Fixing Problems Creatively
In this episode, we talk about how to fix production problems through writing. The benefits of being both a writer and director of your own project is the ability to control a lot of creative elements of a film. As the creator, you know the storyline inside and out which allows you to morph the story in the best direction for the production. So, if you don’t have money for a certain location or prop or effect, you just simply write it out creatively.
Part of the reason Erzulie was doable on the budget we had was that we creatively wrote out our economic problems and did our best to work with our limitations instead of against them. Here is how we did it.
Transcript
Christine Chen 00:32
It is like my mom, my mom does too.
Adam Rani 00:35
You are, okay? Christina can't see your face. Where are you? Oh, there you are. Hi.
Christine Chen 00:44
I think that's all moms are moms do that dude.
Adam Rani 00:47
Yeah, they do. It's annoying.
Christine Chen 00:51
It's endearing. What are you talking about? That's how we're gonna be, when we have kids who's a who knows what it is gonna be like teleportation or something. And then you're like, am I here? Am I in my living room?
Adam Rani 01:06
I agree with you. I do. But there's, there's got to be a level of competency, where you know how to turn on a computer. You know how to answer an email, you know how to do the basic functions of what a computer in the internet entails and stuff like that, right? One might assume that those are just skills that you already know. And you should know and you just adapt. My mom is still yet to understand half of the ramifications that technology has to offer. So, it's, it's honestly absurd. It's ridiculous.
Christine Chen 01:43
I have the opposite problem; my dad tells me about the latest apps I should be downloading.
Adam Rani 01:49
See my dad, same thing. My dad's the same way. He's very much just like, Yeah, you know, that's a this is how you do it with the with the iOS and you update and you get this bug fix. And it's just like, What the fuck, he's just
Christine Chen 02:06
Teach her how to click a mouse was like a whole thing. Just double click. She was like, click, click, like, like, no, it has to be faster than that.
Adam Rani 02:18
Christine, where did you go? So ridiculous. Anyways, we could talk about dumb family members all day. Ladies and gentlemen. Welcome to another episode of Get Reelisms podcast. All right, ladies and gentlemen, thank you so much. I am Adam Rani.
Christine Chen 02:43
And I am Christine chin.
Adam Rani 02:45
Look at that. Facebook.
Christine Chen 02:48
It's us.
Adam Rani 02:49
That's us. That's how it is y'all. That's just we are in that Erzuliyy life.
02:57
Erzulie, Erzulie, Erzulie.
Adam Rani 03:01
See, that was my first fuckup it's not my fault. It's the COVID
Christine Chen 03:07
I know. Sad.
Adam Rani 03:09
I'm all I'm all sorts of fucked up. Shut up. Louis. Get out of my fuckin Instagram feed Jesus Christ. Anyways, thank you guys for joining our podcast. We appreciate you. Um, yeah, this is season three. This is This is honestly; I was looking forward to this. I thought we were gonna do it last week. But this is now the official, official. Um, I I'm sorry, Christine. I got to take this background off. It's bothering me so much. Yeah, I can't focus because I'm looking at Instagram. And I'm looking at Facebook. And I'm just like, I'm all sorts of fucked up. I can’t do this right now. So, hey there you go, Get Reelisms
Christine Chen 03:56
Tada.
Adam Rani 03:59
Thank you, guys, so much for joining in. I appreciate you. Christine. This is season three. How you How you feeling? We're, we're full steam ahead with well, actually, I should say your full steam ahead on this on this.
Christine Chen 04:15
I'm excited for Erzulie, yeah, I'm in the process right now of just talking to crew people that I have had in mind. I have like a dream list like a wish list. Now whether or not they want to work with me is questionable. But yeah, I've just been talking to like potential DPs and already starting the tailor making process which is cool. Working with a company in Austin actually called hog fly productions. Shout out to Meredith. Yeah, our actress Leila Anastasia Scotts for Erzulie, she got fitted on Tuesday was really exciting. She sent me all these pictures and video and stuff like that on my own. I wish it was there, but I'm on set instead. And yeah, I can't it's been just really fun talking it through with, like, you know, essentially friends. Because it's Roxy, it's Kelly. It's Camille. It's, it's all these badass ladies that, you know, we've worked with, that I've worked with throughout the years on projects.
Adam Rani 05:22
I work with them too.
Christine Chen 05:24
I know. And it's cool because. And I think it's different because it's like, where most projects people won't do it until, you know, they've got their prep days, and they are signed your deal memos, and they're getting paid to do whatever. For us. I'm able to keep working now. Because we're my friends are literally working and creating this project together. So, it's not like we're doing it only for the money. Does that make sense? Because we're not gonna
Adam Rani 06:04
Yeah, no. Yeah, it makes sense.
Christine Chen 06:07
So, it's just, it's nice, because we're just kind of like daydreaming every day about and, you know, I've got a Pinterest board, and we're pinning, I'm pinning, like, um, what cinematography, I want it to look like pinning over pinning like wardrobe ideas, makeup, ideas, all that type of stuff. And it's, it's exciting. It's so exciting that I've had trouble sleeping. My brain is like, hyper, just hyper stimulated right now. So, it's just very excited. And just creating constantly. So
Adam Rani 06:46
Are you like in the midst of doing like rewrites of the script as you? Yeah, along with pre-production? Sort of like rewriting it in your head. And then seeing.
Christine Chen 06:59
No, no, we were at a good place where things aren't going to just knock-on wood. Yes, these are going to just drastically when it when it comes to at least the structure of the film, which is great, because, you know, we are already doing breakdowns and as you know, an AD and departments worst nightmares for the script to change a million times, because then you're forced to redo your breakdown a million times because the C numbers change. Also, if we've lost our script, is what I'm saying? No. So now any other change is reflected in it's going to be more dialogue tweaks than anything. And, and we're going to be fighting those out as we do a lot of these story. Sorry, these table reads type tonight. Yeah. Tonight, I have a table read, for example, which we're doing some of the ensemble scenes, and are taking the ensemble scenes and kind of just working through and see how the pacing is going whether certain dialogue works or good, you know, things will read differently in your head, and then you have somebody spit it out, it's like, wow, that doesn't sound normal whatsoever, or it just doesn't flow or so we're gonna continue to tweak that. Because the more we can do now, the less of a problem is going to be later in production. And we're just trying to keep it tight because it is a ULB project. So, when I say ULB, ultra-low budget project, it's going to just take time, it will cost money. making those changes. If we choose to shoot something said to cut it, you know, it's best if we try to cut what we can and shoot just the bare minimum that will enable us to tell the best story. So yeah, so we are so that's what we're doing right now. It's a lot of back and forth. It's a lot of likes, listening, and we have our forecast, does he have my head? No. So and it's going through and you know, start doing the paperwork and whatnot, and then just start having rehearsals and answering character questions and, and just dialogue questions and stuff and tweaking it. And I just handed off a paper script to my storyboard artist today. Yes, I'm very excited. So, on my day off, my next day off, which will be next week. I will be working with him just storyboarding the script. So, I already have my shot lists all done and stuff and I have locations pictures, so together, we'll just try to translate what's in my brain. So, he's incredibly
Adam Rani 09:51
Get it visually
Christine Chen 09:52
Yeah, he's so cool. He's the guy whose storyboarded route actually, um, he did it.
Adam Rani 09:59
Oh, the concept we shot.
Christine Chen 10:01
Yeah, he sorts of worked it out. And I always I am big on returning favors. And you know, he did me a solid by doing that for no money, basically. And so, he was the only person I wanted to reach out
Adam Rani 10:17
What is his name again?
Christine Chen 10:18
Chad Glass.
Adam Rani 10:19
Shout out to Chad Glass. He's a great board artist.
Christine Chen 10:26
Yes, great storyboard artist. Yeah.
Adam Rani 10:29
So most important part of any production, the pre.
Christine Chen 10:33
The Pre, yes, lots of pre it's been heavy pre, it's been a lot of back and forth. We have art has been basically rummaging through their, their houses or their kits and trying to find everything that's on the list and hoping that we have covered most of it. And that way, we can actually put together a better estimate, budget wise for what we actually had to buy. So luckily, I mean, this, this script has props that are very easy. They're like normal stuff. It's not a lot of things that we have to replicate and create and stuff. So, something that's cool. Actually, I wonder if I need to if I should say, I feel like we're like ruin.
Adam Rani 11:18
No. If you don't want to.
Christine Chen 11:22
No, I mean, I'm excited. Okay, people might find it interesting. But the mermaid so the mermaid scales is so this debate about like.
Adam Rani 11:33
You posted something about it on Instagram, right? Am I wrong?
Christine Chen 11:38
No. Um, no, I posted about.
Adam Rani 11:43
It, because I was gonna drop a hint and save fitting, but you're only talking about? Oh, no, I know, the fitting.
Christine Chen 11:53
Yes, we have done the fitting. But there are sneaks of that on our Instagram Erzulie Film. And, but we're not going to reveal what the mermaid will look like in its entirety. Right. Okay. But what I was talking about is in the script, there's a part where they the characters play have these dried mermaid scales. And it's been this debate between the art department as to like what that is going to be made out of, or what it's supposed to look like. And my production designer discovered that gar scales are really cool. Have your gar like the that fish the garfish it's really ugly. So it, their scales are like really gnarly looking. So, gar sc. s, that's what we're using as us possibly as our base. And then now we're just trying to figure out like, what kind of treatment to give them so they're not like, bright white. DP's worst nightmare. So
Adam Rani 12:59
Yeah. So that's, that's funny. DPs worst nightmare. So, you were mentioning storyboards, and I was gonna ask you something, and I had it in my head. And it was gonna be like, oh, that would be interesting to ask, and I can't remember now. Oh, I'm sorry, guys. I haven't been getting a lot of sleep. So, I'm just operating on autopilot. So, I do apologize.
Christine Chen 13:32
She is on right now. So, she's an awesome, Candice. Awesome. Yeah, she has been on the casting process. It's been fun. Because, like, we'll do the casting. And while we're casting, we're, we're exchanging text being like this person, or like this. This is working. And we're like, let's try this or so. Um, so we're going back forth rapid fire with each, you know, talent, and it's been amazing to see, you know, the different talent that's been available to us to read through everything. So, um, yeah, so we've done that. And she's been giving us great notes on like, the scripted. Yes, we have an amazing cast. Candace. We do we do have an amazing cast. I'm very, very excited about it. And I'm very excited about seeing them read tonight. And how they're all going to come together and feed off of each other because the perfect cast will add to your script. You know, it you have something in your head but like, but what
Adam Rani 14:41
They add value to it.
Christine Chen 14:43
Oh, yeah, you know, they add a power energy that you just
Adam Rani 14:48
Oh, yeah, that's way better saying yeah.
Christine Chen 14:50
Energy. It's in their energies affect each other, you know, so.
Adam Rani 14:55
In effects of editing, you are getting a pace like you're getting an energetic piece with it. It's yeah, yeah.
Christine Chen 15:02
Yes, I'm excited and I'm really hoping that this read will pretty much like, seal the deal and, you know, convince or, you know, make them or make our investors or future investors confident, as confident as we are in the project itself.
Adam Rani 15:22
And that's a, that's a pretty steep uphill battle, especially in terms of just getting your getting your car off the ground.
Christine Chen 15:33
Raising money is difficult. But they always say that they always say is the first one and I don't doubt it. I mean, it's like, I think about it to the first project I ever had to cast on, and how or just crew on and how that was hard. Because, you know, everybody's always not sure about somebody. This is your first project or doesn't have a track record, right. But then after the first one, if you do a good job, then people you know, are known, and they're fast to jump in. So yeah, so I guess, is the first one that's going to be difficult. Um, so it's a, it's been a learning process. And I've just tried to navigate it and hope that I come out on top. Yeah.
Adam Rani 16:20
And I know you will. I mean, the project is so fucking cool. You guys. I am I mean; I know. I know. We can't speak fucking a peep about it. But it is just it is just, it's a really rad story. I'm just I'm just gonna leave it at that. I'm very excited. And I'm, I can't believe I'm working on this too. Even though I'm just I'm just going to be I wouldn't say a minimal part of the set.
Christine Chen 16:50
There is no one person is not.
Adam Rani 16:53
I'm more excited to do this a live podcast, and I think it's safe to say we're gonna we're gonna basically talk about it. And I did talk about it a couple episodes ago, in the foreseeable future, that we were gonna have a podcast where it's gonna be all of us together, and stuff like that.
Christine Chen 17:18
Somebody just mentioned on Instagram that yeah, that's an uphill battle to deal with funding. It is. Yeah, it is. Definitely. For sure. I apologize for the noise. My friend just got home. So, he's talking. It's all good. Because sharing is caring sharing environment. Yes, but what were you gonna say?
Adam Rani 17:47
I was just waiting for you to stop talking. So, because you complete, I mean, like, I'm not I wasn't gonna say your you interrupted me. But I just let you I just took a step back. Like you. You say your thing. Just making sure we're all good. It's alright. Shout out to Candice. It's so good. I predict it will be a new cult hit. I think so do, Candice. So, you're echoing basically what I was about to say. And that is, it's an amazing story. It looks just so much fun. Just the story itself. So, I'm very excited for people to watch it. I'm very happy that I'm part of the set. And I'm even more happy doing a live podcast with old friends of ours of the Get Reelisms podcast, please don't mean, we're gonna have old faces. I can't spoil any names is it's gonna be a surprise and it's gonna be fun. We're gonna have old friends. New friends possibly jumping in. You know, we're gonna work out the details pretty soon. But yeah, we're gonna we're gonna have a face-to-face podcast. I Miss Christine. So, I just fuckin I'm so excited to get my happy ass to Louisiana and shoot that shit. with you guys. So, um, yeah. Were you um, did you like have any time to yourself?
Christine Chen 19:16
Recently? No.
Adam Rani 19:18
In this in this whole pre-production.
Christine Chen 19:21
No. I mean, if I'm with myself, it's with myself in the story, basically. And basically, any available time that I have right now is devoted to
Adam Rani 19:33
So yeah, you're living eating and breathing. Yes, living eating and reading the story. Which is understandable because I assume you just can't stop thinking about it. You know?
Christine Chen 19:44
Yeah, I can't dream about it. I think I watch what I'm watching is based off of it too. Um, so it's just, I just watched the craft actually with Kelly.
Adam Rani 19:58
Yes. Oh, yeah. Oh my gosh. That is such a good movie.
Christine Chen 20:04
For research.
Adam Rani 20:07
Yeah. So, I just saw the sequel too, by the way.
Christine Chen 20:11
There's a sequel?
Adam Rani 20:12
Yeah, it's on Hulu. it's, it's not that bad. I saw the original. I loved it. I thought it was just, it's just wacky and fun and wacky.
Christine Chen 20:22
It's wacky.
Adam Rani 20:23
It's just the tons of fun. It feels like have you seen like the horror movie Evil Dead, but it's sort of like in the same vein, less intense, way less intense. But the craft is sort of like tongue in cheek sort of like, you know, silly.
Christine Chen 20:39
I think I don't treat the craft as a horror film at all.
Adam Rani 20:44
It's a thriller. It's not the best thriller. Yeah, you know, everybody. Every I am so sorry. There's so much noise coming out of my fuckin house. I got to address this issue. See what's going on? I'll be right back. But Christine, can I'm going to ask you this question. And you'll be able to take off with this. So, for Erzulie, oh, last time we were telling you mentioned. And you just mentioned more inspirations. Have you watched any movies or read? Yeah, so the craft and anything else?
Christine Chen 21:29
On my list, his Pan's Labyrinth? I still haven't, I'll probably watch that tonight or something Pan's Labyrinth is a possibility. The other one, like I said, it was drive. I really want to do something that has the new neo noir vibe will be working out with, like what we call Titan tubes that give that neon and hint of color type deal. So, there's that. Just I think of struggle, we're fit. We're trying to figure out how to get around right now. Talk about the brief conversation with my potential DP is how do we light a space at night with minimal resources? Because there are a few quintessential scenes that are at night, you know, it says a horror film. Right. So that's, um, so the woods, it's going to be a whole thing. Um, luckily, the pool there's like a contained space and around the pool. But the woods, the woods are, is going to be difficult. Yeah. So, I was looking up condors today to see how much those are to rent. So, it's been a like, it's been a whole, a whole process, just figuring out like, what are the resources that we have? And how much this is all going to, like I have a rough budget. But until you start putting real things to it's just a hypothetical budget.
Adam Rani 23:06
It's all hypothetical. Yeah. So that must be infuriating, too, because any, everything's just sort of up and down. And in the, in the art of compromise. I'm sure you've endured, you know, many, many times where even creatively in the past and now like, you've been, like, locked into an idea. And it just can't be practical.
Christine Chen 23:38
So, it's been, it's a good thing. That's because it's, I wrote it with Camille, if we need to make those changes to make it do more doable. We can, and I'm not a director that's married to anything because I'm a I'm a director, producer. So, I feel like director producers are practical, right? We understand our limitations based off of our resources. And because we're creative, we can creatively work through our problems because we don't have the luxury of throwing money at our problems. And honestly, it feels like those solutions are better anyway. And oftentimes are facts as to the film, you know? Yeah. So, we'll see maybe it's that lighting the outdoors is the hardest part like indoors in a controlled house like that not so as difficult because if you can justify practicals, you can shoot things through a window it's easier to hide lights and stuff. The problem with the outdoors is like if you're doing a big ass wide, where are you going to hide the lights right you know, and that's why big says how these badass like soft boxes that are like, I don't know, my entire budget, you know, so Yes. Oh, to kind of sidetrack. Like I said, I'm on.
Adam Rani 25:05
Can I actually address one thing about? Because you mentioned working with a low budget? Do you feel like the low budget, the low budget experience that you've had routing from documentary filmmaking? Do you feel like that sort of like, basically, like opened your eyes in a way to more possibilities, especially with like, what little you can use? And what? What you have just around you, you know, because it's not like, this script. I mean, I? Well, I don't know if I should say, because it's not like the script takes place in many places. Can I say?
Christine Chen 25:45
Yeah, yeah.
Adam Rani 25:46
So, it's practical in that sense? Yeah. I'm saying like, it's just, it's one general area. You know, I'm saying, Yeah, you know,
Christine Chen 25:59
like, yes, tech, maybe this might be a lower budget, but by default, because of how it's written. I'm getting more, I actually have a bigger budget, because I'm not having to spend money on things that most sets would have to.
Adam Rani 26:17
Because you're, you're sort of like relying on the creative side of like, the sorry, the writing aspect of it all with your main story and your B story splitting off. Yeah. From that, you know, and then it's just as compelling with the main story, and it links all together, you know, the third act and stuff like that. Yeah. Everything works out. And that's the thing. It's like, I watched a documentary on its Todd Phillips, you know, Todd Phillips document. He's a filmmaker, he made Joker. He was a documentary filmmaker in the beginning. And he made this documentary. It's called Gigi Allen. And it's about this punk artist, you know, that just goes on giant fucking rampages. That's a crazy documentary. But how they shot it was then he barely he, he barely had like shots. He just only had like, long form, like long shots, but only like a couple, like, a few. And Todd was like, I already see it. So, when I go to the event, when I go to the show, or if I'm interviewing Gigi. Yeah, I just I know exactly where I'm going to cut how I'm going to cut what question I want to ask and see which direction I'm going in. And then if the weather permits, I'm going to shoot because it's raining tomorrow, I want to get all my shots done today. And then tomorrow, I do the indoor stuff. And this is like, he has this in his head as a producer. And as a director. Yes. And he in its shot like eloquently. And the reason why I know this is because he was on a podcast talking about it. And it got me thinking about that documentary again. So, I look back on it. And I'm like, Holy shit, that guy had the edit already in his head as he was shooting the documentary, and I never saw that could really like I thought about that. I'm like, no, I don't think documentaries can think that far ahead. I feel like that's impossible. And it's like, not really, they do that. It's a very valuable thing that you can learn to just get the story that you want in an adaptive ability. That is your environment, you know, yeah. And you just sort of, like carry on with it. So, I just thought it's neat that you're sort of kind of doing that in the same vein, not saying that.
Christine Chen 28:52
Yeah, totally. Yeah, I think that's the beauty of being a director that edits. Um, I literally, like when I'm shortlisting and stuff.
Adam Rani 29:02
Well just having it in your head in general.
Christine Chen 29:04
Yes, it's in my head. Yeah. And I know where I'm having to edit points. And I know how I'm going to it intro into certain scenes, how to transition between stuff. And I think the beauty is if I if and we definitely will, because the film production also productions have problems. We run into any logistical problems. I literally can fix them by right. Right on the fly. Because Camille and I both wrote, we're both going to be on set so it's not going to be like it's going to be annoying, you know, obviously, but like, we can do it versus like, if this was someone else's script, you know that we are squeezing into a square into a circle or whatever you want to call it. You know,
Adam Rani 29:55
Trying to get around
Christine Chen 29:56
Into around yeah, you When things deviate from the plan, it's a lot harder to work around it right? Because there's a very distinct storyline. And it's somebody else's story. And I don't know how much leeway you have people have when you when you have when you're using someone else's story, right? Like you don't know how much you can actually alter it. So, it's just, it's really interesting. But for us,
Adam Rani 30:30
Alter enough where you're not compromising.
Christine Chen 30:33
The story. Yeah. So, like for us, like, we can alter it however, if we want to, you know, right, because it's our story. It's so like, yeah, if it rains or whatever, fuck it will write it for the rain. You know.
Adam Rani 30:44
Right? Yeah. Yeah, that's just it's just fascinating, because I know this is what this was a guilty pleasure. When I was growing up. I don't do it anymore, because it just feels weird. Yeah, growing up, I used to look at the behind-the-scenes featurettes like, indd.
Christine Chen 31:03
I love watching behind the scenes sometimes. Yeah, sometimes I enjoy watching behind the scenes more than I do that movie.
Adam Rani 31:12
The documentary. Oh, that's hilarious.
Christine Chen 31:15
I love watching behind the scenes stuff.
Adam Rani 31:18
I don't know why I don't do that more now. I mean, yeah, well, except for one. I did it for the Mandalorian I saw the behind the scenes on how they made the show. Mandalorian How shocking. Amazing. Anyway, yeah. Growing up, I always like because I mean, back in the Ooh, boy. For all you millennial kids back in the blockbuster days. Hey, oh, hey. I used to rent movies all the time and be in pay those late fees and feel so worth it because I needed to watch the behind the scenes, you know, and it's like every single movie from like, clerks to like, Chris Nolan's first feature memento. Yeah, all sorts of all sorts of movies. Tarantino some of them. Yeah, it's, I don't know it. Like, I feel like learning all this stuff. It just it's so fascinating, where people are just like, Yeah, well, this director, this well-known director wants this giant fucking expensive ass fucking thing. And the studio is like, alright, you know, and just that feeling of just like having something so fucking ridiculous. greenlit. Yeah, let's be like the most. I don't know. Like, it must be like that. It must be a weird feeling. Because you just you think like, you know, some of these ideas are so farfetched. You don't know where they're gonna fucking go. Yeah, knows where they're gonna fucking go. But it seems like the more practical the ideas, the less, I guess frustration it is, and especially in the art of compromise, because it'll probably be easier to pivot. Considering how, you know, the story is laid out how that scene is laid out, I should say. Yeah. So yeah, even the stunts in the script are crazy, too. I in your script, I mean.
Christine Chen 33:22
yeah. And I wrote a piece I knew that we had access to a stunts guy and the stunts guy is really, yeah. And he's one of the characters actually. So, I wrote the most complicated moves or things for, um, for basically for him, because I knew that he would be able to do it and not be afraid for you to do it. He specializes in water stunts. So yeah, so I'm very excited about that. So yeah, so we have a stunt guy, and he's on the property. It's gonna be great. Yeah. It's, I wrote it with what we had.
Adam Rani 34:03
Right?
Christine Chen 34:04
Yeah. So, it's for maybe somebody else, it would have been difficult to accomplish this film, but because of who I know and what I've collected throughout the years, being AD and filmmaker, yeah, me to do certain things that you know, might have cost a lot of money, you know, to do so.
Adam Rani 34:31
Right. And you already had that in your head already. Like you already kind of worked, worked it all out knowing how, you know, however small the budget was going to be, you know, you can fit it within a certain kind of range, you know.
Christine Chen 34:46
Yes. I'm queen of, I mean, you know, or queen of stretching the dollar.
Adam Rani 34:52
Yeah, no, I know that which is why I'm fucking nervous for you to read my script because it just feels a little it feels a little it feels A little less ambitious.
Christine Chen 35:04
I'll read it and just be like, what? How are you gonna make this?
Adam Rani 35:09
I can though. That's the thing. It's in my head. I know it can be done. Okay. I, by the way, I'm not this is not like a fucking Fast and Furious movie or I'm having like car chase sequences and shit like that. None of that it's none of that. But are there fight sequences? Yes, yes. Yes, there are. Um, you know, sort of like, reminiscent of, of old kung fu karate movies that I love. Oh, it's a lot of that. It's a lot of a lot of action kind of things like that. So, I definitely want to be a martial arts instructor with this project, because, you know, fuck do I know about martial arts except for Bruce Lee?
Christine Chen 35:52
Have you thought about whether or not you are somebody who are writes to write, or somebody who writes to direct?
Adam Rani 36:05
That's a good question. I'm somebody who writes to write or writes to direct?
Christine Chen 36:11
Because I'm my rights to direct like, I won't write something and just like, oh, here you go.
Adam Rani 36:16
When you so because I guess I'm confused by that question. When you say write to direct, are you saying like you have the thing in my head already. And I have sort of, like, edited were
Christine Chen 36:28
No when I say write to direct, I'm thinking, I'm writing this for the pure purpose that I will direct it. Versus I'm writing, I'm interested in the story. But like, if somebody else corrects it, it's fine.
Adam Rani 36:44
I'm in the beginning, I wrote it to just write it. You know, I'm saying, but as I'm writing the story, I'm falling in love more and more with it. Especially with the story. So, I did think about that. I did think about like, well, I mean, what the fuck do I know about directing? Like, I might as well give it to somebody who knows how to direct has experienced directing, because why would I give it to myself? But if that's going to be the case, uh, yeah, I don't know. I just, I just think that this script is just best.
Christine Chen 37:27
Because you know it best.
Adam Rani 37:29
I just Yeah, because I don't get the sounds over presumptuous if I if I say like, well, I want to direct it. Because it feels like Well, you haven't directed shit. You directed backyard Jackass videos in fucking boonies of the Bay Area. You know, so what the fuck do you know? But I definitely
Christine Chen 37:50
There is nothing wrong with like
Adam Rani 37:51
I just want to try it you know; I want to see where I can go with it. And if I don't, I don't. And I know that I can. I can I have that ability to write, at least write a story. Yeah. So even if it's a shitty story, I can write a story and I, and I know I can engage in perfect it more. Yeah, because I'm not. I'm not saying that what I'm writing is going to be like, we're gonna be ready to shoot this pitch. So not at all. I am eons away from that. And I know that whoever I give it to the trusted people that I want to give it to who I know will give me strong notes that I need. I know I'll get that, you know, and then I'll rewrite within, you know. So, I guess I answer your question. I feel like I should I feel like I'm writing to direct it. Even though I came in with the intention of writing to just write. It was our first intention. Now I'm growing more attached to the script. You know? Yeah, it's like, it's like, it's like someone you just like you, you know, you hook up with and you just accidentally fall and you're just like, oh, I don't know why. I don't know why I'm getting myself into this. But it does. I want to see where it goes. oh, that's so bad for me to say. I don't know. Fuck, guys. I'm loopy. You know? God, I'm migraines just in and out. Anyways. i Yeah, dude. I don't know. Like I I'm very excited for the story that I'm writing and the story that I want to tell and stuff. But if it's not ready for me to direct then I am not going to do it. Yeah, you know, just plain and simple. If it's if it's not ready, it's not ready. And if I do get a story, it's Good, I just got to tweak it a little more. I'll do that, you know, I'll do I'll do whatever it'll take, but I don't want the story to then go into the hands of somebody else who doesn't see what I see.
Christine Chen 40:16
Okay, that's, that's fair enough.
Adam Rani 40:17
And, and that that to me, because I guess I have attachment issues according to my therapist.
Christine Chen 40:23
Separation anxiety.
Adam Rani 40:25
I have very much separation anxiety. So, if I, if I do something, I need to make sure it's gonna be a good story. Because I have it. It's there. It's just sometimes hard for me to convey it. And then also, I'm doing a visual storyboard for this too. Now that being said, is this going to be the most professional storyboard you're ever going to see?
Christine Chen 40:46
How are you approaching the visual storyboard?
Adam Rani 40:49
So, I have an iPad Pro, and I and I have procreated, and there's a there's a template in procreate where I can manipulate comic book images. So, I've been, I've been taking screenshots of i Listen, guys, I have to do what I have to do. Okay. Leave me alone. Don't give me a comment on Instagram, or Facebook telling me that you focus bones to do freehand draw it. Listen, I don't know how to draw. I wanted to work at Pixar. Guess where that turned out? Nowhere. Okay. It's just fucking didn't work out for me. I thought I could draw couldn't. I was heartbroken. So anyways, this is my way of flexing my muscle of just visually representing what my what my story is trying to tell. Okay so I take screenshots of these comic books, and I just basically draw over it. And I take it well, I take a couple of layers of sort of like Photoshop anyway, I think you'd be interested in it. It's pretty neat. Um, you draw over it. And you can, you can have a pretty nice, traced comic book thing. And then sometimes I'll see over an image, and I'll just draw right over it. Sometimes I'll have the wardrobe in my head, that I kind of think that I want. And then I just sketch it on. And if I sketch it out, it doesn't work out. I scratch it, go on to the next one.
Christine Chen 42:12
That's neat. All I want to see your storyboard sometimes.
Adam Rani 42:16
It's fucking wacky. It looks like it looks like a journal straight from jokers. Pretty fucking, it's pretty fucking crazy. Um, I'm trying to pace it in a way that doesn't interfere. Because the other part of it too, is the soundtrack is the most important part. From me in a movie. I wrote, I can talk about this I'm very comfortable talking about because it's an inevitable thing. I want to use already record for like, already recorded songs, but from independent artists, from bands from like underground bands that I grew up listening indie bands that I you know, fell in love and admired. Now, that being said, my guarantee that this music is going to work out and yes, given things for the script. Not at all. That's why I have backups within my backups within my backups within my backups. Now, if those don't work, then I need to approach the movie in a different way. If that doesn't work out, so long story short, join. No, this is all gonna work out. I am so fucking lonely. Not I don't. But am I excited to write it? Am I excited to talk about it? Am I excited for the songs that I have in my head? For to string together nicely as like, sort of a narration to the stories? Yeah, I think I think this can work. You know? But what the duck do I know? You know,
Christine Chen 43:50
Hey, I don't think anybody ever does he just kind of figure it out? Right as you go as what I'm doing? I don't, I don't know if I specifically know what I'm doing at all. Um, I know, the knowledge of collect.
Adam Rani 44:04
Which is crazy, because it seems like you're the smartest person I know.
Christine Chen 44:09
If you haven't done it, how can you really know? Right? You can have ideas and theoretically, think that you know what you're doing, but until you're in it, right? That's when you're in deep in it. That's when you're like, Oh,
Adam Rani 44:25
That is really your when your skill is tested. Yeah.
Christine Chen 44:28
Yes. Yeah.
Adam Rani 44:30
So interesting.
Christine Chen 44:32
So, like, in theory, it seems to make sense but you know, the things I'm preparing whatever that it's going to work out properly, but until I'm deep in it, well, I know for sure. Right. So, I don't know I'm excited about it. I'm trying to stay positive
Adam Rani 44:53
And yeah, with Erzulie you mean?
Christine Chen 44:55
Yeah.
Adam Rani 44:56
Yeah. Oh my god.
Christine Chen 44:57
I feel like I'm this is the most prepared I've ever been going to a project.
Adam Rani 45:01
I am so psyched for this set. I'm gonna be that dumb fucking cheerleader on that said just be like, Let's go guys and then you guys want to fucking throw me into the river. Yeah, I mean, you know, it's gonna be fun.
Christine Chen 45:14
I think it's gonna be fun. I think it's gonna be exciting and I think the characters are fun. I think it's like a fun soon be a fun set. Like I'm so excited about the freakin mermaid. I'm excited about just like I have so many cool shots I've planned. I'm excited about how we're gonna light the woods just, I'm just excited. Every day I wake up and I'm excited about this project. And when you when this is all, you can think about I don't think it can go terribly wrong.
Adam Rani 45:45
No, no. Yeah. Because you're living eating and breathing. This Erzulie life, you know? Yes, you. I mean, I won't be surprised the next episode you turn into a mermaid? Well, fuck.
Christine Chen 46:01
That's funny.
Adam Rani 46:02
I guess I guess we're gonna have to figure out how to record a podcast underwater.
Christine Chen 46:05
Underwater. I am heard overheard one of the grips on I'm gonna have to pick his brain when I get back to work tomorrow. But he's like certified underwater gripping. And I was like, Oh, shit.
Adam Rani 46:19
Oh, that's cool.
Christine Chen 46:21
I didn't think that that was a thing. But it makes sense. I guess if you got to like put equipment down there. You got to be able to hold her breath. Yeah,
Adam Rani 46:27
For those of you who don't know, grip is like, you just set up you just set up some sort of manipulation of lights.
Christine Chen 46:35
No, the light part is electrics, grip part is that we're building the structures that hold up.
Adam Rani 46:42
Yeah, that's where I was. Yeah, I just told him ass backwards way. Like I always do. I'm because I'm an idiot. Anyways, uh, I think that's awesome. I think underwater grip is that's a that's a neat, that's a neat, neat thing is especially in regard to the script, you know, not Yeah, without getting into details and stuff. But, um,
Christine Chen 47:11
Yes, I'm gonna go see like how that's yeah, if I if I need one of those. Yeah, no, I don't know. I don't know. How are they do some of the underwater there's definitely some underwater scenes. I've never done that. I've done I've done like underwater things with a GoPro and me with a DSLR camera and underwater casing, but like actually going, doing shots there. You know, I don't know. I don't know how that's gonna turn out or what to expect or? Ah, I'm excited
Adam Rani 47:47
I think you have a rough idea. I think that's fair to say. But yeah, it's just the execution of it all. Yeah, I get it. I um Yeah. Yeah. I have covid you guys. What the fuck do you need for me. We got to take this plane for let's do it.
Christine Chen 48:12
Let's land it.
Adam Rani 48:12
Okay, because I got to take a nap now. I got to me got to. I am so sorry, ladies and gentlemen. I tried my best with this podcast. I am I feel like this was okay. Right. Is this, okay? It's an okay episode.
Christine Chen 48:27
Yeah.
Adam Rani 48:27
Is everybody having fun. The two people in the Instagram.
Christine Chen 48:32
There are a few like dropped in and out.
Adam Rani 48:36
So, just so I don't know why. I'm so like this. I don't know. You have
Christine Chen 48:43
COVID here. I know. I heard that. Like it takes just the simple fact of existing is difficult.
Adam Rani 48:53
Yeah, all I want to do is joke about it, but it just it feels so hacky and so gross for me to do that, you know.
Christine Chen 49:00
Stay safe.
Christine Chen 49:00
I am just trying to stay safe. Yeah,
Christine Chen 49:03
And don't I mean, I'm impressed that we're even having this podcast. Yeah, it's just gone out. Go take a nap.
Adam Rani 49:14
Yeah, I'm gonna do I think I'm gonna take a CBD nap.
Christine Chen 49:20
Yeah, that sounds lovely.
Adam Rani 49:22
I yeah, I think I'm gonna do that. Alright, well, ladies and gentlemen. I appreciate you Instagram and I appreciate you Facebook. Ladies and gentlemen. Get on that Getreelisms.com today get that book today.
Christine Chen 49:38
And Follow Erzulie, we are on Instagram now and Facebook Erzuliefilm.com and you'll get to see like little bits and sneak peeks of the process. So yeah, yeah. So excited about that. I'm so excited for you guys to join on the journey.
Adam Rani 50:04
I am more than excited, Christine. I don't know how because I've been planning this live podcast for a minute now. Like I'm planning it all. I don't know. And that's why I do want to ask you a couple of questions about where, where, in particular location. We're gonna do this live broadcast, but in any way, shape or form. I'm going to try to do an audio in a video thing, so I'll have my recording equipment, my video equipment, and we're gonna we're gonna get this motherfucker shot that is if you know anyone is, uh, uh, letting me borrow a ride from them to Louisiana, all this film equipment and my luggage and shit. Not like bags of luggage. It's just a duffel bag look like a fucking Vietnam War bed
Christine Chen 50:58
You can ride with us. You know that. So, I'll hitch ride right over there. And
Adam Rani 51:03
I fit in most trunks. Anyways. I, uh, I appreciate you guys. Thank you so much. Instagram. Thank you so much Facebook. Go on getreelisms.com pick up a book. Get your digital copy. We're gonna be back next week. Uh, do I know it's gonna be Friday? No. It's gonna be
Christine Chen 51:24
Yeah, it might be Friday. I'm off next week, Thursday and Friday.
Adam Rani 51:27
Which is gonna be the fifth more? look at that. See, guys? I am sharp. Okay, for a COVID boy like me. Call me out he COVID Anyways, next week is going to be the fifth of March. We're probably gonna have the podcasts and if not, probably the weekend. Uh, you guys will know we're gonna be popping up here and there. And pretty soon. We're gonna take the bad boy out on the road. Thank you, guys. Instagram, thank you guys, Facebook. We appreciate you. We are going out. Now. Goodbye. Good luck.