Latest / Cinema Yūgen / Kamikaze Cinema: Making a Mockbuster in Six Days

Transcript

Kamikaze Cinema: Making a Mockbuster in Six Days · Cinema Yūgen

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G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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G'day, welcome back, Yugenite Cinema, Yugen.
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There are dreamers, and there are the ones crazy enough to actually do it.
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Six days, no script, no waiting, a filmmaker with everything to prove.
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From the chaos of low-budget filmmaking to the front lines of a ticking clock,
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Mockbuster isn't just a movie, it's a war story.
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Anthony Frith, the Adelaide outsider with a camera and a vision,
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steps into the arena where time is the enemy,
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money is a myth, and every single decision could be the one that sinks the ship.
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From the legacy of the asylum, the home of Sharknado, comes a reality check
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Hollywood doesn't want you to see.
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This isn't about perfection, it's about survival. Last-minute rewrites that change everything.
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Costumes that barely hold together, a production on the edge of collapse.
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And just when it feels like it's about to fall apart, a lifeline,
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a veteran presence, a spark of momentum,
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a reminder that maybe, just maybe, the dream is still alive,
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in the spirit of American movie,
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with the soul of a filmmaker who refuses to quit,
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Mockbuster is about taking the shot,
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even when the odds are impossible even when
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the clock runs out even when no one's coming
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to save you anthony frith joins us to
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talk survival sacrifice and what it really takes to
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finish the movie this isn't about waiting for your shot this is about taking
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it mock buster it's on its way to you via umbrella but you don't have to wait
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let's sit down with the man behind it please Please welcome to Cinema Yugen,
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Anthony Frith.
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G'day, Anthony. Good. Thank you.
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I really, really enjoyed it. That's
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why I was hounding you like the neighborhood dog trying to watch it.
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If, if only to review it, but what I got was more than that.
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And when I said that, uh, it is very much a, uh, American movie for the 21st century.
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I really mean, um, uh, good. That's one of my favorite movies.
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Because yeah, that was, that was a film that was very inspirational to myself
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because I like yourself. Um, uh.
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Been called to this crazy thing, this cinema thing that won't let me leave.
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A bit like the Overlook Hotel.
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I guess the question that's been burning in my back pocket since I've seen your
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film is at the start there where you talk about your, you know,
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we all start off with vim and vigor.
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We're young and we don't know how the sausage is made yet.
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But I noticed in that section of the film, there's a picture of you.
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I'm a big fan of his films with Werner Herzog. Tell me your Werner Herzog story?
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Yeah. So every year he runs a, like a rogue film school sort of thing,
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somewhere around the world.
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I did see that mentioned in a recent documentary, but yeah, you go on. Yeah, yeah.
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Radical Dreamer, I think it was called. Yeah. Yeah. I just kept applying and
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applying until I finally got in.
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And in 2018, I headed to Peru and we spent a couple of weeks in the Amazon jungle,
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just making films with Herzog kind of floating around and telling us.
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Yeah, it was amazing. So he was there all the time or he just sort of.
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Yeah. Yeah. He was there. Yeah. He was really engaged and yeah.
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And then he came down to shoot. That must've been something.
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What? Sit there at night.
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Verna hurts on. I know. It was wild. Cause he's one of my, like my old timers.
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So just like even seeing him in the flesh, I'm like, holy fuck.
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Yeah. Like sitting next to him. That's the guy.
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Exactly. Right. Yeah. Yeah. Cause, uh. You poke him and you go just to make sure he's real.
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Yeah. Yeah. And then, uh, he came to Australia after to make Nomad in the footsteps
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of Bruce Chatwin, and I was kind of just shadowing him for a couple of weeks
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around, um, the Outback, uh, so we're in Alice Springs and Coober Pedy for two weeks.
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And he was just teaching me like what he, how he makes a documentary.
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And it was amazing. It was just some of the coolest, cause I like just,
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I always loved film, like scripted film, but it wasn't until I saw Grizzly Man
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where I was like, oh, okay, documentaries can actually be sick.
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Like they're not these dusty old sort of things.
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That's when I kind of fell in love with documentary. I told so many people about that after I saw it.
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I was like, yeah, it's incredible. There's very few films that I've gone around
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like after I've seen it and just everyone I've seen, hey, have you seen this?
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I don't care if you don't like documentaries.
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This is fantastic. Like from the score and the, the characters,
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but they're not, the thing is they're not characters. They're real people for goodness sake.
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Like the coroner is my favorite. Yeah.
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Right. When he looks at, he goes, they came to me in two metal cans and I say,
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what happened to you, Timothy? What happened to you, Amy?
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And I know that dude's got to be disconnected because he's probably seen some
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horror stuff. Oh, totally. He's disconnected. Yeah.
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Yeah yeah this was taken off timothy's wrist which was in the guts of a bear.
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So good he was not the deaths but
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like the actual presentation no no yeah no that was terrible
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but yeah yeah i like the idea way back dicaprio
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was sort of circling the idea of doing all right like timothy treadwell that
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would have been interesting i mean he did do a bear he did do a bear movie yeah
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yeah but uh yeah timothy treadwell i mean he he wanted to fight the bear and
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live on you know to be in the rest of the movie you know not an end with the
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bear eating him i guess yeah,
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oh well i distinctly hear go away maybe run away.
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Oh man yeah incredible stuff yeah but then
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again not the documentary we're here to talk about we're here to talk about uh
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and yeah so i mean all this time
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is it's really been that easy all i need to do is is
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email the asylum and they'll let me uh direct i've
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been trying to get a hold of your all made for ages so
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what's his name mr matt the man lat
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yeah lat yeah i mean
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yeah i just emailed him and then yeah we
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just had a quick chat and he was more than happy because like i write movies
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too and i was like when i saw the documentary he were waiting around eternally
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for a script i thought well if they had have had me you wouldn't have been waiting
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but yeah i'll introduce you yeah no totally look if he wants if he wants scripts
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faster trust me i'm the fastest gun out back.
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Right but back to your movie it so
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you're you're obviously a fan of all the asylum films as you
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say you shark nato fan yeah yeah yeah of course
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i'm a huge shark but nato fan i've got i've got
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the i can't reach it here i've got the bobblehead oh right
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the half uh from the third one
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yeah i think i think i think four five
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and six kind of went a little downhill though yeah i
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like the ones that thunder wrote like the first three yeah
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they are fun yeah they get a bit zany yeah i
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mean because like once you go into space it was hard to go
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where you know i know they went back in time but you know that's you know i
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did i did like the back to the future 2 ending of that other one with Dolph
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Lundgren shows up in the Harmer which has a hover conversion system that was
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that was good I liked that bit.
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But, uh, yeah. So, I mean, you, you, so you send this email and it was just,
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I mean, I'm just trying to put it in, in, in, in some sort of context for the audience here.
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Like you send this person an email, like I would really love to direct an asylum
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movie and it all happens because no one asks.
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Yeah, I think so. I think, uh, that's the, you know, everyone's fear is rejection, right?
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Yeah. I'm shameless. I don't fear rejection. so yeah
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just you know well you have to be don't you yeah
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in this business you have to be because yeah
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you got to be brash and bold I mean kind of throw it throw whatever at the wall
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and see what sticks exactly yeah you know it might all stick yeah you never
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know so so like how like to give to give our audience some sort of context, like how, like how,
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how this story, like how long in real life did it come together?
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Yeah. So that they immediately said yes. Um, and it was just a matter of like financing the doco.
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So we had to go through the traditional paths of getting like state and federal
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financing, private, all that stuff, distributors on board.
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Um, so then that, that whole process took quite a while, but then once, once we got the first.
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Once Umbrella came on board, everything kind of really kicked into gear pretty
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quickly, which was cool. They're doing great work, Umbrella,
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right? Oh, yeah. They're the best. Fantastic.
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The physical releases are just a masterpiece. It's a blind. And genre stuff. Yeah.
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And they have like a, what's it called? Broly? Broly. Yeah, Broly's awesome. That's great, yeah.
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We really need sort of more of that sort of thing because there are so many
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independent movies. Yeah.
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Like yours like yours and and and and mine
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that that could really i think
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benefit from a platform solely that was dedicated to
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indie films yeah totally and have a bunch
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of just solely indie distribute i mean i know tubi is
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sort of a version of that but i think
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there's a solely independent version out there somewhere perhaps you know at
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least i mean at least for a first run anyway so you don't feel like you're just
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walking out on stage naked yeah oh look i've made a movie or no one wants to
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see it or i can't get distribution and all that sort of thing,
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So, I mean, but was, was the documentary was obviously you wanted to direct
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a movie, but was the doc, was the documentary a secondary thought or a primary
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thought going? They kind of came together really. Okay.
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Yeah. So I want to make a movie and I want to make a documentary while I'm making
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the movie. Pretty much. I love behind the scenes documentary.
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Oh, sure. But I always kind of wanted to make one. So it was like,
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oh, like, yeah. So if you're going to make a movie, they're always going to
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be a behind the scenes. Yeah.
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Yeah. But I made something similar quite a few years ago called Lessons from
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a Middle Class Artist, which is about a guy who's written 20,000 novelty songs,
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and each song each year makes him $2 to $3 per year from streaming royalties.
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So the more songs he has, the more money he makes.
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And the conceit was that basically I had to write 100 songs in 10 days with
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him kind of mentoring me.
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Okay. And I kind of fell in love with that form of exploring someone's output,
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like artistic creative endeavors through a hero's journey, where an outsider
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comes in and tries to adapt it.
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Yes. So then Mockbuster kind of just made sense in that, like,
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I can explore the asylum in an active way and there's someone to root for and
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there's, you know, ups and downs and it's sort of more emotional than a more
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traditional sort of observational documentary. Right, right.
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Yeah, where it's just talking heads and bits in between.
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Yeah, exactly. Which is great. Like, I love those journalistic,
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you know, I watch those, but I was more interested in sort of like a narrative.
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Like a fly on the wall. Like, this is how the sausage is made.
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Yeah. Sort of stuff, yeah. Yeah. Yeah, yeah.
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So yeah, it's kind of born out of that. And I like originally it was never,
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I always wanted to do narrative, like scripted comedy.
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I kind of fell into documentary, not by accident, but like, you know,
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just by chance, I fell in love with doco. So doco is kind of like,
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you know, my, my genre of choice.
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No, it was, um, no, it's just, it's just, it's interesting.
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I mean, I think that I don't know so much about these days, but I know of a
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certain generation that the idea of a, a making of documentary of,
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of, you know, your film was always like,
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wow, you know, that would be awesome.
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And you picture yourself as that, you know, you're the guy sitting up there
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next to the big camera and you're pointing off and everyone's like, do what he says.
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You know you're like moses and you stand there oh you have little faith yeah
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yeah and you know part the red sea and everyone's like yeah what did i tell
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you yeah but yeah it's funny,
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yeah because they're so glossy those ones as
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well and that everyone looks good and you know it's like me making
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films is hard and people get into arguments and people right right
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you know make mistakes and that's fine that's just part of the
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fun of it really yeah and that's
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what i like about uh your documentary too is you didn't sort
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of you didn't shy away from the like when
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that when that actor that you have absolutely loses his shit
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because you're rehearsing all day long killing time yeah
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yeah that's a client waiting for the script or waiting
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for approval for a costume geez that's got to be bloody
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annoying isn't it approval yeah it was tough yeah
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i get it i understand why but i mean totally i
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mean they're a studio and they want what they want and there's time you know
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the differences and yeah but just like back to dave for a sec like he had the
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most complicated dialogue i've ever read in my life the fact he could get any
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of that out is so impressive to me yeah like he he did a great job it's the
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harrison ford thing you know you can talk you know.
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Yeah. Like some of that dialogue is so dense and layered with this jargon and
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like these phrases that don't make sense because they're so like layered with
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all this, they love the technobabble, they call it, where they just throw kind of like strange words.
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Yeah. Like quantum computers. Makes them sound like they're experts. Yeah.
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And like delivering that dialogue is so tough. Yeah. Yeah.
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It's like, yeah. It's like chewing on rubber. It's an impossible task.
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But no being a writer being being a screenwriter
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myself i was i loved how you sort of
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pointed out the fact that a lot of asylum
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movies or the genre movies are like these big
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screeds of dialogue and then there's action screed of
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dialogue action screed of dialogue action and
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i've written some of these movies i've written one with michael pare
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just like you and when i
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first saw like the way this particular director
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wrote his scripts and i was like man it's like dialogue dialogue
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dialogue action dialogue dialogue action and
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i was just like and and and then i sort of put it when he told me he was a big
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fan of miami vice if you look at the way miami vice episodes the old miami yeah
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yeah don johnson miami vice are structured i thought yeah stuff happens talk
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talk, talk, talk, stuff happens, talk, talk, talk, talk,
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musical sequence in the middle, talk, talk, talk, action, talk,
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talk, talk, ending, right?
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And I was like, that's, that's what they're doing. And I was so glad that you pointed out that.
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Part of it, you know, it's, you know, even for the people who write those sort
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of movies like I do, it's, um, yeah, it was initially very odd to have to,
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oh, you have to have them talking more and why?
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It's cheaper. Yeah, exactly. Yeah. Two people talking in a room is much cheaper to film.
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Yeah. Can I be sitting down? Sure. Yeah. Yeah, exactly. Whatever works. Whatever you need.
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Yeah. I mean, when you're shooting a film in six days, you gotta. Exactly.
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You limit the amount of like blocking and stuff you
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need to exactly yeah just come in sit down lines good
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yeah yeah a bit of cgi so so
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in that case i mean you see a little bit of it in the film but you know take
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wise are you trying to nail it like first uh we did to a point i mean because
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you look like you got rehearsal time in there which is almost unheard of for
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some of these little that was that was mostly for the doco to be honest like
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we kind of all okay Oh, all right. I like it.
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Yeah, the asylum usually wouldn't have a- Dramatic life.
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Yeah, they usually wouldn't have rehearsals. Yeah, I couldn't imagine.
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Yeah, yeah. You know, unlike the making of like Apocalypse Now where you have
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Coppola taking them all to the barn and they all sit down, okay,
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Jimmy, you read Kilgore and you know, you read, you know, I mean.
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I was waiting for the scene.
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I didn't think there would be a scene in your house where the cast is sitting around in the dungeon.
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Okay, no, are you going to read it like that? No, you can't do it like that. Yeah, thanks.
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People are paying to watch this. Yeah, yeah.
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You know, well, some people. Yeah, yeah. Yeah.
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Yeah, that was good to have. And then, yeah, you could show up and say that.
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We did, like, mostly things with one take.
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We kind of chose the DP, Aaron, and I were like, let's just choose, like,
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our babies and these are the scenes that we focus on and they
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were generally the action scenes if we bang
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through this dialogue scene in 20 minutes and get these six
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pages recorded then we can spend an extra 30 minutes on
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this cool like dinosaur action scene right so it's just a matter of like where
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do you put your focus and er and i generally decided the you know silly dinosaur
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fights so yeah but we only really did extra takes if something was like it feels
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like tech problems like out of focus or a booming shot or something or someone
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was in shot or Or if there was, you know,
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something like a major, you know, generally we just could do a rolling take.
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Like one of the most interesting, one of the most interesting parts and interesting
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characters I thought was the editor chap who's over there at the asylum.
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He's got just a library of stock footage and effects.
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Yeah. I've got a dinosaur shot for this movie. And, but I tell you what,
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I, myself, like you being a filmmaker, I learned some of the best lessons I
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have in this business from editors, because they look at films in a completely different way.
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Yeah, 100%. And I love how he sort of points out, oh, you need this,
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you need a shot of this, and you need this, and this, this.
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You need a close-up of this, so I can cut to this.
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I mean, when you see those sort of the glossy EPKs and stuff,
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you don't see filmmaking from that.
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I mean, Peter Jackson does with his wonderful, all-inclusive Lord of the Rings stuff.
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But it's something that I don't think people think of when they watch these,
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movies because of the reputation, obviously, let's face it. Yeah, totally.
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But from a, from a artistic point of view, from putting it together,
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the same consideration, I mean, cause you're not, you're, you yourself,
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both as a documentarian and as the director of the movie within the movie,
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you're not trying to make a bad movie.
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No, no. You're not trying to crap on the asylum. No. You're trying to.
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Be part of the asylum. Yeah, exactly. You want to be an inmate.
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You want to get locked up in the asylum. Yeah.
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Yeah. And like, I don't know. I tried, we all tried.
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Everyone put everything they had into making that movie. And it's like,
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it's such a stupid thing to do considering all the restrictions,
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but it's like making movies is fun. You know?
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I mean, the, the evidence is in the, like how you show exactly like in American
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movie that you've at the end of the film that you actually see the,
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the land before the land that time forgot. Sorry.
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And at least at the land before time. Yeah.
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That would have been interesting to live action version of that from the asylum
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with talking dinosaurs. Let's get to the great valley with machine guns and
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gunships, more gunships.
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But that's the, the, the,
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People look at these things on a surface level, but seeing those last scenes
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where you're there with your family and the crew and everyone,
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and everyone's having a whale of a time.
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Like you said, this isn't Michael Bay filmmaking.
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I mean, I love the whole bit where you have those producers at the start that
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just look at your situation and just shake their heads and go, don't even start.
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But, I mean, they pretty much told you, like, you're a kamikaze pilot,
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buddy. You know how they end up?
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You know how those blokes meet their death by crashing into the ground? Yeah.
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It's, you know, it's fantastic. And then that, I forget his name,
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but, man, I want him to produce, like, every movie that I know because he just
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gets on his cell phone and, like, Oh, yeah.
21:53
Yep, no worries. He's boom, boom, boom. He's literally like that magical guy.
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And you see the movies about fictional movies about making a movies that can
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just pull up the cell phone and you need a llama. I can get you one.
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Yeah. Yeah. He's the best. He's like red in the Shawshank redemption.
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You know, if you want it, he can get it.
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Yeah, yeah, he can, he can, that guy knows how to make a film, you know, it's crazy.
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I can see why he's, he's probably well paid for the job, or I hope he's well
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paid for the job, you know, or at least compensated in some form.
22:29
But no, and, and I also love the, the part, how you sort of introduced the stall
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at Michael Parry early on, only to have him in an heroic moment,
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he comes back to see our movie with his, you know. Yeah.
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Yeah he does just match up we had eric eric roberts originally
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was cast but that's right he had to pull
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out like the last minute and then um michael was free the next day
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so he came on like and he got to talk with uh
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with eric too i i very yeah i was
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very near i was attached to a film very very nearly
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happened that eric roberts all right yeah didn't
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uh because of strike it all right yeah
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it went up in small yeah yeah he's
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a cool guy i reckon manny i
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need shoes i need shoes manny i
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need shoes yeah but uh yeah
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i like how they're all like no you'll be fine robert's
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house yeah i love
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how they're like you'll be fine you'll be fine even his wife's
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like you'll be fine yeah i mean
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they made 300 movies yeah like there are hundreds of movies between
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these people so they're like it's just another day at work yeah
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they're just like to like someone who's never made one they're like
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yeah making movies is like you know yeah you just do it it's like riding a bike
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you know hopefully you know how to ride a bike but oh it's fantastic but uh
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no i like the way michael pare sweeps it i'll tell you what that man can pull off like.
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He re he rewrote some of my lines for him because he said that i waffled on
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a bit i was trying to give him like a i was trying to give him a john wayne
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schtick but he said look i have to learn these lines on the plane on the way
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over so i'm just gonna simplify them if you know what i mean,
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but i tell you what when you can tell the difference between
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an actor who's like done 10 films and
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an actor like him who's done hundreds yeah because
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when they sit down they can make the simplest little bit of crappy
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in in that case kent hill dialogue just magic
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because he puts it in eyes and you believe what he's
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saying he's got a great face like he just looks like a president and that voice
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yeah it's just like it's just so good yeah yeah really good stuff but um i love
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I have to say I love the picture that they chose for the review and it's got
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like, I don't know if it's Mark or whatever,
25:00
Filippo he's pointing at the camera like he's seeing someone taking a crap in the background.
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I love that face. Those two guys are electric. What do they like to hang out
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with? Oh, they're just, yeah.
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Is it like hanging out with the three stooges, but there's only two?
25:16
Yeah, yeah. They're funny. Intense. Yeah.
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Lovely. They must bounce. I don't know how those dudes sleep.
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They must like take sort of drugs to knock them out.
25:27
Like a horse tranquilizer. Yeah.
25:31
Different. They're electric. Different level of energy than me.
25:36
That's for sure. No, I reckon. But no, I like how they showed up for your,
25:41
When you were filming. Yeah. In the movie. So did you, what happened?
25:45
Did they know that you were filming or did you tell them?
25:48
One of their, uh, their VFX supervisors, one of my best friends.
25:52
Okay, cool. He said, oh, you should go around.
25:56
Yeah, basically. And then when I met with Danny, he said he would come visit
25:58
and then he brought Michael along.
26:00
So they just came and hung out for a few hours, which was nice.
26:03
That's great. I was curious to see.
26:06
How an asylum movie works. Yeah. Yeah. Did that, did it inspire them?
26:11
Did they, did they have, they called the asylum since and go, we can do this.
26:16
I would love just, I would, I would pay any sort of mind to see an asylum directed by those.
26:22
It'd be great. It'd be incredible. It'd be the most batshit insane.
26:26
It'd be so kinetic and like, yeah. Have so much. It'd be like everything,
26:30
everywhere, all at once meets piranaconda.
26:36
Maybe or, or, or Sharknado. Yeah. I heard they're doing a reboot of Sharknado. Is that still on?
26:42
Do you know? Yeah, I think it's either a sequel or a prequel or a reboot or something.
26:46
Yeah. I don't know too much about it.
26:49
Because the last one ended, like the memories were all that the Sharknado never
26:53
happened now. And I'm like, oh, really?
26:57
I didn't see it going that way. So I know I'm glad that Sharknado is coming back. I was a huge shark.
27:05
Like I said, I got the Hoff. Hang on, wait till I see if I can reach it.
27:10
I don't have the force. Here it is. There he is.
27:14
That's perfect. It is the Hoff with his, what's crappy though is in the image
27:21
when they first announced it, it looked like he had the lightsaber chainsaw
27:25
and it was supposed to light up.
27:28
But when they eventually came out with it, it's not, it doesn't light up. Yeah.
27:32
That's, yeah. I don't, that's a, that's a minor quibble, but I mean,
27:36
I kind of wish it did have that light up. I love the lightsaber chainsaw.
27:42
Fantastic. What a stroke of genius. As is Mockbuster, ladies and gentlemen,
27:47
the links are in the description of my review for the film, filmthreat.com,
27:51
played at the Santa Barbara Film Festival.
27:54
So, Anthony, what has the wake of your...
28:00
The wake of your experience in all this been like has all of a sudden there
28:05
have been phone calls that you never got before?
28:07
No, not yet. Okay. Same old back to editing. Okay.
28:12
Steven Spielberg hasn't given you a ring yet saying like, Hey,
28:15
I'm still waiting. I'll wait for the release.
28:17
And then we'll see if, if, yeah. Yeah.
28:20
The asylum hasn't, um, given you a whole screen of, of like,
28:25
they keep asking me, but it took me months to recuperate after.
28:29
I can imagine. yeah i'm not too sure when i'll
28:33
jump back on that horse it's like you lose a
28:36
year of your life doing six days of asylum it's full
28:40
on it's like the torture in in
28:44
the princess bride you know i've just
28:47
taken away a year of your life one day i
28:50
may go as high as five but i really don't know what they would do to you
28:53
so yeah fantastic stuff
28:56
no i mean what so if you were to do another asylum picture
28:59
what genres are you particular i mean i'd ask for a shark film sure oh sure
29:05
you have to be a shark movie i mean that's what they're best at right yeah so
29:09
yeah and just shooting one in adelaide with the algal bloom and all the other
29:12
things going on here it's been quite a few shark attacks,
29:16
in and around lately so i mean it's because the water's warm and yeah yeah and
29:21
the eating's good i guess but uh you know well look they do hang around where
29:27
where the food source is good so yeah yeah you know thank god they're not as
29:33
big as that uh that other shark.
29:36
We're gonna need a bigger boat megalodon but uh oh my god i heard i read somewhere
29:40
the other i hope it's not true they're thinking about a jaws remake sequel no
29:45
really oh my god i hope it's i I think it's probably fake. It might be fake.
29:50
Yeah. But, uh, I don't know if they're going to pitch the idea of Scarlett Johansson
29:55
doing the same thing that she did for Jurassic Park, the Jaws, you know?
30:00
Instead of Quint, it's like ScarJo. What are they calling?
30:06
You got them black eyes, lifeless eyes.
30:11
But no, so yeah, shark movie. But you wouldn't want to do like a weird one,
30:16
like cross a shark movie with say like a Western horror.
30:22
Yeah, anything with sharks. Science fiction. Yeah. Yeah.
30:26
Just throw it all together. Yeah, that's it. but
30:29
i mean i but i mean i like the fact like for instance
30:32
the the fellows over at film thread on the thing we're
30:35
talking the other day about how they they jumped on the bandwagon
30:38
pretty prick with with project hail mary with the the
30:41
last hail mary or whatever it is yeah but um man that's quick so like they must
30:46
so what do what does uh what are they like do they do they look at the slate
30:51
of stuff that's coming out and go oh we can do that right yeah basically it
30:57
takes about three months all up to make an asylum film. So from like, like.
31:02
Coming up with the idea to the script to shooting it to editing it it's
31:04
about two to three months so the second you know project Hail Mary I think was
31:09
announced at least six months ago so you know they got plenty of time yeah and
31:14
do they and do they always aim to try and come out before or the same time yeah
31:19
around the same time I think like just before from what I understand but uh yeah,
31:25
Huh. It's just curious.
31:27
So, so like, was there ever a point where you're in the room and like,
31:31
or when you asked, did they just say, well, we've got this dinosaur movie?
31:35
Pretty much. Right. Yeah. It wasn't like, well, we've got, it wasn't like,
31:40
well, we've got, you know, a pirate movie and we've got a shark movie and we've got.
31:44
No, the scene in the doco where that tells me. Oh, okay. That's it.
31:48
Yeah. That's, that's what I found out. Okay.
31:50
Wow. Yeah. That all happened in real time. Yeah. That is. Wow. That's incredible.
31:56
That's awesome. And so Umbrella is eventually probably going to put this out on physical and… Yep.
32:02
Yeah, that's the plan. And on Broly and all that sort of thing.
32:06
Yeah, I'm not too sure where we're releasing just yet. Yeah.
32:10
Like, Chris, I hope they put your other film out with this film,
32:13
like the two films. Yeah. Like, in tandem would be awesome. Yeah.
32:18
Yeah. That would be a, that would be a really sweet like release.
32:22
Yeah. The Adelaide Film Festival did a, a double feature screening. Oh, that's cool. Yeah.
32:26
Yeah. What they played. Did they play the land? I nearly said the land before. Yeah.
32:32
I keep saying the land before time, the land that time forgot.
32:37
Sorry. I got the land before time on the brain this morning, but yeah.
32:42
Mockbuster first and then land of time forgot after just, I think it made,
32:45
I think it made land of time forgot funnier.
32:47
Just because everyone had context for like some of the scenes
32:50
that right right yeah silly and i forgot
32:53
we had you know yeah an understanding of why
32:55
they were so silly do you think they had a different appreciation i
32:59
think so yeah i think even i did because i'd never watched them back to
33:02
back so um seeing uh this well
33:05
i mean you yourself have gone through it so i mean you already exactly appreciation
33:08
yeah yeah yeah i didn't like because i forgot um when we were editing mockbuster
33:14
i forgot how like stressful it was but then when we had the premiere at the
33:18
adelaide film festival and i was watching with an audience i could like feed like feel the energy
33:22
nervous energy of the audience like i actually this was like so stressful
33:26
because you just forget because you're more like not clinical but like when
33:30
you're in the edit you're thinking more about story beats and structure and
33:33
like you know that stuff and not thinking about emotion and stuff too but like
33:37
you distance yourself from yourself basically and you start to see yourself
33:41
as a character and not so much as yourself anymore. It must be interesting.
33:46
It is. Yeah. To watch it, to watch it, to watch yourself having done something, you know, you've done.
33:51
Yeah. It's really strange. Yeah.
33:55
But I forgot, I forgot that. But I mean, but I mean in seeing it,
33:59
does it take you back to that moment instantly?
34:01
Yeah. Yeah. Like, oh my God. Viscerally. That was shitty. You know, like.
34:08
Did you have moments where you go, oh man, I should have said,
34:11
or I should have done, or I should have. Yeah, always.
34:14
Because it's like, yeah, there's, you know, of course there's moments that you're
34:18
like, oh, if I'd only done this instead, or we've got this shot,
34:21
or, but I think that's any filmmaker, right?
34:23
But I waited five minutes. Yeah. Right.
34:28
No, I mean, it's, it's, I mean, it's not, it's not,
34:31
it's not a question I often get to ask because it's it's
34:35
usually my interviews are geared towards
34:38
you know usually it's people talking about the movie they've made whereas you've
34:41
made two movies in one so
34:45
it's a it's a different kind of experience it's
34:48
a very meta experience yeah do you
34:51
think you'd do it again the same way or now that you've done it you know what
34:56
you wouldn't do next time yeah it's just it's really hard and stressful and
35:01
like it was the actual making each film independently i think would have been
35:05
much easier but when you're making two at the same time it's like there's just like.
35:10
It's not like just a little bit stressful it's like two times as
35:13
stressful because you're thinking about both things and both you
35:16
know both the asylum and everyone who financed the
35:19
documentary were expecting the best for each film so
35:22
you're kind of like trying to make the two you're
35:25
serving serving two masters yeah essentially and
35:28
it's like you can't and yourself yeah three masters
35:32
yeah right yeah it was
35:35
because you yeah because you yourself have certain things in that that you want
35:39
to achieve personally as totally yeah both as the documentarian and as the director
35:44
of the land that time forgot not the land before time but um but anthony mate I commend you, sir.
35:53
I really hope, uh, I hope you go, I hope you go on and, and maybe next time
35:59
hire a documentary crew so you can concentrate. Yeah.
36:03
On one film at a time. Yeah.
36:07
But, hey, look, Peter Jackson made three at once. So, look, you're in good company.
36:13
Yeah. You're in good company. I'll let him know. He's like, we're peers now.
36:18
Don't tell the asylum that you'd like to make a trilogy in six days.
36:24
That'd be something. Jeez, that'd be a documentary. Try and make a trilogy of
36:29
films in six days. You'd have to spend like a day and a half per film.
36:35
In which case it would have to be all one room with people talking
36:38
yeah totally no action yeah or
36:42
a lot of just stock footage like there's something going on outside and
36:45
we can't go outside because there's something going on and then the sequel is
36:49
the same but the stuff going outside is worse yeah that's it and then the third
36:54
one is in space when they're trapped inside a spaceship and there's stuff going
36:59
on but they can't get outside if she's in space no one gives a damn.
37:06
But thank god it's not the artemis 2 but anthony
37:11
mate thank you for letting me see your film thank you for
37:13
coming on the show and thank you for putting in all the
37:16
hard work for us to enjoy thank you
37:19
for being my guest on cinema yes mockbuster what
37:23
a great film a definite american movie
37:26
for the 20th century so incredible so inspiring
37:30
it is yet to be released
37:33
but fear not folks keep your eyes on the prize umbrella doing the lord's work
37:39
here for physical media releases of films in australia so check out the links
37:45
in the description and stay tuned for the release of Mockbuster.
37:51
Get down to the links in the description.
37:54
And as always, my little Yugenites, thank you for listening to us on Spotify,
37:59
iHeartRadio, or wherever you choose to listen to your favorite podcasts.
38:03
I'm Kent Hill, and until next time, you've been listening to us on.
38:08
Cinema Yugenite!