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Available on selected

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devices. Hey,

1:04

everyone, welcome to the 465th episode of

1:06

Just Shoot It, a podcast about filmmaking,

1:08

screenwriting, and directing. This episode is brought

1:10

to you by patron, C -Bass. Who we

1:12

just talked about. Thank you, C -Bass.

1:14

I'm Oren Kaplan. And I'm Mademmo. Today

1:16

we've got Laura Murphy on the show.

1:18

She's a very cool new friend of

1:20

ours. We've been in the same space

1:22

as her for years now. She's in

1:24

the comedy space and she's got a

1:26

new feature film out called F. Mary

1:28

Kill. It comes out March 7th. Her

1:30

movie stars Lucy Hale. It's got a

1:32

really fun cast. It's a comedy thriller

1:34

and it's cool. It's

1:37

her second movie. We talked about her film

1:39

career. She worked at MTV for a long

1:41

time. She directed Girl Coach. She started a

1:43

ton of TV too. Nora from Queens. Her

1:45

and I pitched against each other. I

1:47

thought I handedly beat her, but it turns

1:49

out that she was just too busy and dropped out of

1:51

the bid pool. We pitched against each

1:53

other as well. And it makes complete sense that

1:55

she won. I didn't think I won at all.

1:57

Yeah. I feel like we should only have people

1:59

that... we have beat on the podcast just

2:02

so we can be like, yeah, you're

2:04

going down. Yeah, but you know, it's

2:06

a different vibe. Isn't this whole podcast

2:08

about boosting our own ego? Yeah. If

2:11

you listen to this interview, you might

2:13

think it is every interview. If you

2:15

listen to this show. I guess if

2:17

you have a podcast, it's because you're

2:20

trying to tell people that you know

2:22

stuff. So anyhow, we don't know anything,

2:24

but we appreciate you listening. And so,

2:26

yeah, if you do appreciate this, check

2:29

out our patron, patron.com, slash just shoot

2:31

a pod. Can you give us a

2:33

buck or two or five or 20?

2:35

Just to keep the show going, really,

2:38

that's, that's like the main incentive. If

2:40

you feel like you get something out

2:42

of this, then, patron. I keep saying

2:44

that we've been on for 10 years,

2:47

but I'm sure it's going to be

2:49

11 at any point now. So yeah,

2:51

check it out. But yeah, I think

2:53

that's it. Before we talk to Laura,

2:56

I've been dying to tell you what

2:58

I've been up to lately. I can't

3:00

wait to hear. But before I find

3:02

out what you've been up to lately,

3:04

there is one other thing I wanted to

3:07

bring up. Oh, yes. Go for it. Magic

3:09

mind. How's journey going? Well, yeah, I've been,

3:11

I just. Unfortunately it hasn't changed too much,

3:13

it's just kind of been quite consistent where

3:16

I use it before. I'm down to my

3:18

last bottle and I'm hoping we get a

3:20

shipment soon. What is going on? Send us

3:22

that magic mind. I'm very excited and honestly

3:24

it has been working for me lately. I

3:27

notice because I'm running low, I notice the

3:29

days that I have it versus the days

3:31

that I don't and like the other day.

3:33

I had one, I just had a lot

3:36

of work to do, I just wanted to

3:38

be in the zone, and I literally found

3:40

myself kind of like dancing a little bit

3:42

as I was like working, like just like

3:44

in the zone feeling it, and I was

3:47

like, oh, this is a 100% thanks to

3:49

magic mind. If you're a bad dancer, magic

3:51

mind, I'll help you focus, make you feel

3:53

better, help you dance. Also, I feel like

3:56

I'm always mentioning like the lion's man and

3:58

the ash one. gone to discuss those are

4:00

like the ingredients that are stuck in my

4:02

mind and I keep forgetting the ceremonial grade

4:04

macha and I was like what the F

4:07

is ceremonial grade and so I looked it up

4:09

and it is it's exactly what you're thinking it

4:11

is it's like a better grade of macha and

4:13

kind of like the highest grade of macha and

4:15

I guess macha is good for you and my

4:17

wife drinks it all the time so now you

4:19

know she's not the only cool kid in the

4:22

club about yeah so yeah people should check it

4:24

out if you're interested if you're interested if you're

4:26

interested in magic mind magic mind shoot it. That

4:28

is how you can get it for 45% off

4:30

some huge discount. Check it out if you like

4:32

it, you know, just join our patron

4:34

featuring. It is another way to support

4:37

the show too. It's like, you know,

4:39

sponsorships help us out, keep us going,

4:41

even though mostly it's just run

4:43

up for the magic mind. Yeah. Yep.

4:45

But with all of that goodness out

4:47

of the way, Orrin, yeah. I'm but

4:50

dying to know, what have you been

4:52

working out lately? So the reason I

4:54

want to talk about it today is

4:56

because... I feel like I've been telling

4:58

this little saga of this production on

5:00

the podcast and people have been reaching

5:02

out to me. The super fast cliff

5:04

notes is I was in Columbia

5:06

and I had to pitch on this job. It

5:08

was right after the LA fires and it's

5:11

supposed to take place in a tropical

5:13

resort and I was like, let's shoot

5:15

it in LA, LA needs production, we

5:17

have beaches, we have palm trees, we

5:19

have resorts. This wasn't on the brief,

5:21

they were thinking about South America, they

5:23

were both. Yeah. And so... I got

5:25

the job and everyone's like, hey, you

5:27

know why you got the job? Because

5:30

everyone's like, yeah, we shouldn't help LA.

5:32

We shouldn't come out there. LA is great.

5:34

You know, and we have obviously the best

5:36

cast, all that stuff. I mentioned it to

5:38

everyone. Everyone's like, yeah, we're in that's cool

5:41

thing. Way to pitch LA, which I mentioned it

5:43

to everyone. Everyone's like, yeah, we're in that's cool

5:45

thing. Way to pitch LA, which I appreciated a

5:47

way to, we're, we're, we're, we're, we're, we're, we're,

5:49

we're, we're, we're, we're, we're, we're, we're, we're, we're,

5:52

we're, we're, we're, we're, we're, we're, we're, we're, we're,

5:54

we're, we're, we're, we're, we're, we're, we're, we're, we're,

5:56

we're, we're, something nice also matches your yeah I

5:58

mean I'm like so one million percent believer

6:00

that shooting in LA is my preference

6:02

because not just because my family is

6:05

here and I live here but because

6:07

all the stuff we talked actually talked

6:09

to Laura about this in the episode

6:11

so you'll have to wait in here

6:13

about why we love shooting in LA

6:15

but So they came here because of

6:17

the fires. No beach would last permanent

6:20

because resorts and hotels were housing. People

6:22

lost their homes. No hotels were available.

6:24

Resorts wanted. I am not exaggerating 10

6:26

times the amount we had budgeted for

6:28

them. And it was really hard. And

6:30

everyone's like, Orrin, why didn't you bring

6:32

us to LA? This is the worst

6:35

place to shoot this. Anyhow, we found

6:37

a resort. We found a beach. We

6:39

got over all the humps. found amazing

6:41

cast of course and I was like

6:43

this is why we came to LA

6:45

it's just the cast we got 19

6:47

cast members they're all freaking awesome we

6:50

got amazing DP amazing production designer amazing

6:52

crew it's gonna be it's all coming

6:54

together it's all coming together it's all

6:56

coming together perfectly it's all yes we

6:58

we got over the rough thought the

7:00

agency flies out the you know whatever

7:02

everyone flies out we have the PPM

7:05

and then freaking the news is like

7:07

flood alert atmospheric river coming to a

7:09

beach near you. And this is not

7:11

an exaggeration up until this point we

7:13

had had in total like 3% of

7:15

the usual rain. Half an inch of

7:17

rain total and then all of it

7:20

just came down. So we're like well

7:22

it's you know that the production company

7:24

they taught me this they're like hey

7:26

you don't tell them whether we should

7:28

push or not push because It's a

7:30

risk, like we don't know, we could

7:32

push and then there can be no

7:35

rain or we could not push and

7:37

we could just be in torrential downpours

7:39

the entire time. Either, like, and the

7:41

shoot is completely ruined, but it's expensive

7:43

to push because we have to rebook

7:45

the resort, rebook the beach, rebook the

7:47

crew. And guess what? We lost our

7:50

DP and we lost a production designer

7:52

who I was so excited about, but

7:54

I was like, but I, at the

7:56

very least, we kept our cast, we

7:58

kept our cast, right. So it's still

8:00

so worth it to shoot in LA. So

8:02

it's going to cost, you know, whatever. Six

8:05

figures more to push a week because we

8:07

have to pay out, you know, a lot

8:09

of these people. We'd already, by

8:11

the way, when we did the,

8:13

our team had already pre-dressed and

8:15

pre-lit the set for the next day,

8:17

and then we pushed the shoot. I mean,

8:19

we rented everything. We picked up the other

8:21

trucks, all the labor, yeah. But so push

8:23

the week. So we come back a week

8:26

later, right? And we're like, okay, now we're

8:28

really finally past all the hurdles, right? We

8:30

got the thing, you know, we got our

8:32

location, the weather's looking relatively good, and we

8:34

start shooting. It's a five-day shoot, right? Three

8:36

days for the TV commercial, two days for

8:38

the socials, and so we shoot the first

8:40

three days, the social day, and then the

8:42

two TV commercial days, and then day four,

8:44

and they go, they go pretty well. There was

8:46

a little bit of weather, like, like, like, like,

8:48

like, like, like, like, like, like, like, like, like,

8:50

like, like, like, like, like, like, like, like, like,

8:52

like, Don't worry, sky replacement.

8:55

White skies, that's totally

8:57

fine, for sure. Yeah, I mean,

8:59

it's totally fine, but not ideal,

9:01

but like it's fixable. Yeah. Yeah,

9:03

and a really times better if

9:06

they're blue, but we can do

9:08

something, but it'll cost money to

9:10

do. You do have heavy duty

9:12

lights that can like pump up.

9:14

Yes, we can like fake the

9:16

sun. Yeah. But we can't fake

9:18

the sky, obviously. But we can't

9:21

fake the sky, obviously. Yeah. And

9:23

I, you know, replacing the sky,

9:25

it's, it's, it's not trivial,

9:27

but it's, it's a commercial,

9:30

so, you know, you're talking about

9:32

a minute worth of footage, you

9:34

know, but so, and we did

9:37

have some good skies as well,

9:39

but we had our cast showed

9:42

up, everyone's great, wardrobe, like,

9:44

you know, all the little

9:46

things of commercials, because they

9:48

take forever, but we got, we

9:50

have sushi, not just, It's not like just

9:52

like a tuna spicy tuna roll. Like they

9:54

have a guy there, a sushi chef making

9:56

hand rolls, custom hand rolls for everyone. They

9:59

have like the. giant wooden boats with different

10:01

rolls and everyone's like, yeah, this is amazing.

10:03

And then, of course, my producer, I don't

10:05

remember if it was my producer, Kelly, or

10:07

my first AD, Kevin, right in the first

10:09

AD was like, oh yeah, these, the caters,

10:11

they always do that. They'll like do sushi

10:13

or something crazy, you know, you know, one

10:15

day, and then the whole crew will talk

10:17

about it to all these producers, and the

10:19

producers will be like, who's that, we're going

10:21

to, we're going to, we're going to, we're

10:23

going to, we're going to, we're going to,

10:25

we're going to, we're going to, we're going

10:27

to, we're going to, we're going to, we're

10:29

going to, we're going to, we're going to,

10:31

we're going to, we're going to, we're going

10:33

to, we're going to, we're going to, we're

10:35

going to, like, we're going to, like, like,

10:37

like, like So I'm like, you know, I

10:39

posted this, you know, footage of sushi on

10:41

Instagram. I was like, well, random, random day.

10:43

There's a custom hand roll bar here at

10:46

lunch. Have we talked about my favorite set

10:48

meal by far, like the splurgy set meal

10:50

day? Is it that big container of twizzlers?

10:52

Yeah. Yeah, yeah. No, it's no, it's the

10:54

red vine ropes and you just kind of

10:56

eat it. No. Papusa date. Oh, they get

10:58

when they get I've never had that big.

11:00

Oh, it's so fun. I also like like

11:02

a taco cart as well, like especially even

11:04

the second meal. That's great. Oh, yeah. Papusas.

11:06

You don't have Papusas as that often. They

11:08

have like the special person out there like

11:10

making them and like frying them up for

11:12

you and stuff. It's so fun. Yeah, and

11:14

way better than a coffee cart. Yeah, I

11:16

love a coffee cart too. The problem with

11:18

Papuza is especially like a vegetarian. More a

11:20

poop says, you know. Well, it's just like

11:22

it's beans, cheese, and corn meal. It's just

11:24

like a heavy meal. Like you just want

11:26

to go do a nap. Yeah, but it's

11:28

still worth it. I freaking love them. I

11:30

freaking love them. Anyway. Sushi. Sushi. So then,

11:32

you know, I posted an interior, I'm going

11:34

to get all these messages from mainly DPs,

11:36

I think, Tyler, from Ellen, Sunday, and she's

11:38

like, oh, I've been on the wrong side

11:40

of raw fish on set before. And I

11:42

was like, oh, should I not have eaten

11:44

a 60 that's been sitting on the sun?

11:47

And he's like, oh, should I not have

11:49

eaten a 60 that's been sitting on the

11:51

sun? And then I get a text like,

11:53

what time we get the set? And I'm

11:55

thinking, oh no, it's the fish. It's like

11:57

for sure it's a fish. It's going to

11:59

be like that scene from airplane where every.

12:01

that ate whenever the fish gets sick. I

12:03

talked about this on a PPS job. I

12:05

got sick. Yeah. You puked and

12:07

ran the whole crew. No, that's

12:09

a different job. Even though, I, I

12:11

was, it was a lot of shoot and

12:13

I was like, I got to go.

12:15

I made it through the day, but

12:17

I was like, I need to go

12:19

right now. And the producer was like,

12:21

yep, you got to go by.

12:23

And I found out later that

12:26

it was only the vegetarians who

12:28

got sick. That was just a salad

12:30

that got some, yeah. Yeah, it was

12:32

just a salad that got us, but

12:34

it was like four people and like

12:37

everyone else like literally just didn't even

12:39

touch the salad. Right, yeah, that makes

12:41

sense and where PBS shoots I can

12:43

imagine not a bazillion salad eaters. But

12:46

the key thing that you said is

12:48

that you work through it. And so

12:50

I say to my wife, I'm like,

12:52

oh man, our main actor has, might

12:54

have food poisoning. I'll go down. And

12:57

she's like, well. She's a pro,

12:59

she's a pro, she'll, hopefully she'll

13:01

work through it. And I'm like,

13:03

yeah, I was, yeah, I was,

13:05

I was on an IV drip

13:08

in Mexico, I was so sick

13:10

on set trying to shoot, but

13:12

you can do it, you know,

13:14

go puke, come back, clean her

13:16

mouth, do a take. Yep, yep.

13:18

So the next morning, our call

13:20

time is 6.30 a. And I'm

13:23

like, so what's happening. Is our

13:25

actors coming? Like, can she work

13:27

through the food poisoning? And he

13:29

goes, so it turns out it

13:31

wasn't food poisoning. Her appendix burst

13:33

in surgery or on her way

13:35

to surgery to get her appendix

13:37

removed. Yeah, yeah. And like, if

13:39

your appendix bursts, you have like

13:41

36 hours or it's like fatal,

13:43

basically. Yes. Yeah. And I'm like, I

13:46

did what every single person

13:48

from the agency client and

13:50

production did that. immediately then

13:52

which Google appendicitis recovery how

13:54

quick yeah we have one

13:57

to two weeks and it's

13:59

like We already had all this

14:01

location stuff. We're already so over budget

14:03

on locations. Dude, we already pushed the

14:05

shoot for a week. Or had you

14:07

shot some stuff with her? This is

14:09

day four of five. Yeah. We had

14:11

shot for three solid days with her

14:13

and on day four, she is in

14:15

every single shot. And on day five,

14:17

they're doing some socials, but she's not

14:19

in every single shadow. But on day

14:21

four, it's every single shot. So I

14:23

call me DP, Dave Dave. I'm like,

14:25

hey, hey, hey, dude. This is a

14:27

situation, I think because of the way

14:29

that this creative is constructed, we see

14:31

something play out and the spokesperson comes

14:33

in and kind of comments on it.

14:35

I think we can shoot her on

14:37

green screen. If you feel confident that

14:39

you can match the lighting from the

14:41

beach on green screen. And he's like,

14:43

yep, I feel super confident. So it's

14:45

kind of a version of what I

14:47

was pitching before. I was like, oh,

14:49

why aren't you plating things out a

14:51

little bit more? Oh, yeah. Because things

14:53

are so complicated. Now you just have.

14:55

Right, right. Your host is just one

14:58

element that you get to get perfectly,

15:00

and then you can match that to

15:02

your favorite background take. Right. So I

15:04

call my producer, I'm like, hey, talk

15:06

to Dave. I think we can do

15:08

it on green screen. He's like, okay,

15:10

I'm going to talk to agency client

15:12

production company, everyone. So I get to

15:14

set, right, 630. I'm like, okay, what

15:16

they say is like, no, to no,

15:18

go. They're not into it. I'm like,

15:20

what do you, what do you mean?

15:22

It's like they just, they don't think

15:24

it's gonna look good. I'm like, but,

15:26

but like, we already have literally, the

15:28

day before we had set up all

15:30

the art, we have like all the

15:32

umbrellas, all the things, we brought a

15:34

500 pound gazebo over there, where we've

15:36

got like, like, like, like, like, like,

15:38

we had security overnight because the entire

15:40

beach is dressed like the 18 K's

15:42

are down there the generator of cables

15:44

are run like I'm like dude we

15:46

will save zero cents by sending the

15:48

crew we've spent all the money already

15:50

why they don't want to shoot it

15:52

he's like no they just don't think

15:54

it's gonna look good and I was

15:56

like you get that agency you get

15:58

that client to set right now I

16:00

I need to pitch it to them.

16:02

Like none of this like telling people

16:04

some ideas and they randomly spouted off

16:06

in a meeting and then everyone's like

16:08

nah. Because it's the game of telephone

16:10

right like well like you're like I

16:12

know it'll work to can become like

16:14

you know we were thinking about maybe

16:16

what do you think of yeah green

16:19

screen they'll be like what can you

16:21

guarantee it's gonna look good and they're

16:23

like well we can guarantee and like no you know

16:25

you know so they show up in the meantime I

16:27

go with the right? With they're all complicated in a

16:30

little bit, but they all three of the four feature

16:32

are spokesperson just kind of in front of the background.

16:34

One of them, she's kind of tucked in between people

16:36

into a little more complicated, which is that one is

16:38

like the more V effects one where you really have

16:40

to divide a shot. But so I go with my

16:43

DP, we take photos of each in the four setups

16:45

on the beach where they're going to shoot what the

16:47

layers are going to be. I pull all the stills

16:49

from the stills from the past three days from

16:51

the past three days from the past three days from

16:53

the past three days that show how we've

16:56

been framing. our spokesperson and how she

16:58

could be separated from the background. I

17:00

have the board for my AD that

17:02

has the shoot schedule that shows our

17:04

four shots that we have to get

17:06

and the story boards for those. And

17:08

I start writing a bullet point list

17:10

on my phone, which like, I think most

17:12

people do this, but if I just write

17:15

something down, I'll remember it when I'm

17:17

presenting it. And so I'm like, get

17:19

them, the beach is only like 20

17:21

minutes away from their hotel. I was

17:23

like, get them over here. decision

17:25

makers believe. So I have the

17:27

creatives from the agency, the client,

17:29

and the producers, right? And I sit them

17:32

all down and I'm like, hey, and the

17:34

client's like, has anything like this ever happened

17:36

to you before? And I go, of course,

17:38

this is like what production is. We

17:40

take a vision, we mash it up

17:42

with reality, they smack each other in

17:45

the face, and we weave in Bob

17:47

and figure out how to make this

17:49

beautiful thing. And a lot of times

17:51

these lead to happy accidents and good

17:53

things. Good on you for having that

17:55

answer because like, have you ever had

17:57

an actor on day four or five?

18:00

get appendicitis and no longer be there where

18:02

you couldn't move things around? No, but like,

18:04

have you had locations fall through? Have you

18:06

had actors fall through? Have you had people

18:08

cancel? Or, of course, everything is changed, but

18:10

like, this specific example, maybe not, right? And

18:12

my bullet point list, I said. You know

18:14

because I had written like wet hot American

18:17

summer like what you had mentioned Like there's

18:19

like a movie like what hot America? You

18:21

know everything's supposed to be exterior They change

18:23

it interior because it was raining the whole

18:25

time. I said I've had a DP on

18:27

the way to a five-day shoot day one

18:29

end up in a 10-car pile up and

18:32

go to the ER And I had no

18:34

DP on my giant shoot and you know

18:36

we you call someone yeah, got someone else.

18:38

I've had Angela Kinzi the actor from the

18:40

actor from the office for a six hour

18:42

shoot day where I had to shoot four

18:44

commercials and two hours in halfway through the

18:47

first commercial the fire department shows up and

18:49

tells us the stage doesn't have the right

18:51

permits and is shutting us down and we

18:53

had to distract the fire department well I

18:55

can do three more takes with Angela and

18:57

get every single scrap you know and ended

18:59

up working so yes this is not great

19:01

of course we already pushed the shoot because

19:04

we luckily had the resources to do that

19:06

but I I feel like we have a

19:08

plan and I think it's going to be

19:10

good. And it'll even help us focus on

19:12

the background. What's the downside? Right. So then

19:14

by that point everyone was sitting down there

19:16

and I was like, listen, we've already spent

19:19

all the money. We'll save $0 by not

19:21

doing this. But I think this will be

19:23

really smart. And I said, look, I don't

19:25

mean to boast, but I do have a

19:27

background in V effects. I did do all

19:29

the V effects for Nomland, which one, the

19:31

Oscar. I had a movie at Sundance this

19:33

past year, I had a movie at South

19:36

By, so I feel a suit. I would

19:38

not pitch this if I did not feel

19:40

one million percent confident that it will work

19:42

and look good, and I want this to

19:44

be on my reel. So I want to

19:46

make sure this looks good. And I spoke

19:48

to Dave Volarath or DP over here, and

19:51

I said, Dave, do you have anything on

19:53

Sundance or South By this past year? And

19:55

he goes, well, you know, you know, not

19:57

this past past year, but And I was

19:59

like, okay, we should have rehearsed that at

20:01

a time. But Dave, you feel confident that

20:03

we can match the lighting exactly of what

20:06

we're going to shoot on the beach. And

20:08

he's like, yeah. And I'm like, we can

20:10

come back to the beach and shoot it

20:12

on green screen. We have so many options.

20:14

We have so many options. It's actually can

20:16

help us because we can choreograph the background

20:18

perfectly, not worry about the wardrobe, not worry

20:20

about the hair. How your podcast host had

20:23

suggested suggested that that that that that that

20:25

that would be the would be the would

20:27

be the right way would be the right

20:29

way to be the right way to be

20:31

the right way to do it would be

20:33

the right way to do it would be

20:35

the right way to do it would be

20:38

the right way to do it would be

20:40

the right way to do it would be

20:42

the right way to do it would be

20:44

the right way to do it would be

20:46

the right way to do it would be

20:48

the right way to do it would be

20:50

the right way to do it would be

20:53

the Oh, of course. That's, we talked about

20:55

that all day. Sorry, I didn't mean to

20:57

steer. Yeah, yeah. And I said, and on

20:59

the bonus side, all the social stuff that

21:01

we were going to shoot tomorrow, we can

21:03

shoot today, because they had like a separate

21:05

unit, you're like, a separate unit of social

21:07

stuff. You're going to shoot today, because they

21:10

were, they had like a separate unit, you're

21:12

shooting, social stuff. You're going to shoot tomorrow,

21:14

because they had like a, like, like, like,

21:16

like, like, like, like, like, like, like, like,

21:18

like, like, like, like, like, like, like, like,

21:20

like, like, like, like, like, like, like, like,

21:22

like, like, like, like, like, like, like, like,

21:25

like, like, like, like, like, like, like, like,

21:27

like, like, like, like, like, like, like, like,

21:29

like, like, like, like, like, a take we

21:31

found one of our actor like our background

21:33

actors with some extras was the exact same

21:35

size same hair color same complexion as our

21:37

lean we're gonna put her in the outfit

21:40

we're gonna shoot reference plates we're gonna remove

21:42

shoot reference plates we're gonna remove her we're

21:44

gonna go shoot reference plates we're gonna remove

21:46

her we're gonna remove her we're gonna shoot

21:48

reference plates we're gonna remove her we're gonna

21:50

remove her we're gonna shoot reference plates we're

21:52

gonna remove her we're gonna camera height, lens

21:54

height, all the things. It's going to be

21:57

awesome and we're going to get to focus

21:59

on the art direction and background today and

22:01

we'll focus on the performance in one to

22:03

two weeks, which is what we all know

22:05

is how long it takes to recover from

22:07

appendicitis and you're going to save. We all

22:09

know is how long it takes to recover

22:12

from appendicitis and you're going to save a

22:14

day. And you can use our stand-in because

22:16

the socials for the, they use the actor,

22:18

they use the actor, they use the actor,

22:20

use the actor, use the actor, use the

22:22

actor, only, use the actor, only, only, use

22:24

the actor, only, only, use the actor, only,

22:27

need, only, need, only, need, only, need, only,

22:29

need, need, need, need, need, only, need, need,

22:31

need, need, need, need, need, need, need, need,

22:33

need, need, need, need, need, need, need, use,

22:35

use, need So the client was like, and

22:37

this is like the CMO of the company,

22:39

and she's like, well, yeah, it sounds like

22:41

a pretty good plan. And then the agency,

22:44

people were like, oh, yeah, we had no

22:46

idea. Orin had a VFX background. Yeah, okay,

22:48

now we feel better about this. And then

22:50

we shot all day. And when we came

22:52

to the final shot, the fourth setup is

22:54

like kind of the widest shot where it's

22:56

supposed to be this like kind of the

22:59

widest shot where it's supposed to be this

23:01

like epic. We saved it to the widest

23:03

shot where it's supposed to be this like

23:05

epic, we saved it. We go we set.

23:07

Pure white, the sky is pure cloud. It's

23:09

like, you know, when you're like in the

23:11

mountains driving, you can see three feet in

23:14

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medications are not reviewed by the FDA for

24:41

Safety, FACI, EFS, or Quality. Yeah, I mean,

24:43

this whole thing is just fog central and

24:45

I'm like angry because no grip is coming

24:48

over to me and saying like, oh, I

24:50

got this weather app that's telling me it's

24:52

going to be okay. Sure. Like, and you

24:54

know, they always do it. The gaffers always

24:56

have some cloud. This cloud is going to,

24:58

like, and you know, they always do it.

25:00

The gaffers always have some cloud. This cloud

25:02

is going to be, no, it's going to,

25:05

like this. The gafers always have some cloud.

25:07

No, this cloud. No, it's going to, this

25:09

cloud. No, this cloud. No, it's going to,

25:11

this cloud. because I'm like if I get

25:13

one like if there's a 1% chance this

25:15

marine layer will clear up I'll take it

25:17

another take another take and then at like

25:20

517 like 13 minutes before we have to

25:22

wrap like the cloud the marine layer starts

25:24

opening up the sun comes like god rays

25:26

and everyone's like whoa this is beautiful and

25:28

we shoot it was worth it yeah we

25:30

shoot our back plates and then we all

25:32

went and had some beers, but now we

25:35

still have to pick up one more day.

25:37

So my shoot is not over yet, but

25:39

one more day on a green screen with

25:41

our actor. Yeah, you can gist it though.

25:43

You like you get all that time to

25:45

like do like, you know, put in the

25:47

performance exactly, retime things, exactly how you have

25:49

it all. It's kind of a great way

25:52

of shooting it honestly. It's kind of like

25:54

you're shooting Sin City or something, you know.

25:56

Yeah. I mean, we will need like this

25:58

kind of like this kind of A list.

26:00

Like we'll need really good V effects because

26:02

you know like how they took Tignetaro and

26:04

stuck her in Donna the Dead or whatever.

26:07

Yeah like we've all seen bad green screen

26:09

so this needs to be good green screen.

26:11

But yeah but I guess kind of like

26:13

my big takeaway and why I wanted it

26:15

not I wanted to tell the story on

26:17

the podcast because people have been asking me

26:19

about it but also we haven't talked about

26:22

this for a little bit but sometimes as

26:24

a director when the shit is hitting the

26:26

fan and you just want to be like

26:28

this is hitting a workout. here's the

26:30

plan and this is what we're going

26:32

to do and you just have to

26:34

be like you have to instill confidence

26:36

in everyone else even when you just

26:39

want to crumple in the ground and

26:41

like give up. Yeah yeah it's it's tricky

26:43

because like it wouldn't have been your

26:45

fault if you just pushed or whatever

26:47

or frankly they maybe they would have

26:49

scrapped some stuff or you know it

26:51

would have been like hey how can

26:53

we salvage this or that but you

26:55

having a clear plan of like this

26:58

is the way forward. you know, and

27:00

I think you're lucky that like people

27:02

had already called it so that no one

27:04

was in your face were like, hey Orrin,

27:06

what should we do? What should we do?

27:08

What should we do? It was a

27:11

foregone conclusion. And so there's a little

27:13

bit of base for you to like

27:15

breathe and say, okay, no, there is

27:17

a way forward. Let me articulate

27:19

how it like how we're going to

27:22

pull up off, you know, but it's

27:24

so defeated that one moment where they're

27:26

like, like, no. You gotta, you just gotta let

27:28

me do the Hail Mary. Yeah, I don't know

27:30

that I would have, I don't know how I

27:32

would have responded in that circumstance. I think being

27:34

like, no, get them all over here, was the

27:36

right move. Yeah, I mean, for what it's worth,

27:38

they were gonna come anyway to see if they

27:41

could do any social stuff, you know? Uh-huh, sure.

27:43

Yeah, I'm just gonna scrap the TV shoot, but

27:45

I was like, the TV shoot, the TV shoot

27:47

as where, the, the TV shoot, the, the, the,

27:49

the, the TV shoot, the, the, the, the, the,

27:51

the, the, the, the, the, the, the, the,

27:53

the, the, like 100 person crew, you know,

27:56

it's small. And we'd already, we already brought

27:58

all the people there. So we, yeah. Anyhow.

28:00

So that's it. We'll see. Now

28:02

we're, I will edit this week

28:04

and hopefully. I was texting with

28:07

the actress today. I was like,

28:09

so how's it been next? Yeah.

28:11

Yeah. Well, do you have an

28:13

air date? Like, do you know

28:16

when they're, I mean, next year?

28:18

Yeah, yeah. Well, do you have

28:20

an air date? Like, do you

28:22

know when they're, I mean, Well,

28:25

kudos, I can't wait to see

28:27

it. Thanks. And without any further

28:29

delay, let's get into our conversation

28:31

with Laura Murphy. I heard officially,

28:34

I read somewhere that you're the

28:36

best Laura ever. It's self-proclaimed. Well,

28:38

I do, you know, I own

28:40

Best Laura Ever.com and all the

28:43

socials under that. Best Laura Ever.com.

28:45

But it started because... It's an

28:47

adult film site. Oh. No, I'm

28:49

just kidding. Because I also own

28:52

Mirthdiver.com and I haven't done anything

28:54

with that, which is also my

28:56

email, so not professional. No, it's

28:58

not. It is Mirthdiver at me.com.

29:00

Now everybody can email me. I

29:03

was probably dumb to put out

29:05

there, but whatever. We'll be, we'll

29:07

beep out at the domain name.

29:09

No, the domain name is fine.

29:12

Everybody could go to the domain.

29:14

There's nothing loads up when I

29:16

go through. I think it's like.

29:18

It's I just I think you

29:21

don't put the the HDDP I

29:23

forget I'll send you the link

29:25

anyway This is my it works

29:27

you got a really good deal

29:30

on them Yeah, but it started

29:32

because when I like I incorporated

29:34

at some point like you're supposed

29:36

to do I couldn't think of

29:39

a tell her listeners why you're

29:41

supposed to incorporate Yeah, I mean

29:43

I cuz my accountant told me

29:45

to I guess because I get

29:48

paid as a corporation and then

29:50

I pay myself through a payroll

29:52

company Yeah, you get to keep

29:54

more of your money and it's

29:56

easier a paperwork-wise to get paid

29:59

as a... incorporated. So for jobs

30:01

when you're freelance. So I incorporated

30:03

a long time ago and I

30:05

want to say like 2008 or 2009. And

30:08

my account was like, what do you

30:10

want to name your company? And I

30:12

was like, I was like, I don't

30:14

know, like the best company ever and

30:16

he laughed and then he looked and

30:18

nobody owned it. It was totally available.

30:21

So I've been best company ever in.

30:23

for years and years and years. Wait,

30:25

your company is called Best Company ever.

30:27

Yeah, and it's on like my Amex

30:29

business card and it gets me upgraded

30:31

at so many places because they're like,

30:34

this is your company? And I'm like,

30:36

yeah, but it's just me. It's truly the

30:38

best company ever. So then when it

30:40

came to like social media, I was like,

30:42

well, just stick with this ridiculous branding.

30:44

And so that's how Best Laura

30:46

ever, which was also available. Like nobody has

30:49

the guts to do it. That's like

30:51

making a word processor and calling it

30:53

word. No one would ever do that.

30:55

Well, tell us your mother's maiden name.

30:57

I think you could probably. That's all

30:59

my information. We could just wrap it

31:01

up. How's your credit score? Yep. It

31:03

was not bad before this. Until I

31:05

bought a house. Yeah. Sure. Yeah. Oh

31:07

yeah. Well, Laura, we're really excited to

31:09

have you on off the mic. We

31:11

were deconstructing all of our shared history.

31:13

So I'm sure it's going to get

31:15

convoluted and ner about the LA comedy

31:17

scene very soon, very quickly. So before

31:19

we get into that messiness, tell us

31:21

a little, just the log line, just

31:23

the pitch for F. Mary Kill, your

31:25

new film. Oh, I mean, it's like,

31:27

it's kind of one of these cool

31:29

cross genre movies that are happening. So

31:32

it's like a thriller and a comedy,

31:34

which is like the best way to

31:36

get comedies made. The romady. Maybe the

31:38

only way. Very familiar. A thriller.

31:40

And it's basically like a girl, you know.

31:42

A girl is entering and embarking on

31:44

a new phase of her life after

31:46

a relationship that ended and she's finally

31:48

putting herself out there and trying new

31:51

things and dating and it just happens

31:53

to coincide with a serial killer who's

31:55

seemingly killing through dating apps, finding victims

31:57

through dating apps. Those two things

31:59

coincide. But she also ends up dating three

32:01

guys and kind of is in a real-life

32:04

F. Mary Kill. But then the F. Mary

32:06

Kill also stands for all the things happening

32:08

in the city of Boulder at the time,

32:10

shot in British Columbia and not Boulder. I

32:12

was wondering where you showed it. That's part

32:14

of the log line. Yeah, that's so good

32:17

because honestly, it's like, if you, just the

32:19

pure, like, Romcom, of it all, just like,

32:21

oh, I'm dating three guys, which one do

32:23

I, quote, quote, quote, quote, quote, quote, quote,

32:25

quote, quote, quote, quote, quote, quote, quote, quote,

32:28

quote, quote, quote, quote, quote, quote, quote, quote,

32:30

quote, quote, quote, quote, quote, quote, quote, quote,

32:32

quote, quote, quote, quote, quote, quote, quote, quote,

32:34

quote, quote, quote, quote, quote, quote, quote, quote,

32:36

quote, quote, quote, quote, quote, quote, quote, quote,

32:39

even without the thriller element and also the

32:41

flip side is true like just a pure

32:43

like serial killer like through dating apps is

32:45

pretty fun as well but like you merge

32:47

them together and look out and I think

32:49

what I got excited about other than like

32:52

the tonal like you know finding that tonal

32:54

sweet spot between the two genres is also

32:56

like it's really about We all ingest so

32:58

much true crime on a daily basis that

33:00

it can make you a crazy paranoid person.

33:03

But also online dating is legitimately risky. So

33:05

it's like, how do you find that, is

33:07

this me being paranoid? Because I watched hours

33:09

of Dateline and Document Series and fell asleep

33:11

listening to a murder podcast and how much

33:14

of this is like, am I legit at

33:16

risk? Because both things are real. What's really

33:18

interesting is, the plot sounds amazing. We'd rather

33:20

hear the plot of how you got this

33:22

job. This is your second feature, right? It

33:24

is. The second one is the first theatrical

33:27

release. But second feature. Because your first comedy

33:29

central film? Straight to DVD. Yeah, it was

33:31

on Comedy Central exclusively for like a year

33:33

and then it went to streamers after that.

33:35

It came out on Halloween, like 2023, I

33:38

think. Curse Friends. Cool. And both, I mean,

33:40

both your films have like crazy casts. Yeah.

33:42

Awesome cast. Yeah. So, so lucky in that

33:44

aspect. And also, you know, Curse Friends is

33:46

great because it was truly like an ensemble

33:49

comedy and that cast had great chemistry and

33:51

everybody got along so well and it was

33:53

like truly a joy to make and very

33:55

funny. And I knew Nicole from, like I've

33:57

worked. with Nicole since we worked on Girl

33:59

Code at MTV back in the day. So

34:02

it was like nice to work with her

34:04

again. And you know, much like you guys,

34:06

that's like I have these relationships in the

34:08

comedy world from so many years of being

34:10

comedy. So it's like nice to be able

34:13

to call in those contacts. I forgot you

34:15

worked on Girl Code. That is like such

34:17

a hallmark for people. Like people love Girl

34:19

Code. That's very, and also that cast was.

34:21

I mean stellar yeah we got I think

34:24

like and I've said this before but like

34:26

of all the things I've done to still

34:28

to this day the thing I will be

34:30

the most proud of is because of the

34:32

impact it has and and had and how

34:34

many people tell me that is girl code

34:37

like I mean still PAs will come up

34:39

with me like girl code this was this

34:41

was like so important to my teenage years

34:43

I learned so much it's like I'm really

34:45

cool yeah very proud of your listener watch

34:48

girl code and it'll probably lean to being

34:50

a PA. Well, so I think the big

34:52

question I have, or to your point of

34:54

like, you know, how did you get this

34:56

job? I'm curious about how you pitched it,

34:59

right? Because there is this really fascinating blending

35:01

of the genres, right? But you're not a

35:03

writer on it, right? I am not, no.

35:05

So I did. I did a- This script

35:07

came to me, and it was definitely, I

35:09

think they were wanting to bring in a

35:12

comedy person, because it was like, it was,

35:14

you know it was kind of in the

35:16

comedy world but they wanted to push the

35:18

comedy and so I think that's how I

35:20

got in the mix for it and because

35:23

Curse Friends was also kind of the spooky

35:25

comedy it was also in the cross genre

35:27

world so the script came to me and

35:29

they're like we did we ran some numbers

35:31

did some tests and you're definitely a Miranda

35:34

so you should probably direct this yeah I

35:36

mean I wish the interview was just some

35:38

sort of quiz online quiz that would have

35:40

been on but I think I was really

35:42

intrigued by their whole set, like because they

35:44

were like kind of doing these cool things

35:47

that also had messaging and also was a

35:49

little subversive and I was like, oh, that's

35:51

kind of cool. So I got the script

35:53

and I had, and it was one of

35:55

those things where like I got the script

35:58

and I had to do a call. Four

36:00

days later. You know we're gonna ask is

36:02

but you when you got the script like in

36:04

your agent Sent it to you or a

36:06

friend or no it came from agent. So

36:08

I was definitely on a list. I well

36:11

that's what I've realized is you get on

36:13

lists and then like once you're on lists

36:15

then you get and so seriously

36:17

like I think we we've kind of touched on

36:19

it on a podcast but like that thing

36:21

you just said like get on the like

36:23

you get on the list. But if you

36:26

just rephrase it as like advice, yet

36:28

on lists, is like a really huge

36:30

part of having a career in Hollywood.

36:32

If you want to work on projects

36:35

that you're not originating yourself. And it's

36:37

hard because it's also like really hard

36:39

to get yourself on those lists. Like

36:41

there's not anything you can do to

36:44

be on the list because it's not

36:46

like... But there is, I think. Well,

36:48

there is. There is. There is indirect,

36:51

but like just to kind of set

36:53

it up. When I was a comedy

36:55

central, we used to make these lists

36:57

all the time. And literally this is how

36:59

it would happen. All of us would get,

37:02

go, sit on someone's couch, and throw out

37:04

names. So, so the way that... Yeah, it's

37:06

tossing, Tom. Yeah. But it was like, okay,

37:08

like, you know, we're all just going to

37:10

name our favorite people, the people

37:12

that we like to hang out with, the

37:15

people that we like to work with,

37:17

or the people whose work we admire,

37:19

right. Right. So under each of those

37:21

buckets. There were things that you can

37:23

actively do, you can actively network, you

37:25

can make work that's really cool that

37:27

people admire and that people are sharing,

37:29

all of that stuff, but like, it's

37:31

that Hollywood maximum of like, it is

37:33

a little bit who you know to

37:35

a certain extent, right? Or who have

37:37

you seen, who do you like, right?

37:39

And then there were some executives who

37:41

just named the same five dudes over

37:43

and over again. And I'm sure

37:45

that happens. For sure. For sure.

37:47

Yeah. They're five best friends. And

37:49

then sometimes there were younger people

37:51

who were like so hungry to

37:54

be like, oh, I just saw

37:56

this incredible thing at this festival

37:58

or online or whatever. should talk

38:00

to this person, like those ambitious people

38:02

who are maybe a little less set

38:04

in their ways. Sorry. But nowadays there

38:06

is that sense of discovery where people

38:08

are like, there's this person on Instagram

38:10

that's making, his name is Grock or

38:13

whatever, or what's his name, Gock, or

38:15

what's his name, Gock, Gocks, Gock? Or

38:17

I don't know. He makes amazing YouTube

38:19

videos that are like, like the better

38:21

than Hollywood films, like we should put

38:23

this guy on the list, you know,

38:25

like, there's new ways to be a

38:27

network. Well, the one thing I would

38:29

say as advice is that I realized

38:31

is early on when I first got

38:33

an agent and I hadn't done that

38:36

much stuff, they sent you on all

38:38

these generals and you go on a

38:40

thousand generals and get tiny... It used

38:42

to be tiny bottles of water, but

38:44

now it's probably over zoom. And now

38:46

it's like they give you one egg.

38:48

They'll take it. And a coffee and

38:50

a Fiji water bottle for the price

38:52

of that egg. Yeah, trade this egg

38:54

up to a feature film budget. But

38:56

I. When on all those and really

38:58

went in on like I hard yeah,

39:01

I just did I didn't I didn't

39:03

I wasn't doing it knowing I would

39:05

end up on a list I was

39:07

just everything I do. I'm like, I'm

39:09

gonna kill this room. I'm gonna be

39:11

the but like I just did it

39:13

like 200% All of them and I

39:15

think and some of those people still

39:17

remember me and I do think that

39:19

helps you get on some of those

39:21

lists. You've got to kind of do

39:23

what but yeah, sorry. a little too

39:26

early. Like I definitely, when I got

39:28

my first real manager, he sent me

39:30

up with all these meetings and they're

39:32

like, so what are you working on?

39:34

I'm like, yeah, whatever you tell me,

39:36

you want me to work on? You

39:38

know? Exactly. But my favorite example is

39:40

that they would always ask you, like,

39:42

what are you watching or what's your

39:44

favorite thing? And my answer would be

39:46

like, alien. Like I don't make the

39:48

funny alien. Right. Yeah, I think I

39:51

said. it's always sunny, which is what

39:53

everybody wanted then. Like everybody wanted their

39:55

own version of it's always sunny, so

39:57

it's like I just play into the

39:59

audience. Sure, yeah, yeah, yeah. And you

40:01

had already been, you had already worked

40:03

at MTV and direct kind of stuff

40:05

when you're on music. Honestly, I had

40:07

done, I think by that point, I

40:09

had done Girl Code and Girl Code

40:11

was like three years in my life

40:14

and then I did like. two sketches

40:16

for John Oliver and I got a

40:18

million meetings from that from like literally

40:20

what was four days because they live

40:22

so fast of my life way more

40:24

than I did for girl code and

40:26

and so I had stuff your agent

40:28

is like I'm gonna tell everyone that

40:30

she did some John Oliver and see

40:32

if they want to meet with her

40:34

yeah I think and are they sending

40:36

your sketches from John Oliver also no

40:39

because like that it was so new

40:41

I think they were just saying she's

40:43

like just having that it was like

40:45

a good thing to have on your

40:47

box office yeah I think also though

40:49

there is that thing of like we

40:51

talk about like Hollywood viral right there

40:53

were things like white Lotus if you

40:55

named any cast member from the current

40:57

season of white Lotus or even last

40:59

season everyone thinks that they're the hottest

41:01

yet you could possibly ask for it

41:04

right and it's because everyone in town

41:06

watches white Lotus do people care about

41:08

you know the third billing on that

41:10

show outside of this bubble maybe maybe

41:12

not but like that has this level

41:14

of cashier the same way i'm sure

41:16

john aliper did yeah exactly yeah yeah

41:18

it is the thing i've talked about

41:20

this on the podcast before but i

41:22

had this meeting with this commercial rep

41:24

Dana Bash and she was like your

41:26

work's pretty good but your problem is

41:29

like nobody has any clue who you

41:31

are and that was when i was

41:33

like oh yeah that's i'm i'm on

41:35

zero list you know yeah But so

41:37

you're on podcast for 10 years. Yeah,

41:39

right. Yeah, she was like, have you

41:41

considered a new co-host? And I was

41:43

like, you're like, who would do all

41:45

the work for? It's like, would you

41:47

do? Would you do it with me?

41:49

And she was like, no. So I

41:52

haven't really pursued it since then. But

41:54

so you were, so you're, I guess,

41:56

just a backup. your first feature real

41:58

quick, Curse Friends, which also has this

42:00

insane cast. I see John Gabris says

42:02

in both their movies, I'm assuming. He's

42:04

in everything I'm done. I'm going to

42:06

pay you a little less, but I'll

42:08

get you another job at this. I

42:10

put John Gabris, it's now become a

42:12

thing. Like he's at the end of

42:14

his first. He's in F. Mary Kill.

42:17

I put him in that he was

42:19

in, I brought him into an Admer

42:21

and everything episode I did. I put

42:23

John Gabris and everything. I put John

42:25

Gabris and everything. He's not. He and

42:27

Jessa May Paluso is the female podcaster

42:29

who is on Girl Code. Awesome. So

42:31

bringing on the Girl Code, Pete's in.

42:33

So I've heard people that want to

42:35

cast him, they're like, the easiest way

42:37

to cast him is just get Laura

42:39

Murphy to direct. That's why I keep

42:42

getting jobs. It's really just people on

42:44

John Gabris. I did the whole deck

42:46

I do as John Gabris. Yeah. Harvey

42:48

Guyenne, I worked with him. He's hilarious.

42:50

Very funny guy. Yeah. The first movie.

42:52

How did you do that? Well, because

42:54

I had a history with Comedy Central.

42:56

So that meeting, the curse friends meeting,

42:58

was a perfect example of getting onto

43:00

a meeting where I knew a lot

43:02

of the people on the zoom already

43:04

from generals or other meetings. So, or

43:07

other jobs. So it was really like

43:09

a lot of relationships paid off. That

43:11

script I got, I think I got

43:13

that script through my agent. I was

43:15

on Comedy Central's list because I had

43:17

done Nora from Queens already. I had

43:19

done Nora from Queens. I think they

43:21

really were looking for a female director,

43:23

so it was like a smaller list.

43:25

It was just female directors. And so

43:27

I thought... Are the writers? So I

43:30

noticed they both have the same last

43:32

name. Yeah, their brothers. The Eisenbrows? Yeah,

43:34

Eisenberg. And so are they on the

43:36

Zoom call when you're doing the first

43:38

meeting? Yes. I got the script. And

43:40

then I had like, like, I think

43:42

a week or nine days till the

43:44

nine days till the meeting till the

43:46

meeting. and I did a full like

43:48

I mean you've done commercials I did

43:50

a treatment for like it was if

43:52

it was a commercial, like a beautiful,

43:55

beautiful, 25, 30-page treatment. And you're like,

43:57

maybe we'll do a 30-minute cut down,

43:59

you know, make we can reuse. Exactly.

44:01

A super vertical? Yeah, shoot for God.

44:03

I love, oh, we hate that we

44:05

both made that book. I know. The

44:07

art for listening to or art watching.

44:09

Yeah. You're like, I was thinking for

44:11

wardrobe, but if we like do pops

44:13

of the brand color, comedy Central, yellow,

44:15

you know. But I think directors, I

44:17

think directors, that don't do the. beautiful

44:20

expert deck with like I mean I

44:22

wrote pages and pages about characters and

44:24

like the big dance number and like

44:26

I just went all out on the

44:28

treatment and do you have do you

44:30

work with treatment designers or anyone I

44:32

do yeah I do all my own

44:34

writing but I work with treatment designers

44:36

to help and like I do a

44:38

lot I'll do this myself but then

44:40

I'll have somebody help me layout yeah

44:42

did you for so for this Feature

44:45

film treatment did you bring someone on

44:47

that like yes I'm curious if you

44:49

invested some of your own like money

44:51

to I did because it was such

44:53

a short turnaround So I kind of

44:55

knew going in they they were like

44:57

it's real quick it's like nine days

44:59

so whatever you can throw together and

45:01

so then I was like oh okay

45:03

opportunity to over deliver sure it's worth

45:05

it for me to pay somebody to

45:08

help me with turn around a faster

45:10

layout because it'll just take me so

45:12

long to do so I did all

45:14

the writing I pulled a bunch of

45:16

visuals but then I let him help

45:18

me like as I was like finishing

45:20

the writing he was doing the layout

45:22

so then when we got on the

45:24

call and we started talking and we

45:26

kind of hit it off and it

45:28

the script was so good also it

45:30

helped because i loved the script it

45:33

was funny and it was really well

45:35

done it it was like it didn't

45:37

even really need like a director's pass

45:39

it so it was in such a

45:41

good script is the reason why it

45:43

wasn't a theatrical film like at that

45:45

moment they already know that Yes, I

45:47

guess because it was always, I think

45:49

Comedy Central was the one financing it

45:51

and they were, their film division had

45:53

this like rollout plan of how many

45:55

films they were doing based on holidays.

45:58

All of them were kind of holiday

46:00

associations and this was Halloween. I feel

46:02

like there's a few companies out there,

46:04

maybe not doing the Hulu, but like

46:06

Hulu and MGM I want to say,

46:08

like where they kind of have these

46:10

moves of like something like it's a

46:12

certain budget and it's a certain rollout

46:14

and I bet there's some like legal

46:16

not loophole but like strategy behind it

46:18

where it's like you window it out

46:20

and this is how it all makes

46:23

sense it was like in vogue there

46:25

for a few minutes right when you

46:27

were doing it right yeah and I

46:29

think advertising money still supports it on

46:31

Comedy Central so it made sense to

46:33

have it exclusively at Comedy Central for

46:35

the ad sales around it probably right

46:38

yeah and it's I mean it's kind

46:40

of the old YouTube model of like

46:42

hey it's a holiday it's Valentine's Day

46:44

videos So it's Halloween, like

46:46

what's everyone going to be watching?

46:49

There's a new Halloween movie on

46:51

Comedy Central that we can all watch together.

46:53

In news, they call that a peg. When I

46:55

was at, I did like a show of detention

46:57

and they would call a peg. And I've

47:00

said that in front of other comedy writers.

47:02

And I always get roasted for it. It

47:04

sounds like some sort of, yeah, I think

47:06

it is a sex thing. Yeah. What's funny

47:08

is it aired on Halloween, but it

47:11

was also like the. made like the

47:13

world series the same night and also

47:15

hocus focus three came out on the

47:18

same night on video it did it

47:20

did not rate well the first night

47:22

it came out so yeah we were

47:24

up against some tough things but I

47:27

think it caught up afterward but yeah

47:29

so I mean I think I just I

47:31

over delivered when I pulled up the deck

47:33

on the call, I think everybody

47:35

was like, oh wow. And coincidentally,

47:37

a lot of the references I made in

47:39

it and the visuals I was talking about

47:41

in like the type treatment we did was

47:43

very similar to I think a deck the

47:46

writers had done previously. So it was like

47:48

very clear we were on the same page.

47:50

And they didn't share that deck with you?

47:52

No, no. It was just really like,

47:55

I clearly was visualizing it in a

47:57

similar way. And the references I pulled

47:59

were... very like it was like let's

48:01

make this look strikingly like very cinematic

48:03

it was like fincher references which oddly

48:06

I've used a lot for F-Marie kill

48:08

too but like that was my follow-up

48:10

question yeah it was a lot of

48:12

like or you're like this is gonna

48:14

be the brutalist of thriller comedies well

48:16

there was a lot of like I

48:18

watched it I watched this with my

48:20

wife and I was like I'm gonna

48:22

tell you the movies that she has

48:24

on her deck right now which one

48:26

for F-mary kill for F-American kill and

48:29

I said and I said Zodiac Oh,

48:31

there was no Zodiac. Interesting. It was

48:33

actually a lot of Gone Girl. Oh,

48:35

interesting. Okay. Yeah, yeah. Seven was in

48:37

cursed friends a lot because we actually

48:39

used like a very similar opening sequence

48:41

to seven. So seven in the game.

48:43

were in uh... so you're just a

48:45

fincher head i'd never really thought i

48:47

was but the two movies the next

48:50

movie is about dragon tattoos yeah the

48:52

thing with curse friends is there was

48:54

a lot of like vomiting pink glitter

48:56

and like a lot of like pink

48:58

poppy things and and i kind of

49:00

pitched this idea of the i kept

49:02

calling it dirty candy it's like if

49:04

you're gonna have somebody cute pink glitter

49:06

then it should look like a nirvana

49:08

video a version of that or like

49:11

a fincher version of that so It

49:13

was this like dirty candy was the

49:15

visual touchstone. So it ended up being

49:17

a lot yet. And then weirdly for

49:19

F. Mary Kill, it was very hitchcocky.

49:21

The script was very hitchcocky, rear window.

49:23

There's a lot of hitchcock, but then

49:25

when I was like really looking at

49:27

like, what is the modern version of

49:29

Hitchcock? Yeah, you can't do vertigo references,

49:31

like no one wants that. But like

49:34

if you watch Gong girl, the colors

49:36

in it. look exactly like are very

49:38

inspired by Hitchcock. It's like all these

49:40

muted technical like pastels, but then like

49:42

a layer of grit over them. And

49:44

so it kind of made sense for

49:46

that. So now I've just so did

49:48

Polanski's kind of Hitchcock into I guess.

49:50

Yeah, that's true. But the difference. Did

49:52

you did the same sort of treatment

49:55

process? for Famer Kill as well. It

49:57

was much shorter turnaround on that. I

49:59

had four days and I happened to

50:01

be on a flight. So I did

50:03

do my own for that. That's on

50:05

a flight. You're like, I have all

50:07

this time and no one on that.

50:09

So great. Luxurious. You pour one? Apple

50:11

juice on your keyboard. Okay, I guess

50:13

I'm only have to use the P-O-L-K-I-N-J

50:15

to write the rest of this treatment.

50:18

Wait, sorry, before we get to the

50:20

second one. Do you, obviously in the

50:22

commercial world, we oftentimes ask if we're

50:24

up against other people and we're like,

50:26

oh, it's a triple bin and you're

50:28

up against Laura Murphy and Manam. And

50:30

I'm like, easy. I never want to

50:32

do that. But you'll often tell me,

50:34

and I'm like, and I'm like, all

50:36

that doesn't get me, get me, get

50:39

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not available in all states. on this

51:34

pitch? I have no idea. I never,

51:36

I assume... And you never, even to

51:39

this day, you don't know who you're

51:41

up against. No, there's, the other, there

51:43

was another movie that I went all

51:45

up, all in on and did this

51:47

massive pitch that I did, I did

51:50

most of the layout myself, I brought

51:52

somebody in to help at the end,

51:54

and it was... over a very long

51:56

time of my life, it was real

51:58

intense, and I didn't get it. And

52:00

that's you, and which was fine, like

52:03

the person they went with should have

52:05

gotten it, and it was great, but

52:07

that's the only time I knew who

52:09

I was up against because they beat

52:11

me. And then I didn't know that

52:14

I beat Matt for a job. He

52:16

just told me that. No, it's Jim.

52:18

Now we're talking. It was a go

52:20

90 show. Oh. Yeah. Which we were,

52:22

I remember seeing him leave as I

52:24

was going into the final interview. And

52:27

I was looking at his sneakers, so

52:29

I feel like that was a good

52:31

way if I can tell if he

52:33

like sports or not. Oh, sure. It's

52:35

probably new balancer vans, a towel either

52:38

way. Yeah, I was like wearing Jordan

52:40

one Chicago. Yeah, yeah, that's the movie.

52:42

Of course. You're wearing a jersey. You

52:44

had the backwards hat on, right? Yes,

52:46

I'm sure I did. No, I'm sure

52:48

I did. No, I meant Laura. Oh,

52:51

yeah, no sideways. So I don't know

52:53

who, I don't know who, to this

52:55

day, I don't know who else was.

52:57

Oh, I always asked people like why.

52:59

and usually it's like you were the

53:02

least expensive. They told me that they

53:04

picked me because we I mean the

53:06

call was great Luke who was the

53:08

producer and I got along fantastically a

53:10

lot of the Comedy Central people who

53:12

knew me or Eddie were on it

53:15

and because my I think because I

53:17

had done such an extensive treatment my

53:19

vision was very clear and it aligned

53:21

with the writers so it was truly

53:23

just like it it worked out because

53:26

yeah we were all on the same

53:28

page yeah yeah that stuff is I

53:30

mean obviously I don't know, dangerous is

53:32

the right word, but you're taking a

53:34

risk pitching a strong vision, you know,

53:36

if you really want the job and

53:39

you're like, tell me, you know, like

53:41

it's always that balance of, and I

53:43

think as commercial directors, I think we

53:45

probably have learned how to pitch a

53:47

strong vision that leaves a little air

53:50

for like some, you know, some zig,

53:52

zigging and zagging so that you're... I

53:54

feel like I'm sort of out of

53:56

the running. And you're highlighting the difference

53:58

though between commercial directing and features, right?

54:01

Because. I think that Orrin, you know,

54:03

the reason you want to know who

54:05

you're up against is like, oh, you

54:07

know that they have a really strong

54:09

reel that you maybe would zag when

54:11

they are zigging, right? But Laura, you

54:14

know, I feel like you're, what you're

54:16

saying is like, I have, this is

54:18

my vision, this is how I want

54:20

to do it, right? And that I

54:22

was, I learned the kind of, the

54:25

hard way a little bit, that because

54:27

it takes, movies take over so much

54:29

of your life, you know, that I'm

54:31

like if I am going to do

54:33

that then this is how I want

54:35

to do it and if you guys

54:38

aren't on board with that that's cool

54:40

I'm not the right director for this

54:42

because I can't spend a year banging

54:44

my head into a wall on the

54:46

in the like and compromising so much

54:49

that it just gets watered down and

54:51

I think when I tried to do

54:53

that I didn't get the jobs like

54:55

the jobs where I was trying to

54:57

do that and and I and also

54:59

I don't want to do that. And

55:02

I think what happened with F. Mary

55:04

Kill is, they told me afterward, I

55:06

don't know who was pitching on it,

55:08

but everybody else had a very similar

55:10

tone and mine was the complete opposite.

55:13

And that was why I ended up

55:15

getting it. Because I think they had

55:17

this idea of like, it would be

55:19

a little more campy. It was like,

55:21

that movie Megan was out and this

55:23

campy thing was happening. And I think.

55:26

Everybody leaned into that because that was

55:28

what they said they thought they wanted

55:30

and I was like No, because there

55:32

were no murder. I mean, I don't

55:34

want to give anything away, but it's

55:37

not a horror movie There's not like

55:39

slashy gore stuff. So I was like,

55:41

you kind of need that. More marrying

55:43

than anything else. It's morbid. It's F.

55:45

Mary heavy. Kill light? Four marries and

55:47

N&N. And F is funeral, right? Yeah,

55:50

sure, yeah, yeah. That kind of confirmed

55:52

what my gut has been saying for

55:54

a while, which is that if I'm

55:56

going to go in on something, it's

55:58

like, here's, I feel strongly that this

56:01

is how I think I can make

56:03

the right. person and you will find

56:05

the right person who is going to

56:07

do that. So wait so how did

56:09

you what what can I ask like

56:11

what words you use when you're like

56:14

pitching the tone for curse friends or

56:16

for every kill for every kill so

56:18

I was very much like this is

56:20

a thriller happening to very funny people

56:22

and then yeah I was going to

56:25

say they're very quippy yeah the dialogue

56:27

is rapid fire like almost a little

56:29

screwball right so I could I sympathize

56:31

with those other directors who thought well

56:33

maybe lean into something that feels a

56:36

little lighter in some way for sure.

56:38

Yeah and my whole thing was make

56:40

it so like visually striking and that

56:42

you never forget that it's a thriller

56:44

because that's what happens in those cross-genre

56:46

movies is if you go too far

56:49

thriller and you forget it's a comedy

56:51

you lose the interest in the thrill

56:53

but if you go too far comedy

56:55

or something too dark happens you can't

56:57

get them back into a comedy so

57:00

it's like If we let the camera

57:02

work and the lighting and the cinematography

57:04

and the look of it and the

57:06

color palette and the set, if all

57:08

of that says thriller and takes itself

57:10

very seriously, then we can push the

57:13

comedy more in the performance. So like

57:15

we improvise, there was improvise it, like

57:17

we just, at every turn, we pushed

57:19

the comedy, but also, and that's how

57:21

I pitched it from the beginning, is

57:24

like really, really take itself seriously. Like

57:26

it shouldn't fit, there's at no point

57:28

is it goofy. or trying to be

57:30

funny or winky in the look of

57:32

it. Then we can use the performances

57:34

to push the comedy and go, if

57:37

we wanted to go a little goofy,

57:39

it won't get corny because it's against

57:41

this juxtaposition of this like really high-end

57:43

cinematic fincher-looking movie. Yeah. Kind of makes

57:45

me think of that movie, talk to

57:48

me, that Matt and I have talked

57:50

about before, but it's hot. It's funny

57:52

and crazy and insane and these guys

57:54

come from like a soap super, I'm

57:56

not saying it's the same tone, but

57:58

it's like a movie where they took

58:01

themselves very seriously. and it's better for

58:03

that because the craziness that is usually

58:05

present in their YouTube videos like works

58:07

like you're you buy into it you

58:09

know you're like on board because it's

58:12

not crazy for the sake of being

58:14

crazy it's just you know I don't

58:16

know the other movies that I think

58:18

I referenced that did that really well

58:20

are clue which is like such a

58:22

great comedy knives out again that

58:24

whole world sure sure and then a

58:27

great it's an action comedy but

58:29

game night I haven't seen, I

58:31

haven't seen, just a trailer, but

58:34

it didn't very, give me

58:36

game night, but I'm sure.

58:38

That's a, like, that was

58:40

a movie that, like, is

58:42

a very exciting action movie

58:44

that happens to have

58:46

very funny people and doing

58:49

very funny things. And that

58:51

was, like, a really tonal

58:53

touchstone that I kept coming

58:56

back to. Honestly, I think

58:58

people know. Good, I hope so.

59:00

I hope so. I feel like I

59:03

don't know. Yeah, maybe it's got a

59:05

cool following up. Well, so fingers crossed,

59:07

those guys all have great careers ahead

59:10

of them. Yeah, they all do. Okay.

59:12

Laura, I'm curious, after this pitch,

59:14

had you done work that matched

59:17

your pitch stylistically, could you say,

59:19

and also, I hear of three

59:21

things that are like hard boiled,

59:24

you know, thrillers to point to.

59:26

No, but cursed friends. cursed friends was a

59:28

good crush on a calling card and

59:30

that did come up in the treatment

59:32

like you know this was a spooky

59:35

poppy colored fun movie that also didn't

59:37

look how people expected it to and

59:39

came out very funny and and looked like

59:41

it costs way more than it did and

59:43

that's so I I had a proven track

59:45

record of making things look more expensive

59:47

than what the budget we actually had for

59:49

them and so I think that worked in

59:51

my favor. got it so even though it

59:53

wasn't a one-to-one that's yeah that's great yeah

59:55

I mean I friends was when they took

59:57

a shot on me that was a full I

1:00:00

had nothing to show them that I could

1:00:02

do what I was saying in the

1:00:04

treatment for curse friends and I just

1:00:06

they took a real leap of faith

1:00:08

and I got lucky and then I

1:00:10

delivered. So can I ask you when

1:00:12

you with cursed friends and then maybe

1:00:14

this transfers over to F-Marie Kilt to

1:00:17

do when they're taking a chance on

1:00:19

you and you're like hey it's gonna

1:00:21

be the super cinematic thing but everything

1:00:23

you've done in the past is a

1:00:25

little more like kind of sketchy or

1:00:27

you know whatever is a little more

1:00:29

Yeah, like short form or TV. Also

1:00:31

the credit words do, you had real

1:00:33

working relationships with a lot of people

1:00:36

on that team. So it was a

1:00:38

lot, you'd earned that trust. Yes. Do

1:00:40

you know what I mean? Nora from

1:00:42

Queens helped that massively. The fact that

1:00:44

I had done several, two seasons or

1:00:46

one, two of Aquafinas, Nora from Queens

1:00:48

at that point, and was brought into

1:00:50

that show by Nora because of girl

1:00:53

code that helped. Like, the Comedy Central

1:00:55

people knew me and so I was

1:00:57

vetted. Like, try to bring like the

1:00:59

DP that has shot the Finter type

1:01:01

movie. Like, do you try to show

1:01:03

them that the rest of the crew

1:01:05

has a deep experience in this thing

1:01:07

that you're pitching? I worked with the

1:01:09

same DP on Kurzfrenz, who also did

1:01:12

F. Mary Kill, Jonathan Hall, who I

1:01:14

had a relationship with from, I mean,

1:01:16

he did like, one of the first,

1:01:18

like a YouTube series I did a

1:01:20

long time ago, we met doing that,

1:01:22

and then we've done some stuff throughout,

1:01:24

like, worked with each other. and but

1:01:26

he's not a comedy guy usually he

1:01:28

is a thriller thriller action yeah like

1:01:31

big action guy which helped so it

1:01:33

was like okay I don't have a

1:01:35

real that show I like I don't

1:01:37

have significant work of like thriller or

1:01:39

action stuff or car crashes or stunts

1:01:41

which there were a lot of stunts

1:01:43

and curse friends but this DP that

1:01:45

I work with who's very fast and

1:01:47

very production friendly and great has that's

1:01:50

all he does and that's majority of

1:01:52

what he does so that helped I

1:01:54

think too and then everybody loved him

1:01:56

and so then it was easy then

1:01:58

it was easy for me to bring

1:02:00

him on F. Mary Kill, because I

1:02:02

was like, oh, look, we made another

1:02:04

movie together that came in on budget

1:02:07

and in the number of shoot days

1:02:09

and. Is that? Producers love hearing that

1:02:11

a DP is fast. I know. Like

1:02:13

that is the biggest compliment. Yeah. And

1:02:15

has good relationships at camera houses. Yeah.

1:02:17

That like helps masks. This is a

1:02:19

really stupid question. But as someone who's

1:02:21

made two features that the first one

1:02:23

is, I guess we would call in

1:02:26

a studio film, right, the comedy central

1:02:28

one. Yeah. It's blind, gay, and buzzfeed.

1:02:30

Like you said, do you think the

1:02:32

like on time and on budget, like

1:02:34

how important is that when picking and

1:02:36

director? Because to me it seems like

1:02:38

it's not something that's going to be

1:02:40

a deciding factor. I think it depends

1:02:42

on the budget range that I'm in

1:02:45

and these movies are in, this like

1:02:47

three to eight million. I think it

1:02:49

is part of it. And often that's

1:02:51

because they've done a couple others where

1:02:53

they didn't take that into account and

1:02:55

got burned. so it becomes an important

1:02:57

element, but I'm not standalone. Like I

1:02:59

think if I didn't bring all this

1:03:02

other, it's like, here's what I want

1:03:04

it to look like, here's this very

1:03:06

clear vision, and I promise I will

1:03:08

deliver this within the realm of what

1:03:10

we needed to be production-wise, it's a

1:03:12

very clear vision, and I promise I

1:03:14

will deliver this within the realm of

1:03:16

what we needed to be production-wise, it's

1:03:18

the combination-track record of being, you know,

1:03:21

production-friendly, you know, production-friendly, But if you

1:03:23

had a reputation, right, of like, oh,

1:03:25

or always just blows or budgets, who

1:03:27

care, like, the devil may care, definitely

1:03:29

work against you. Yeah. So you've done

1:03:31

these two features. F. Mary Kale is

1:03:33

coming out. Sounds awesome. Everyone should go

1:03:35

see it. It's got a giant twist

1:03:37

at the end that we're not going

1:03:40

to ruin for you. But if you

1:03:42

don't see it, in theaters. then I

1:03:44

heard you were moving the twist for

1:03:46

the streaming release right? It's like clue,

1:03:48

like clue. The twist is in the

1:03:50

first 12 seconds for in the streaming

1:03:52

for Tikk. It's very unsatisfying if you

1:03:54

wait to streaming. It's like much better

1:03:56

to watch. Two weeks earlier. Yeah, yeah,

1:03:59

March 7th, it's out. on both streaming

1:04:01

and in theaters. So I believe that

1:04:03

should be tomorrow if you're listening the

1:04:05

day this episode comes out. We had

1:04:07

such a good time talking to Laura

1:04:09

that we didn't want to cut any

1:04:11

of this episode. You know we usually

1:04:13

record for like one and a half

1:04:16

to two hours and Kevin does magic

1:04:18

and gets it down to like hopefully

1:04:20

like an hour 20 or 30. But

1:04:22

this time because also I had my

1:04:24

very long story in the beginning of

1:04:26

this episode that I would not budge

1:04:28

on cutting. I was like, Orin, let's

1:04:30

just do it as its own episode.

1:04:32

Well, and here we are. It's like

1:04:35

talking about COVID right now, you know?

1:04:37

It's like, nobody cares anymore. So I

1:04:39

just, I feel like our personal set

1:04:41

stories are interesting, even to ourselves. Like

1:04:43

within a week of one. Sure, sure,

1:04:45

sure. It's a little less fresh. Anyway,

1:04:47

the story was great. And our conversation

1:04:49

with Laura was so good that we

1:04:51

couldn't bear to cut it down. So,

1:04:54

tune in next week for the conclusion

1:04:56

of our conversation with Laura Murphy. The

1:04:58

riveting conclusion. And there might be a

1:05:00

huge twist at the end. Tune in

1:05:02

to find out. That's right. Until then,

1:05:04

this episode was edited by Kevin Oh

1:05:06

Yang. Thanks Kevin. and produced by Tyler

1:05:08

Small. You're listening to a music provided

1:05:10

by the music archive and the artists

1:05:13

Jazzard. And you can follow us on

1:05:15

Instagram at Just Shoot Upon. You can

1:05:17

email us just shoot upon@gmail.com. And I'm

1:05:19

Ado Kaplan. And I'm at Mr. Memo.

1:05:21

Catch you next time. This

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