear somebody like M. Night Shyamalan say, like, hell, when he was editing, 6th sense. He was thinking, well, this is the last thing you're ever going to get to direct.
Christine Chen 35:57
He even thought that, and it turned into amazing goal. Like it's such a great fucking movie that is still quotable, by the way to this day.
Christine Chen 37:51
So funny. And that's how I feel right now. Like, well, yes, this is it. For me, my career's over.
Adam Rani 38:00
I think I think it might be, I don't know, it might be relieving to feel that way. Because it just it feels like, well, I don't know. It doesn't probably necessarily feel relieving that it's like, well, this is gonna be the last thing I'll ever fucking do. But it's one of those things where like, I need to get this out there. Yeah, get this out there. And I need to get this out there. The story means that much to me, that I'm willing to, I mean, in your words, not my room, my credibility to do this, you know, and it's, it's not the case at all. I don't see that one fucking bit. If anything, this is gonna blow up.
Christine Chen 38:43
Are you coming to the improper screening on the 26th?
Adam Rani 38:47
I'm gonna, I'm gonna. I'm gonna try because I'm also ladies and gentlemen. I'm broke as a joke. So, I've been trying to make money on the side. So, I've been doing lots of like writing like copywriting side gigs here and there. And I think I have something that time I'm not sure. But I'll message you. I'll message you very close to it.
Christine Chen 39:10
Cool, it is at night, so.
Adam Rani 39:13
Oh, really? Oh, right on. Awesome. Yeah. Um, yeah, I think I think I don't I want to come and that's going to be a no, it's gonna be a no brainer, Christine. I'm gonna do my absolute best to get there. And I also was thinking about the I was watching the old fun employment podcasts as well. And Jesus Christ. I mean, we've come a long way in terms of podcasting. Yeah, came a long way. Now, this feels so now it feels like I don't know. It's just like, it feels so natural to me to do this podcast with you. And I love it so much. It's something that I that I expect doing all the time and back then. I was so uncomfortable. We were both uncomfortable with just like, you know.
Christine Chen 40:04
We didn't know what we were doing.
Adam Rani 40:05
It was fucking cool. I mean, it is funny, it is.
Christine Chen 40:11
But that's the cool part is that was just through this tiny podcast alone we can already tell like how much we've grown in the past year, you know?
Adam Rani 40:21
Yeah, we've grown so much in this in this podcast and it's so wild to see that and how natural it is even our worst episode was still relatively not bad.
Christine Chen 40:39
I find they're fun.
Adam Rani 40:41
I think I think that well, no, it's just like, the episodes I think in my head because it's not that you know, it's me. I'm the problem. Oh, well, there's episodes where I'm like, what are you doing? Are you out of your mind? Adam? Are you fucking crazy, dude? And, of course, like, I snap out of it. And I realized, oh, yeah, I was I was feeling something else that day. That was a completely that was a completely different Adam. And, and I mean, I'm not saying whether or not I'm much happier or sadder now, it's just, it's, it's different. Um, and also, you know, my love for being in front of the microphone. Anyways, Christine, I don't know if we've, we're almost approaching the hour. So, we could, we could talk a little we can talk a little more we can wrap it up and take this in for a landing.
Christine Chen 41:42
I guess I originally want to talk about art. But since well, we'll just have to.
Adam Rani 41:46
I know and I and I just don't feel I don't feel right talking about art. Without the genius without the art genius who taught me
Christine Chen 41:53
Kelly Pena, yes, we will do that for another day, yes.
Adam Rani 41:59
Save it for another day. Well, you know what we're gonna I mean, hopefully, you're going to be here in Austin. Right? We're gonna talk about this. We want to, hopefully we can do this face to face.
Christine Chen 42:10
So, I'm leaving on the 29th for LA. Yeah.
Adam Rani 42:16
Okay, cool. Well, before then, we're gonna try to do this face-to-face ladies and gentleman, we're gonna I'm going to do my absolute best to do this face to face. Alright, Christine, I think uh, I think that's it. Unless you got something some?
Christine Chen 42:32
No, we can take it down for landing.
Adam Rani 42:35
Take this. Baba, baba badboy down. Ladies and gentlemen. Get your books. Get your stickers, get your shirts, get everything at Getreelisms.com. Also Erzuliefilm.com for your podcast, goodness, where we talk about everything about Erzulie so if this is your first time on the podcast, welcome. Thank you. We love you. Subscribe, but also join in listen in on the story of Erzulie, it is a fantastic story. And it's gonna be it's gonna be worth your guys’ ears and listening to because this is hardcore behind the scenes filmmaking magic that you're not going to get anywhere else ladies and gentlemen. Okay. This really behind the scenes as behind the season you can get
Christine Chen 43:26
You can get, it's all the trials and tribulations of what it takes to make a film for little to no money. It's hard.
Adam Rani 43:37
it's really hard.
Christine Chen 43:39
It's really hard.
Adam Rani 43:40
That's the that's the universal motto for this podcast. It's really hard. Um, life is hard even know. I. Alright, you guys, ladies and gentlemen, which has been the Get Reelisms podcast GetReelisms.com Thank you, Christine. Thank you, Instagram. Thank you, Facebook. We are going to see you next week.
Christine Chen 44:05
Next week. Hopefully,
Adam Rani 44:07
Hopefully Kelly will work. Alright, ladies and gentlemen, goodbye.