Stationed At Home (w/ Director Daniel Masciari)

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It wasn't closely.
What's the secret thing?

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Just got to find something you
love to do and then do it for

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the rest of your life.
I don't want to be a product of

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my environment, I want my
environment to be a product of

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me.
Hello and welcome to the

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Establishing Shot, a podcast
where we do deep dives into

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directors and their
filmographies.

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I am your host Eli Price, and we
are here on episode 119 of the

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podcast.
As you may know, we kind of

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wrapped up our Spielberg series
with the Spielberg epilogue last

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week.
And yeah, so we're kind of in a

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little bit of a hiatus.
I still have some episodes that

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I'm wanting to do and kind of
spread throughout the end of

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this year to the end of this
year.

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So yeah, this is kind of a
special episode.

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I, I didn't anticipate this
happening, but I got in contact,

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reached out to by indie film, a
director and his agent to check

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out this new indie film
stationed at home.

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And so today I'm going to do a
quick review of this film and I

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had the opportunity and
privilege of interviewing the

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director, Daniel Macchiari on
about this movie and about, you

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know, his experience as a
director.

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I'm in a filmmaker.
And so, yeah, I'm excited to get

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to do this.
And, and I really enjoyed this

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film.
So I'm going to, I'll, what I'll

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do is I'll, I'll just kind of
introduce it, give the give a, a

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quick review, my thoughts on the
movie, and then we'll transition

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into that interview with with
Daniel.

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And, and it was a great
interview, a great conversation.

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He had some awesome things to
say about the movie that I

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really loved.
So that really kind of like, I

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guess confirmed a lot of things
I was like feeling or thinking

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with the movie.
So, yeah, I'm excited to share

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with you that that conversation
with Daniel.

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But yeah, let's let's talk about
the movie.

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Daniel Machiari.
He's he's a indie filmmaker from

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Boston or the Boston area.
And yeah, this is his first

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feature film on his debut
feature called Stationed at

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Home.
It is shot in black and white

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and set in the late 90s on a
cold Christmas Eve Eve in

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Binghamton, NY.
And it follows this taxi driver

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named Ralph, played by Eric
Bjarnar, who was kind of a

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revelation in this movie.
You know, he's not like a well

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known guy, obviously, but was
really great acting in this.

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So enjoyed that.
But it follows him, Ralph, this

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taxi driver on his night shift
rounds on this Christmas cold,

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cold Christmas Eve as he has
recurring encounters with this

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ragtag crew and is anticipating
the International Space Station

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going across the sky into view.
And so, yeah, first of all, the

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the film looks phenomenal.
He worked with his DP was

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Jackson Jarvis.
And in the interview, he talks

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about his collaboration with him
and it looks really great.

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I was getting a Jim Jarmusch
vibes from the movie, not just

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because of movies like oh, shoot
the Jim Jarmusch film Night on

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Earth, which is, you know, also
kind of taxi driver themed, but

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not just because of that.
But it really like obviously the

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indie feel that you get with
Jarmusch film, you get here, but

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also just like the visual
sensibility, the kind of like

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there's this kind of dry humor
throughout and and you're you're

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really following these kind of
outsider characters and that I

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think you get a lot with Jim
Jarmusch.

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So yeah, which I love Jim
Jarmusch.

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He's kind of one of my favorite
indie film directors.

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And so I was I was kind of
locked into that feel from the

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get go because of that.
And one of the things that

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impressed me most with this
movie.

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And I, and I talked with Daniel
about this later on, is the

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visual language.
He has a real sensibility for

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how to communicate with the
camera, not just with the

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dialogue of the characters or
narration or whatever, but

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communicating with you what he's
trying to get across with the

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visual language.
One of the things that we talked

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about in the interview is the
insert shots.

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There's tons of insert shots, a
doll or a nesting doll on a

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shelf or there's, you know, when
you're in Ralph's home, kind of

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these objects and things that he
is placing or grabbing, you

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know, his cat, wherever his cat
is positioned, he's insert,

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insert shots that really like to
give you a feel for the space

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you're in the atmosphere, making
you kind of like pause and

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meditate on that.
And then just like, I don't

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know, like I talked about this
transition that he uses to kind

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of like it's a humorous
transition that is totally like

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visual.
There's there's not anything

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being said, but it communicates
so much of like, you know, Ralph

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is scratching off a ticket, the
lottery ticket.

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And then it cuts to them with
this big meal out of diner and

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you know, you're communicating
like these.

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Got this.
This taxi driver and his

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passenger are now have decided
to share a meal together.

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You know, you've cut in the edit
from him scratching off the

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ticket just before you kind of
see that he's won to that meal.

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There's so much communicated in
that right?

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These guys have decided Ralph
has decided to share this with

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with Harry the the other
character.

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It's humorous because they've
decided to go have a big meal at

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at a diner with this lottery
money that he's won.

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It's not a lot.
It's like a few 100 probably

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that's a scratch off.
Yeah, it just like this

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communication through visual
language and there's a lot of

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that.
There's a lot of, you know,

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looking up at the sky and you
know that that theme of remember

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to look up kind of throughout
visually.

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So I was, I was really impressed
with with just ability to use

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visual language and such a
powerful and, you know, refined

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way for for a debut film.
The other thing I was surprised

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by was the humor.
You know, it kind of had me

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chuckling throughout the movie.
It's not like laugh out loud

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humor.
It's kind of like chuckle worthy

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humor that I really appreciated.
Just some of it is situational.

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There's this scene where before
Ralph and Harry meet, where

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Harry's kind of talking to his
girlfriend and trying to have a

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serious conversation with her,
and Ralph is in the background

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getting coffee and it's loud and
pouring into his cup, and Harry

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pauses and looks back at him.
The kind of situational humor,

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some of it's even like slapstick
or silly.

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There's this car chase sequence
that's very kind of slapsticky

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and funny.
There's this moment where Harry

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gets out of the car after a long
ride and the fair is like over

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$1000, which is kind of funny.
They they exchange glances.

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So I was surprised by like this
dry humor that's throughout as

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well that I that I really
appreciated and kind of enjoyed.

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You know, another thing with
this movie is that the

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characters and the place very
lived in and real, which I

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picked up on that and was
feeling that as I was watching

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it and reflecting on it.
And as Daniel will share when we

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get into the interview, his he
really got the inspiration from

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just this place, just being in
this place in this certain

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moment.
And so it made makes a lot of

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sense now knowing that and he'll
expound on that more when we go

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to the interview.
But there's there's great

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chemistry between these
characters.

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They they feel real.
They don't feel kind of like

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fake.
They don't feel like forced.

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They just kind of feel like they
are who they are.

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They they've lived lives.
They will live lives after this.

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And and yet in the place feels
very lived in.

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You know, it was shot mostly, I
think on location in Binghamton.

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And so, yeah, I I just loved the
the kind of atmosphere of it

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there.
There's one character, Jack,

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that's kind of a part of this
ragtag crew that Roth picks up

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that he wasn't my favorite
character.

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I, you know, he kind of rubs you
the wrong way, which I think is

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on purpose, to be fair, and then
has a moment of like kind of

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character revelation later in
the film where I think you're

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supposed to feel like more
sympathetic for him and didn't

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really click with me.
But really he's the only

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character like that.
Like, I love Ralph, the main

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character.
Obviously I loved him.

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Harry Layed by Darrell Johnson
is really great.

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The the other friend in this
crew is George.

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He's played by Peter Foster
Morris I believe.

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He was really funny and
enjoyable.

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A lot of side characters that
you only kind of encounter in

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moments.
And then there's the guy, this

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guy Scott Williams, who's the
radio DJ that you kind of hear

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his voice throughout.
Great stuff.

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Daniel even shared that a lot of
that stuff was just kind of like

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improv and, you know, this guy
riffing and sending him stuff.

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And so that the way they edited
that radio DJ throughout is

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really, really great.
Yeah.

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And then thematically, you know,
there's a lot of stuff going on,

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probably more stuff than I was
able to see.

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Probably even it's one of those
films where you watch where

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you're like, I could watch this
again and get get something more

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out of it.
And that's always a good

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indicator, right.
And so and and you know, I think

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I think sometimes too, even as
speaking to things that that the

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artist maybe didn't even realize
it was speaking to, one of the

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things I noticed was this, I
don't want to talk too much

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about these because I talked
about some of this with Daniel.

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So I don't want to like
reiterate, but these like small

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kindnesses that you see
throughout the film, a sharing

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of 1/4, a sharing of some
toothpick.

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Daniel mentions, you know, and
then it's connected to this, you

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know, the International Space
Station is going to cross the

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sky is kind of this thing that
you're anticipating and that

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Ralph is anticipating this the
whole movie.

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And you know, you you get that
moment eventually.

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But it's yeah, it's it's kind of
like that International Space

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Station kind of represents the
interconnectedness of people,

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the bridging division sort of
thing.

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And you get that on a cosmic
like level and space.

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But you also with that, you
know, with that being the thing

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they're looking forward to
seeing, but also in those small

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moments between characters.
And I really liked that.

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And then, you know, just that
theme of always remember to look

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up is something that you hear
kind of a few times throughout

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the movie and just about that,
you know, that connectedness to

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something greater that you kind
of feel through the movie.

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It's not like that's a good
thing about the movie.

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This these aren't things that
are like being said necessarily.

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They're things that you kind of
feel.

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And that's what I really love
with the movie.

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I love what I can connect with a
movie.

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And I can feel things that
aren't necessarily like being

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forced down my throat, that
aren't being like, I'm not being

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told this is how you're supposed
to feel.

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I'm just feeling it along with
the characters or with, you

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know, with the film makers as
they're they're capturing and

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editing these sequences.
And so, yeah, this is

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connectedness to something
greater than this longing for

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something transcendent that you
can kind of feel in the movie.

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And then and there's a moment
kind of late in the film that I

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absolutely love that I'm still
kind of thinking about and

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contemplating on that I talked
about with Daniel and ask him

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about.
But yeah, I, I really enjoyed

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this.
I thought it was a really great

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debut feature film.
Looking forward to to seeing

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more from Daniel and whatever he
creates next.

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And so, yeah, but that's enough.
I think, of my thoughts on the

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movie.
We're going to transition now to

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that interview with Daniel
Machiari about Stationed at

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Home.
And yeah, I hope you enjoy it.

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Check out that link in the show
notes to learn more.

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Back to the show.
Hey, I am excited to have on a

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this is I believe your second
film from what I saw on kind of

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letterbox.
OK, first feature first feature

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film.
Daniel, I I should have asked

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you this before we started
recording, but your pronounce

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00:14:24,360 --> 00:14:27,000
your last name for me.
Yep, Mashari.

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MASHIARI OK, See, I was going to
do the the hard K sound and so

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I'm glad I asked you.
And so yeah.

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Daniel Mashiari And he has a new
film, his first feature film

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stationed at home.
It is available to buy and rent

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now that you can go hop on
Amazon.

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I don't, I'm not sure if it's
any other places but I did see

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it on Amazon.
Yeah, Amazon, Apple TV,

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Fandango.
Great.

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Yeah, Dish Network.
Yeah, so you can go, you can go

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check it out now, but we're
going to talk to Daniel about

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him, just like his journey to,
to this film and and then dig

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into the film a little bit.
So Daniel, thank you for for

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00:15:16,280 --> 00:15:18,000
coming on.
I'm excited to talk to you

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about, you know, your, your
journey to this film and, you

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00:15:23,880 --> 00:15:26,480
know, yeah, I'm, I'm excited.
How are you?

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00:15:27,480 --> 00:15:28,560
Good.
Thank you, Eli.

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Really appreciate being here.
Excited to talk with you.

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Yeah, so, you know, you, this is
your your first feature film,

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00:15:37,600 --> 00:15:40,040
but I'm sure this just didn't
just like happen.

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You didn't just wake up and
decide one day, you know, oh,

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I'm going to direct a film now.
So I would love to hear, you

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know, what drew you to film and
made you want to be a director?

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Was it, was it a moment in your
childhood or was it a film you

255
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saw or, you know, how did you
come to this moment?

256
00:15:59,880 --> 00:16:01,360
That's a, that's a great
question.

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00:16:01,520 --> 00:16:03,880
I guess I could answer it in a
number of ways.

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00:16:03,920 --> 00:16:08,160
When I was little, my parents
got me this little Canon ZR300

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00:16:08,160 --> 00:16:11,200
camera because they knew that I
wanted to like mess around and

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00:16:11,200 --> 00:16:13,400
make films with my friends and
everything.

261
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So we made some, you know,
terrible films with that.

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And I, I always, I always felt
like there was a vision that

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could never be executed when I
was a little kid.

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And so, so I was just tooling
around and it and it became this

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passion of mine to edit films.
So I was always shooting things

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with my friends just to get to
edit them because I was, you

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00:16:35,400 --> 00:16:41,160
know, it's solitary and I could
kind of create something on my

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own.
And then it wasn't, you know, a

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00:16:46,160 --> 00:16:49,040
plan to make my first feature
film from the get go.

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I was working as an editor for
10 years or so.

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What the time I guess cuz I've
been making this film for like 6

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00:16:56,400 --> 00:16:58,040
years, so like 5 years at the
time.

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00:16:58,600 --> 00:17:03,160
And I got this idea for the film
for Station at Home when I was

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on a bus from New York City to
Ithaca, NY, And we stopped in

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Binghamton.
And it was a cold winter night.

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And I was listening to the song
Dusk by Duke Ellington and

277
00:17:18,119 --> 00:17:22,119
something about stepping out and
looking at this abandoned train

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00:17:22,119 --> 00:17:25,880
station on a train track.
There was some mood that I was

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00:17:25,880 --> 00:17:30,360
just really gravitating to.
And the music and the cold, it

280
00:17:30,360 --> 00:17:33,720
just inspired the film that is
out now.

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And so I was imagining Eric
Bjarner, who plays Ralph, as his

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00:17:38,560 --> 00:17:42,080
lone cab driver kind of in this
forgotten city.

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00:17:42,680 --> 00:17:46,360
So yeah, it was, it was.
I never said, oh, I want to, you

284
00:17:46,360 --> 00:17:49,760
know, just make films.
I was just, I, I always made my

285
00:17:49,760 --> 00:17:53,160
short films and, and this film
from the same source of

286
00:17:53,160 --> 00:17:56,480
inspiration where I felt the
need, like I had to make it.

287
00:17:56,480 --> 00:17:58,800
There's something existential
about that process to me.

288
00:17:58,800 --> 00:18:03,080
So I'd say that was sort of the
motivation for this.

289
00:18:03,080 --> 00:18:04,880
That's definitely the motivation
for this film.

290
00:18:04,880 --> 00:18:10,040
And everything I write is
there's some yearning inside

291
00:18:10,040 --> 00:18:13,440
that it has to be a film, some
some idea has to be a film.

292
00:18:14,400 --> 00:18:17,760
Yeah, yeah.
So how, how do you get from, you

293
00:18:17,760 --> 00:18:20,720
know, that kind of like
transcendent moment of

294
00:18:20,720 --> 00:18:26,840
inspiration to, you know, a
script and a crew and like, what

295
00:18:26,840 --> 00:18:28,520
does that process look like for
you?

296
00:18:28,520 --> 00:18:30,320
Where, where?
What steps do you take?

297
00:18:30,320 --> 00:18:33,600
I guess along the way?
I love that question.

298
00:18:33,600 --> 00:18:36,240
Yeah.
So fortunately I have.

299
00:18:36,640 --> 00:18:40,320
I, I mean, on this film, I just
had the best collaborators you

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00:18:40,320 --> 00:18:43,880
could imagine.
And with this, with this film, I

301
00:18:43,880 --> 00:18:47,840
wrote the film with a lot of
inspiration from the city of

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00:18:47,840 --> 00:18:52,080
Binghamton and actors that I'd
worked with before who are just

303
00:18:52,280 --> 00:18:54,360
so amazing.
So I was able to actually write

304
00:18:54,360 --> 00:18:56,520
the parts.
Most of the characters in the

305
00:18:56,520 --> 00:18:59,800
film I wrote for them.
So I knew the chemistry between

306
00:18:59,800 --> 00:19:01,960
them.
I could knew sort of the vibe

307
00:19:02,120 --> 00:19:03,920
that I would get from working
with them.

308
00:19:03,920 --> 00:19:09,680
And I, I was really using that
as muses essentially to sort of

309
00:19:10,040 --> 00:19:12,640
get an idea of where the film
will go, because I could imagine

310
00:19:12,640 --> 00:19:15,360
them as those characters in it
in an interesting way.

311
00:19:15,360 --> 00:19:18,640
Some of the characters I didn't
have that, but for the bulk of

312
00:19:18,640 --> 00:19:21,840
the of the leads I did.
Yeah, very cool.

313
00:19:23,000 --> 00:19:26,880
Yeah.
And what I, I guess like, so

314
00:19:27,120 --> 00:19:32,560
when I was watching the movie,
there is this moment where I, so

315
00:19:32,560 --> 00:19:35,200
I really love Jim Jarmusch
films.

316
00:19:35,680 --> 00:19:38,080
And so there was a moment when I
was watching it where I was

317
00:19:38,080 --> 00:19:41,400
like, and I'm picking up some
Jim Jarmusch vibes.

318
00:19:41,400 --> 00:19:45,360
And so I don't know if it's if
it's like a indie, another indie

319
00:19:45,360 --> 00:19:48,920
director like Jim Jarmusch.
But what were your inspirations

320
00:19:48,920 --> 00:19:53,120
like a film wise, like maybe a,
a, a director or maybe like a

321
00:19:53,120 --> 00:19:55,200
specific film?
Were there any things you had

322
00:19:55,200 --> 00:19:58,880
like in mind that kind of like
you were drawing from?

323
00:19:58,880 --> 00:20:01,360
Not necessarily like I'm going
to make a movie like this, but

324
00:20:01,360 --> 00:20:06,480
just like inspirationally.
Yeah, I mean, I have to admit,

325
00:20:06,480 --> 00:20:10,400
when I was writing the film, I
really just felt this.

326
00:20:10,440 --> 00:20:13,360
It was almost a myopia.
Like I just knew the film I

327
00:20:13,360 --> 00:20:15,520
wanted to make.
I knew the cab driver was

328
00:20:15,520 --> 00:20:18,600
waiting for the International
Space Station, and I knew the

329
00:20:18,600 --> 00:20:21,520
characters that would surround
him while I was writing it.

330
00:20:21,960 --> 00:20:26,720
So there was no, there was no
feeling of, oh, this particular

331
00:20:26,720 --> 00:20:31,840
film was inspiring me in that
way, I'd say.

332
00:20:31,840 --> 00:20:35,320
Like, I mean, when I was little,
I would watch a lot of oddball

333
00:20:35,320 --> 00:20:39,720
films that my parents would show
me just they had this their

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00:20:39,720 --> 00:20:43,040
first date they saw like the
Elephant Man and that film I saw

335
00:20:43,040 --> 00:20:45,640
when I was like, really young.
I saw a lot of Hitchcock films

336
00:20:45,640 --> 00:20:51,480
growing up and yeah, and you
know, and Tonyone films as well.

337
00:20:51,560 --> 00:20:54,240
So I think these films
definitely inspired me.

338
00:20:55,680 --> 00:20:57,680
I mean, I love Jim Jarmusch as
well.

339
00:20:58,320 --> 00:21:01,040
A lot of people have made the
connection with this film, I

340
00:21:01,040 --> 00:21:04,800
think largely because of the
sort of black and white and you

341
00:21:04,800 --> 00:21:08,080
know, Night on Earth is a tab
film as well.

342
00:21:09,520 --> 00:21:13,160
I mean, to me it's like a hugely
flattering, although it's like

343
00:21:13,200 --> 00:21:18,080
also, you know, I, I, I have a
lot of admiration for him and

344
00:21:18,080 --> 00:21:21,560
these other film makers.
So it's a it's definitely a

345
00:21:22,080 --> 00:21:26,840
funny feeling.
And then and then Kirastami as

346
00:21:26,840 --> 00:21:28,600
well.
I love Kirastami films like

347
00:21:28,600 --> 00:21:33,000
Taste of Cherry and close Up.
So yeah, I think these films

348
00:21:33,000 --> 00:21:36,880
definitely had an effect on me
in terms of how you can take a

349
00:21:36,880 --> 00:21:41,360
simple subject or like a simple,
a simple character even, and

350
00:21:41,360 --> 00:21:47,240
sort of create a very fruitful
sort of place that they exist

351
00:21:47,240 --> 00:21:50,280
in, in that, in that sort of
with a beauty sort of shined on

352
00:21:50,280 --> 00:21:53,760
it.
So yeah, I think I think the

353
00:21:53,760 --> 00:21:57,640
inspiration was definitely from
just like years of watching

354
00:21:57,640 --> 00:22:02,320
films that like a lot of people
don't see, right, that sort of

355
00:22:02,320 --> 00:22:07,440
realization that film can really
be a poetic medium, so.

356
00:22:09,800 --> 00:22:11,560
Yeah, one thing I was going to
say.

357
00:22:11,560 --> 00:22:16,160
One thing I noticed that I
really honestly, you know, for

358
00:22:16,160 --> 00:22:20,120
for first time directors, a lot
of times you don't see is the,

359
00:22:20,120 --> 00:22:23,400
the visual language.
So a few, few things that I have

360
00:22:23,400 --> 00:22:27,160
in mind are like, there's a lot
of whenever you get to a new

361
00:22:27,160 --> 00:22:31,160
setting, you use a lot of insert
shots of just kind of like the

362
00:22:31,160 --> 00:22:35,920
environment to kind of you
really build like the atmosphere

363
00:22:36,360 --> 00:22:40,960
of each new kind of place they
they end up in by just kind of

364
00:22:40,960 --> 00:22:44,120
throwing in some insert shots of
some, you know, things on a

365
00:22:44,120 --> 00:22:47,840
shelf or, you know, you know,
these people over here.

366
00:22:47,840 --> 00:22:52,160
And so I really liked that.
And then also just like there's

367
00:22:52,160 --> 00:22:57,400
that that kind of more comical
visual moment where Ralph is

368
00:22:57,400 --> 00:23:00,720
scratching off his ticket and
then it immediately cuts to them

369
00:23:00,720 --> 00:23:03,280
like chowing down and cutting
into their stakes.

370
00:23:03,680 --> 00:23:07,480
But it's, you know, how do you,
how do you envision, you know,

371
00:23:07,480 --> 00:23:10,680
those communicating in those
visual ways instead of having

372
00:23:10,680 --> 00:23:14,280
the characters dialogue about
the atmosphere or, you know,

373
00:23:14,280 --> 00:23:17,000
that sort of thing?
Yeah, I love, I love that

374
00:23:17,000 --> 00:23:20,000
question.
Think I think what I'm writing,

375
00:23:20,240 --> 00:23:24,960
especially this film, I really
wanted to almost slow time down

376
00:23:24,960 --> 00:23:25,760
a bit.
Yeah.

377
00:23:25,760 --> 00:23:30,760
So there was just this instinct
of, you know, just slow down and

378
00:23:30,760 --> 00:23:35,520
see what you can find in those
textured moments, those those

379
00:23:35,520 --> 00:23:40,280
inserts and working with Jackson
Jarvis, who's just one of my

380
00:23:40,280 --> 00:23:44,400
best friends, incredible DP.
He was in involved from the

381
00:23:44,400 --> 00:23:46,760
gecko.
Like second, I sent him my first

382
00:23:46,880 --> 00:23:48,320
script.
She's like, I want to do this.

383
00:23:48,800 --> 00:23:53,240
So we really had fun making sure
we got those inserts in the

384
00:23:53,600 --> 00:23:58,000
textures of the film, especially
because so much of the film is

385
00:23:58,000 --> 00:24:00,920
about, you know, the cosmos,
right.

386
00:24:01,360 --> 00:24:05,560
So we wanted to play with, you
know, high angle shots, low

387
00:24:05,560 --> 00:24:10,320
angle shots, things that sort of
give this connection between the

388
00:24:10,880 --> 00:24:14,200
the ground and the sky.
So I mean, it's, it's very

389
00:24:14,200 --> 00:24:17,480
subtle sometimes, you know, like
we can, there might be some wide

390
00:24:17,480 --> 00:24:21,320
shots where the cameras just
ever so slightly tilted up or at

391
00:24:21,320 --> 00:24:24,440
a slider low angle than you'd
normally do.

392
00:24:24,920 --> 00:24:28,120
And I think it just sort of we
wanted the, you know, the

393
00:24:28,120 --> 00:24:30,800
characters in the film, like
especially when they're walking

394
00:24:30,800 --> 00:24:35,000
around town kind of feel like
aliens or something on Earth

395
00:24:35,000 --> 00:24:38,200
where they're just, you know, in
this forgotten place.

396
00:24:39,360 --> 00:24:42,840
Some kind of rambling here.
But I think the I love that you

397
00:24:42,840 --> 00:24:47,920
picked up on those inserts
because I think I love I love a

398
00:24:47,920 --> 00:24:51,440
good insert shot.
There's something about it that

399
00:24:53,000 --> 00:24:56,560
I don't know, the audience just,
it's kind of hypnotized on

400
00:24:56,560 --> 00:24:59,960
these, like.
Yeah, you know, well, it, it

401
00:24:59,960 --> 00:25:02,320
makes sense too, because, you
know, you, you talked about

402
00:25:02,320 --> 00:25:08,120
being just inspired by this
place and a place is like, what

403
00:25:08,120 --> 00:25:11,960
makes a place have a certain
feeling or a certain vibe?

404
00:25:11,960 --> 00:25:15,120
Are those things that you like
look around and see when you

405
00:25:15,120 --> 00:25:19,080
walk into a new, you know, a new
place or a new room or whatever.

406
00:25:19,920 --> 00:25:24,320
And so I, I feel like it's, it
was because you were so inspired

407
00:25:24,320 --> 00:25:27,120
by the place.
It makes sense that, you know,

408
00:25:27,120 --> 00:25:32,440
you wanted to capture that vibe
by, you know, giving us those

409
00:25:32,440 --> 00:25:36,600
shots, those visual shots to
help us feel what you, I guess,

410
00:25:36,600 --> 00:25:38,880
were feeling when you were
inspired to make it.

411
00:25:39,040 --> 00:25:43,640
Definitely, yeah, I think that.
And again, like just harping on

412
00:25:43,640 --> 00:25:46,600
the insert shots as well.
There's something about you can

413
00:25:46,600 --> 00:25:49,920
do a lot with sound, too, when
you're in an insert shot because

414
00:25:50,360 --> 00:25:55,000
a whole space of sound opens up
when you're just looking at,

415
00:25:55,000 --> 00:25:59,440
say, you know, a shot of Duke
Ellington and Ralph's apartment.

416
00:25:59,520 --> 00:26:01,040
You know what?
What is that sound?

417
00:26:01,040 --> 00:26:03,360
Maybe it's just silence or
something like that.

418
00:26:03,360 --> 00:26:07,040
So yeah, I think, you know,
sound was a huge part of this

419
00:26:07,040 --> 00:26:09,520
film.
And working with Jack Lyden, our

420
00:26:09,520 --> 00:26:13,120
sound designer and mixer, we
created a lot of really fun

421
00:26:13,120 --> 00:26:16,800
sounds together and found a lot
of cool ways to give that space

422
00:26:16,800 --> 00:26:19,600
of Binghamton.
It's due when it comes to the,

423
00:26:19,600 --> 00:26:22,600
to the Sonic world.
Because when you're in

424
00:26:22,600 --> 00:26:26,400
Binghamton, because of the
architecture is so vast and

425
00:26:26,520 --> 00:26:30,160
especially in the winter when
it's kind of empty, you can

426
00:26:30,160 --> 00:26:34,200
hear, you know, the faintest
sound will reverberate, you

427
00:26:34,200 --> 00:26:36,640
know, across the city.
It's, it's a really beautiful,

428
00:26:36,640 --> 00:26:39,160
like a motorcycle miles away.
You'll hear that, that little

429
00:26:39,160 --> 00:26:40,800
vibration if you're in the right
spot.

430
00:26:40,920 --> 00:26:43,920
Yeah, yeah, yeah, very cool.
Yeah.

431
00:26:43,920 --> 00:26:48,560
It's it's funny how like these
like small places that no one

432
00:26:48,560 --> 00:26:52,360
knows about have such like
distinct feelings and vibes and

433
00:26:52,400 --> 00:26:55,240
unique like qualities.
I love that.

434
00:26:55,560 --> 00:26:59,560
And I think I really think you
capture that well through

435
00:26:59,560 --> 00:27:02,000
through the movie.
What?

436
00:27:02,240 --> 00:27:04,040
Thank you.
I would, I would love to hear

437
00:27:04,040 --> 00:27:08,960
what inspired placing this
around, you know, the

438
00:27:08,960 --> 00:27:12,640
International Space Station.
I'm assuming you had kind of

439
00:27:12,640 --> 00:27:15,920
like late 90s in mind when, when
it was kind of a new, the

440
00:27:15,920 --> 00:27:18,800
International Space Station was
like a new exciting thing.

441
00:27:18,800 --> 00:27:21,480
But what?
What kind of inspired that idea?

442
00:27:23,080 --> 00:27:28,040
Eric Bjarner, who plays Ralph,
he in real life, he loves the

443
00:27:28,040 --> 00:27:31,880
International Space Station.
And, you know, it was years

444
00:27:31,880 --> 00:27:36,200
after he had sort of told me
more about it that I remembered

445
00:27:36,200 --> 00:27:39,040
that thought that he had put
into my mind, you know, this

446
00:27:39,040 --> 00:27:42,920
little dot in the sky.
And it just felt right.

447
00:27:42,920 --> 00:27:46,160
He's waiting for that in 1998
because that's when it first

448
00:27:46,200 --> 00:27:51,320
launched.
And to me, it was this perfect

449
00:27:51,320 --> 00:27:55,920
example of the most mundane
thing in the world, A dot in the

450
00:27:55,920 --> 00:27:58,440
sky.
Yet it has so much meaning

451
00:27:58,440 --> 00:28:01,480
historically.
And I think emotionally as well,

452
00:28:01,880 --> 00:28:04,600
when someone can look up there
and say for all the troubles

453
00:28:04,600 --> 00:28:09,920
people have on Earth, there are
humans up in the sky right now

454
00:28:10,240 --> 00:28:14,240
flying around and orbiting,
orbiting the Earth.

455
00:28:14,240 --> 00:28:18,520
Not always people up there.
But, you know, it's there's a

456
00:28:18,840 --> 00:28:22,840
magic in that sort of feeling
that I always loved.

457
00:28:22,840 --> 00:28:27,240
And so, yeah, that was it was
Eric's, you know, essentially

458
00:28:27,240 --> 00:28:31,600
his passion for this idea and
this object in the sky that

459
00:28:32,000 --> 00:28:36,840
allowed me to dream a lot about
how that yearning to see that

460
00:28:36,840 --> 00:28:40,120
could affect the other
characters in a way that maybe

461
00:28:40,120 --> 00:28:41,840
they don't even know until the
end.

462
00:28:42,320 --> 00:28:45,640
Yeah, yeah.
That's one thing that I was I

463
00:28:45,640 --> 00:28:49,400
was kind of noticing is I guess
the idea of the International

464
00:28:49,400 --> 00:28:54,320
Space Station is kind of this,
this coming together despite

465
00:28:54,320 --> 00:28:57,320
differences.
And I saw kind of along with

466
00:28:57,320 --> 00:29:04,320
that like very like cosmological
idea is the smaller like

467
00:29:04,880 --> 00:29:07,680
tangible idea of like small
kindnesses.

468
00:29:08,200 --> 00:29:12,200
So like, and it seemed like
throughout the film that was

469
00:29:12,200 --> 00:29:16,160
most like the recurring way it
was used as like, hey, do you

470
00:29:16,160 --> 00:29:19,320
have 1/4?
Hey, do you have like any money?

471
00:29:19,560 --> 00:29:24,080
And it's these guys who have
nothing basically like sharing

472
00:29:24,080 --> 00:29:26,200
with each other with these small
kindnesses.

473
00:29:26,200 --> 00:29:29,240
And I don't know if that was
like an intentional connection

474
00:29:29,240 --> 00:29:33,240
of like this cosmological coming
together despite differences

475
00:29:33,960 --> 00:29:37,480
connected with these small
kindnesses too.

476
00:29:38,200 --> 00:29:41,040
I love that.
I really love that reaction.

477
00:29:41,040 --> 00:29:44,760
I always definitely wanted to
put a microscope to this film,

478
00:29:44,760 --> 00:29:47,240
you know, So we're picking up on
these subtleties.

479
00:29:47,320 --> 00:29:51,240
Little, you know, like, yeah,
like the quarter toothpick, you

480
00:29:51,240 --> 00:29:55,720
know, these little things that,
you know, somehow have an

481
00:29:55,720 --> 00:29:56,280
effect.
I'm.

482
00:29:56,720 --> 00:30:00,000
You know, if you didn't scratch
the scratch off there with

483
00:30:00,000 --> 00:30:03,280
Harry's quarter, they may not
have gotten.

484
00:30:03,360 --> 00:30:05,200
The whole story wouldn't have
unfolded.

485
00:30:05,280 --> 00:30:08,080
Yeah, so.
So it was Harry's.

486
00:30:08,080 --> 00:30:10,160
Yeah.
It was Harry's giving nature to

487
00:30:10,160 --> 00:30:14,640
give him the quarter because,
you know, he he feels like this

488
00:30:14,760 --> 00:30:17,040
man is someone he could be
friends with.

489
00:30:17,080 --> 00:30:20,720
You know, that it's those and I
don't know about you, but in

490
00:30:20,720 --> 00:30:24,680
everyday life, you know, we
could meet, meet someone who

491
00:30:24,960 --> 00:30:28,280
like a cab driver, for example,
or someone, you know, working at

492
00:30:28,280 --> 00:30:32,160
a convenience store where you
have this maybe bizarre

493
00:30:32,160 --> 00:30:34,440
connection with them that ends
there.

494
00:30:34,680 --> 00:30:37,120
You know, like, maybe there's
like a chemistry that just ends

495
00:30:37,120 --> 00:30:39,920
there.
And this, this film is about,

496
00:30:40,440 --> 00:30:42,960
you know, having a moment like
that where you're like this,

497
00:30:43,360 --> 00:30:45,480
like there's something there,
there's some kind of connection,

498
00:30:45,480 --> 00:30:49,440
but taking it all the way to,
you know, one whole night.

499
00:30:49,520 --> 00:30:53,840
Yeah, Yeah, yeah, I love that.
Yeah.

500
00:30:54,240 --> 00:30:59,040
That is a, a funny thing of like
making those small connections

501
00:30:59,040 --> 00:31:02,720
you make with people that you
probably will never see again.

502
00:31:02,720 --> 00:31:08,080
And you know, the, the, I guess
the what if of you know, what if

503
00:31:08,080 --> 00:31:11,080
I had more time to spend with
this person And, you know, you

504
00:31:11,080 --> 00:31:14,400
even in the end, you kind of get
the feeling like, I feel like

505
00:31:14,400 --> 00:31:16,680
Ralph and Harry will cross paths
again, you know?

506
00:31:17,240 --> 00:31:20,680
Yeah, yeah.
I think that's that's, I love

507
00:31:20,680 --> 00:31:23,280
that that thought as well,
because we were watching it.

508
00:31:23,280 --> 00:31:26,040
We had our Binghamton premiere
last night.

509
00:31:26,160 --> 00:31:28,760
I actually had that similar
thought where, you know, I on

510
00:31:28,760 --> 00:31:32,840
the one hand, I on the one hand
was thinking, oh, whoa, he's

511
00:31:32,840 --> 00:31:36,000
never going to meet him again.
He, you know, he's they've met

512
00:31:36,000 --> 00:31:37,360
that night.
And then there you go.

513
00:31:37,680 --> 00:31:41,000
But there was this bond and this
friendship.

514
00:31:41,000 --> 00:31:44,360
And again, I got to give credit
to these actors, Daryl Johnson

515
00:31:44,360 --> 00:31:48,000
in that for Harry and Ralph
talking about their dynamic,

516
00:31:48,000 --> 00:31:50,600
Harry and Ralph's dynamic.
Eric.

517
00:31:50,640 --> 00:31:54,160
Eric and Daryl just have such
great chemistry.

518
00:31:54,400 --> 00:31:57,920
Yeah, I feel like they were
always meant to play this role

519
00:31:57,920 --> 00:31:59,280
together.
They have.

520
00:31:59,360 --> 00:32:01,800
They're both kind of like the
Blues in a way.

521
00:32:02,280 --> 00:32:05,120
Now there's there's something
about them that they can get on

522
00:32:05,120 --> 00:32:09,120
that wavelength of mood.
And Daryl actually describes the

523
00:32:09,120 --> 00:32:15,080
film as a haiku in a way, you
know, a sort of poem of sorts in

524
00:32:15,080 --> 00:32:18,000
these subtle moments.
And that that moment actually in

525
00:32:18,000 --> 00:32:21,760
the diner where, you know, it
was scripted as Ralph looking

526
00:32:21,760 --> 00:32:24,040
out the window and Harry looks
out the window to see what he's

527
00:32:24,040 --> 00:32:27,240
looking at.
But and then I I had written it

528
00:32:27,240 --> 00:32:31,080
like Ralph looks to Harry and
Harry looks to Ralph and then

529
00:32:31,080 --> 00:32:34,040
they both sit back.
But they played that moment up a

530
00:32:34,040 --> 00:32:36,640
little bit in rehearsal and I
loved it where they both kind of

531
00:32:36,640 --> 00:32:40,280
go one after the other.
It's just a a fun moment where

532
00:32:41,000 --> 00:32:44,320
they're both kind of in on
something, maybe without knowing

533
00:32:44,320 --> 00:32:45,320
it.
It works very.

534
00:32:45,400 --> 00:32:49,080
It's like, you know, in a very
walks of fine line that I like.

535
00:32:49,400 --> 00:32:52,160
Yeah, yeah.
I love that.

536
00:32:52,720 --> 00:32:57,280
I also noticed, you know, in
the, as the, you know, before

537
00:32:57,280 --> 00:33:00,600
the credits roll, you know, you
said that this was dedicated to

538
00:33:00,880 --> 00:33:03,640
your grandfather.
And I was wondering if the

539
00:33:03,640 --> 00:33:09,760
character of Ralph was kind of
influenced by or inspired by him

540
00:33:09,760 --> 00:33:12,400
as well, and in what ways that
might be.

541
00:33:13,280 --> 00:33:14,680
Yeah.
I think, you know, in

542
00:33:14,680 --> 00:33:17,920
retrospect, I think, well, there
were a couple layers to this.

543
00:33:17,920 --> 00:33:21,640
So one, I grew up watching a lot
of films with my grandfather

544
00:33:21,640 --> 00:33:25,320
because he would let me stay up
late and, you know, Yeah, my

545
00:33:25,320 --> 00:33:26,800
parents didn't know about it.
Yeah.

546
00:33:27,640 --> 00:33:32,200
And his name was Ralph.
And I really wanted him to see

547
00:33:32,200 --> 00:33:36,920
this film, but he had passed
like a year or two before we

548
00:33:36,920 --> 00:33:41,400
shot, so that wasn't possible.
And and he remembers that Eric

549
00:33:41,720 --> 00:33:44,600
Bjornhar, who plays Ralph, had
come over to my family's place

550
00:33:44,640 --> 00:33:47,720
once and visited in Boston,
where I'm from.

551
00:33:47,720 --> 00:33:51,120
And my grandfather made him
meatballs and this Italian sort

552
00:33:51,120 --> 00:33:54,720
of tradition.
And, and so the character named

553
00:33:54,720 --> 00:33:58,640
Ralph, I think my grandfather
had a, an innocence to him, like

554
00:33:58,640 --> 00:34:02,560
a mood of innocence that that
name Ralph just sort of reminds

555
00:34:02,560 --> 00:34:04,040
me of.
There's something very simple

556
00:34:04,040 --> 00:34:09,239
about it and something very.
Did she use a synesthetic idea

557
00:34:09,600 --> 00:34:12,440
like that?
The color brown sort of just

558
00:34:12,440 --> 00:34:15,480
comes to my mind when I think of
the word Ralph, sort of like a

559
00:34:15,639 --> 00:34:19,239
very calming, innocent kind of
vibe.

560
00:34:19,639 --> 00:34:23,280
So yeah, I think in that sense,
I didn't name the character

561
00:34:23,280 --> 00:34:26,600
Ralph off of my grandfather, but
I think that the name came to my

562
00:34:26,600 --> 00:34:30,520
mind probably because of a
similar feeling I have with that

563
00:34:30,840 --> 00:34:34,120
name.
So yeah, I think that that's

564
00:34:34,120 --> 00:34:38,159
about it with that analysis.
But yeah, I like the question.

565
00:34:38,840 --> 00:34:43,159
Yeah.
Now there's this other character

566
00:34:43,159 --> 00:34:46,960
that I was a bit of an enigma
for me.

567
00:34:46,960 --> 00:34:49,880
It is.
I'm trying to pull up the the

568
00:34:50,280 --> 00:34:51,960
Elaine.
Is it Elaine?

569
00:34:52,520 --> 00:34:56,480
Yeah, she can.
So she rides with Ralph to this

570
00:34:56,480 --> 00:35:00,520
hotel.
And there are these sequences

571
00:35:00,520 --> 00:35:04,480
throughout the film where you
cut to just Elaine and her in

572
00:35:04,480 --> 00:35:07,880
the hotel.
What was what was the thought

573
00:35:07,880 --> 00:35:10,880
process with that character?
Because we end up spending more

574
00:35:10,880 --> 00:35:15,800
time with her, you know, kind of
by herself then then I expected,

575
00:35:15,800 --> 00:35:18,120
I guess when we first when I
first saw her.

576
00:35:19,520 --> 00:35:21,680
I would love to hear more about
like that character.

577
00:35:21,680 --> 00:35:24,840
And there's kind of this, I
don't want to give away too much

578
00:35:24,840 --> 00:35:29,120
in this, but like this kind of
surreal kind of moment that she

579
00:35:29,160 --> 00:35:31,680
she has.
I love to hear more about that.

580
00:35:32,680 --> 00:35:34,200
Yeah, I know for sure.
Yeah.

581
00:35:34,200 --> 00:35:37,200
And without giving too much away
to the audience, yeah, I mean, I

582
00:35:37,200 --> 00:35:41,800
always felt Elaine was this
character who was sort of the

583
00:35:41,800 --> 00:35:45,680
city of Binghamton, like sort of
the the the other dimension of

584
00:35:45,680 --> 00:35:47,800
Binghamton.
You know, I always felt like the

585
00:35:47,800 --> 00:35:51,600
city of Binghamton, there's this
hyper real kind of quality to

586
00:35:51,600 --> 00:35:54,440
it, and then there's this other
dimension to it, this

587
00:35:54,720 --> 00:35:59,400
timelessness to it.
And I always felt like her

588
00:35:59,400 --> 00:36:03,800
character was going to explore
the underworld of Binghamton.

589
00:36:04,440 --> 00:36:08,120
So the character of Elaine
always felt to me like the

590
00:36:08,120 --> 00:36:12,200
spiritual part of the film, you
know, the other dimension of

591
00:36:12,200 --> 00:36:14,720
Binghamton.
Because I always saw Binghamton

592
00:36:14,720 --> 00:36:19,960
as having, you know, this
reality of 1998, this sort of

593
00:36:20,200 --> 00:36:23,880
forgotten city, but then the
spiritual timelessness to the

594
00:36:23,880 --> 00:36:26,560
city that to me, Elaine was this
sort of force.

595
00:36:26,560 --> 00:36:30,960
She could be in the late 1800s
or the 1960s or something like

596
00:36:30,960 --> 00:36:33,800
that.
So, and without giving too much

597
00:36:33,800 --> 00:36:38,600
away to the audience, the her
purpose as an enigma, I think

598
00:36:39,400 --> 00:36:42,040
I'm I'm happy that came through
because I wanted it to be this

599
00:36:43,400 --> 00:36:48,960
question of of who is she?
And seeing it all connect to the

600
00:36:49,400 --> 00:36:51,480
to the adventure of the other
characters.

601
00:36:52,080 --> 00:36:55,640
I really wanted to tie the the
sort of, yeah, the surreal, the

602
00:36:55,640 --> 00:37:00,560
sort of other dimension of the
city to the to the real in a way

603
00:37:00,560 --> 00:37:04,440
that felt natural to the
progression of the film.

604
00:37:06,920 --> 00:37:10,960
Yeah, that's really interesting
to me because when you're

605
00:37:10,960 --> 00:37:13,960
talking, I was just thinking,
man, I've never really thought

606
00:37:13,960 --> 00:37:17,800
about how, you know, we we might
think about like how we kind of

607
00:37:17,800 --> 00:37:22,000
have different sides of
ourselves, are like physical

608
00:37:22,240 --> 00:37:24,800
side and are more spiritual side
of our self.

609
00:37:25,080 --> 00:37:28,440
But I've never really thought
about that as much in terms of

610
00:37:28,440 --> 00:37:33,040
like a place, like a place has
its physical side, but also this

611
00:37:33,040 --> 00:37:38,880
like kind of communal spiritual
side to it that, you know, you

612
00:37:38,880 --> 00:37:42,720
can feel when you go somewhere
new, maybe don't know how to

613
00:37:42,720 --> 00:37:45,360
explain it, but that that's
super interesting.

614
00:37:46,360 --> 00:37:48,040
Yeah, It, I love that you're
saying that.

615
00:37:48,040 --> 00:37:51,040
It's like the the idea of the
uncanny in a way.

616
00:37:51,040 --> 00:37:53,520
Yeah.
You know, that feeling of whoa.

617
00:37:53,800 --> 00:37:56,760
And I actually, what's so
fascinating too, is when I

618
00:37:56,760 --> 00:38:00,520
started writing the film, a
friend of mine reminded me or

619
00:38:00,520 --> 00:38:02,520
you guys, I think I had known
about it.

620
00:38:02,600 --> 00:38:05,800
I'm blinking if I knew about it
or the first time I was learning

621
00:38:05,800 --> 00:38:10,800
about it, that the Twilight Zone
was spawned in Binghamton.

622
00:38:11,120 --> 00:38:14,400
That's where the idea came from.
In fact, Rod Serling's, there's

623
00:38:14,400 --> 00:38:15,680
like a high school named after
him.

624
00:38:15,880 --> 00:38:18,840
So, yeah, I think there's
something about the city that

625
00:38:19,360 --> 00:38:24,600
has this from the visuals of the
buildings and maybe some other

626
00:38:24,600 --> 00:38:27,280
aspects to it, but there's
something that feels timeless,

627
00:38:28,160 --> 00:38:30,360
at least to me.
So I think that, yeah, that

628
00:38:30,360 --> 00:38:33,520
spiritual dimension of the
location was really important to

629
00:38:33,520 --> 00:38:39,160
me because I think in some ways
allows the audience to become

630
00:38:39,200 --> 00:38:43,520
like, almost like be, it's like
familiar yet not familiar at the

631
00:38:43,520 --> 00:38:48,440
same time.
So yeah, I'm, I'm happy that the

632
00:38:48,560 --> 00:38:51,440
the audiences seem to pick up on
that.

633
00:38:51,440 --> 00:38:56,560
And I think Elaine's enigma, her
enigmatic quality, brings us to

634
00:38:56,560 --> 00:38:58,560
that throughout the film.
And I don't want to give too

635
00:38:58,560 --> 00:39:01,440
much away.
Yeah, that's really interesting

636
00:39:01,440 --> 00:39:03,680
too, about the Twilight Zone,
because as soon as you said

637
00:39:03,680 --> 00:39:06,120
that, my mind immediately went
to this.

638
00:39:06,160 --> 00:39:09,680
There's a kind of Christmas
themed Twilight Zone episode

639
00:39:09,680 --> 00:39:12,320
called The Night of the Meet.
I'm not sure if you've ever seen

640
00:39:12,320 --> 00:39:14,120
that, but I don't know where
that was shot.

641
00:39:14,120 --> 00:39:19,320
But it has a very like the town
has a very similar vibe to, you

642
00:39:19,320 --> 00:39:22,800
know, Bingham Tom and and
stationed at home.

643
00:39:22,800 --> 00:39:24,160
So I don't know.
I'll have to.

644
00:39:24,160 --> 00:39:27,240
I'll have to look that up after
and see where that episode was

645
00:39:27,240 --> 00:39:29,920
shot.
Yeah, no better way to spend

646
00:39:29,920 --> 00:39:32,400
your Christmas holidays than
watching The Twilight Zone, for

647
00:39:32,400 --> 00:39:34,280
sure.
It's a great, it's a great

648
00:39:34,280 --> 00:39:35,800
Christmas episode.
I love it.

649
00:39:36,080 --> 00:39:38,320
It's my brother.
It's one of my brother in law's,

650
00:39:38,320 --> 00:39:40,680
like favorite things to watch.
He's the one that introduced it

651
00:39:40,680 --> 00:39:42,520
to me.
Yeah.

652
00:39:42,520 --> 00:39:44,240
A Christmas time tradition for
him.

653
00:39:45,520 --> 00:39:50,560
I'll have to check that out.
So one of the other things that

654
00:39:51,600 --> 00:39:58,680
you know, I noticed is this this
like radio announcer throughout

655
00:39:58,960 --> 00:40:01,400
the film is talking about
different things.

656
00:40:01,400 --> 00:40:06,760
And it all kind of culminates in
this kind of transcendent

657
00:40:06,760 --> 00:40:11,720
moment, you know, where he's
talking about the passing of the

658
00:40:11,720 --> 00:40:17,040
International Space Station.
And and there's this visual

659
00:40:17,040 --> 00:40:20,920
moments that I won't explain it
in too much detail, but.

660
00:40:21,520 --> 00:40:26,960
Of a, a person like going into a
door that you're seeing through

661
00:40:26,960 --> 00:40:31,520
a hall and you know, into some
light and you know, the, the

662
00:40:31,520 --> 00:40:35,800
announcers talking about, you
know, the, the moment where like

663
00:40:35,800 --> 00:40:39,840
we'll say goodbye to the, the
space station as it passes

664
00:40:39,840 --> 00:40:42,360
through the sky and someone else
will be on the other side of the

665
00:40:42,360 --> 00:40:46,120
world will be welcoming it.
And it really like as I was

666
00:40:46,120 --> 00:40:49,960
reflecting on that afterwards,
it made me think about how kind

667
00:40:49,960 --> 00:40:55,840
of death can be not just a
moment of loss, but a moment of

668
00:40:55,840 --> 00:40:59,240
like passing on a legacy of
sorts.

669
00:41:00,120 --> 00:41:02,840
And you know, kind of throughout
you see that Ralph is like

670
00:41:03,120 --> 00:41:06,680
reflecting on his mother too.
And so I was just wondering if

671
00:41:06,720 --> 00:41:10,400
if that's something that you had
in mind of just this idea of

672
00:41:10,400 --> 00:41:13,640
death as this kind of like a
passing on of a legacy and of a

673
00:41:13,640 --> 00:41:18,040
tradition and.
Yeah, I mean, I, I want to first

674
00:41:18,040 --> 00:41:22,200
say to Scott Williams, who did
the radio DJ, it's just

675
00:41:22,320 --> 00:41:26,880
fantastic.
And, and he, he actually was

676
00:41:26,880 --> 00:41:30,040
sending me, he was riffing.
So like a lot of that he just

677
00:41:30,040 --> 00:41:35,080
came up with so a lot of these
even more poetic phrases that he

678
00:41:35,080 --> 00:41:37,560
says throughout the film.
He was just riffing in his like

679
00:41:37,560 --> 00:41:39,840
bathroom and sending me like
voice things.

680
00:41:39,840 --> 00:41:41,960
And then ultimately we recorded
it properly.

681
00:41:41,960 --> 00:41:46,840
So I have to say, like the this
idea too, of death and the

682
00:41:46,840 --> 00:41:50,760
poetic sort of build of the
radio DJ was something that we

683
00:41:50,760 --> 00:41:54,400
found a lot of it, at least we
found while we were editing the

684
00:41:54,400 --> 00:41:55,240
film.
I love that.

685
00:41:55,240 --> 00:41:57,040
Which again, I come from an
edit.

686
00:41:57,040 --> 00:41:57,840
Yeah.
Thank you.

687
00:41:57,840 --> 00:41:59,040
Yeah.
I come from an editing

688
00:41:59,040 --> 00:42:01,520
background.
And so to me, it's, you know, I

689
00:42:01,520 --> 00:42:04,520
wanted to make sure that as we
were in post production, there

690
00:42:04,520 --> 00:42:08,800
was room to heighten things and
elevate things without it being

691
00:42:08,800 --> 00:42:10,960
just, you know, just what we
shot, just the script.

692
00:42:11,400 --> 00:42:14,800
I wanted to, you know, be able
to flow but still have those

693
00:42:14,800 --> 00:42:17,560
anchor points to make sure it
all is correct.

694
00:42:17,560 --> 00:42:21,080
But yeah, I think the.
To me, yeah.

695
00:42:21,080 --> 00:42:25,280
Anyways, yeah, the space station
is again, at least.

696
00:42:26,160 --> 00:42:30,640
I mean, I'm probably wrong about
this, but visually, as far as we

697
00:42:30,640 --> 00:42:33,640
can see humans out there, we're
pretty far out.

698
00:42:33,640 --> 00:42:36,840
I mean, we're not that far, you
know, in terms of the Galaxy and

699
00:42:36,840 --> 00:42:40,880
the universe, but it still looks
like we're getting out there,

700
00:42:40,880 --> 00:42:42,280
you know?
Still.

701
00:42:43,200 --> 00:42:45,880
Yeah, I always.
And again, not to give too much

702
00:42:45,880 --> 00:42:52,360
away, but I really wanted to
have this idea is, you know, not

703
00:42:52,360 --> 00:42:56,720
that, you know, heaven or, you
know, the afterlife is

704
00:42:57,880 --> 00:43:03,040
necessarily in another sort of
and maybe it's just further out,

705
00:43:03,240 --> 00:43:07,360
you know, maybe it's maybe it's
just, you know, in space.

706
00:43:07,720 --> 00:43:10,240
Not as far away as.
Was this an idea of thing?

707
00:43:10,280 --> 00:43:13,880
Yeah, yeah.
Maybe the, you know, I just

708
00:43:13,880 --> 00:43:17,320
something we were playing with.
Yeah, just like the idea of

709
00:43:17,320 --> 00:43:22,840
space, like perhaps it's all out
there and, you know, I don't

710
00:43:22,840 --> 00:43:24,760
know, just riffing.
Yeah, yeah, People are probably

711
00:43:24,760 --> 00:43:27,600
going to think I'm like, I don't
know, tripped out or something.

712
00:43:27,600 --> 00:43:30,920
No, no, like I, I love that
because I think when we

713
00:43:30,920 --> 00:43:35,720
sometimes when like we create
things, it ends up like we have

714
00:43:35,720 --> 00:43:39,320
to reflect on what we've created
and, you know, think on it and

715
00:43:39,320 --> 00:43:42,200
it, it shows new things to us,
even though we're the one that

716
00:43:42,200 --> 00:43:44,920
made it, you know, for sure.
I think that's a beautiful thing

717
00:43:44,920 --> 00:43:51,040
about art and creating things.
The, I think the black and white

718
00:43:51,400 --> 00:43:59,040
also allows for this ability to
imagine more than what meets the

719
00:43:59,040 --> 00:44:02,040
eye.
I think sometimes color, I mean,

720
00:44:02,040 --> 00:44:05,040
obviously I love films that are
made in color, but I think it

721
00:44:05,040 --> 00:44:09,640
it's, it's a bit more of a
hurdle to allow the audience to

722
00:44:12,400 --> 00:44:14,680
to go into their own imagination
a bit.

723
00:44:15,120 --> 00:44:19,120
Yeah, yeah, for sure.
So I think that's what I was

724
00:44:19,160 --> 00:44:20,160
going to.
Say great.

725
00:44:21,080 --> 00:44:25,280
Yeah.
So before, before we go, I would

726
00:44:25,280 --> 00:44:29,800
love to to hear, you know, do
you have any other like stories

727
00:44:29,800 --> 00:44:31,440
that you're like itching to
tell?

728
00:44:31,440 --> 00:44:33,720
Do you have anything else on the
horizon?

729
00:44:34,280 --> 00:44:37,760
Yeah, I can tell you off air
about that.

730
00:44:38,000 --> 00:44:39,240
That's fair.
It's sort of great.

731
00:44:39,240 --> 00:44:41,280
It's in its infant stage.
Great.

732
00:44:41,280 --> 00:44:44,720
I'd love, love to hear about the
that secretly.

733
00:44:46,800 --> 00:44:50,000
Well, yeah, one last question
before we end.

734
00:44:50,200 --> 00:44:53,800
I would love to hear just a
recommendation, like something

735
00:44:53,800 --> 00:44:55,560
maybe that you've watched
recently.

736
00:44:55,600 --> 00:44:59,920
It could be new, could be old
that you just loved and and want

737
00:44:59,920 --> 00:45:03,560
to recommend for other people to
to see after they watch

738
00:45:03,560 --> 00:45:07,080
stationed at home.
Yeah, for sure.

739
00:45:07,160 --> 00:45:10,480
So before I forget, yes, to all
the audience watching this,

740
00:45:10,480 --> 00:45:12,280
please.
It's so important for

741
00:45:12,320 --> 00:45:16,240
independent films like Cars,
Going, Rotten Tomatoes and rate

742
00:45:16,240 --> 00:45:20,640
and review it and Letterbox if
you haven't really.

743
00:45:20,640 --> 00:45:24,360
It really helps us get more and
more visibility.

744
00:45:24,360 --> 00:45:26,080
Yeah.
And I'll, I'll make sure to link

745
00:45:26,480 --> 00:45:29,720
link those in that description
so people can just click on them

746
00:45:29,720 --> 00:45:32,720
and go review it.
Thank you so much.

747
00:45:32,800 --> 00:45:35,680
But yeah, to movie
recommendation that I've seen

748
00:45:35,680 --> 00:45:39,400
recently, there's quite a few.
There's this film I absolutely

749
00:45:39,400 --> 00:45:45,320
love called Delirious, OK, from
2006, starring Steve Buscemi.

750
00:45:45,880 --> 00:45:48,760
He plays a, he plays a paparazzi
guy.

751
00:45:48,800 --> 00:45:52,640
And not to give too much away,
but he takes this young man off

752
00:45:52,640 --> 00:45:55,120
the street essentially to like
be his assistant.

753
00:45:55,680 --> 00:45:59,120
And the young man has these
aspirations to become an actor.

754
00:45:59,440 --> 00:46:02,320
And so there's this like real
sort of like heated relationship

755
00:46:02,320 --> 00:46:05,040
about like how much he owes
Steve Buscemi for helping him.

756
00:46:05,040 --> 00:46:07,320
What did he get some?
It's an incredible film.

757
00:46:07,400 --> 00:46:12,200
It's a it's I can't believe I
only had just seen it.

758
00:46:12,640 --> 00:46:14,800
It's so good.
So I highly recommend that.

759
00:46:14,800 --> 00:46:20,360
I love the film The Passenger by
Antonioni starring Jack

760
00:46:20,360 --> 00:46:22,960
Nicholson.
Love that film Days of being

761
00:46:22,960 --> 00:46:27,600
wild by one car Y It's amazing,
yes.

762
00:46:28,280 --> 00:46:32,040
So those 3 for now.
OK, great Gary, I got more than

763
00:46:32,040 --> 00:46:33,880
I even bargained for, so I'll
take it.

764
00:46:33,960 --> 00:46:37,280
Well, thank you so much Daniel
for for coming on and talking

765
00:46:37,280 --> 00:46:41,240
about your, your movie.
I really enjoyed it and I hope

766
00:46:41,240 --> 00:46:44,080
other people go go rent it and
then review it.

767
00:46:44,080 --> 00:46:46,520
And I hope everyone enjoys it
too.

768
00:46:46,520 --> 00:46:50,680
So best of luck to you on your
journey with this film and and

769
00:46:50,680 --> 00:46:52,760
whatever projects you might have
coming next.

770
00:46:53,800 --> 00:46:55,720
Thanks a ton Eli, really
appreciate being here.

771
00:46:56,080 --> 00:46:58,680
Thanks.
Hello again.

772
00:46:58,840 --> 00:47:03,280
Do you know how you can really
support the show for free in

773
00:47:03,280 --> 00:47:06,640
just a few minutes or less?
That's right.

774
00:47:06,920 --> 00:47:12,160
Just leave a rating and review
on Spotify and Apple or wherever

775
00:47:12,160 --> 00:47:14,200
you listen.
That might allow for ratings and

776
00:47:14,200 --> 00:47:17,320
reviews.
These really help the visibility

777
00:47:17,320 --> 00:47:20,960
of the podcast.
In fact, just hit that pause

778
00:47:20,960 --> 00:47:25,960
button right now and drop the
review right now and then you

779
00:47:25,960 --> 00:47:29,480
can get back to the show.
I'd greatly appreciate it.

780
00:47:30,000 --> 00:47:34,640
Okay, I trust that you went and
left that rating in review now.

781
00:47:35,200 --> 00:47:40,800
Back to the show.
Huge thanks to again to Daniel

782
00:47:40,800 --> 00:47:45,280
Macchiari for coming on and
talking with me about Stationed

783
00:47:45,280 --> 00:47:48,200
at Home.
Like I've said already on this

784
00:47:48,200 --> 00:47:51,200
episode, I really enjoyed it.
I highly recommend going and

785
00:47:51,200 --> 00:47:53,880
checking it out.
As we kind of just talked about

786
00:47:53,880 --> 00:47:58,960
in the interview, you can rent
it and buy it on all the kind of

787
00:47:58,960 --> 00:48:03,200
typical Apple TV, Amazon,
Fandango at home.

788
00:48:03,200 --> 00:48:05,280
I think just search for a
station at home.

789
00:48:05,280 --> 00:48:07,200
I'll, I'll try to link some of
those in the episode

790
00:48:07,200 --> 00:48:10,640
description.
And yeah, please go watch it and

791
00:48:10,640 --> 00:48:13,760
go, go rent it and and support
this film.

792
00:48:13,840 --> 00:48:19,680
Indie films are so they have to
work so hard to, you know,

793
00:48:19,720 --> 00:48:22,520
promote and to get it, get it
out there and get it in front of

794
00:48:22,520 --> 00:48:25,960
people.
And so I'm glad that I have the

795
00:48:25,960 --> 00:48:30,720
opportunity to to kind of help
help with that with this film

796
00:48:30,720 --> 00:48:35,120
that I really enjoyed.
Yeah, you should go watch it and

797
00:48:35,120 --> 00:48:37,440
then go review it.
I'm going to put the links to

798
00:48:37,440 --> 00:48:40,760
Rotten Tomatoes, which is a
something a lot of people use.

799
00:48:40,760 --> 00:48:43,120
And then the letterbox, of
course.

800
00:48:43,120 --> 00:48:48,400
So I'll link those so you can go
review the movie, rate it and

801
00:48:48,400 --> 00:48:51,360
that that helps a ton.
You know more than you can know

802
00:48:51,680 --> 00:48:56,880
for every little review, every
little rating helps a ton, as I

803
00:48:56,880 --> 00:49:00,480
know as a podcaster and
independent podcasters go do

804
00:49:00,480 --> 00:49:02,800
that.
But that is really, that's

805
00:49:02,800 --> 00:49:06,040
really it for the show today.
We have a few more things coming

806
00:49:06,040 --> 00:49:08,320
out over the course of the rest
of the year.

807
00:49:08,320 --> 00:49:13,040
They might be, they might not be
every week, but I'm going to try

808
00:49:13,040 --> 00:49:15,720
to throw in a few more episodes
before the end of the year.

809
00:49:16,040 --> 00:49:17,840
And so be on the lookout for
that.

810
00:49:18,200 --> 00:49:23,240
I'm hoping I can get a best of
the 21st century sofa far

811
00:49:23,240 --> 00:49:28,360
podcast recorded and out next.
So that's the that's the plan.

812
00:49:28,360 --> 00:49:31,440
You'll find out if that's what
happens when you see it in your

813
00:49:31,440 --> 00:49:34,480
podcast feed.
But but I want to, I want to

814
00:49:34,480 --> 00:49:37,000
just kind of go through a list
of just films that I think

815
00:49:37,000 --> 00:49:41,200
represents the century so far,
the this first quarter of the

816
00:49:41,200 --> 00:49:47,040
century from 2000 and 2024.
And so I'm going to do that and

817
00:49:47,520 --> 00:49:50,920
that that should be a fun
episode, maybe a Christmas

818
00:49:50,920 --> 00:49:55,280
episode that I have in the works
coming out at some point.

819
00:49:56,640 --> 00:49:59,200
And so, yeah, those are those
are a couple things that you

820
00:49:59,200 --> 00:50:02,520
might see in your feed soon.
Be on the lookout for those.

821
00:50:02,520 --> 00:50:06,960
But until then, I've been Eli
Price and you've been listening

822
00:50:06,960 --> 00:50:10,360
to the establishing shot.
We will see you next time.

823
00:50:12,800 --> 00:50:15,760
We will not be here.
For a little while, but.

824
00:50:17,440 --> 00:50:18,480
Look, I think.
It was.

825
00:50:19,200 --> 00:50:19,400
This way.